Now, it happened that a certain Antonello da Messina,[1] a man of lively genius, of much sagacity, and considerable experience in his calling, having studied design during many years in Rome, had first retired to Palermo, where he worked for some time, and had finally returned to Messina, his native place, where he had confirmed by his works the good opinion entertained of him by his countrymen as one well-skilled in the art of painting. This artist having betaken himself for certain of his affairs from Sicily to Naples, there heard that king Alfonso had received a painting from Flanders, painted in oil, by Giovanni da Bruggia, after such a manner, that it could be washed, would endure concussion, and was in all respects entirely perfect. Thereupon, having obtained a sight of the work, he was so forcibly impressed by the vivacity of the colours, and the beauty and harmony of the whole painting, that, laying aside all other business, and every thought, he repaired at once to Flanders. Arrived in Bruges, he entered into the closest intimacy with Giovanni, making him presents of various drawings after the Italian manner, and of other things, insomuch that Giovanni, who had become old, moved by this and by the deference which Antonello displayed towards him, was content that the Italian artist should see the method of his proceeding in oil-painting; nor did the latter depart from that place until he had acquired a perfect acquaintance with that mode of colouring of which he so earnestly desired the knowledge. No long time after, Giovanni having died,[2] Antonello left Flanders
- ↑ The name of this painter is Antonello degli Antoni, and he is said to have descended from a family of artists. Gallo, Annali di Messina, assigns the year 1447 as that of his birth; but this is not in accordance with known facts, and we adhere to the most generally received opinion, which places it in 1414.
- ↑ The date of Hans van Eyck’s death has been variously given, in 1470, 1445, and 1440; but the latest Florentine commentators assign that event to the last-named date, citing a document discovered in the archives of the cathedral of Bruges, from which it appears to be clearly shown that the Flemish master died in the month of June in that year.
not painted in Naples, but sent thither from Flanders. There is a passage however, in an unpublished work by the Neapolitan painter Stanzioni (born 1585), to the effect that the painting, having suffered injury in the transit, was restored by Zingaro and the Donzelli, by whom these portraits may have been introduced. According to Facius, ut supra, the picture sent from Flanders was an Annunciation.
