Page:Biographical catalogue of the principal Italian painters.djvu/53

22 BELLINI— BELLOTTO. sentation. The painter presented the picture of the head of John the Baptist on a charger, and the Saltan remarked that he had made the adhering portion of the neck project from the head, which he said was incorrect, as it always retired close to the head when separated from the hody, and he had the head of a slave cut off on the spot, establishing the truth of his criticism by terrible reality. Works, Venice, Academy, Proces- sion on the Piazza di San Marco, 1466 ; a Miracle of the Cross. MUan, Brera, St. Mark preaching at Alexan- dria. Dresden, Holy Family. Berlin, Madonna and Child. Louyre, Recep- tion of a Venetian Ambassador at Constantinople ; portraits of ih^ painter and his brother, of which there is ap- parently a copy in the Berlin Gallery. (.Ridolfi.) BELIJNI, GiACOMO, or Jagopo, 6. at Venice, about 1395-1400, d. 1470. Venetian School. He was the pupil of Gentile da Fabriano, and the father of Gentile and Giovanni Bellini. He appears to have studied with Gentile in Florence some time before 1424. Works, Venice, in the possession of Sig. Mantovani, a volume of drawings (1430). Verona, Episcopal Palace, a Crucifixion. Lovere, Count Tadini, a Madonna. Treviso, San Leonardo, Ma- donna, with Saints. (Ridolfi.) BELLINI, Giovanni, b. at Venice, 1426, d. Nov. 29, 1616. Venetian School. Son of Jacopo Bellini, and the Caposcuola of this school of its earlier or quattrocento development, and the greatest painter of his time in Italy. "Venetian colouring," says Eugler, "attained imder Giovanni, if not its highest truth of nature, its greatest intensity of transparency." Eidolfi already observes that the style of Giovanni was an aggregate of all that was beautiful in painting in his time; and Lanzi remarks that he wanted but a softness of outline to put him on an equality with even the greatest cinquecento masters. His style was individual, and he excelled in portrait; iiis forms are rather full than meagre, and his pictures are dis- tinguished by a fine detail of costnme and elaboration of ornament. His earlier works are painted in tempera ; but he was one of the first Venetians to adopt the then novel method of oil- painting, about 1475. Marco Basaiti and Vittore Carpaccio were his great rivals. Works, Venice, Sacristy of Sta. Maria de' Frari, Madonna and Child, with Saints (1488): Academy, four pictures of the Madonna and Child, with various Saints : San Zaccaria, Madonna enthroned (1505) : SS. Gio- vanni e Paolo, Madonna enthroned, with Saints : San Salvatore, Christ at Emmaus : San Fantino, Madonna and Child : San Giovanni Crisostomo, St. Jerome reading, and other Saints (1513). Manfrini Gallery. Naples, the Transfiguration, Holy Family, and a portrait. Home, Cammucini Gal- lery, Bacchanalian scene, background by Titian, 1514: and in other collec- tions. Vicenza, Sta. Corona, Baptism of Christ. Florence, a Pieta ; an apostle ; and his own portrait. Munich, Ma- donna. Dresden Galleiy, Christ; and a portrait of Leonardo Loredano (1602). Berlin Gallery, a Piet^ Ma- donna and Child, a Presentation in the Temple, and three other pictures attri- buted to Bellini. Vienna, Female figure, naked (1515); Holy Family. London, National Gallery, head of the Doge, Leonardo Loredano : Virgin and Child in the collection of the late Lord Dudley. {Vasari, Ridolfi,) BELLOTTL [Canaletto.] BELLOTTO, Pieteo, h. at Bolzano, 1625, d, at Garignano, 1700. Venetian School. Pupil of Forabosco. He painted landscape, architecture, bat principally portraits and caricatures,