time, carried further or higher. He was little of a
sentimentalist or an emotionalist, not much of a brush man or a
colorist, but as a draughtsman, a creator of noble forms, a man of
power, he stood second to none in the century.

Of Squarcione's other pupils Pizzolo (fl. 1470) was the most
promising, but died early. Marco Zoppo (1440-1498) seems to have
followed the Paduan formula of hardness, dryness, and exacting detail.
He was possibly influenced by Cosimo Tura, and in turn influenced
somewhat the Ferrara-Bolognese school. Mantegna, however, was the
greatest of the school, and his influence was far-reaching. It
affected the school of Venice in matters of drawing, beside
influencing the Lombard and Veronese schools in their beginnings.

SCHOOLS OF VERONA AND VICENZA: Artistically Verona belonged with the
Venetian provinces, because it was largely an echo of Venice except at
the very start. Vittore Pisano (1380-1456), called Pisanello, was the
earliest painter of note, but he was not distinctly Veronese in his
art. He was medallist and painter both, worked with Gentile da
Fabriano in the Ducal Palace at Venice and elsewhere, and his art
seems to have an affinity with that of his companion.

Liberale da Verona (1451-1536?) was at first a miniaturist, but
afterward developed a larger style based on a following of Mantegna's
work, with some Venetian influences showing in the coloring and
backgrounds. Francesco Bonsignori (1455-1519) was of the Verona
school, but established himself later at Mantua and was under the
Mantegna influence. His style at first was rather severe, but he
afterward developed much ability in portraiture, historical work,
animals, and architectural features. Francesco Caroto (1470-1546), a
pupil of Liberale, really belongs to the next century--the High
Renaissance--but his early works show his education in Veronese and
Paduan methods.

[Illustration: FIG. 34.--B. VIVARINI. MADONNA AND CHILD. TURIN.]

In the school of Vicenza the only master of much note in this Early
Renaissance time was Bartolommeo Montagna (1450?-1523), a painter in
both oil and fresco of much severity and at times grandeur of style.
In drawing he was influenced by Mantegna, in composition and coloring
he showed a study of Giovanni Bellini and Carpaccio.

VENETIAN LIFE AND ART: The conditions of art production in Venice
during the Early Renaissance were quite different from those in
Florence or Umbria. By the disposition o