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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nfrini collection,No. 220, fig. half the size of life;wood, oil, on a cartello to the left:Marcus Baxaiti, distance a land-scape with 4 sky spotted by re-touching. In the same spirit, originallj^the same composition reversed inthe Harrach Gallery at Vienna;wood, oil, signed: Marchus Ba-saiti p, but completely repainted. ^ Castelfranco, wood, oil, figuresone-third of life-size, signed onthe screen at the base: Baxaiti p.; distance landscape, red intone, hard and uniforni, but ruinedby retouching and varnishes. ^ Venice Academy, No. 7, wood,oil, m. 3*40 h. by 1-95, an angelkneeling at the head, another atthe feet of Christ, lying full lengthon the ground in a landscape.No. 4, wood, oil, m. 2*0 h. by 0*60.S^ James on a pedestal, on the sideof which is the word: Marcus;distance a landscape. No. 6, do.do. S Anthony the Abbot, signed:Basaiti p. Something in thesepieces recalls the S^* Jerom andAugustin in this gallery, Nos. 11and 13 by Catena. s Berlin Museum, No. 6.passim. See North Italy.
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CHRIST ON IHP; MOUNT ; an a.iarpiece by Marco Basaiti. in the Academy of Venice Chap. X. BASAITI. 263 The highest point to which Basaiti rose before he en-tered into the Bellinesque phase, he attained in two im-portant pictures of* 1510, one of them conveying a partial,the other a more absolute acknowledgment of modernlessons. For Sant Andrea, in one of the islands of Venice,he finished the call of James and John, sons of Zebedee,to the apostleship. The Saviour, accompanied by Peterand Andrew, has reached a bleak and rocky shoreintended to represent the coast of the sea of Galilee.James, obedient kneels to receive the blessing, whilstJohn steps out of the boat in which his father remainsin awe. A boy on a pier in front forgets his anglingand looks round at the interesting scene, and thedistant Avaters are lined with precipitous hills, andbathe the battlements of Zabulon. With extraordinarypatience and precision of outlines, Basaiti produces aformal and lifeless composition, in which r

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