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.[1]
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[2] 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;
- ↑ 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.
- ↑ 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.
