Albert Duerer. The other is signed "Pisanus"; in the
frame are inserted casts of two of his medals, representing Leonello
d'Este, his patron, and a profile of himself.

Another very considerable factor in the development of Venetian painting
was the influence of GENTILE DA FABRIANO (_c._ 1360-1430), who settled
in Venice in the latter part of his life, and there formed the closest
intimacy with Antonio Vivarini. The remarkable _Adoration of the Kings_
in the Berlin Museum was until lately given to Gentile, though it is now
catalogued as the work of Antonio. Of Gentile's education little is
known, and of the numerous works which he executed at Fabriano, in Rome
and in Venice very few have survived. From those that exist, however, we
can form an estimate of his talents and of the difference between his
earlier and later styles. To the first belong a fresco of the Madonna in
the Cathedral at Orvieto, and the beautiful picture of the Madonna and
saints which is now in the Kaiser Friedrich Museum at Berlin. Also the
fine _Adoration of the Kings_, inscribed with his name and the date
1423, formerly in the sacristy of S. Trinita at Florence, and now in the
Accademia. This, his masterpiece, is one of the finest conceptions of
the subject as well as one of the most excellent productions of the
schools descended from Giotto. Of his later period the _Coronation of
the Virgin_ (called the _Quadro della Romita_) in the Brera gallery at
Milan is one of the finest. In many respects his work is like that of
Fra Angelico, and was aptly characterised by Michelangelo when he said
that "Gentile's pictures were like his name." Apart from the influence
of the Paduan School, which will next be noticed, the Venetian owed most
to Gentile da Fabriano, if only as the master of Jacopo Bellini, whose
son, Giovanni Bellini, may be regarded as the real head of the Venetian
School as developed by his pupils Giorgione and Titian at the opening of
the sixteenth century.

Whether or not Giotto left any actual pupils in Padua after completing
the frescoes in the chapel of the arena there, it must be admitted that
the older school of painting in Padua, which centred round the church
containing the body of S. Anthony, was an offshoot of the Florentine,
and that as Giotto was the great leader in Florence he must be
considered the same here; though his followers differ so much from each
other in style that beyond their indebtedness to their founder they have