[27] In a similar taste was the perspective introduced by Giovanni Bellino in his celebrated altarpiece at San Zaccaria, in Venice. Another was placed in the great altar of the dome at Capo d'Istria, by Carpaccio the elder, still more striking. In the background of the picture, the virgin appears seated on a magnificent throne, with the divine infant, in an upright posture, upon her knees, surrounded by six of the most venerable patrons of the place, disposed around her, in three ranks, displaying a fine diversity of drapery as well as of action. To these are added some cherubs, engaged in playing upon musical instruments, and apparently beholding the spectator with an air of puerile simplicity, as if inviting him to caress them. A long and lofty colonnade, in excellent perspective, leads the way to the throne, at one time united to a fine stone colonnade, which extended from the altarpiece through the chapel, producing a fine illusion, amounting to a sort of enchantment of perspective. It was removed along with the stone columns, in order to enlarge the tribune. The oldest citizens, who witnessed this beautiful spectacle, speak of it to strangers with delight, and I am glad to put it on record, before the recollection of it be entirely obliterated.
[28] Notizia, p. 63.
[29] Albert Durer, arriving the same year at Venice, bestowed on Giovanni one of the most favourable testimonies to his talents that now remains. After rebuking the envy of the other painters, who spoke of him with contempt, he says of him:—"Every one assures me that he is Gran Galantuomo, for which reason I wish him well. He is already very old, but, notwithstanding, the best painter we have." V. Morel. Not. p. 224.
[30] The country is impressed with this persuasion in spite of his own signatures, attached even to the pictures in Istria. In that, cited at page 48, it is written Victor Charpatius Venetus pinxit, 1516; in another, at San Francesco di Pirano, Victoris Charpatii Veneti opus, 1519. Benedetto Carpaccio, probably a son or nephew of the preceding, was also a Venetian, of whom there remains a picture of the Coronation of the Virgin, at Capo d'Istria, in the Rotunda, subscribed, Benetto Carpathio Veneto pingeva, 1537. At the Osservanti, is the picture of the Nome di Gesù, with the same words, but dated 1541. He is not mentioned in Venetian history, though highly deserving a place in it; for whatever traces he retains of the ancient stiffness of manner, in the extremity of his figures, yet he yields not to many in softness of tints; in the taste of his colours; expression of features, and the effect of his chiaroscuro. I am led to think, that from residing out of the capital, this artist was supposed to be a native of Istria, but he was indisputably of a Venetian family, most probably tracing its origin from Murano.
[31] We find traces of his paintings from the year 1507. See Tassi, in his Lives of the Painters, &c. p. 56, where he corrects a mistake of Zanetti, who, instead of one painter, had divided him into two. One of his pictures, in the parish church of Endine, will remove every doubt. There he signed himself, Franciscus Rizus Bergomensis habitator Venetiis, 1529. In another piece, in the parochial church of Serina, he wrote Francesco Rizo da Santa Croxe depense, 1518. His last work, of which I find any account, is also in the parochial church of Chirignano, in the Mestrina, dated 1541. Father Federici, who describes it, makes Francesco the son of Girolamo da S. Croce, or S. Croce, whose name we find subscribed in both ways, but not ever Rizo. I cannot agree with him, first, because Ridolfi says only, (p. 62,) that they were of the same family; second, because the pictures of Girolamo, according to Tassi, commence later, and are traced also later than those of Francesco, that is in 1549; and thirdly, because the style of Girolamo is incomparably more modernized, as we shall presently shew.
[32] Morelli Notizia, p. 212.
[33] In the Statuti de' Pittori, it is written Mireti; and the same work contains memoirs of him in 1423 and 1441; years, however, which do not accord with his dependence on the Bellini. This Girolamo might possibly have been the brother, or other relation, of that Gio. Miretto, for whom see p. 13. These two names will do away with the Moreto of Vasari, and we must substitute Mireto or Miretto.
[34] I repeat the epigram, which is subscribed in ancient characters, on the strength of which we may believe that the work was esteemed one of the most valuable the art had produced up to that period, transcribed by the very frequently commended Sig. Co. Cav. Lazara; it is thus:
Non hic Parrhasio, non hic tribuendus Apelli, Hos licet Auctores dignus habere labor. Euganeus, vixdum impleto ter mense, Jacobus Ex Montagnana nobile pinxit opus.
[35] He is thus named in the "Statuti de' Pittori," of Padua, and in the MS. Zen. whence we may correct Ridolfi, who calls him Girolamo.