Antonello da Messina (1444?-1493), though Sicilian born, is properly classed with the Venetian school. He obtained a knowledge of Flemish methods probably from Flemish painters or pictures in Italy (he never was a pupil of Jan van Eyck, as Vasari relates, and probably never saw Flanders), and introduced the use of oil as a medium in the Venetian school. His early work was Flemish in character, and was very accurate and minute. His late work showed the influence of the Bellinis. His counter-influence upon Venetian portraiture has never been quite justly estimated. That fine, exact, yet powerful work, of which the Doge Loredano by Bellini, in the National Gallery, London, is a type, was perhaps brought about by an amalgamation of Flemish and Venetian methods, and Antonello was perhaps the means of bringing it about. He was an excellent, if precise, portrait-painter. PRINCIPAL WORKS: PADUANS--Andrea Mantegna, Eremitani Padua, Madonna of S. Xeno Verona, St. Sebastian Vienna Mus., St. George Venice Acad., Camera di Sposi Castello di Corte Mantua, Madonna and Allegories Louvre, Scipio Summer Autumn Nat. Gal. Lon.; Pizzoli (with Mantegna), Eremitani Padua; Marco Zoppo frescos Casa Colonna Bologna, Madonna Berlin Gal. VERONESE AND VICENTINE PAINTERS--Vittore Pisano, St. Anthony and George Nat. Gal. Lon., St. George S. Anastasia Verona; Liberale da Verona, miniatures Duomo Sienna, St. Sebastian Brera Milan, Madonna Berlin Mus., other works Duomo and Gal. Verona; Bonsignori, S. Bernardino and Gal. Verona, Mantua, and Nat. Gal. Lon.; Caroto, In S. Tommaso, S. Giorgio, S. Caterina and Gal. Verona, Dresden and Frankfort Gals.; Montagna, Madonnas Brera, Venice Acad., Bergamo, Berlin, Nat. Gal. Lon., Louvre.