_Giovanni Bellini_ (Venetian: 1426-1516). _See 189._
A fragment of a fresco, painted in 1481 and originally brought from the
church of Magre, near Schio, in the neighbourhood of Vicenza. The work,
if by Bellini, is somewhat earlier than the "Madonna and Child" (280)
of our Gallery.[254] "We have," says Mr. Roger Fry, "no example of
Bellini's fresco work by which to judge it. It may therefore be argued
that the weak construction of the Virgin's figure and the poor drawing
of the child are the result of Bellini's want of familiarity with the
medium, nor can it be denied that the weaknesses are exaggerations of
certain peculiarities of Bellini's own design. This is particularly
noticeable in the drawing of the child, which approaches very nearly
in type and expression the child of the 'Madonna between the Magdalen
and St. Catherine' of the Academy at Venice. But in no undoubted work
by Bellini is the drawing so clumsy as this. Much, however, may be
attributed to restoration, particularly in the Infant Christ, and it is
impossible to deny the great beauty of the colour--a peculiar golden
glow which is very unusual in fresco, and is indeed a translation
into that medium of the golden richness of Bellini's _tempera_ and
oil pieces. The Madonna's expression has a certain tenderness and
charm which is characteristic of Bellini, but it lacks the definite
realisation of a mood which he almost invariably compassed" (_The
Pilot_, Jan. 5, 1901). On the other hand, according to a well-known
critic, writing in the _Daily Telegraph_, "the wistfulness of the
Virgin is not the wistfulness of Giambellino, but rather that of
Bartolommeo Montagna or some kindred painter of the school of Vicenza.
Again, the type of the Virgin and the adjustment of her headgear recall
the severe yet passionate master of Vicenza just named, under the
influence, not so much of Giovanni Bellini as of the elder school of
Venice--that of the Vivarini."