Identifier: historyofpaintin01crow (find matches)
Title: A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century
Year: 1871 (1870s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting Painting, Gothic Painting, Renaissance
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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charge, and finding strength to proceedin every new endeavour. We can still see that constantimprovement was the reward of his struggles. He may Joannes Bellinus. Distance, sky. 1 ^ Venice Acad. No. 43G, wood, The form of the infant is a littlestiff and awkward. Madrid Museum, No. 6G5, wood,3f. 8 by 2f. 9, half-lengths; back-ground, a green curtain intercept-ing sky. To the left, S Catherinein a jewelled head-dress; right, S*^Ursula with an arrow. The faceof the latter alone is well preserved;the child, a fair study from nature;inscribed on a scrip fastened tothe screen below, Joannes Bel-linus p. about If. 8 by 3f. 1, on a darkgreen ground. The child a littlestiff, falsely drawn as regards theright arm; left, S Catherine withjewelled hair; right, S^ Mary Mag-dalen. The drawing is visible be-neath the superposed tints; andthe light is given by the under-ground^— a variety not to be foundin Flemish examples. The Virginsright eye is repainted and out ofplace (half-length). North Iiai
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CHILD, AND SAINTS; an altarpiece, by Giovanni Bellini, originally at San Giobbe,now in tbe Academy of Arts at Venice. Chap. VIII. GIOVANNI BELLINI. 163 have thought that mastery at last Avould bring him tohigh renown^ he may have been urged by the mere wishto exceL Whatever motives actuated his conduct^they were strong and steady enough to take him tohis goal. His crowning trial was made in an altar-piece ordered for a chapel at San Giobbe, which stillpreserves the outer setting intended to bring its linesinto relief. Long since transferred to the Academy ofArts^ and in a place for which it never was intended,this beautiful production still appears to combine all thequalities for which Bellini might up to this time haveclaimed praise—appropriate and dignified composition,noble character, elevated feeling and chastened design.To these he now^ added a solemn impression of tenderrepose, youthful freshness, and smiling life, united to asunny but gently vaporous tone. If in a previous ex

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