becoming a mere archeological type, and it was from this pitfall that he rescued Mantegna. To judge by his drawings, Jacopo did not overlook any source of art open to him; he delights in the rich research of the Paduans as much as in the varieties of wild nature and all the incidents of contemporary life first annexed by Pisanello. He is often very like Gentile da Fabriano, he makes raids into Uccello's domains of perspective, he is frankly mundane and draws a revel of satyrs and centaurs with a real interpretation of the lyrical and pagan spirit of the Greeks, and he has an idealism of the soul, which found its full expression in his son, Giovanni. We cannot call Jacopo Bellini the founder of the Venetian School, for its makings existed already, but it was his influence on his sons which, above all, was accountable for the development of early excellence. His long, flowing lines have a sweep and a fanciful grace which form an absolute antidote to the definite, geometrical Paduan convention. In Jacopo we see the thorough assimilation of those foreign elements which were in sympathy with the Venetian atmosphere, and while up to now Venice had only imbibed influences, she was soon to create for herself an artistic _milieu_ and to become the leader of the movement of painting in the north of Italy. PRINCIPAL WORKS _Jacopo Bellini._ Brescia. Annunciation and Predelle. Verona. Christ on Cross. Venice. Academy: Madonna. Museo Correr: Crucifixion. London. British Museum: Sketch-book. Paris. Madonna and Leonello d' Este: Sketch-book. CHAPTER VII CARLO CRIVELLI We must turn aside from the main stream when we come to speak of Carlo Crivelli, who, important master as he was, occupies a place by himself. A pupil of the Vivarini and perhaps, as we have noted, of Antonio Negroponte, Crivelli was profoundly influenced by the Paduans, from whom he learned that metallic, finished quality of paint which he carried to perfection. Crivelli shows intellect, individuality, even genius, in the way in which he grapples with his medium and produces his own reading, and the circumstances of his life were such as to throw him in upon himself and to preserve his originality. His little early "Madonna and Child" at Verona is linked with that of Negroponte by the elaborate festoons, strings of beads, and large-patterned brocades used in the surroundings, and has those ugly, foreshortened little _putti_, holding the instruments of the Passion, of the type elaborated by Squarcione and Marco Zoppo, and which, in their improved state, we are accustomed to think of as Mantegnesque.