He had no tenderness nor any winning
charm.
The doing so would have destroyed unity,symmetry,
repose. Novella, Palazzo Vecchio, altar-pieces Uffizi and Acad. Giovanni e Paolo,
Frari, Venice; Luigi Vivarini, Madonna Berlin Gal.
He came the nearestto the sublime of any painter in
history through the sole attribute ofpower.
Popery, Paganism,Despotism, all the convulsions of
Renaissance life threatened butharmed her not.
His late work showed the influence of the
Bellinis.
It is inPerugino that we find the old religious
feeling.
He was notan imitator of facts but a creator of
forms and ideas. Croce Fano; Perugino, frescos Sistine Rome, Crucifixion S. The most
daring man of his time, hewas a master in anatomy, composition, motion.
The doing so would have destroyed unity,symmetry,
repose. His color washot and coarse, his lights lurid, his shadows brick red. It was
never too sensuous andluxurious, but rather exact and intellectual. Religion, though
the chief subject, was notthe chief spirit of Venetian art.
He was among the first of his school touse that
medium.
Helooked at all subjects in a calm, intellectual,
artistic way. Inthe fifteenth century these schools counted for little either in
menor in works. There was no dramatic fire andfury about him. His work strikes one
aseccentric, and eccentricity was the strong characteristic of the man. He was
influenced by other painters tosome extent. He was not a great originator,though a
man of ability.
It remodelledthe philosophy of Greece, and used its
literature as a mould for itsown. Agostino Gubbio; Niccolò da Foligno, altar-piece
S.