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BELLINI , the name of a See also:family of craftsmen in See also:Venice, three members of which fill a See also:great See also:place in the See also:history of the Venetian school of See also:painting in the 15th See also:century and the first years of the 16th.
I. JACOPO BELLINI (c. 1400—1470—71) was the son of a See also:tin-See also:- SMITH
- SMITH, ADAM (1723–1790)
- SMITH, ALEXANDER (183o-1867)
- SMITH, ANDREW JACKSON (1815-1897)
- SMITH, CHARLES EMORY (1842–1908)
- SMITH, CHARLES FERGUSON (1807–1862)
- SMITH, CHARLOTTE (1749-1806)
- SMITH, COLVIN (1795—1875)
- SMITH, EDMUND KIRBY (1824-1893)
- SMITH, G
- SMITH, GEORGE (1789-1846)
- SMITH, GEORGE (184o-1876)
- SMITH, GEORGE ADAM (1856- )
- SMITH, GERRIT (1797–1874)
- SMITH, GOLDWIN (1823-191o)
- SMITH, HENRY BOYNTON (1815-1877)
- SMITH, HENRY JOHN STEPHEN (1826-1883)
- SMITH, HENRY PRESERVED (1847– )
- SMITH, JAMES (1775–1839)
- SMITH, JOHN (1579-1631)
- SMITH, JOHN RAPHAEL (1752–1812)
- SMITH, JOSEPH, JR
- SMITH, MORGAN LEWIS (1822–1874)
- SMITH, RICHARD BAIRD (1818-1861)
- SMITH, ROBERT (1689-1768)
- SMITH, SIR HENRY GEORGE WAKELYN
- SMITH, SIR THOMAS (1513-1577)
- SMITH, SIR WILLIAM (1813-1893)
- SMITH, SIR WILLIAM SIDNEY (1764-1840)
- SMITH, SYDNEY (1771-1845)
- SMITH, THOMAS SOUTHWOOD (1788-1861)
- SMITH, WILLIAM (1769-1839)
- SMITH, WILLIAM (c. 1730-1819)
- SMITH, WILLIAM (fl. 1596)
- SMITH, WILLIAM FARRAR (1824—1903)
- SMITH, WILLIAM HENRY (1808—1872)
- SMITH, WILLIAM HENRY (1825—1891)
- SMITH, WILLIAM ROBERTSON (1846-'894)
smith or pewterer, Nicoletto Bellini, by his wife Franceschina. When the accomplished Umbrian See also:master See also:Gentile da See also:Fabriano came to practise at Venice, where See also:art was backward, several See also:young men of the See also:city took service under him as pupils. Among these were Giovanni and See also:Antonio of See also:Murano and Jacopo Bellini. Gentile da Fabriano See also:left Venice for See also:Florence in 1422, and the two See also:brothers of Murano stayed at See also:home and presently founded a school of their own (see See also:VIVARINI). But Jacopo Bellini followed his teacher to Florence, where the vast progress lately made, alike in truth to natural fact and in sense of classic See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace and See also:style, by masters like See also:Donatello and See also:Ghiberti, See also:Masaccio and See also:Paolo Uccello, offered him better instruction than he could obtain even from his Umbrian teacher. But his position as assistant to Gentile brought him into trouble. As a stranger coming to practise in Florence, Gentile was jealously looked on. One See also:day some young Florentines threw stones into his See also:shop, and the Venetian See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil ran out and drove them off with his fists. Thinking this might be turned against him, he went and took service on See also:board the galleys of the Florentine See also:state; but returning after a See also:year, found he had in his See also:absence been condemned and fined forassault. He was arrested and imprisoned, but the See also:matter was soon compromised, Jacopo submitting to a public See also:act of See also:penance and his adversary renouncing further proceedings. Whether Jacopo accompanied his master to See also:Rome in 1426 we cannot tell; but by 1429 we find him settled at Venice and married to a wife from See also:Pesaro named See also:Anna (family name uncertain), who in that year made a will in favour of her first See also:child then expected. She survived, however, and See also:bore her See also:husband two sons, Gentile and Giovanni (though some evidences have been thought to point rather to Giovanni having been his son by another See also:mother), and a daughter Nicolosia. In 1436 Jacopo was at See also:Verona, painting a Crucifixion in See also:fresco for the See also:chapel of S. See also:Nicholas in the See also:cathedral (destroyed by See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order of the See also:archbishop in 1750, but the See also:composition, a vast one of many figures, has been preserved in an old See also:engraving). Documents ranging from 1437 to 1465 show him to have been a member of the Scuola or mutual aid society of St See also:John the Evangelist at Venice, for which he painted at an uncertain date a See also:series of eighteen subjects of the See also:Life of the Virgin, fully described by See also:Ridolfi but now destroyed or dispersed. In 1439 we find him buying a See also:panel of tarsia See also:work at the See also:sale of the effects of the deceased painter Jacobello del Fiore, and in 1440 entering into a business See also:partnership with another painter of the city called Donato. About this See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time he must have paid a visit to the See also:court of See also:Ferrara, where there prevailed a spirit of See also:free culture and See also:humanism most congenial to his tastes. Pisanello, the first great naturalist artist of See also:north See also:Italy, whose See also:influence on Jacopo at the outset of his career had been only second to that of Gentile da Fabriano, had been some time engaged on a portrait of Leonello d'See also:Este, the See also:elder son of the reigning See also:marquis Niccolo III. Jacopo (according to an almost contemporary sonneteer) competed with a See also:rival portrait, which was declared by the See also:father to be the better of the two. In the next year, the last of the marquis Niccolo's life, we find him making the successful painter a See also:present of two bushels of See also:wheat. The relations thus begun with the See also:house of Este seem to have been kept up, and among Jacopo's extant drawings are several that seem to belong to the See also:- SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)
scheme of a See also:monument erected to the memory of the marquis Niccolo ten years later. He was also esteemed and employed by Sigismondo Malatesta at the court of See also:Rimini. In 1443 Jacopo took as an articled pupil a See also:nephew whom he had brought up from charity; in 1452 he painted a banner for the Scuola of St See also:Mary of Charity at Venice, and the next year received a See also:- GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
- GRANT, ANNE (1755-1838)
- GRANT, CHARLES (1746-1823)
- GRANT, GEORGE MONRO (1835–1902)
- GRANT, JAMES (1822–1887)
- GRANT, JAMES AUGUSTUS (1827–1892)
- GRANT, ROBERT (1814-1892)
- GRANT, SIR ALEXANDER
- GRANT, SIR FRANCIS (1803-1878)
- GRANT, SIR JAMES HOPE (1808–1895)
- GRANT, SIR PATRICK (1804-1895)
- GRANT, U
- GRANT, ULYSSES SIMPSON (1822-1885)
grant from the confraternity for the See also:marriage of his daughter Nicolosia with See also:Andrea See also:Mantegna, a marriage which had the effect of transferring the gifted young Paduan master definitively from the following of Squarcione to that of Bellini. In 1456 he painted a figure of Lorenzo See also:Giustiniani, first See also:patriarch of Venice, for his monument in See also:San Pietro de See also:Castello, and in 1457, with a son for salaried assistant, three figures of See also:saints in the great See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall of the patriarch. For, some time about these years Jacopo and his family would seem to have resided at, or at least to have paid frequent visits to See also:Padua, where he is reported to have carried out See also:works now lost, including an See also:altar-piece painted with the assistance of his sons in 1459–1460 for the Gattamelata chapel in the Santo, and several portraits which are described by 16th-century witnesses but have disappeared. At Venice he painted a See also:Calvary for the Scuola of St See also:Mark (1466). His activity can be traced in documents down to See also:August 1470, but in See also:November 1471 his wife Anna describes herself as his relict, so that he must have died some time in the See also:interval.
The above are all the facts concerning the life of Jacopo Bellini which can be gathered from printed and documentary records. The materials which have reached posterity for a See also:critical See also:judgment on his work consist of four or five pictures only, together with two important and invaluable books of drawings. These prove him to have been a worthy third, following the Umbrian Gentile da Fabriano and the Veronese Pisanello, in that trio of remarkable artists who in the first See also:half of the 15th century carried towards maturity the art of painting in Venice and the neighbouring cities. Of his pictures, an important signed example is a life-See also:size See also:Christ Crucified in the archbishop's
See also:palace at Verona. The See also:rest are almost all Madonnas: two signed, one in the Tadini See also:gallery at See also:Lovere, another in the Venice See also:academy; a third, unsigned and See also:long ascribed in See also:error to Gentile da Fabriano, in the Louvre, with the portrait of Sigismondo Malatesta as donor; a See also:fourth, richest of all in See also:colour and ornamental detail, recently acquired from private hands for the Uffizi at Florence. Plausibly, though less certainly, ascribed to him are a fifth Madonna at See also:Bergamo, a See also:warrior-See also:saint on horseback (San Crisogono) in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of San Trovaso at Venice, a Crucifixion in the Museo Correr, and an See also:Adoration of the Magi in private See also:possession at Ferrara. Against this scanty See also:tale of paintings we have to set an abundance of drawings and studies preserved in two See also:precious albums in the See also:British Museum and the Louvre. The former, which is the earlier in date, belonged to the painter's elder son Gentile and was by him bequeathed to his See also:brother Giovanni. It consists of ninety-nine See also:paper pages, all See also:drawn on both back and front with a See also:lead point, an See also:instrument unusual at this date. Two or three of the drawings have been worked over in See also:pen; of the See also:remainder many have become dim from time and rubbing. The See also:album at the Louvre, discovered in 1883 in the See also:loft of a See also:country-house in See also:Guienne, is equally See also:rich and better preserved, the drawings being all highly finished in pen, probably over effaced preliminary sketches in See also:chalk or lead. The range of subjects is much the same in both collections, and in both extremely varied, proving Jacopo to have been a crafts-See also:man of many-sided curiosity and invention. He passes indiscriminately from such usual Scripture scenes as the Adoration of the Magi, the Agony in the See also:Garden, and the Crucifixion, to designs from classic See also:fable, copies from See also:ancient bas-reliefs, stories of the saints, especially St See also:Christopher and St See also:George, the latter many times repeated (he was the See also:patron saint of the house of Este), fanciful allegories of which the meaning has now become obscure, scenes of daily life, studies for monuments, and studies of animals, especially of eagles (the See also:emblem of the house of Este), horses and lions. He loves to See also:marshal his figures in vast open spaces, whether of See also:architecture or mountainous landscape. In designing such spaces and in peopling them with figures of relatively small See also:scale, we see him eagerly and continually putting to the test the principles of the new See also:science of See also:perspective. His castellated and pinnacled architecture, in a mixed See also:medieval and classical spirit, is elaborately thought out, and scarcely less so his See also:groups and ranges of barren hills, broken in clefts or ascending in See also:spiral terraces. With a predilection for tall and slender proportions, he draws the human figure with a flowing generalized grace and no small freedom of See also:movement; but he does not approach either in mastery of See also:line or in vehemence of See also:action a Florentine draughtsman such as Antonio See also:Pollaiuolo. Jacopo's influence on the development of Venetian art was very great, not only directly through his two sons and his son-in-See also:law Mantegna, but through other and See also:independent contemporary work-shops of the city, in none of which did it remain unfelt.
II. GENTILE BELLINI (1429-1430-1507), the elder son 6f Jacopo, first appears independently as the painter of a Madonna, much in his father's manner, dated 1460, and now in the See also:Berlin museum. We have seen how in the previous year he and his brother assisted their father in the See also:execution of an altar-piece for the Santo at Padua. In See also:July 1466 we find him contracting with the See also:officers of the Scuola of St Mark as an independent artist to decorate the doors of their See also:organ. These paintings still exist in a blackened See also:condition. They represent four saints, See also:colossal in size, and designed with much of the harsh and searching austerity which characterized the Paduan school under Squarcione. In See also:December of the same year Gentile See also:bound himself to execute for the great hall of the same See also:company two subjects of the See also:Exodus, to be done better than, or at least as well as, his father's work in the same place. These paintings have perished. For the next eight years the history of Gentile's life and work remains obscure. But he must have risen steadily in the esteem of his See also:fellow-citizens, since in 1474 we find him commissioned by the See also:senate to restore, renew, and when necessary replace, the series of paintings, the work of an earlier See also:generation of artists, which were perishing from See also:damp on the walls of the Hall of the
Great See also:Council in the ducal palace. This was evidently intended to be a permanent employment, and in See also:payment the painter was to receive the reversion of a See also:broker's See also:- STALL (0. Eng. steall, stael, cf. Du. stal, Ger. and Swed. Stall, a common Teutonic word for a place, station, place for standing in; the root is the Indo-European std–, to stand, seen also in Latin stabulum, Greek vraO bs, and in stallion, an entire hors
stall in the Fondaco dei Tedeschi; a lucrative See also:form of See also:sinecure frequently allotted to artists engaged for tasks of long duration. In continuation of this work Gentile undertook a series of independent paintings on subjects of Venetian history for the same hall, but had apparently only finished one, representing the delivery of the consecrated See also:candle by the See also:pope to the See also:doge, when his labours were interrupted by a See also:mission to the See also:East.
The See also:sultan Mahommed II. had despatched a friendly See also:embassy to Venice, inviting the doge to visit him at See also:Constantinople and at the same time requesting the despatch of an excellent painter to work at his court. The former See also:part of the sultan's proposal the senate declined, with the latter they complied; and Gentile Bellini with, two assistants was selected for the mission, his brother Giovanni; being at the same time appointed to fill his place on the works for the Hall of the Great Council. Gentile gave great See also:satisfaction! to the sultan, and returned after about a year with a See also:knighthood, some See also:fine clothes, a See also:gold See also:chain and a See also:pension. The surviving fruits of his labours at Constantinople consist of a large painting representing the reception of an See also:ambassador in that city, now in the Louvre; a highly finished portrait of the sultan himself, now one of the treasures, despite its damaged condition, of the collection of the See also:late See also:Sir See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry See also:Layard; an exquisitely wrought small portrait in See also:water-colour of a See also:scribe, found in 1905 by a private See also:collector in the See also:bazaar at Constantinople and now in the collection of .Mrs See also:Gardner at See also:Boston; and two pen-and-See also:ink drawings of See also:Turkish types, now in the British Museum. See also:Early copies of two or three other similar drawings are preserved in the Stadel See also:Institute at Frankfurt; such copies may have been made for the use of Gentile's Umbrian contemporary, See also:Pinturicchio, who introduced figures borrowed from them into some of his decorative frescoes in the Appartamento See also:Borgia at Rome.
A place had been left open for Gentile to continue working beside his brother Giovanni (with whom he lived always on terms of the closest amity) in the ducal palace; and soon after 1480 he began to carry out his See also:share in the great series of frescoes, unfortunately destroyed by See also:fire in 1577, illustrating the part played by Venice in the struggles between the papacy and the See also:emperor See also:Barbarossa. These works were executed not on the See also:wall itself but on See also:canvas (the See also:climate of Venice having so many times proved fatal to wall paintings), and probably in oil, a method which all the artists of Venice, following the example set by Antonello da See also:Messina, had by this time learnt or were learning to practise. The subjects allotted to Gentile, in addition to the above-mentioned presentation of the consecrated candle, were as follows: the departure of the Venetian ambassadors to the court of Barbarossa, Barbarossa receiving the ambassadors, the pope inciting the doge and senate to See also:war, the pope bestowing a See also:sword and his blessing on the doge and his See also:army (a See also:drawing in the British Museum purports to be the artist's See also:original See also:sketch for this composition), and according to some authorities also the See also:gift of the symbolic See also:ring by the pope to the victorious doge on his return. These works received the highest praise both from contemporary and from later Venetian critics, but no fragment of them survived the fire of 1577. Their See also:character can to some extent be judged by a certain number of kindred See also:historical and processional works by the same See also:hand which have been preserved. Of such the Academy at Venice has three which were painted between 1490 and 1500 for the Scuola of St Johh the Evangelist, and represent certain events connected with a famous relic belonging to the Scuola, namely, a supposed fragment of the true See also:cross. All have been much injured and re-painted; nevertheless one at least, showing the procession of the relic through St Mark's Place and the thanksgiving of a father who owed to it the miraculous cure of his son, still gives a See also:good See also:idea of the painter's See also:powers and style. Great accuracy and firmness of individual See also:portraiture, a strong gift, derived no doubt from his father's example, for grouping and marshalling a See also:crowd of personages in spaces of fine architectural perspective, the
702
severity and dryness of the Paduan manner much mitigated by the dawning splendour of true Venetian colour—these are the qualities that no injury has been able to deface. They are again See also:manifest in an interesting Adoration of the Magi in the Layard collection; and reappear still more forcibly in the last work undertaken by the artist, the great picture now at the Brera in See also:Milan of St Mark See also:preaching at See also:Alexandria; this was commissioned by the Scuola of St Mark in See also:March 15o5, and left by the artist in his will, dated 18th of See also:February 1507, to be finished by his brother Giovanni. Of single portraits by this artist, who was almost as famous for them as for processional groups, there survive one of a doge at the Museo Correr in Venice, one of Catarina See also:Cornaro at See also:Budapest, one of a mathematician at the See also:National Gallery, another of a See also:- MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
- MONK (or MONCK), GEORGE
- MONK, JAMES HENRY (1784-1856)
- MONK, MARIA (c. 1817—1850)
monk in the same gallery, signed wrongly to all See also:appearance with the name of Giovanni Bellini, besides one or two others in private hands. The features of Gentile himself are known from a portrait medallion by Camelio, and can be recognized in two extant drawings, one at Berlin supposed to be by the painter's own hand, and another, much larger and more finished, at Christ Church, See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford, which is variously attributed to Bonsignori and A. Vivarini.
The above-named works, all still executed in See also:tempera, are no doubt earlier than the date of Giovanni's first See also:appointment to work along with his brother and other artists in the Scuola di San Marco, where among other subjects he was commissioned in 1470 to paint a See also:Deluge with See also:Noah's See also:Ark. None of the master's works of this See also:kind, whether painted for the various See also:schools orconfraternities or for the ducal palace, have survived. To the See also:decade following 1470 must probably be assigned a Transfiguration now in the See also:Naples museum, repeating with greatly ripened powers and in a much serener spirit the subject of his early effort at Venice; and also the great altar-piece of the See also:Coronation of the Virgin at Pesaro, which would seem to be his earliest effort in a form of art previously almost monopolized in Venice by the rival school of the Vivarini. Probably not much later was the still more famous altar-piece painted in tempera for a chapel in the church of S. Giovanni e Paolo, where it perished along with See also:Titian's See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter See also:Martyr and See also:Tintoretto's Crucifixion in the disastrous fire of 1867. After 1479-1480 very much of Giovanni's time and See also:energy must have been taken up by his duties as See also:conservator of the paintings in the great hall of the ducal palace, in payment for which he was awarded, first the reversion of a broker's place in the Fondaco dei Tedeschi, and afterwards, as a substitute, a fixed See also:annual pension of eighty ducats. Besides repairing and renewing the works of his predecessors he was commissioned to paint a number of new subjects, six or seven in all, in further See also:illustration of the part played by Venice in the See also:wars of Barbarossa and the pope. These works, executed with much interruption and delay, were the See also:object of universal admiration while they lasted, but not a trace of them survived the fire of 1577; neither have any other examples of his historical and processional compositions come down, enabling us to compare his manner in such subjects with that of his brother Gentile. Of the other, the religious class of his work, including both altar-pieces with many figures and See also:simple Madonnas, a consider-able number have fortunately been preserved. They show him gradually throwing off the last restraints of the 15th-century manner; gradually acquiring a See also:complete mastery of the new oil See also:medium introduced in Venice by Antonello da Messina about 1473, and mastering with its help all, or nearly all, the secrets of the perfect See also:fusion of See also:colours and atmospheric gradation of tones. The old intensity of pathetic and devout feeling gradually fades away and gives place to a See also:noble, if more worldly, serenity and See also:charm. The enthroned Virgin and Child become tranquil and commanding in their sweetness; the personages of the attendant saints gain in See also:power, presence and individuality; enchanting groups of singing and See also:viol-playing angels symbolize and complete the See also:harmony of the See also:scene. The full splendour of Venetian colour invests alike the figures, their architectural framework, the landscape and the See also:sky. The altar-piece of the Frari at Venice, the altar-piece of San Giobbe, now at the academy, the Virgin between SS. See also:Paul and George, also at the academy, and the altar-piece with the kneeling doge Barbarigo at Murano, are atnong the most conspicuous examples. Simple Madonnas of the same See also:period (about 1485-1490) are in the Venice academy, in the National Gallery, at See also:Turin and at Bergamo. An interval of some years, no doubt chiefly occupied with work in the Hall of the Great Council, seems to See also:separate the last-named altar-pieces from that of the church of San Zaccaria at Venice, which is perhaps the most beautiful and imposing of all, and is dated 1505, the year following that of See also:Giorgione's Madonna at See also:Castelfranco. Another great altar-piece with saints, that of the church of San See also:Francesco de la Vigna at Venice, belongs to 1507; that of La See also:Corona at See also:Vicenza, a See also:Baptism of Christ in a landscape, to 1510; to 1513 that of San Giovanni Crisostomo at Venice, where the aged saint See also:Jerome, seated on a See also:- HILL
- HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
- HILL, A
- HILL, AARON (1685-175o)
- HILL, AMBROSE POWELL
- HILL, DANIEL HARVEY (1821-1889)
- HILL, DAVID BENNETT (1843–1910)
- HILL, GEORGE BIRKBECK NORMAN (1835-1903)
- HILL, JAMES J
- HILL, JOHN (c. 1716-1775)
- HILL, MATTHEW DAVENPORT (1792-1872)
- HILL, OCTAVIA (1838– )
- HILL, ROWLAND (1744–1833)
- HILL, SIR ROWLAND (1795-1879)
hill, is raised high against a resplendent sunset background, with SS. Christopher and See also:Augustine See also:standing facing each other below him, in front. Of Giovanni's activity in the interval between the altar-pieces of San Giobbe and of Murano and that of San Zaccaria, there are a few See also:minor evidences left, though the great See also:mass of its results perished with the fire of the ducal palace in 1577. The examples that remain consist of one very interesting and beautiful allegorical picture in the Uffizi at Florence, the subject of which had remained a riddle until it was recently identified as an illustration of a See also:French medieval See also:allegory, the Pelerinage de lame by See also:Guillaume de Guilleville; with a set of five other allegories or moral emblems, on a smaller scale and very romantically treated, in the academy at Venice. To these should probably be added, as painted
towards the year 1505, the portrait of the doge Loredano in the renum, 1662), he was chosen See also:professor of theoretical See also:medicine National Gallery, the only portrait by the master which has
been preserved, and in its own manner one of the most masterly in the whole range of painting.
The last ten or twelve years of the master's life saw him besieged with more commissions than he could well complete. Already in the years 1501—1 504 the marchioness See also:Isabella See also:Gonzaga of See also:Mantua had had great difficulty in obtaining delivery from him of a picture of the " Madonna and Saints " (now lost) for which part payment had been made in advance. In 15o5 she endeavoured through See also:Cardinal See also:Bembo to obtain from him another picture, this time of a See also:secular or mythological character. What the subject of this piece was, or whether it was actually delivered, we do not know. Albrecht Diirer, visiting Venice for a second time in 15o6, reports of Giovanni Bellini as still the best painter in the city, and as full of all See also:courtesy and generosity towards See also:foreign brethren of the See also:brush. In 1507 Gentile Bellini died, and Giovanni completed the picture of the " Preaching of St Mark " which he had left unfinished; a task on the fulfilment of which the See also:bequest by the elder brother to the younger of their father's sketch-See also:book had been made conditional. In 1513 Giovanni's position as See also:sole master (since the See also:death of his brother and of Alvise Vivarini) in See also:charge of the paintings in the Hall of the Great Council was threatened by an application on the part of his own former pupil, Titian, for a See also:joint-share in the same undertaking, to be paid for on the same terms. Titian's application was first granted, then after a year rescinded, and then after another year or two granted again; and the aged master must no doubt have undergone some annoyance from his sometime pupil's proceedings. In 1514 Giovanni undertook to paint a Bacchanal for the See also:duke Alfonso of Ferrara, but died in 1516; leaving it to be finished by his pupils; this picture is now at See also:Alnwick.
Both in the See also:artistic and in the worldly sense, the career of Giovanni Bellini was upon the whole the most serenely and unbrokenly prosperous, from youth to extreme old See also:age, which See also:fell to the See also:lot of any artist of the early See also:Renaissance. He lived to see his own school far outshine that of his rivals, the Vivarini of Murano; he embodied, with ever growing and maturing power, all the devotional gravity and much also of the worldly splendour of the Venice of his time; and he saw his influence propagated by a See also:host of pupils, two of whom at least, Giorgione and Titian, surpassed their See also:muster. Giorgione he outlived by five years; Titian, as we have seen, challenged an equal place beside his teacher. Among the best known of his other pupils were, in his earlier time, Andrea Previtali, Cima da See also:Conegliano, Marco Basaiti, Niccolo Rondin~lli, Piermaria Pennacchi, Martino da See also:Udine, See also:Girolamo Mocetto; in later time, Pierfrancesco Bissolo, Vincenzo Catena, Lorenzo See also:Lotto and See also:Sebastian del Piombo.
the See also:Paris and the See also:London sketch-books). (S.
End of Article: BELLINI
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