Lives of the Most Excellent Painters, Sculptors, and Architects/Jacopo Bellini and his Sons

by Giorgio Vasari

 

THE VENETIAN PAINTER, JACOPO BELLINI.

[born.... — died....]

AND HIS SONS, GIOVANNI AND GENTILE BELLINI.

[born 1426—died 1516.] [born 1421]—died 1507.]

When zealous efforts are supported by talent and rectitude, though the beginning may appear lowly and poor, yet do they proceed constantly upward by gradual steps, never ceasing nor taking rest until they have finally attained the summit of distinction, as may be clearly seen in the poor and humble commencement of the Bellini family, and in the elevation to which it attained by the devotion of its founders to the art of painting.

The Venetian artist, Jacopo Bellini, was a disciple of Gentile da Fabriano, and a rival of that Domenico who taught the method of painting in oil to Andrea dal Castagno; hut although he laboured very zealously to attain eminence in his art, yet he never acquired any great reputation in the same, until after the departure of the above-named Domenico from Venice. But from that time forward, finding himself alone, and without a competitor who could equal him in that city, his fame and credit constantly increased, and he attained to such eminence as to be reputed the first in his profession: and the renown thus acquired was not only maintained in his house, but was much enhanced by the circumstance that he had two sons, both decidedly inclined to the art, and each possessed of good ability and fine genius. One of these was called Giovanni, the other Gentile,^[1] a name which Jacopo gave him in memory of the tender affection borne to himself by Gentile da Fabriano, his master, who had been as a kind father to his youth. When these two sons therefore had attained the proper age, Jacopo himself instructed them carefully in the principles of design, but no long time elapsed before both greatly surpassed their father; who, rejoicing much thereat, encouraged them constantly, telling them, that he desired to see them do as did the Tuscans, who were perpetually striving among themselves, to carry off the palm of distinction by outstripping each other, and that so he would have Giovanni surpass himself, while Gentile should vanquish them both, and so on successively. The first wmrks by which Jacopo acquired fame were the portraits of Giorgio Cornaro and of Caterina, queen of Cypress; a picture which he sent to Verona, and which represented the Passion of Christ, with many figures, among which he depicted the portrait of himself; and an historical picture representing the Miracle of the Cross, which is said to be in the Scuola^[2] of San Giovanni Evangelista all which, and many others, were executed by Jacopo, with the assistance of his sons. The last-named picture was painted on canvas, as it is almost always the custom to do in that city, where they but rarely paint on wood of the maple or poplar, as is usual in other places. This wood, which grows for the most part along the banks of rivers or other waters, is very soft, and is excellent for painting on, because it holds very firmly when joined properly with suitable glue. But in Venice they do not paint on panel, or, if they use it occasionally, they take no other wood than that of the fir, which is most abundant in that city, being brought thither, along the river Adige, in large quantities from Germany; to say nothing of that which also comes from Sclavonia. It is the custom, then, in Venice to paint very much on canvas, either because that material does not so readily split, is not liable to clefts, and does not suffer from the worm, or because pictures on canvas may be made of such size as is desired, and can also be conveniently sent whithersoever the owner pleases, with little cost and trouble. Be the cause what it may, the first works of Jacopo and Gentile were on cloth, as we have said; and afterwards Gentile, without any assistance, added seven or eight pictures^[3] to that story of the Miracle of the Cross of which mention has been made above. In these works Gentile delineated the miracle performed in respect of the true cross of Christ, a piece of which the Scuola, or Brotherhood, above named, preserved as a relic, and which miracle took place as follows. The cross was thrown, I know not by what chance,^[4] from the Ponte della Paglia into the canal; when many persons, from the reverence which they bore to the piece of the true cross of Jesus Christ contained within it, threw themselves into the water to get it out. But it was the will of God that none should be found worthy to take it thence, save only the Principal or Guardian of the said Brotherhood:^[5] Gentile, therefore, representing this story, delineated in perspective several houses situated along the Grand Canal, showing the Ponte della Paglia, and the Piazza di San Marco, with a long procession of men and women who are walking behind the clergy. Many persons have cast themselves into the water, others are in the act of throwing themselves in, some are half-immersed, and others are in other positions, but all in very fine attitudes: finally, the artist depicted the Guardian above-named, who recovers the cross. The labour and pains bestowed on this work were very great, as is manifest when we consider the vast number of figures, the many portraits taken from the life, the diminution of the figures receding into the distance, and the likenesses more particularly of almost all the men who then belonged to that Scuola, or company. The master has likewise represented the Replacing of the Cross: and all these pictures, painted on canvas, as before related, brought Gentile very great reputation.^[6]

In the course of time Jacopo withdrew himself entirely from his previous association with his children, and gave his attention, as did his two sons on their part, each separately to his own works. Of Jacopo I will make no further mention, because his paintings, when compared with those of his sons, were not extraordinary,^[7] and no long time after he had withdrawn himself from his sons, he died: but I will not omit to say that, although the brothers separated, and each lived alone, yet they had so much affection for each other, and both held their father in so much reverence, that each, constantly extolling the other, attributed inferior merit only to himself, and thus modestly sought to emulate each other no less in gentleness and courtesy than in the excellences of art.

The first works of Giovanni Bellini were certain portraits from the life, which gave great satisfaction, more especially that of the Doge Loredano; but this is said by some to be the likeness of Giovanni Mozzenigo, brother of that Piero Mozzenigo who had been Doge long before Loredano.^[8]

At a later period Giovanni Bellini painted a picture for the altar of Santa Caterina of Siena, in the church of San Giovanni; in this, which is of a rather large size, he represented Our Lady seated with the Child in her arms, she is accompanied by St. Domenick, St. Jerome, St. Catherine, St. Ursula, and two other virgin saints: three very beautiful boys are standing at the feet of Our Lady, singing from a book,^[9] and above the figures is depicted the termination of the vaulted ceiling of the building, which is extremely well done; the whole work was considered to be among the best that had then been executed in Venice.^[10] In the church of Sant’ Iobbe (Job), the same master painted a picture for the altar of that saint, of which the drawing is very good, and the colouring beautiful. The subject is Our Lady seated in a somewhat elevated position, with the Child in her arms. Undraped figures of Sant’ Iobbe, and San Bastiano (Sebastian), are beside her, with San Domenico, San Francesco, San Giovanni, and Sant’ Agostino, near them; beneath are three boys playing musical instruments with much grace of attitude. This picture was highly praised, not only when it was first seen, but has in like manner been extolled ever since as an extremely beautiful work.^[11]

Moved by these most praiseworthy performances, certain gentlemen began to reason among themselves, and to declare that it would be well to profit by the presence of such excellent masters, using the occasion to decorate the Hall of the Grand Council with historical paintings, wherein should be depicted the glories and magnificence of their most admirable city, her greatness, her deeds in war, her most important undertakings, and other similar things worthy to be represented in picture, and to be had in remembrance by those who should come after, in order that to the pleasure and advantage derived from the reading of history, might be added the gratification of the eyes and equally of the intellect, from seeing delineated the images of so many illustrious nobles, with the admirable works of so many great men, all most worthy of eternal renown and remembrance.

It was therefore commanded by those who then governed, that the commission for this work should be accorded to Giovanni and Gentile, whose fame increased from day to day, and it was further ordered that the undertaking should be entered on as soon as possible.^[12] But we must here remark that Antonio Veneziano had long before commenced the painting of this Hall, as we have said in his life:^[13] he had even finished a large historical picture there, when he was compelled to depart from Venice by the envy of malicious persons, and could no longer continue that most honourable enterprise.^[14]

Now Gentile, either because he had more experience and a better manner on canvas than in fresco, or for whatever else may have been the cause, proceeded in such sort that he readily obtained permission to execute that work, not in fresco, but on canvas, and thus, having set hand thereto, in the first story, he delineated the Pope, who presents a waxen taper to the Doge, that the latter may carry it in the processions which are about to take place. The whole exterior of San Marco appears in this picture, the Pope is standing in full pontificals, with numerous prelates behind him. The Doge is likewise standing, accompanied by many senators. In another part of this story the master has depicted the emperor Frederick Barbarossa: first, where he receives the Venetian Ambassadors with a friendly aspect, and next, where he is angrily preparing for war; fine views in perspective are here delineated, with an immense number of figures and numerous portraits, all executed in an excellent manner and with extraordinary grace. In the picture next following, is also the Pope, encouraging the Doge and Venetian nobles to arm thirty galleys at the common expense, wherewith they are to proceed to battle against the emperor Frederick Barbarossa. The Pope is seated on the pontifical seat, clothed in his rochet; the Doge is beside him, with numerous senators around and at the foot of the papal throne. In this picture also, Gentile Bellini depicted the Piazza and Façade of St. Mark’s, with the sea, but in a different manner from that of the preceding story, and with so vast a multitude of figures, that it is really a marvel. In another compartment the same Pope is again represented standing in full pontificals, and conferring his benediction on the Doge, who is armed, and, having a large train of soldiers, would seem to be departing for the field: in long procession behind the Doge is an immense number of nobles, and the palace of San Marco is seen in perspective. This work is one of the best executed by the hand of Gentile, although the picture wherein there is the representation of a sea-fight displays more invention; for in the last there are numerous galleys engaged in battle, with an almost incredible number of men, and, in fine, because the artist has here proved that he was no less accurately acquainted with maritime warfare than with the details of painting. The crowd of galleys, involved in all the confusion of battle, the fighting men, the barks seen in perspective, and diminished with the most correct proportions, the well-ordered combat, the attack, the defence, the fury of the combatants, the wounded soldiers, and those who, in various manners, are dying, the cleaving of the waters by the galleys, the movement of the waves, the variety of weapons proper to the sea service—all this immense diversity of objects cannot but serve to show the vast ability of Gentile, his power of invention, his rectitude of judgment, and his knowledge of art, every part being perfect in itself, and the whole admirably composed.^[15]

In another story, the artist has represented the Pope receiving the Doge, who has returned with the victory so much desired; the pontiff is bestowing on him various marks of friendship, Avith the ring of gold with which he is to espouse the sea, as his successors have done, and still continue to do every year, in sign of the seal and perpetual dominion which they deservedly hold over that element. In this compartment is Otho, son of Frederick Barbarossa, portrayed from the life, he is kneeling before the Pope; and as behind the Doge there is a retinue of armed soldiers, so behind the Pontiff are there many cardinals and nobles. In this story the poops of the galleys only appear, and on that of the admiral is the figure of Victory painted to seem of gold, and seated, with a crown on the head and a sceptre in the hand.^[16]

The stories which were to decorate the other parts of the hall were adjudged to Giovanni, the brother of Gentile; but as the order of the events there represented by him is connected Avith those executed in great part, but not completed, by Vivarino,^[17] it will be necessary that I should in the first place say someAvhat of the latter. Those parts of the Hall, then, which were not adjudged to Gentile, were given partly to Giovanni and partly to Vivarino, to the end that all might be excited, by mutual emulation, to more zealous efforts. Wherefore Vivarino, having commenced the part Avhich belonged to him, painted, immediately following the last story of Gentile, the above named Otho, offering himself to the Pope and the Venetians, as their messenger, to attempt the settlement of peace between them and his father Frederick Barbarossa; with his departure, after having obtained their permission, on the faith of his word. In this first part, to say nothing of other characteristics amply worthy of consideration, Vivarino painted in very fine perspective an open Temple, with flights of steps and numerous figures. Before the Pope, who is seated and surrounded by many senators, is Otho kneeling and plighting his faith by an oath. In the next compartment Vivarino represented Otho crowned in the presence of his father, who receives him joyfully; and in this picture are buildings in perspective very finely painted; Barbarossa is seated, and his son, who kneels before him, holds his hand: Otho is accompanied by many Venetian nobles, and among these figures are portraits from the life, so well depicted as to prove that this master copied nature very faithfully. Poor Vivarino would have completed the remainder of his portion greatly to his own credit, but being of a weakly constitution, and exhausted by his labours, it pleased God that he should die early, and he could proceed no further; nay, he could not entirely finish even what he had commenced, and it became necessary that Giovanni Bellini should retouch the work in certain parts.

Giovanni had himself meanwhile begun four stories, which followed those above described in regular succession. In the first he depicted the same Pope^[18] in the church of San Marco, which he also delineated exactly as it stood. The pontiff presents his foot to Frederigo Barbarossa to kiss, but this first picture of Giovanni, whatever may have been the cause, was rendered much more animated, and beyond comparison better in every way, by the most excellent Titian. To follow Giovanni in his stories, however—in the next he portrayed the Pope saying mass in San Marco, and afterwards, in the presence of the Emperor and the Doge, granting plenary and perpetual indulgence to all who at certain periods shall visit the church of San Marco, the Ascension of our Lord being particularly specified. The master here depicted the interior of the church, with the Pope in his pontifical habit on the steps descending from the Choir, surrounded by numerous cardinals and nobles; the concourse of these persons rendering this a rich and beautiful picture. In the compartment beneath that above described, the Pope is seen in his rochet presenting an umbrella or canopy to the Doge, after having given one to the Emperor and retained two for himself. In the last picture painted by Giovanni, Pope Alexander, the Emperor, and the Doge, are seen to arrive in Rome, outside the gate of which city the Pontiff is presented by the clergy and people of Rome with eight standards of various colours, and eight silver trumpets, which he gives to the Doge, that he and his successors may bear them as their standard, or ensign of war. Giovanni here depicted the city of Rome in somewhat distant perspective, with a large number of horses and a vast body of soldiers: there are besides innumerable banners, standards, and other tokens of rejoicing, on the castle St. Angelo and elsewhere. These works, which are really beautiful, gave so much satisfaction, that Giovanni had just received the commission to paint all the remaining portion of that hall when he died, having already attained to a good old age.^[19]

We have hitherto spoken of the works executed in the Hall of the Council only, that we may not interrupt the description of the stories depicted there, but we will now turn back a little to relate that many other paintings were executed by the same masters. Among these is a picture which is now on the high altar of the church of San Domenico^[20] in Pesaro; and in the church of San Zaccheria in Venice, in the chapel of San Girolamo, namely, is a picture of the Virgin, with numerous Saints, painted with great care; in this there is a building very judiciously executed;^[21] and in the same city, in the Sacristy of the Frati Minori, called the “Ca grande,” there is another by the same master, very well drawn and in a very good manner:^[22] a similar work is to be seen in San Michele di Murano, a monastery of Camaldoline monks.^[23] And in San Francesco della Vigna, which belongs to the Barefooted Friars, (Frati del Zoccolo) there was a picture of the Dead Christ in the old church, which was so beautiful, that having been highly extolled before Louis XL, king of France, he requested the gift of it with so much earnestness, that those monks were compelled to gratify him therewith, however reluctant they were to do so. Another was put into its place with the name of the same Giovanni, but not by any means so beautiful or so well done as the first,^[24] and many Believe that this last named was for the most part executed by Girolamo Mocetto, a pupil of Giovanni. There is a picture by this same master in the possession of the Brotherhood of San Girolamo; the figures are small, but the work is very highly esteemed. And in the house of Messer Giorgio Cornaro is a picture equally beautiful, representing the Saviour with Cleophasand Luke.^[25] In the above-mentioned hall Giovanni painted another picture, but not at the same time. This contains a story showing the Venetians inviting a Pope,^[26] I know not which, to leave tlie monastery of Santa Maria della Carita, where he had concealed himself, after having taken refuge in Venice, and there secretly served as cook to the monks, an othce which he had held for a considerable time. In this story there are many figures portrayed from the life, with others, all of which are very beautiful.

No long time after, several portraits by this master were taken into Turkey by an ambassador, and presented to the Grand Turk. These works awakened so much astonishment and admiration in that monarch, that although among this people pictures are prohibited by the Mahometan law, the emperor accepted them with great good will, extolling beyond measure both the art and the artist; and, what is more, requiring that the master of the work should be sent to him.^[27]

The Senate thereupon, considering that Giovanni had reached an age when he could but ill support fatigue, and not desiring to deprive their city of such a man, he having Ids hands then fully occupied, moreover, with the hall of the Grand Council, resolved to send thither his brother Gentile in his stead, believing that he would do as well for the Turk as Giovanni.^[28] Having caused Gentile, therefore, to make liimself ready, they conducted him in their own galleys, with all safety, to Constantinople, where, being presented to the Grand Turk by the lieutenant of the Signori a, he was received by him very willingly, and, being something new, was much caressed, more especially when he had presented Sultan Mahomet with a most charming picture, which that monarch admired exceedingly, scarcely finding it possible to conceive that a mere mortal should have in himself so much of the divinity as to he capable of reproducing natural objects so faithfully. Gentile had been no long time in Constantinople before he portrayed the Emperor Mahomet from the life, and so exactly, that it was considered a miracle. Then the Sultan, after having seen many proofs of his ability in that art, desired to know if the painter had courage to take his own likeness? to which Gentile having replied that he had, many days had not elapsed before he had portrayed his own features, with the help of a mirror, so faithfully that the picture seemed to be alive.^[29] This he brought to the Sultan, who was so amazed thereat that he could imagine no other but that the painter had some divine spirit in his service; and if it had not been that the exercise of this art is forbidden to the Turks by their law, as we have said, that emperor would never have suffered Gentile to leave him. But, whether the Sultan feared that murmurs might arise, or was moved by some other cause, he one day commanded the attendance of the painter, and having caused him first to be thanked for the courtesy he had displayed, and highly extolled him as a man of wonderful ability, he finally bade him demand whatever favour he might desire as a parting token, which should be presented to him without fail. Gentile, "who was a modest and upright man, demanded no other thing than a letter of approval, by which the Sultan should recommend him to the most Serene Senate and most Illustrious Signoria of Venice, his native city. This was written as cordially as was possible, after which he was dismissed with the most honourable presents and with the dignity of knighthood. In addition to many privileges then conferred on Gentile by this monarch, and among the many gifts bestowed on him, was a chain of gold, made after the Turkish fashion, and equal in weight to 250 scudi, which was placed around his neck: this ornament is still in possession of his heirs at Venice.^[30]

Departing from Constantinople, Gentile returned, after a most fortunate voyage, to Venice,^[31] where he was received by Giovanni, his brother, and by almost the whole city, with the utmost gladness, every one rejoicing at the honours paid to his talents by Sultan Mahomet.^[32] Proceeding on his arrival to present his duty to the Doge and the Signoria, he was very well received and commended, for that he had satisfied the Turkish emperor according to their desire. Furthermore, to the end that the great account in which they held the letters wherewith that prince had recommended him might be made manifest, they commanded a provision of 200 scudi a year to be made for him, which sum was paid him for the remainder of his life.

Gentile performed but few works after his return from Constantinople, and at length, having nearly attained to the age of 80, he passed to another life in the year 1501; and from his brother Giovanni he received honourable interment in the Church of San Giovanni e Paolo.^[33]

Thus deprived of his brother Gentile, whom he had most tenderly loved, Giovanni, although very old, still continued to work a little, the better to pass his time, and having taken to execute portraits from the life, he introduced the custom into Venice, that whoever had attained to a certain degree of eminence should cause his likeness to be portrayed, either by himself or by some other master. Wherefore, in all Venetian houses, there are numerous portraits, and in many of those belonging to nobles, may be seen the fathers and grandfathers of the possessors, up to the fourth generation; nay, in some of the most noble houses they go still farther back, a custom which is certainly most praiseworthy, and was in use even among the ancients.^[34] For who does not feel infinite contentment, to say nothing of the beauty and ornament resulting from them, at sight of the effigies of his ancestors, more particularly if they have been distinguished for their deeds in war or by their works in peace, or have rendered themselves illustrious by learning or other signal qualities and remarkable virtues, or by the part they have taken in the government of the state? And to what other purpose, as has been remarked in another place, did the ancients place the statues of their great men, with honourable inscriptions, in the public places, if not to the end that they might awaken the love of glory and excellence in those who were to come after?^[35]

Among the portraits executed by Griovanni Bellini was that of a lady^[36] beloved by Messer Pietro Bembo, before the latter went to Rome to Pope Leo X.; and whom he portrayed with so much truth and animation, that as Simon of Siena was celebrated by the first Petrarch the Florentine, so was Griovanni by this second Petrarch the Venetian, as may be seen in the sonnet,

“O imagine mia celeste e pura.”

Wherein he says, in the commencement of the second quatrain,

Credo che 'l mio Bellin con la figura.”

with that which follows. And what greater reward could our artists desire for their labours than that of seeing themselves celebrated by the pens of illustrious poets, as the most excellent Titian, also, has been by the learned Messer Giovanni della Casa, in that sonnet which begins—

“Ben veggo io Tiziano, in forme nuove.”

And in that other:—

“Son queste, Amor le vaghe treccie hxonde^

And was not this same Bellino enumerated among the best painters of his age by the renowned Ariosto, in the commencement of the thirty-third canto of the Orlando Furioso?^nota But to return to the works of Giovanni, to his principal works, that is to say, for it would detain us too long were I to make mention of the pictures and portraits which are in the houses of gentlemen in Venice, and other parts of the Venetian dominions. In Bimini he painted, for the Signor Sigismondo Malatesti, a large picture representing the Dead Christ supported by two children, which is now in the church of San Francesco in that city; he also painted among other portraits, that of Bartolommeo da Liviano^nota Captain-general of the Venetians.

Giovanni Bellini had many disciples, seeing that he instructed them all with great kindness. Among these, now sixty years since, was Jacopo da Montagna,^nota who imitated the manner of his master very closely, as the works executed by him in Padua and Venice hear testimony. But the disciple by whom Giovanni was most closely copied, and who did him the greatest honour, was Bondinello of Kavenna, of whose aid he availed himself much in all his works. This artist painted a picture in the church of San Domenico, at Bavenna, with another in the Duomo, which are considered very fine, in that manner; hut the best work performed by Bondinello was that which he executed in the church of St. John the Baptist in the same city. The church belongs to the Carmelite Friars; and in the painting, besides a figure ^{[37] [38] [39]} of Our Lady, Rondinello depicted that of Sant’ Alberto, a brother of their order; the head of the Saint is extremely beautiful, and the whole work very highly commended.^[40]

Benedetto Coda of Ferrara was also among the disciples of Giovanni, although he did not greatly profit thereby: this artist dwelt in Rimini, where he painted many pictures, he left behind him a son called Bartolommeo, who pursued the same vocation.^[41] It is said that Giorgione da Castelfranco also studied the art in his earliest years under Giovanni, as did many others from the March of Treviso, as well as from Lombardy; but of these I need not make further mention.^[42]

Giovanni Bellini died of old age when he had completed his ninetieth year, leaving an undying memorial of his name in the works which he had executed in Venice and other parts,^[43] he was honourably buried in the same church and in the same tomb wherein he had deposited his brother Gentile; nor were there wanting in Venice those who, by sonnets and epigrams, sought to do him honour after his death, as he had done honour to himself and his country during his life. At the same period, when the Bellini were flourishing, or a short time before, Giacomo Marzone painted many pictures in Venice, among others is a figure of the Virgin, bearing a palm in her hand, which he painted for the chapel of the Assumption in the church of Santa Lena. Our Lady is accompanied by San Benedetto, Santa Lena,^[44] and San Giovanni, but this work is executed in the old manner, with the figures on the points of their feet, as was the custom with the painters who lived at the time of Bartolommeo da Bergamo.^[45]

---

1. Gentile was the elder of the two brothers, and was born in 1421; Giovanni in 1426.
2. The word Scuola does not of necessity imply a place of education. Societies for visiting the sick, burying the dead, redeeming slaves, and other charitable purposes, frequently assume that designation, which is then synonymous with brotherhood, company, &c.
3. Zanotto, Pinacoteca dell'Accad. Veneta. di Belle Arti illustrata, maintains that these paintings were not seven or eight, but three only.
4. Ridolfi says that the pressure of the crowd accidentally caused the cross to fall into the water; and Zanetti affirms that it was not from the Ponte della Paglia, but from a bridge near the church of San Lorenzo, that the cross fell.
5. The Guardian here alluded to is Andrea Vendramino. The exact period of this event is not known, but may be placed between the year 1370, when the Cross was given to the Scuola of San Giovanni Evangelista, by Filippo Masceri, and 1382, when Vendramino died. Zanotto, Pinacoteca dell’Accad. Veneta, &c.
6. Two of the pictures here described are in the Venetian Academy of Fine Arts, and engravings of both may be found in Zanotto, ut supra.
7. Almost all the works of Jacopo Bellini have perished; the only well authenticated picture by this artist, now in Venice, is one in the Manfrini Gallery, representing the portraits of Petrarch and Laura. —Ed. Flor., 1838.
8. Giovanni Mozzenigo was Doge from 1478 to 1485. Leonardo Loredano, from 1501 to 1521; the portrait of the latter is now in the National Gallery.
9. Vasari does not relate the manner in which Giovanni Bellini acquired his knowledge of oil-painting, but this omission is supplied by Ridolfi, who informs us that Giovanni, having “assumed the dress, and taken the character of a Venetian noble, went to the studio of Antonello, of Messino, under the pretext of desiring to have his portrait taken, by which means he saw the master painting, and discovered all the mystery of the new method, by which he then profited to his great gain.” This anecdote is, however, discredited by many, and it is indeed known that Antonello made no secret of his method in Venice, where he had a crowd of scholars, inconsequence.— Ed. Flor., 1838.
10. Now in the church of San Giovanni and Paolo, on the first altar; it has suffered much injury, and been more than once restored.
11. Now in the Venetian Academy of the Fine Arts; it bears the inscription, Joannes Bellinus.
12. The admirable paintings of Bellini, Vivarino and other masters, in the Hall of Council of the Ducal Palace, now the Library of St. Mark, were destroyed in the fatal conflagration of 1577. German and Italian editions.
13. See vol. i. of the present work.
14. These works were described by Sansovino (contemporary of Vasari), in a little work, republished, with illustrations, in 1829. The same writer enumerates the men of eminence whose likenesses figured there, and makes them number more than 150.
15. Sansovino attributes this story to Giovanni Bellini, but neither Giovanni nor Gentile did more than restore it, as we find from Malipiero, who notifies their having done so in his Annali Veneti, as follows: “1474. Was begun the restoration of the painting of the battle between the Armada of the Signoria, and that of Ferigo Barbarossa, in the Hall of the Grand Council, because it was falling to the ground with the damp and old age, and those who have done the work are Zuane and Zentile Belino, brothers, who have promised that it shall last 200 years.”—Archivio Storico Italiano, tom. vii. p. 663.
16. In the little work of Sansovino, before cited, this story is said to have been previously painted by Vittore Pisano, called Pisanello.
17. Ridolfi, and after him Bottari, affirm this master to have been the first of the Vivarini. For the various opinions supported by writers in reference to tliese artists, the reader is referred to Zanetti, Pitture Veneziane; Lanzi, Storia Pittorica; Zanotto, La Pinacoteca della Veneta Accademia Illustrata; Sansovino, Venezia descritta; Boschini, Guida da Venezia, and others.
18. Alexander VI.
19. The date of Giovanni’s death, as given by some writers, is 1512; by others, 1514; but Marino Sanuto, in his Diarii Veneti, MSS., has told us, not only the year, but the day, in the following words: “Nov. 15, 1516. We hear this morning, that Zuan Belin, an excellent painter, is dead. His fame is known through the world, and, old as he was, he painted most admirably. He was buried at Zanzenopolo (Giovanni e Paolo) in his own tomb, where was likewise buried Zentil Belin, his brother, who was also an excellent painter (optimo pytor)." See vol. xxiii. p. 184. A painting, which was formerly in the Abbot’s chamber of the monastery belonging to the Monks of Santa Giustina in Padua, bore the following inscription, which serves to confirm the testimony of Sanuto. Joannes Bellinus, P., 1416. See Brandolese, Guida da Padova. Edition of 1795, p. 103 -4.
20. This most beautiful picture is not in San Domenico, but in San Francesco, a church of the same city of Pesaro.— Ed. Flor., 1832-8, and that of 1846-9.
21. Still in its place, and in tolerable preservation. It was taken to Paris in 1797, and was restored to Venice in 1815. There is a picture at Castle Howard, representing the same subject, and bearing the name of Giovanni Bellini, which Dr. Waagen declares to be the “true original of the many copies made from that work.”—Kunstwerke und Künstler in England.
22. This picture is still in the Sacristy of Santa Maria Gloriosa de’ Frari, which formerly belonged to the Friars-Minors, but is now a parish-church. See Zanotto, Guida di Venezia (pel Congresso del 1847).
23. Now in the church of San Pietro e Paolo in Murano.
24. This little picture is still in the church of San Francesco della Vigna, and represents the Virgin enthroned with the Child in her arms.-. She is accompanied by St. John the Baptist, St. Jerome, St. Sebastian, St. Francis D’Assisi, and a pilgrim. The work bears the master’s name, and the date, m.d.vii.
25. In the Berlin Gallery there is a picture with this subject, bearing the signature, “Joannes Bellinus,” with another of the Dead Christ, mourned over by the Virgin and St. John. May not one of these be that of the Casa Cornaro?—Ed. Flor., 1849.
26. Pope Alexander III., who was for some time concealed among the Regular Canons of Sant’ Agostino in the monastery of Santa Maria, as above described, and wore the garb of a simple priest. So far history: that he served as cook to the Monks, is an embellishment which belongs to fable.
27. Sanuto records this fact under the date 1479, and in the following words:—“On the 1st day of August, there comes a Jewish orator with letters from the Signor Turk. He would have the Signoria send him a good painter, and invites the Doge to the marriage of his son.” They replied, “thanking him, and have sentZentil Bellini, an excellent painter,who went with the galleys of Romania. — Morelli, Notizia d’ opere di disegnoj p. 99.
28. This second reason must have been the true one, since Gentile was the elder of the two brothers.—Ed. Flor., 1849.
29. In the British Museum, among the works of art bequeathed by Mr. Payne Knight, there is an admirable pen-and-ink drawing by Gentile Bellini, representing Mahomet II. and the Sultana Mother, whole-length figures, in a sitting position. In the same place are various drawings by Giovanni Bellini.
30. Ridolfi, Vite de' Pittori Veneti, relates that among other pictures presented by Gentile to Mahomet II., was the Head of John the Baptist, on a charger, adding, that the Turk praised it highly, but remarked to the painter that “the neck projected too much from the head, and as it appeared to the sovereign that Gentile still remained doubtful, by way of showing him the natural effect, he caused a slave to appear before him, whose head he instantly commanded an attendant to strike off, proving to the painter that, when divided, the neck immediately drew back.”
31. The same author (Ridolfi, ut supra) assures us that Gentile, from the time when he beheld the slave decapitated with so little ceremony, was very anxious to return to Venice.
32. A portrait of Mahomet II., painted by Gentile, was formerly in the Casa Zeno, at Venice, but was sold and taken to England in 1825. See Zanotto, Pinacoteca Veneta, &c.
33. Among the works of Gentile, not mentioned by Vasari, is the large picture of St. Mark, preaching at Alexandria, painted for the Brotherhood of St. Mark (Ridolfi, vol. i. p. 45.), but now in the Brera at Milan. See the Pinacoteca di Milan, vol. i. p 71.
34. Dr. Waagen mentions a picture, now in the Berlin Gallery, in which are the portraits of Gentile Bellini and of Giovanni his brother, painted by the former. Seethe Catalogue (German) for 1841.
35. An Italian commentator asks, “wherefore do artists not take the precaution of writing on the portraits they execute the name of the person represented, since likenesses, however striking their merit as works of art, lose all their moral value, when the spectator does not know whom they present.”
36. The fate of this work is not known.

37. “E quel che furo ai nostri dì, o son ora

    Leonardo, Andrea Mantegna e Gian Bellino.”

38. Bartolommeo d’Alviano, who was leader of the Venetians, in their war with Pisa in 1499. — Ed. Flor., 1849.
39. Jacopo Montagna, or Montagnana, a Paduan, as the inscriptions on some of his works declare. There is a picture by his hand in the chapel of the Episcopal Palace at Padua, a Triptica with the Virgin in the centre; the angel Rafael, with Tobit on one side, and St. Michael on the other. Around the chapel, Montagna painted the twelve apostles in chiaro-scuro, half-length, with events from the life of each beneatL He added the four evangelists, and the doctors of the church; but the whole work has been greatly injured by time.
40. Of Niccolo Rondinelli and his works, Vasari speaks more at length in the life of Jacopo Palma. Certain paintings bearing the name of Domenico Rondinelli, are suspended in the Presbytery of San Domenico at Ravenna, but no work by Rondinelli is now to be found in the cathedral of that city, nor yet in the church of St. John.
41. See Lanzi, English Edition, vol. iii. p. 27. See also Baruffaldi, Vite de' Pittori Ferraresi.
42. That Vasari has not here made mention of Titian, is to be attributed to haste or forgetfulness. In the life of that artist he does not omit to record that he also was among the disciples of Giovanni Bellino. —Ed. Flor. 1849.
43. One of the last of Giovanni’s labours was a Bacchanal, executed for the Duke Alfonzo, of Ferrara; this he left unfinished, and it was completed by Titian, in whose life mention is made of it by Vasari. See Ridolfi, Le Meraviglie dell’ Arte, &c, This admirable work was at a later period in the possession of the Aldobrandino family, and, from the palace of that house in Rome, was transferred to that of Cardinal Cammuccini, who is said to have sold it for transmission to America.
44. St. Helena.
45. Of this painter, Vasari makes further mention in the life of Vittore Carpaccio, where he calls him Giromin Morzone. Zanetti, Della Pittura Veneziana, describes the picture above-named, on which he read the name Giacomo Morazzone, with the following words, a laura questo lavorier;” and from the Milanese dialect thus used by the painter, Zanetti concludes him to have been one of the ‘‘.Lombarden,” cited in the text. Baglioni, Vite de' Pittori, mentions a Lombard painter, whom he calls Pier Francesco Morazzone.