Basaiti--born in Friuli; according to some writers, of Greek parents--was assistant to Alvise Vivarini. He was one of the early Venetian painters in oils. His works when well preserved are (says Sir F. Burton) brilliant in colour, and display great ability in the general management of the accessories, especially in the landscape backgrounds, which, according to Zanetti, he contrived to unite with his figures more skilfully than his contemporaries. The scenery, says Gilbert (_Cadore_, p. 42), is that of Serravalle in Titian's country--Serravalle, "the true gate of the hills," with walls and towers rising steeply on the hill-side. The way in which the old masters thus consigned their saints and anchorites to the hill-country is very typical of the mediæval view of landscape. "The idea of retirement from the world for the sake of self-mortification ... gave to all mountain solitude at once a sanctity and a terror, in the mediæval mind, which were altogether different from anything that it had possessed in the un-Christian periods.... Just in so much as it appeared necessary for the noblest men to retire to the hill-recesses before their missions could be accomplished, or their spirit perfected, in so far did the daily world seem by comparison to be pronounced profane and dangerous; and to those who loved that world and its work, the mountains were thus voiceful with perpetual rebuke.... And thousands of hearts, which might otherwise have felt that there was loveliness in the wild landscape, shrank from it in dread, because they knew that the monk retired to it for penance, and the hermit for contemplation" (_Modern Painters_, vol. iii. pt. iv. ch. xiv. § 10). 282. THE GLORIFICATION OF THE VIRGIN. _Bertucci_ (Umbrian: 16th Century). Formerly ascribed in the Official Catalogue to Lo Spagna (for whom see under 1032); by other critics attributed to Giovanni Battista of Faenza, called Bertucci (the monkey), an artist who borrowed both from the Umbrian School and from Lorenzo Costa. The similarity between this picture and No. 629, by the latter artist, especially in the playing angels at the foot of the throne, is remarkable (see Richter's _Italian Art in the National Gallery_, p. 52). Works by Bertucci are to be seen in the picture gallery of Faenza. The little angels are very pretty. Notice the three peering out from under the Virgin's robe. On the marble platform below one angel plays a white-headed pipe; the other, a six-stringed rebec, which is very accurately represented. 283. VIRGIN AND CHILD ENTHRONED. _Benozzo Gozzoli_ (Florentine: 1420-1498).