after his death, before the impious crime he had committed against Domenico, who had been so truly his friend, became known, and he was buried, not with honourable obsequies, but with marks of disgrace, in Santa Maria Nuova,[1] where, in his fifty-sixth year, the unfortunate Domenico had also been buried. The work which the last-mentioned master had commenced in Santa Maria Nuova remained incomplete, nor was it ever finished. The picture of the High Altar of Santa Lucia de’ Bardi is also by Domenico Yeneziano, and in this he has represented Our Lady with the Child in her arms, San Giovanni Batista, San Niccolo, San Francesco, and Santa Lucia,[2] an admirably executed picture, and one which the master had brought to the utmost perfection but a short time before his death.
The disciples of Andrea dal Castagno were Jacopo del Corso, who was a tolerably good master; Pisanello, Marchino, Piero del Pollaiuolo, and Giovanni da Rovezzano.
GENTILE DA FABRIANO,
[born about 1370—died about 1450.]
AND VITTORE PISANELLO OF VERONA, PAINTERS.
[born......... —died 1451.]
A very great advantage is possessed by the man who, after the death of some distinguished person, advanced to
- ↑ Where, as we find in the first edition of Vasari, the following epitaph
was erected to him.
“Castaneo Andrece mensura incognita nulla,
Atque color nullus, linea nulla fuit.
Invidia exarsit, fuitque proclivis ad iram;
Domitium (sic) hinc Venetum sustulit insidiis
Domitium illustrem pictura; turpat acutum
Sic saepe ingenium vis inimica mali.” - ↑ This picture, still in good preservation, is now on one of the lateral altars; it is authenticated by the name of the master inscribed on its base, an a,dmirable work, remark the Florentine commentators of all periods, and one that fully suffices to justify the fame of this artist. Rumohr declares the face of Santa Lucia to be worthy of Fra Angelico. The predella of the pictures also is mentioned by Lanzi, but this is no longer to be found. An engraving of this work will be found in Rosini.—Storia della Pittura Italiana. It is affirmed by Forster, Kunstblatt, 1830, p. 67, to be painted in oil. Rumohr and Gaye, on the contrary, consider it to be in tempera.
