189. THE DOGE LEONARDO LOREDANO.
Giovanni Bellini (Venetian: 1426-1516).
Giovanni Bellini (often shortened into Giambellini)—the greatest of the fifteenth-century artists—"the mighty Venetian master who alone of all the painters of Italy united purity of religious aim with perfection of artistical power"[106]—belonged, it is interesting to note, to a thoroughly artistic family. His father, Jacopo, drawings by whom may be seen in the British Museum, was an artist of repute; his elder brother Gentile (see 1213) was another. The two brothers studied together in their father's school at Padua, and there they formed a friendship with Mantegna, who afterwards married their sister. Two pictures in our Gallery (Bellini's, 726; and Mantegna's, 1417) recall the days of their early association. By blood every inch an artist, so was Giovanni also in character. His life was one long devotion to his art. He lived to be ninety, and showed to the end increasing knowledge and power. Albert Dürer wrote in 1506, when the grand old man was eighty, that "though very old he was still the best painter in Venice."[107]
This famous portrait must have been painted about the same time, for Leonardo Loredano only became Doge in 1501. About 1460, Bellini had settled in Venice, where he soon rivalled and eclipsed the established school of the Vivarini. In 1479, when his elder brother Gentile departed to Constantinople, Giovanni was appointed in his place to carry on the series of pictures for the Hall of the Great Council in the Ducal Palace. These works were destroyed by fire in 1577. The documents referring to them show the terms on which he worked. He was engaged at a fixed rate of salary to work "constantly and daily, so that said pictures may be completed as expeditiously as possible, with three assistants, also paid by the State, to render speedy and diligent assistance." One of these assistants was Carpaccio (see 750). Three years later he was appointed State painter to the Republic. His fame is sounded by Ariosto, who in "Orlando Furioso" ranks him with Leonardo. It may be gathered also from the number of great painters who attended his studio, including Giorgione and Titian. He was overwhelmed with work, and doubtless employed assistants to complete commissions from his design. Hence the confusion that exists in the matter of attribution among pictures of this school (see under 599). With Titian he was on terms of warm friendship, and his last work (a companion piece to Titian's "Bacchus and Ariadne," now in the Duke of Northumberland's Gallery at Alnwick) was left for Titian to finish. Bellini was buried in the Church of SS. Giovanni e Paolo, in the same tomb where Gentile had lain since 1507.
Giovanni Bellini's long life covers the end of one period and the beginning of another in the history of Italian art. In point of technique this is so: his earliest works are in tempera, his later ones in oil—the use of which medium he learnt perhaps from Antonello da Messina. It is so also in motive. "The iridescence of dying statesmanship in Italy, her magnificence of hollow piety, were represented in the arts of Venice and Florence by two mighty men on either side—Titian and Tintoret, Michael Angelo and Raphael. Of the calm and brave statesmanship, the modest and faithful religion, which had been her strength, I am content to name one chief representative artist at Venice, John Bellini." The years of change were 1480-1520 (roughly speaking those of Raphael's life). "John Bellini precedes the change, meets and resists it victoriously till his death. Nothing of flaw or failure is ever to be discerned in him" (Relation between Michael Angelo and Tintoret, pp. 11-13). His position is thus unique: he was the meeting-point of two ways: as great in artistic power as the masters who came after, as pure in religious aim as those who went before. An interesting episode is recorded which marks the transition and Bellini's meeting of it. Isabella Gonzaga, the Duchess of Mantua, wrote in 1501 to her agent in Venice to get Bellini to do for her a picture of which the subject was to be profane, to suit Mantegna's allegories. Bellini suggests that he cannot do such a subject in a way to compare with Mantegna; with such a subject "he cannot do anything to look well." Isabella thereupon is content to put up with a religious subject, but Bellini on his side agrees to add "a distant landscape and other fantasies" (qualche luntani et altra fantaxia). Bellini, however, was by no means stagnant in his art, or in his outlook. At the end of his life, he undertook, as we have seen, a Bacchanal, and in his middle period he painted the beautiful little allegories now in the Academy at Venice. "Bellini," says Morelli, "was ever making progress. He knew how to adapt himself to his subject, and was, as occasion required, grand and serious, graceful and attractive, naïve and simple." It is in Venice that Bellini can be best studied; but our National Gallery is fortunate in having more of his works than can be seen in any other collection north of the Alps. And how varied are his powers! The same hand has given us subjects of intense religious conviction, like "The Agony in the Garden" (726) and "The Blood of the Redeemer" (1233); "sunny pictures of devotional sentiment" (280 and 599); the noble portrait here before us; and delicate landscape work, like the "Peter Martyr" (812). In his earliest pictures he devoted himself to the profoundest sentiments of Christianity—perhaps, as has been suggested, under the influence of S. Bernardino, then preaching at Padua (Roger Fry's Giovanni Bellini, p. 22). Afterwards the "note" in Bellini's work is rather "genial serenity." The expression of his Madonnas is often tender and solemn, but he never lets it pass into the region of the ecstatic. All is bright and peaceful and sunny. He belongs to what Ruskin calls "the age of the masters," in which the main object is "pictorial perfectness and deliciousness."
A magnificent portrait of one of the greatest men of the Venetian Republic. Leonardo, the 67th Doge, held office from 1501 to 1521. He belonged to one of the most ancient and noble families in the State, and Venice, under his rule, was one of the Great Powers of Europe—as the league of Cambrai formed against him sufficiently shows. There is all the quiet dignity of a born ruler in his face—"fearless, faithful, patient, impenetrable, implacable—every word a fate" (Modern Painters, vol. v. pt. ix. ch. ix. § 1). In his capacity of State painter to the Republic it was Bellini's duty to execute the official portraits of the Doges. During his long life he saw no fewer than eleven Doges, and was State painter during the reigns of four. This, however, is the only portrait of a Doge by Bellini which has been preserved (Richter's Lectures on the National Gallery, p. 42). It is remarkable alike for strong characterisation, simplicity of conception, and brilliancy of colouring.