painting under Agnolo Gaddi,[1] acquired the best methods of that master with so much facility, that he was not only much esteemed for his talents, but also greatly beloved and honoured by the Florentines for his many other excellent qualities. Hereupon, he conceived a wish to make himself known in his native city, hoping there to enjoy the fruit of his labours; he therefore returned to Venice. After giving proof of his ability by various works, both in distemper and fresco, he was commissioned by the Signory to paint one of the walls of their Hall of Council; and this undertaking he completed so admirably, and in so majestic a style,[2] that he would have received high rewards, had he been treated according to his deserts. But the emulation, or rather the envy, of other artists, and the favour shewn to certain foreign masters by some of the Venetian nobles, caused the matter to go differently. Thus oppressed and discouraged, the poor Antonio took the wiser part, and, leaving his native city, returned to Florence, firmly resolved to see Venice no more, but to consider Florence as his country. Fixing himself, therefore, in that cify, he there painted the story of Christ calling Peter and Andrew from their nets, with Zebedee and his sons, in one of the smaller arches of the cloister of Santo Spirito. He also depicted, beneath the arcades adorned by Stefano,[3] the story of Christ performing the miracle of the loaves and fishes. This work Antonio executed with infinite care and devotion, as may clearly be seen by the figure of Christ, the expression of whose countenance, with his whole aspect, declares obviously the compassion that he feels for the multitude, and manifests the ardour of that charity with which he dispenses bread to the people. The feeling displayed by one of the Apostles, also, is very beautiful; he is distributing the bread from a basket, his movements and gestures finely expressing the warmth of his zeal and good-will. From this work, the artist may learn ever to paint his figures in such a manner that they shall seem to speak, for otherwise they are but slightly prized. This admirable faculty of giving life to his
- ↑ Lanzi remarks that this is not very probable, since if Antonio be of the period assigned to him by Vasari, he must have been much older than Agnolo Gaddi. See History of Painting, vol. i, p. 68.
- ↑ Quadri, in his Otto Giorni a Venezia, does not mention these works, and there is reason to fear that they are lost.
- ↑ The works of Antonio and Stefano have alike perished.
