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Antonello afterwards returned to Venice, where he secretly practised the art for some time, communicating it only to Domenico Veneziano, his favorite scholar. Veneziano settled at Florence, where his works were greatly admired both on account of their excellence and the novelty of the process.
Were it not for the Accademia's Tintorettos, Carpaccios and Bellinis, our own Venetian collection in Trafalgar Square would be much more interesting; and even as it is we have in "The Origin of the Milky Way" a Tintoretto more fascinating than any here; in "Bacchus and Ariadne" a more brilliant Titian than any here; some Bellinis, such as "The Agony in the Garden," the portrait of Loredano, and "The Death of S. Peter Martyr," that challenge his best here; two Giorgiones and several pictures notably of his school that cannot be matched here; the finest Catena that exists; a more charming Basaiti than any here; a better Antonello da Messina; and, according to some judges, the best Paul Veronese in the world: "The House of Darius"; while when it comes to Carlo Crivelli, he does not exist here at all.
But it seemed as if my head had been cleared like a room when a window is opened; memories were beginning to come back like doves winging their way home to the dovecote. "At that moment, an irrepressible tremor shook her whole body; her eyes dilated as if some terrible sight had filled them with horror. "'Antonello, she murmured. "And for seconds, she was unable to say another word.
This subject will be found fully discussed in Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects, under the articles John and Hubert van Eyck, Antonello da Messina, Domenico Veneziano, Andrea del Castagno, and Roger of Bruges. Foreshortening is the art of representing figures and objects as they appear to the eye, viewed in positions varying from the perpendicular.
Of his forces, part were received into the duke's service, and part were plundered by the peasantry. The king, being reconciled with his barons, put to death Jacopo Coppola and Antonello d'Aversa and their sons, for having, during the war, betrayed his secrets to the pope.
It is dated 1436. John died in 1441. According to Vasari, the fame of Masaccio drew Antonello da Messina to Rome; from thence he proceeded to Naples, where he saw some oil paintings by John van Eyck, which had been brought to Naples from Flanders, by some Neapolitan merchants, and presented or sold to Alphonso I., King of Naples.
Gian Bellini discovered the secret, they say, by feigning to be a gentleman and going to the newcomer and sitting for his picture. He it was who discovered that Antonello mixed his colors with oil. Oho! Of course not all of the pictures in his studio are painted by the boys some are painted by that old Dutchman what's-his-name oh, yes, Durer, Alberto Durer of Nuremberg.
There has always been something of a mystery about the picture, and you must not be surprised some day if you hear it asserted that Antonello did not paint it at all. Such changes in the attributions of unsigned paintings are not uncommon. One of the greatest pioneer artists of the fifteenth century was Andrea Mantegna of Padua in the north of Italy.
It was Jan van Eyck to whom Antonello da Messina is said by Vasari to have resorted in Bruges in order to learn the new style of painting; he alone also is mentioned in Vasari's first edition of 1550, Hubert not until the second edition in 1568, and then only incidentally.
The novelty of the invention, and the beauty of the coloring inspired Antonello with so strong a desire to become possessed of the secret, that he went to Bruges, and so far ingratiated himself into the favor of van Eyck, then advanced in years, that he instructed him in the art.
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