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[1] 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
- ↑ Alexander VI.
