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The one, dated 1440, is a Coronation of the Virgin, with many figures, including several boys, and numerous saints seated. In the heads of the saints we may trace the hand of Alamanus, in the Germanic type of countenance which recalls the style of Stephen of Cologne. A repetition of this, if it is not actually the original, is in S. Pantalone at Venice.
The change is noticeable as introducing the Paduan influence of Squarcione, under whom Bartolommeo had studied, instead of the northern influence of Alamanus, into Antonio's workshop, and while this work of 1450, as might be supposed, bears a general resemblance to that of 1446, the change of partnership is at least perceptible, and had a determining influence on the development of the Venetian style.
But the two chief pioneers of the early fifteenth century were Giovanni, or JOHANNES ALAMANUS, and ANTONIO DA MURANO. The former appears from his surname to have been of German origin, the latter belonged to the family of VIVARINI, and they used to work together on the same pictures. Two excellent examples of this combination are in the Academy at Venice.
* This proves the tradition of Brutus to be older than Geoffrey or Tyssilio, unless these notices of Brutus have been interpolated in the original work of Nennius. The first man that dwelt in Europe was Alanus, with his three sons, Hisicion, Armenon, and Neugio. Hisicion had four sons, Francus, Romanus, Alamanus, and Brutus.
In 1450 the name of Alamanus disappears altogether, and that of BARTOLOMMEO VIVARINI, Antonio's younger brother, replaces it in an inscription upon the great altar-piece commissioned by Pope Nicholas V. in commemoration of Cardinal Albergati, now in the Pinacoteca of Bologna.
With regard to colour, the depth and transparency observable in the works of the old Venetian School had long been a distinguishing feature in the Byzantine paintings on wood, and may therefore be traceable to this source without assuming an influence on the part of Padua, or from the north through Giovanni Alamanus.
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