. Ambrose break up the composition and
give length and line. The faces of the saints are extremely beautiful,
and the two angels making music below compare well with those of the
Bellinesque School.

The portraits Alvise has left add to his reputation, and remind us of
those of Antonello da Messina, particularly in the vital expression
of the eyes, though they are without Antonello's intense force. The
"Bernardo di Salla" and the "Man feeding a Hawk," though some critics
still ascribe them to Savoldo, have features which make their
attribution to Alvise almost certainly correct. Indeed, the resemblance
of Bernardo to the Madonna in the 1480 altarpiece cannot escape the most
unscientific observer. There is the same inflated nostril, the
peculiarly curved mouth, and vivacious eyes.

Among the followers of Alvise, Marco Basaiti, Bartolommeo Montagna, and
Lorenzo Lotto are the most distinguished. Others less direct are
Giovanni Buonconsiglio and Francesco Bonsignori, while Cima da
Conegliano was for a short time his greatest pupil. We shall return to
these later.

PRINCIPAL WORKS

Berlin. Madonna enthroned, with six Saints.
London. Portrait of Youth.
Milan. Bonomi-Cereda Collection: Portrait of a Man.
Naples. Madonna with SS. Francis and Bernardino.
Paris. Portrait of Bernardo di Salla.
Venice. Academy: Seven panels of single Saints; Madonna and six Saints,
1480.
Frari: S. Ambrose enthroned.
S. Giovanni in Bragora: Madonna adoring Child; Resurrection
and Predelle.
Redentore: Sacristy: Madonna and Child, with Angels.
Vienna. Madonna.
Windsor. Man feeding a Hawk.

CHAPTER X

CARPACCIO

Vittore Carpaccio was Gentile Bellini's most faithful pupil. He and his
master stand apart in having, before the arrival of the Venetian School
proper, captured an aspect and a charm inspired by the natural beauty
of the City of the Sea. Gentile, as we have seen, paints her historic
appearance, and Carpaccio gives us something of the delight we feel
to-day in her translucent waters and her ample, sea-washed spaces
flooded with limpid light. While others were absorbed in assimilating
extraneous influences, he goes on his own way, painting, indeed, the
scenes that were asked for, but painting them in his own manner and with
his own enjoyment.

Pageant-pictures had been the demand of the Venetian State from very
early days. The first use of painting ha