Bartolommeo, probably considerably younger than Antonio, was trained to art in the principles before mentioned, till he made himself master of the new-discovered method of oil-painting, and towards the time of the two Bellini became an artist of considerable note. His first picture in oil bears the date of 1473; his last, at S. Giovanni in Bragora, on the authority of Boschini, that of 1498; it represents Christ risen from the grave, and is a picture comparable to the best productions of its time. He sometimes added A Linnel Vivarino to his name and date, allusive to his surname. With him flourished Luigi, the last of the Vivarini, but the first in art. His relics still exist at Venice, Belluno, Trevigi, with their dates; the principal of these is in the school of St. Girolamo at Venice, where, in competition with Giovanni Bellini, whom he equals, and with Vittore Carpaccia, whom he surpasses, he represented the Saint caressing a Lion, and some monks who fly in terror at the sight. Composition, expression, colour, for felicity, energy, and mellowness, if not above every work of the times, surpass all else produced by the family of the Vivarini. At the beginning of the century, Gentile da Fabriano, styled Magister Magistrorum, and mentioned in the Roman School, painted, in the public palace at Venice, a naval battle, now vanished, but then so highly valued that it procured him an annual provision, and the privilege of the Patrician dress. He raised disciples in the state: Jacopo Nerito, of Padova, subscribes himself a disciple of Gentile, in a picture at S. Michele of that place, and from the style of another in S. Bernardino, at Bassano, Lanzi surmises that Nasocchio di Bassano was his pupil or imitator. But what gives him most importance, is the origin of the great Venetian School under his auspices, and that Jacopo Bellini, the father of Gentile and Giovanni, owned him for his master. Jacopo is indeed more known by the dignity of his son's than his own works, at present either destroyed, in ruins, or unknown. What he painted in the church of St. Giovanni at Venice, and, about 1456, at the Santo of Padova, the chapel of the family Gattamelata, are works that exist in history only. One single picture, subscribed by his name, Lanzi mentions to have seen in a private collection, resembling the style of Squarcione, whom he seems to have followed in his maturer years.