to convey that Antonello, having completed the picture successfully, according to the improvements of Van Eyck, thought himself justified in noticing that important fact. This, in addition to the evidence adduced by Mr. de Bast, would lead to the conclusion, again, that the earlier date assigned is the most correct; for Antonello would scarcely have used the word "oleo" in 1475, when he was in the most glorious part of his career. But, in truth, this question of dates is not so important to us as to those who found upon it a superstructure of argument in support, or disproof, of the earlier or later birth of Antonello ;' as, in all the pictures of this master, we remark the cleverness. with which the flesh-tints are modelled with a thin surface of colour unknown to the Van Eycks. On the other hand, the Flemish failing, which consisted in giving importance to landscape distances, is here visible.

Between the years 1445 and 1474 a gap occurs, and we possess no pictures; the first panel, in the order of dates, being one mentioned by Lanzi, dated 1474. This portrait is that of a young man, with overhanging hair, a black dress and cap, and a red drapery falling from the head to the shoulders. Fine and noble, and in good preservation, it is vigorous in tone, and exhibits the changes which may be supposed to have taken place in Antonello as he left further behind him his Flemish reminiscences.2

i "This picture, which, according to tradition, came from Italy, was purchased in the year 1826, at the sale of the Dowager Lady v. Maelcamp, in whose family it had remained for years."-Ant. Cat. No. 17.

2 Signed, "Antonellus Messanus me pinxit, 1474." Sold to the Duke of Hamilton in 1801, by J. M. Sasso. Now at the Duke's seat near Glasgow. Lanzi, tom. iii. Epoca pr. p. 36. De Bast, Messager des Sciences et des Arts, 1824-25, p. 54. Wood, 15 in. by 132 in.

L

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. 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.'

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."