acceptance of the spirit of the Florentine Renaissance. Both ancient Roman and Florentine sculpture were studied; the last, in Donatello and his school, being at once a classical revival and a naturalistic art.1
Squarcione had a greater personal influence than is accounted for by his extant works. No painting by him is certainly authenticated; but the Madonna of the Lazzaro Family ( Berlin)2 is now generally accepted as his. This work, when taken with the whole output of the school, is significant of the change introduced into North Italian painting. The ornamental accessories are motives due to the sculptors of Florence, and are repeated constantly in Paduan painting and in the dependent schools. We have here the point of departure for Mantegna, Crivelli, and Bartolommeo Vivarini. The picture has therefore great importance as linking Florentine to North Italian design. The figure drawing in details is faulty and awkward, always a characteristic of the school, except in Mantegna and Pizzolo; yet the effect of the whole is superior to any example of Squarcione's secondary followers, and places him as a master of some real talent. This style--especially as carried on by the personal genius of Mantegna --immediately had a profound influence on surrounding schools, as those of Verona and Ferrara; and the influence naturally travelled to Venice.
With Antonio da Murano the Mediaeval impulse had exhausted itself in Venice. In his brother Bartolommeo we feel the new spirit of Renaissance naturalism. Bartolommeo Vivarini still conserved the early Muranese traditions of religious painting, retaining in general to the end the separation of the panels in his altarpieces, yet he is distinctly individual and progressive. From his early traditional manner he gradually emerges into the____________________