The Anonimo di Morelli mentions two portraits described as being, in 1529, in the Collection of Antonio Pasqualino, at Venice; both of them signed and dated "1475;" the first being the likeness of Alvise Antonio, Pasqualino's father; the second, that of Michel Vianello. The former was represented bareheaded, in a scarlet vest,1 and answers the description of the portrait belonging to the late Count Pourtales, in Paris. This portrait is the masterpiece of Antonello in that branch of his art, being remarkable for an evenness and simplicity of tint almost equal to those of the portraits of Bellini, and for the firmness of touch and vivid colouring which were his particular characteristics. Were it not, indeed, for the minute care with which the hairs of the beard are touched, and a slight hardness that still marks the outline, we should fail to discover the Flemish influence in this portrait.2

Great truth and nature are, noticeable in a portrait of an Old Man lately in the Rinuccini at Florence. This portrait is one year later in date than that of the late Count Pourtales, representing a man of shaggy eyebrow, wearing a species of turban.3 A portrait in the Gallery of the Uffizi at Florence, though somewhat in the manner of Memling, reminds us of the likenesses painted by Antonello.*

1 Anonimo, ut sup., p. 59.

2 Lanzi was supposed by Count Pourtales to allude to this picture when he speaks of the portrait late in the Martinengo family's Collection at Venice. The date of 1474, given by Lanzi, would make us suppose he meant the picture of that date at the Duke of Hamilton's.

3 Signed, "1476. Antonellus Messaneus me pinsyt." Now in the Gallery of the Marquis Trivulzi, at Milan.

4 Bought of the Abate Celotti some years ago. Passavant, Kuntsblatt, 1841. No. 5,

One of the Bellinesque representations of the master, as regards costume and colour, is a portrait of a young man in the Manfrini Gallery at Venice. The features are fine and expressive; the hair falling over the eyebrows and ears in the Italian fashion,-a black cap covering the head, whilst the body is clothed in a black dress, over which the white collar slightly shows at the neck. Rich in colour and perfectly blended and soft, this picture, although not authenticated by a signature, is a perfect and wellpreserved specimen of Antonello's skill.1

A picture in the Belvedere Gallery,2 formerly in Venice, where it was preserved in the Hall of the Council of Ten, represents the Saviour supported on his tomb by three angels, one of whom partakes of the manner and expression of those in the Agnus Dei of St. Bavon. The type of the Saviour's head is noble, but the painter has been less happy in colour than usual. The Pietà, however, is interesting, as exhibiting traces of the Flemish manner, combined with a form of composition reproduced by the painters of the later Venetian School. "Christ at the Column," in the Manfrini Gallery, is also a fine production of the master's brush,-powerful in tone and highly finished in detail. The hair is marvellously minute; the features express pain without much elevation of sentiment.3

The "Addolorata" of the Venice Academy,-a portrait of a Nun in tears,—may be remarked for the possession of a truly Italian class of features, and a style of drapery characteristic of ease. The puckered folds of a white

1 Half size of nature. Wood.

2 No. 59, Belvedere Cat., room seven, Ital. School. Wood, 4' 3" by 3' 4". Signed, "Antonius Messanesis."

3 Wood, half size of nature.

neckerchief, on the other hand, are Flemish in method and execution. The general colour of the flesh-tints is less transparent and blended than usual:-the hands, joined in prayer, are fine.1

The "Virgin reading," in the same Gallery, signed by the painter, is inferior to the "Addolorata " in the choice of features, but more in the soft and blended colour peculiar to Antonello. The head is covered with a blue drapery, executed in a broader manner than we are accustomed to the hands are fine. The picture, however, has been extensively cleaned."

Several panels, signed "Antonellus Messaneus," fail to please, because of their dark opaque colour, and a certain repulsiveness of features, combined with a marked hardness of outline. Such is, for example, the life-size St. Sebastian of the Berlin Gallery, of which we possess two repetitions elsewhere, and the Madonna and Child of the same Collection. In the latter, particularly, we notice the least pleasing features of Antonello: the Madonna being feeble, the Saviour lacking grace and flexibility, whilst the general intonation is marked by dark and opaque tones.*

1 No. 76, Venice Acad. Cat. p. 26. Wood, almost life-size, 0.46 met. by 0.29, French measure. Presented by the late Cav. Molin. 2 No. 94, Ven. Acad. Cat. p. 27. Wood, 0.45 met. by 0.33, French measure. Half size of nature. Signed, "Antonellus Mesanius pinxit." From the room of the Anticollegio.

3 No. 8, Berl. Cat. Wood, 1 ft. 61 z. high by 1 ft. 1 z. broad. Signed, “Antonellus Mesaneus.” A copy is in the Collection of Count Lochis at Bergamo. Another is in the Stædel Gallery; No. 30, St. Cat. Wood, 18′′ 6"" by 13′′. In the pictures thus marked by inferiority, it might be fair to suppose that Antonello left the chief portions of his work to be executed by his pupils.

4 No. 13, Berlin. Cat. Wood, 2 ft. 21 z. by 1 ft. 8 z. Signed, "Antonellus Mesanensis."

"Christ crowned," in the Spinola Gallery at Genoa, may be classed in the same catalogue, on account of the want of blending and general sombreness of its intonation. The expression of the features is grief rendered in a vulgar manner,—the mouth falling at the sides, and looking more contemptuous than moved by grief. The hardness of outline peculiar to the whole,-a front face and bust without hands,-is increased by cleaning and retouching.'

Notwithstanding the assertion of Federici, that Antonello did not paint the tomb of the Senator Onigo at Treviso, there is now no doubt on this point. Federici supposed that Onigo died in 1491, after Antonello, but Onigo really died in 1490, three years before the painter.2 Federici is also mistaken in noticing the subjects as foreshortened figures; they are really standing figures of two soldiers, from the remains of which, after the repairs of the edifice in which the tomb was placed, we are of opinion that these figures were really produced by Antonello. They are simple and grand, and recal to mind the manner of the Bellini.

The last picture to be noticed, in connexion with the name of Antonello, is one which represents St. Jerome sitting in the centre of an apartment, and surrounded by shelves and articles of furniture; the apartment itself having apertures looking out upon an Italian sky and landscape, of which the turrets resemble those in the Crucifixion at Antwerp.3 This picture is in the Collection of

1 Half size of nature. Wood.

2 See the Epitaph of Onigo in Burchelati (B.), Historia Tervisinæ, 4°. 1616. Tervisi, p. 323. 3 No. 17, Ant. Cat. ut sup.

Mr. Baring in London, and was lately at Stratton. It is that picture which the Anonimo di Morelli describes as being in his time at Venice.

"In the house of Marc Antonio Pasqualino (1529) was a small picture of St. Jeronimo in a studio, reading, dressed in cardinal's robes. Some believe it to have been from the hand of Antonello da Messina; but the majority, with most likelihood, attribute it to Gianes (Van Eyck), or to Memelin, an old Ponentino (Western, or Flemish) painter. It exhibits, indeed, that manner, although the countenance is finished in the Italian fashion, as it would seem, from the hand of Jacometto. The edifices are alla Ponentina (in the Flemish character). The landscape is natural, minute, and finished; and, besides, one sees a window and a door, in good perspective, and the whole work is perfect for subtlety of colour, vigour of design, and relief. There are depicted a peacock, a quail, and a barber's basin. On the desk a scroll is imitated, and fastened open. It appears to contain the name of the master; yet, if one looks closely, it contains no letters, but is all counterfeit. Others think that the figure was repainted by Jacometto Veniziano." 1

Three painters are named in the description given by the Anonimo, Antonello, Van Eyck, and Memling; and as it is supposed that the face of the Cardinal is repainted in the Italian fashion, Jacometto is said to have retouched the picture. We cannot, for our part, discover the trace of two hands in any portion of the panel, although we notice the mixed Flemish and Italian manner in various places. Jacometto, indeed, or rather Jacobello del Fiore, 1 Anonimo di Morelli, ut sup., p. 74.