alry with the Bellinis at Venice, but toward 1470 he fell away and
died comparatively forgotten. Luigi Vivarini (fl. 1461-1503) was the
latest of this family, and with his death the history of the Muranese
merges into the Venetian school proper, except as it continues to
appear in some pupils and followers. Of these latter Carlo Crivelli
(1430?1493?) was the only one of much mark. He apparently gathered
his art from many sources--ornament and color from the Vivarini, a
lean and withered type from the early Paduans under Squarcione,
architecture from Mantegna, and a rather repulsive sentiment from the
same school. His faces were contorted and sulky, his hands and feet
stringy, his drawing rather bad; but he had a transparent color,
beautiful ornamentation and not a little tragic power.

Venetian art practically dates from the Bellinis. They did not begin
where the Vivarini left off. The two families of painters seem to have
started about the same time, worked along together from like
inspirations, and in somewhat of a similar manner as regards the early
men. Jacopo Bellini (1400?-1464?) was the pupil of Gentile da
Fabriano, and a painter of considerable rank. His son, Gentile Bellini
(1426?-1507), was likewise a painter of ability, and an extremely
interesting one on account of his Venetian subjects painted with much
open-air effect and knowledge of light and atmosphere. The younger
son, Giovanni Bellini (1428?-1516), was the greatest of the family and
the true founder of the Venetian school.

About the middle of the fifteenth century the Bellini family lived at
Padua and came in contact with the classic-realistic art of Mantegna.
In fact, Mantegna married Giovanni Bellini's sister, and there was a
mingling of family as well as of art. There was an influence upon
Mantegna of Venetian color, and upon the Bellinis of Paduan line. The
latter showed in Giovanni Bellini's early work, which was rather hard,
angular in drapery, and anatomical in the joints, hands, and feet; but
as the century drew to a close this melted away into the growing
splendor of Venetian color. Giovanni Bellini lived into the sixteenth
century, but never quite attained the rank of a High Renaissance
painter. He had religious feeling, earnestness, honesty, simplicity,
character, force, knowledge; but not the full complement of
brilliancy and painter's power. He went beyond all his contemporaries
in technical strength and color-harmony, and was in fact t