y low ebb; but Mantegna's
influence was strongly felt here, and art revived in Liberale da Verona,
Falconetto, Casoto, the Morone and Girolamo dai Libri, painters
delightful in themselves, but having little connection with the
school of Venice. Francesco Bonsignori, however, shook himself free
from the narrow circle of Veronese art, where he had for a time
followed Liberale, and grows more like the Vicentines, Montagna and
Buonconsiglio. He is careful about his drawing, but his figures, like
those of many of these provincial painters, are short, bony and vulgar,
very unlike the slender, distinguished type of the great Paduan. Under
the name of Francesco da Verona, Bonsignori works in the new palace of
the Gonzagas, and several pictures painted for Mantua are now scattered
in different collections. At Verona he has left four fine altarpieces.
He went early to Venice, where he became the pupil of the Vivarini. His
faces grow soft and oval, and the very careful outlines suggest the
influence of Bellini.

Girolamo Mocetto was journeyman to Giovanni Bellini; in fact, Vasari
says that a "Dead Christ" in S. Francesco della Vigna, signed with
Bellini's name, is from Mocetto's hand. His short, broad figures have
something of Bartolommeo Vivarini's character.

Francesco Torbido went to Venice to study with Giorgione, and we can
trace his master's manner of turning half tones into deep shades; but he
does not really understand the Giorgionesque treatment, in which shade
was always rich and deep, but never dark, dirty and impenetrable, nor in
the lights can he produce the clear glow of Giorgione. Another Veronese,
Cavazzola, has left a masterpiece upon which any painter might be happy
to rest his reputation; the "Gattemalata with an Esquire" in the Uffizi,
a picture noble in feeling and in execution, and one which owes a great
deal to Venetian portrait-painters.

PRINCIPAL WORKS

_Pordenone._

Casara. Old Church: Frescoes, 1525.
Colatto. S. Salvatore: Frescoes (E.).
Cremona. Duomo: Frescoes; Christ before Pilate; Way to Golgotha;
Nailing to Cross; Crucifixion, 1521; Madonna enthroned
with Saints and Donor, 1522.
Murano. S. Maria d. Angeli: Annunciation (L.).
Piacenza. Madonna in Campagna: Frescoes and Altarpiece, 1529-31.
Pordenone. Duomo: Madonna of Mercy, 1515; S. Mark enthroned with Saints,
1535.
Municipio: SS. Gothard, Roch, and Sebastian, 1525.