During the fifteenth century the Sienese school lagged behind the Florentine, the true heir of its sentiment and color being the Um briun school (q.v.), which developed an ecstatic and senti mental type. although throughout its life the school was influenced by the Florentine. The first painter in whom we find this distinctly Umbrian sentiment is Niceolo da Foligno ((l. 1502), a pupil of Benozzo Gozzoli. At Perugia some progress was made by Benedetto di Buon figlio (d. e.1496), although lie never mastered drawing, and by Fiorenzo di Lorenzo (d. 15211. The first to accept the Florentine Renaissance was Piero degli Franceschi (d. 1492), a learned painter who wrote a treatise on perspective. His pupil, Melozzo'da Forli (1438-94), achieved ad mirable results in foreshortening. but the pupil mf Franceschi and Da Forli, Giovanni Santi ((I. 1494), the father of Raphael, was an artist of little originality. The most distinguished pupil of Piero degli Franceschi was Luea Signorelli (1441?-1523), who was rather Florentine than Umbrian in spirit. A master of anatomy, he relied only npon the human figure to express emo tion, foreshadowing in this regard and in his exaggerated action the genius of Michelangelo. More distinct], was Pietro Perugino (1446-1523), the master of Raphael. who clothed sentiment in a Florentine garb. 1Iis strong points were grace in composition and a richness of color, due to his successful use of oil painting. The art of Pinturicchio (1454 1513) resembled that of Perugino in type and sentiment, save that it was decorative in char acter. At Rome the popes were munificent pa trons, but there was no native school, the talent being imported from other parts of Italy. Nor was there a noteworthy native school in Naples or in Sicily, where the taste rather inclined to the art of the Netherlands.
There is no connection between Padiwit paint ing of the fourteenth century and the school established by Francesco Squarcione (1394 1474) in the latter half of the fifteenth. Its chief characteristics were the statuesque char acter of the figures, which are usually coarse and heavy, and the wealth of classic ornamenta tion employed. (See SQUARCION E. ) Andrea Mantegna (1431-1506), the chief master of the school, understood the anthme more thoroughly than any other painter of the Early Renaissance, combining with this knowledge a trenchant real ism, and achieved the greatest results of the cen tury in foreshortening. The influence of the school of Padua extended thronghout Northern Italy, where it. occupied a position analogous to that of the Florentine in Middle Italy.
At l'cuire Byzantine art dominated longer than anywhere else in Europe, and even in the early fifteenth century the painters were crafts men rather than :11'IlsIS. great influence, however, was exercised by Gentile da Fabliau°, especially upon the school of the outlying island the chief representatives of which belonged to the 1.1V:11111i fa DI ilV, whose work also shows Paduan influence. Carlo ('rivelli 1494?) in his repulsive figures and decorative motifs was essentially Paduan, only revealing his Venetian origin in a superior color. The eld
est member of the Beilini family, Jacopo (1. 1470), followed Gentile da Fabriano to Flor ence, but also worked in Padua, where \lantegna became his son-in law. Ili, son. Gentile 1507). treated Venetian subjects with open-air effects and knowledge of light and atmosphere. .A second son, Giovanni (41. 1516), was the true founder of those qualities of color which distin guished the Venetian school. At first under Paduan influence, he adopted the oil technique recently introduced into Venice, securing trans parent and harmonious effects. (If the pupils of the Bellini, Vittore Carpaccio (d. c.1522) de veloped legendary snhjects, while Clam da Cone gliano ((l. after 150s) excelled in modeling and in light and shade. Rasaiti (d. 15211, although he brought oil technique to high per fection. possessed little originality. as is also true of C'atena ((l. 1531), the por traitist. of very great importance for Venetian and Italian art was the Sicilian portrait painter Antonello da :Messina. (d. 1493) , by whom oil painting was introduced from Flanders into Italy.
Al Ferrara a school arose, chiefly under Padu an influence, but more charming in color. (See FERRARI:SE SCHOOL OF PA I STING. ) The 10111141er was COsi1110 Torn (d. 1498?), and its chief art ists were his followers. Francesco Cossa and Lorenzo Costa (1460-1535). They afterwards removed to Bologna, where Costa's rugged and manly style was softened by Umbrian sentiment. 11e was probably the master of the Bolognese Francia (1450-151S), in whom Umbrian senti ment preponderated. and who was in later life somewhat influenced by Raphael. The work of Francia's pupil Timoteo Viti (1469-1523) is pervaded by delightful sentiment and a deep poetic feeling, which he probably imparted to Raphael.
In the cities of Lonibuo/y were schools of some importance. though none of them, during the fourteenth century, achieved the eminence of the Paduan or Venetian schools. The Verona. founded by Vittore Pisano (d. 1 156), was influenced by Padua as regards the modeling of the figure. but was independent in its odor scheme, which, notwithstanding, the use of sev bright tints. tended to be gray or brown. The founder of the early :Milanese school was Vincenzo Foppa ((l. 1192), and its greatest representatiVeS were Borgognone (d. 15231 and Bartolommeo Suardi (d. 1529-36). called Bra man) inn.
11 mu lftN ISSA NCE 1500-50 ) —ITALY. The highest development of Italian painting falls, roughly speaking, in the first half of the six teenth century. though works belonging properly to the High Renaissance were produced in the last decade of the fifteenth, and the Venetian school maintained its excellence almost to the end of the century. A i_eepe• study of the an tique, though not to the neglect of nature, brought artists nearer the ideal type. Certain mighty geniuses arose, uniting in themselves, each in a different fashion, the hest elements in the rich art of the fifteenth century, and pro duced the highest development of figure painting the world has ever s(en.