The two brothers of Murano come most closely together in an altarpiece in the gallery of Bologna, where the framework is more simple than Alemanus's German taste would have permitted, and the Madonna and Child have some natural ease, and the delicacy of feeling of primitive art. Bartolommeo, when he breaks away and sets out to paint by himself, is crude and strong, but full of vital force. In his altarpiece of 1464, in the Academy, he gives his saints reality by taking them off their pedestals and making them stand upon the ground, and though they are still isolated from one another in the partitions of an ancona, their sparkling eyes, individual features, and curly beards give them a look of life. The draperies, thin and clinging, with little rucked folds, which display the forms, and the drawing of the bony structure, exaggerated in the arms and legs, are Squarcionesque. The rocks and stones, too, show the Paduan convention. In several of his other altarpieces, Bartolommeo introduces rich ornaments and swags of fruit, such as Donatello had first brought to Padua, or which Paduan artists delighted to copy from classic columns. Antonio's manner to the end is the local Venetian manner, infused as it was with the soft and charming influence of Gentile da Fabriano and Pisanello, but Bartolommeo adopts the new and more ambitious style. Though not a very good painter, and inclined to be puffy and shapeless in his flesh forms, he was the head of a crowd of artists, and works of his school, signed _Opus factum_, went all over Italy, and are found as far south as Bari. Works of his pupils are numerous; the "St. Mark enthroned" in the Frari is as good if not better than the master's own work, and the triptych in the Correr Museum is a free imitation.