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FELTRE, MORTO DA

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Originally appearing in Volume V10, Page 247 of the 1911 Encyclopedia Britannica.

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FELTRE (anc. Feltria)
FELTRE, MORTO DA

FELTRE, MORTO DA , See also:

ITALIAN

Italian painter of the Venetian school, who worked at the See also:

close of the 15th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century and beginning of the 16th. His real name appears to have been Pietro Luzzo; he is also known by the name Zarato or Zarotto, either from the See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of his See also:

DEATH

death or because his See also:

FATHER

father, a surgeon, was in See also:

ZARA (Serbo-Croatian Zadar)

Zara during the son's childhood: whether he was termed Morto (dead) from his joyless temperament is a disputed point. He may probably have studied See also:

PAINTING

painting first in See also:

Venice, but under what See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master is uncertain. At an See also:

early See also:

AGE (Fr. age, through late Lat. aetaticum, from aetas)

age he went to See also:

Rome, and investigated the See also:

ancient, especially the subterranean remains, and thence to See also:

POZZUOLI (anc. Puteoli, q.v.)

Pozzuoli, where he painted from the decorations of See also:

ANTIQUE (Lat. antiquus, old)

antique crypts or " grotte." The See also:

style of fanciful See also:

ARABESQUE

arabesque which he formed for himself from these studies gained the name of " grottesche," whence comes the See also:

TERM

term "See also:

GROTESQUE

grotesque"; not, indeed, that Morto was the first painter of arabesque in the Italian See also:

RENAISSANCE, THE

Renaissance, for See also:

art of this See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind had, apart from his See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, been fully See also:

DEVELOPED

developed, both in painting and in See also:

sculpture, towards 148o, but he may have powerfully aided its See also:

DIFFUSION (from the Lat. diffundere; dis-, asunder, and fundere, to pour out)

diffusion southwards. His See also:

WORKS

works were received with much favour in Rome. He afterwards went to See also:

Florence, and painted some See also:

FINE

fine grotesques in the Palazzo Pubblico. Returning to Venice towards 1505, he assisted See also:

Giorgione in painting the Fondaco dei Tedeschi, and seems to have remained with him till 1511. If we may See also:

TRUST

trust See also:

RIDOLFI, or RIDOLFO, ROBERTO DI (1531-1612)

Ridolfi, Morto eloped with the See also:

MISTRESS

mistress of Giorgione, whose grief at this transaction brought him to the See also:

GRAVE

grave; the allegation, however, is hardly reconcilable with other accounts. It may have been in 1515 that Morto returned to his native Feltre, then in a very ruinous See also:

CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition from the ravages of See also:

war in 1509. There he executed various works, including some frescoes, still partly extant, and considered to be almost worthy of the See also:

hand of See also:

RAPHAEL (Hebrew smm, " God heals ")

Raphael, in the loggia beside See also:

San Stefano. Towards the age of See also:

FORTY

forty-five, Morto, unquiet and dissatisfied, abandoned painting and took to soldiering in the service of the Venetian See also:

REPUBLIC (Lat. respublica, a commonweal or common-wealth)

republic. He was made See also:

CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain of a See also:

TROOP (an adaptation of Fr. troupe, O. Fr. trope; cf. Ital. troppa, troppa; Med. Lat. truppus; the origin is doubtful; suggestions have been made that it represents a German conception of Latin turba, crowd, or is an adaptation of Norw. tarp, flock)

troop of two See also:

HUNDRED

hundred men; and fighting valorously, he is said to have died at Zara in See also:

DALMATIA (Ger. Dalmatien; Ital. Dalmazia; Serbo-Croatian, Dalmacija)

Dalmatia, in 1519.

This See also:

story, and especially the date of it, are questionable: there is some See also:

REASON (Lat. ratio, through French raison)

reason to think that Morto was painting as See also:

LATE

late as 1522. One of his pictures is in the See also:

Berlin museum, an allegorical subject of " See also:

Peace and War." See also:

ANDREA, GIOVANNI (1275-1348)

Andrea Feltrini was his 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 and assistant as a decorative painter.

End of Article: FELTRE, MORTO DA

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