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For in Rome Polidoro, a painter, had a very different style to that of Balthazar, of Siena; M. Perino different from that of Julius, of Mantua; Martorino did not resemble Parmesano; Cavalliere Tiziano in Venice was softer than Leonardo da Vinci; the sprightliness of Raphael of Urbino and his softness does not resemble the work of Bastiāo Veneziano; your work does not resemble any other; nor is my small talent similar to any other.
The Gaddi of Florence, Giottino, Puccio Capanna, the Lorenzetti of Siena, Spinello of Arezzo, Andrea Orcagna, Domenico Veneziano, and the lesser artists of the Pisan Campo Santo, were either formed or influenced by him.
The picture in S. Pietro in Montorio of the Transfiguration of our Lord, in oils, is very good, and another in Aracœli, and in the Temple of Peace, in fresco. The picture in S. Pietro in Montorio by the hand of Bastiäo Veneziano is famous; he did it in competition with Raphael.
"I should think so," cried the host, proudly; "I am a good patriot, and our watchword is, 'Chi non e buon Prussiano, non e buon Veneziano." "If that is so," cried the stranger, gayly, as he kindly offered the host his hand, "I congratulate myself for having stopped here, and these small, mean rooms will not prevent my remaining.
This old painter was born at Florence in 1349, and was a disciple of Antonio Veneziano. He was one of the first painters who cultivated perspective. Before his time buildings had not a true point of perspective, and figures appeared sometimes as if falling or slipping off the canvass. He made this branch so much his hobby, that he neglected other essential parts of the art.
The Palazzo della Cancelleria, the Palazzo Barberini, the Palazzo Farnese, and the Palazzo Veneziano were all built mainly from the plunder of the Coliseum; and meaner robbers emulated the rapacity of their betters, by burning into lime the fragments not available for architectural purposes. The material of which the Coliseum was built is exactly fitted to the purposes of a great ruin.
And, on the other hand, the north Italian origin of one of his masters, the mysterious Domenico Veneziano, seems to have given him, instead of the colouring, always random and often coarse, of contemporary Florence, a harmonious scheme of perfectly delicate, clear, and flower-like colour.
Titianus Vecellio, or Titianus Veneziano of the latter. I have already dealt at some length with the question of the former signature, which appears to have been added actually during Titian's lifetime; in the present instance the letters appear almost, if not quite, coeval with the rest of the painting, and were undoubtedly intended for Titian's signature.
One may see what value was attached to its use from the fact that those who first brought it to Italy worked in secret. Andrea Castagno, surnamed the Assassin, learned the method from his best friend, Domenico Veneziano, and then murdered him while he was singing a serenade under a lady's window, in order to possess the secret alone.
These words wounded Paolo so grievously that he would no more leave his house, but shut himself up, devoting himself only the more to the study of perspective, which kept him in poverty and depression to the day of his death. Paolo had been influenced, it is said, by Domenico Veneziano, who in his turn was influenced by the work of Masolino and Masaccio.
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