and so forcibly appears its magic effect to have influenced Tintoretto himself, ever ready to rush from one extreme to another, that he imitated it in the Annunciata of the Arimani Palace:[153] not without success, but far below the mannerless unambitious purity of tone that pervades the effusion of his master, and of which he himself gave a blazing proof in the Resurrection of the Saviour,--a work in which sublimity of conception, beauty and dignity of form, velocity and propriety of motion, irresistible flash, mellowness and freshness of colour, tones inspired by the subject, and magic chiaroscuro, less for "mastery strive," than relieve each other and entrance the absorbed eye. FOOTNOTES: [134] Thus in an order of the Justiziarii we read: "MCCCXXII. Indicion Sexta die primo de Octub. Ordenado e fermado fo per Misier Piero Veniero & per Miser Marco da Mugla Justixieri Vieri, lo terzo compagno vacante. Ordenado fo che da mo in avanti alguna persona si venedega come forestiera non osa vender in Venexia alcuna _Anchona_ impenta, salvo li empentori, sotto pena, &c. Salvo da la sensa, che alora sia licito a zaschun de vinder _anchone_ infin chel durerà la festa," &c. And a picture in the church of S. Donato at Murano, has the following inscription: "Corendo MCCCX. indicion viii. in tempo de lo nobele homo Miser Donato Memo honorando Podestà facta fo questa _Anchona_ de Miser S. Donato." [135] In the church at Cassello di Sesto, which has an abbey founded in 762, there are pictures of the ninth century. [136] Gelasio di Nicolo della Masuada di S. Giorgio, was of Ferrara, and flourished about 1242. Vid. Historia almi Ferrariensis Gymnasii, Ferraria, 1735. [137] At that time he painted in the palace of Cari della Scala at Verona, and at Padoua a chapel in the church 'del Sarto;' he repeated his visit in the latter years of his life to both places. Of what he did at Verona no traces remain, but at Padoua the compartments of Gospel histories round the Oratorio of the Nunziata all' Arena, by the freshness of the fresco and that blended grace and grandeur peculiar to Giotto, still surprise. [138] Fiorillo has confounded this questionable name with the real one of Luigi, who painted about 1490.--See Fiorillo Geschichte, ii. p. 11. [139] In S. Giorgio Maggiore is a St. Stephen and Sebastian, with the inscription: 1445. Johannes de Alemania et Antonius de Muriano. P. from which, another picture at Padova, inscribed "Antonio de Muran e Zohan Alamanus pinxit," and some traces of foreign style where his name occurs, Lanzi suspects that the inscription in S. Pantaleone, "Zuane, e Antonio da Muran, pense 1444," on which the existence of Giovanni is founded, means no other than the German partner of Antonio.