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Updated: May 20, 2025
"I looked at her in mute anguish and the suffering which drew her dear lips together seemed also to clutch at my heart. The vision which was in her eyes passed into mine, and I saw again the thin white face of Antonello, and the quick quivering of his eyelids, the waves of agony which seized his long worn body and shook it like a reed." I threw the magazine upon the table. "That is it," I said.
"But tell me, Antonello mio!" exclaimed old Contarini, after gazing awhile in mute astonishment at the sketch before him; "tell me, in the name of wonder, what kind of face do you mean to draw around that lean and withered nose and that horribly wrinkled mouth?" Antonio, however, was so unconcious of the "world without," that he started not at this sudden interruption of the previous stillness.
His victims were mostly men whom he had got into his power by treachery; some w ere even seized while guests at the royal table. His conduct to his prime minister, Antonello Petrucci, who had grown sick and grey in his service, and from whose increasing fear of death he extorted 'present after present, was literally devilish. With him died Coppola.
Ricketts has pointed to that of Antonello da Messina in the portraits of young men at Vienna and at Hampton Court . The former of these has an allegorical sketch of Avarice, painted on the back in a thick impasto, such as seems almost a presage of after developments of the Venetian school, and may possibly show the influence of some early experiment by Giorgione which Duerer wished to show that he could imitate if he liked.
The assertion and contradiction of ideas and theories, the rivalries of differing schools, the sweet devotion of Fra Angelico, the innovations of Masolino and Masaccio, the theory of perspective of Paolo Uccello, the varied works of Fabriano, Antonello da Messina, the Lippi, Botticelli, Ghirlandajo, the Bellini, and their contemporaries, culminated in the inimitable painting of the Cinquecento in works still unsurpassed, ever challenging artists of later centuries to the task of equalling or excelling them.
There were giants in those days. Antonello da Messina has the portrait of a young man. It is an attribution, yet not without some claim to authenticity. The Jan Provosts are mostly of close study, especially The Virgin Enthroned. Vivid portraits. The Rijks Museum could be lived with for years and still remain an inexhaustible source of joy.
See Caracciolo, loc. cit. pp. 88, 89, concerning the judicial murder of Francesco Coppola and Antonello Perucci, both of whom had been raised to eminence by Ferdinand, used through their lives as the instruments of his extortion, and murdered by him in their rich old age. See De Comines, lib. vii. cap. 11; Sismondi, vol. vii. p. 229.
They were the breakers of stone and hewers of wood who prepared the way for the greater artists of the end of the century, but in the process of learning, many of them painted very lovely things. The painter of our picture lived within those seventy-five years. He was, probably, a certain Antonello of Messina that same town in Sicily recently wrecked by earthquakes. Of his life little is known.
According to Vasari, oil-painting reached Venice through Antonello da Messina, who had learned the art in the Netherlands. But that cannot be true. It came to Venice from Verona or Padua long after Florence could boast many fine masters, the delay being due to the circumstance that the Venetians thought more of architecture than the sister art.
Some assert that John van Eyck introduced his invention both into Italy and Spain, while others declare that he never left his own country, which would seem to be true. Vasari, the first writer on Italian art, awards the invention to Giovanni da Bruggia, and gives an account of its first introduction into Italy by Antonello da Messina, as we shall presently see.
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