DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0029
INTRODUCTION xxi
Montagna, Buonconsiglio and Mantegna, so close an
approach, to Perugino’s style, as to oblige us to presume
that for some time he studied under the auspices of the
Umbrian master, of whose art he became a solitary
apostle in Venetia.
The unequal, though sometimes quite attractive
Marcello Fogolino (born before 1500, still living in
1548), Giovanni Speranza (1480-1536) and several
others go also to make up the picture of the flourishing
school of Vicenza.
About 1550, Vicentine painting loses its interest,
both considered independently and especially in com-
parison with architecture. The history of the latter
art shows to what a position of universal importance
the quiet town by the Bacchiglione rose through the
work of Andrea Palladio.
Montagna, Buonconsiglio and Mantegna, so close an
approach, to Perugino’s style, as to oblige us to presume
that for some time he studied under the auspices of the
Umbrian master, of whose art he became a solitary
apostle in Venetia.
The unequal, though sometimes quite attractive
Marcello Fogolino (born before 1500, still living in
1548), Giovanni Speranza (1480-1536) and several
others go also to make up the picture of the flourishing
school of Vicenza.
About 1550, Vicentine painting loses its interest,
both considered independently and especially in com-
parison with architecture. The history of the latter
art shows to what a position of universal importance
the quiet town by the Bacchiglione rose through the
work of Andrea Palladio.