f Giovanni--indeed, his offer of the famous sketch-book, as an
inducement to the latter to finish his last great work, seems to hint
that it was an exercise out of his brother's line; but he knew that
Giovanni was a great painter, and did not trust it, as we might have
expected, to his assistants, Giovanni Mansueti and Girolamo da
Santacroce.

PRINCIPAL WORKS

_Gentile Bellini._

London. S. Peter Martyr; Portrait.
Milan. Brera: Preaching of St. Mark.
Venice. Doge Lorenzo Giustiniani; Miracle of True Cross; Procession of
True Cross; Healing by True Cross.
Lady Layard. Portrait of Sultan.

_Antonello da Messina._

Antwerp. Crucifixion, 1475.
Berlin. Three Portraits.
London. The Saviour, 1465; Portrait; Crucifixion, 1477.
Messina. Madonna and Saints, 1473.
Paris. Condottiere.
Milan. Portrait of a Humanist.
Venice. Academy: Ecce Homo.
Vicenza. Christ at the Column.

CHAPTER IX

ALVISE VIVARINI

Contemporary with Giovanni Bellini were artists still firmly attached to
the past, who were far from suspecting that he was to outstrip them.

One of Antonio de Murano's sons, Luigi or Alvise Vivarini, grew up to
follow his father's profession, and was enrolled in the school of his
uncle, Bartolommeo. The latter being an enthusiastic follower of
Squarcione, Alvise was at first trained in Paduan principles. Jacopo
Bellini's efforts had done something to counteract the hard, statuesque
Paduan manner, and had rendered Mantegna's art more human and less
stony, but Jacopo could not prevent Squarcionesque painters from
importing into Venice the style which he disliked so much. Bartolommeo
threw in his lot with the Paduans, and his school, especially when
reinforced by Alvise, maintained its reputation as long as it only
had to compete with local talent. The Vivarinis had now been firmly
established in Venice for two generations, and were the best-known and
most popular of her painters. Albert Duerer, on his first visit, admired
them more than the Bellini. When, however, Gentile and his brother set
up in Venice, a hot rivalry arose between them and the old Muranese
School. The Bellini had come with their father from Padua, with all its
new and scientific fashions. They had all the prestige of relationship
with Mantegna, and they shared the patronage of his powerful employers.
The striking historical compositions of Gentile were at once in demand
by the great confraterniti