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Updated: May 18, 2025
The other picture, dated 1446, of enormous dimensions, represents the Virgin enthroned, beneath a canopy sustained by angels, with the four Fathers of the Church at her side. The colouring is fully as flowing and splendid as that of Giambono.
It corresponds most nearly with the work of Duccio of Siena, though without attaining his excellence; while the gold hatchings and olive brown tones are still Byzantine. An altar-piece, by MICHELE GIAMBONO, also in the Academy, painted during the first half of the fifteenth century, shows a more decided advance, and even anticipates some of the later excellences of the Venetian School.
While this species of decoration had given place to fresco painting elsewhere, it was here, in 1430, brought to a pitch of perfection by Giambono which entitles this work to a prominent place in the history of painting.
One of his best-known pictures the Vergine dai begli occhi in the Ducal Palace at Venice used to be attributed to Giovanni Bellini; but though he appears to have drawn inspiration for his larger and more important compositions from Jacobo Bellini, his style was chiefly developed through that of Giambono.
This is signed by Giambono, and is one of his most important works, as well as the most complete, as it exists in its original state as an ancona or altar-piece divided into compartments by canopies of joiners' work. It is unusual in form, inasmuch as the central panel, though slightly larger than the pair on either side, contains but a single figure.
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