ament of the quadrangle, the almost baroque appearance of
the throne. Through it all, heavily repainted as it is, shines the dawn
of the tender expression which came into Venetian art with Gentile.

[Illustration: _Antonio da Murano._
ADORATION OF THE MAGI.
_Berlin._
(_Photo, Hanfstaengl._)]

Giovanni d' Alemagna and Antonio da Murano were no doubt widely
employed, and when the former died Antonio founded and carried on a
real school in Venice. In 1446 he was living in the parish of S. Maria
Formosa with his wife, who was the daughter of a fruit merchant, and the
wills of both are still preserved in the parish archives. Gentile da
Fabriano had set the example for gorgeous processions with gay dresses
and strange animals; winding paths in the background and foreshortened
limbs prove that attention had been drawn to Paolo Uccello's studies in
perspective, while many figures and horses recall Pisanello. A striking
proof of the sojourn of Gentile and Pisanello in Venice is found in an
"Adoration of Magi," now ascribed to Antonio da Murano, in which the
central group, the oldest king kissing the Child's foot, is very like
that in Gentile's "Adoration," but the foreshortened horses and the
attendants argue the painter's knowledge of Pisanello's work. A
comparison of the architecture in the background with that in the
"St. George" in S. Anastasia shows the same derivation, and the dainty
cavalier, who holds a flag and is in attendance on the youngest king, is
reminiscent of St. George and St. Eustace in Pisanello's paintings in
the National Gallery, so that in this one picture the influences of the
two artists are combined.

Antonio took his younger brother, Bartolommeo, into partnership, and the
title of da Murano was presently dropped for the more modern designation
of Vivarini. Both brothers are fine and delicate in work, but from the
outset of their collaboration the younger man is more advanced and more
full of the spirit of the innovator. In his altarpiece in the first hall
of the Academy the Nativity has already a new realism; Joseph leans his
head upon his hand, crushing up his cheek. The saints are particularly
vivid in expression, especially the old hermit holding the bell, whose
face is brimming with ardent feeling.

PRINCIPAL WORKS

_Giovanni d' Alemanus and Antonio da Murano._

Venice. Christ and the Virgin in Glory; Virgin enthroned, with Saints.