The name of a good master in the art was enjoyed about the same period by Marco Basarini:[1] this painter was born in Venice, of Greek parents. For the church of San Francesco della Vigna, in his native city, Basarini painted a Deposition from the Cross on panel,[2] and in the church of St. Job there is another picture, also on panel, by his hand; the subject is Christ in the Garden; the three Apostles, sleeping, are below, and there are besides figures of San Francesco, San Doinenico, and two other saints;[3] but the part of this work most frequently extolled is a landscape, with many small figures, executed with much grace. In the same church, this Marco painted a figure of San Bernardino standing on a rock, and surrounded by other saints.
Giannetto Cordegliaghi[4] likewise painted a vast number of Cabinet pictures in the same city, indeed, he scarcely gave his attention to any other kind of work, and in that sort of painting he certainly had a very soft and delicate manner, much better than that of the artists above named. This master painted a San Pietro for the church of San Pantaleone, in the chapel which is next to the principal one that is to say; San Pietro is represented in disputation with two other saints, who are clothed in admirably executed draperies, the whole work being painted in a very go6d manner.
Marco Bassiti was also an artist of good reputation, who flourished about this period; there is a work by his hand in the church of the Carthusian Friars at Venice; this is a large picture representing Christ standing between Peter and Andrew, on the shores of Lake Tiberius, with the sons of Zebedee also making part of the principal group. In this
- ↑ “Neither Basarini, nor Bassiti as called below, but Basaiti,” observe the Italian annotators. This master’s works come down to the year 1420; he was one of the most distinguished artists of his time, after the Bellini.
- ↑ Still in a chapel of that church.
- ↑ One of these is St. Louis, king of France. Lanzi bewails the injury which this work has suffered from time. But Moschini consoles himself by the fact that it has not yet been subjected to the misfortune of restoration.”
- ↑ Or Cordelia; the Italian commentators conjecture that his true name was Cordelia Aghi. The manner of this master stifiiciently proves him to have been a disciple of Giovanni Bellini. —For details respecting his works, &c., see Zanetti, Della Pittura Veneziana.
