ANTONELLO DA See also:

• MESSINA

MESSINA (c. 1430-1479)  , See also:

• ITALIAN

Italian painter, was probably See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MESSINA

Messina about the beginning of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and laboured at his See also:

• ART

art for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in his native See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . Happening to see at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples a See also:

• PAINTING

painting in oil by See also:

• JAN

Jan See also:

• VAN

Van See also:

• EYCK, VAN

Eyck, belonging to See also:

• ALPHONSO

Alphonso of See also:

• ARAGON, or ARRAGON (in Span. Aragon)

Aragon, he was struck by the peculiarity and value of the new method, and set out for the See also:

• NETHERLANDS

Netherlands to acquire a knowledge of the See also:

• PROCESS

process from Van Eyck's disciples . He spent some time there in the See also:

• PROSECUTION

prosecution of his art; returned with his See also:

• SECRET (Lat. secretum, hidden, concealed)

secret to Messina about 1465; probably visited See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan; removed to See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice in 1472, where he painted for the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

Council of Ten; and died there in the See also:

• MIDDLE

middle of See also:

• FEBRUARY

February 1479 (see Venturi's See also:

• ARTICLE (from Lat. articulus, a joint)

article in Thieme2Becker, Kiinstlerlexikon, 1907) . His See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is remarkable for its See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union—not always successful—of Italian simplicity with Flemish love of detail . His subjects are frequently single figures, upon the See also:

• COMPLETE

complete See also:

• REPRESENTATION

representation of which he bestows his utmost skill . There are extant—besides a number more or less dubious—twenty See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic productions, consisting of renderings of Ecce Homo," Madonnas, See also:

• SAINTS, BATTLE OF THE

saints, and See also:

• HALF

half-length portraits, many of them painted on See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood . The finest of all is said to be the nameless picture of a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin museum . The See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• LONDON

London, has three See also:

• WORKS

works by him, including the " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome in . his Study." Antonello exercised an important See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on Italian painting, not only by the introduction of the Flemish invention, but also by the transmission of Flemish tendencies .