The scenes that were to occupy the other parts of the Hall were entrusted to Giovanni, the brother of Gentile; but since the order of the stories that he painted there is connected with those executed in great part, but not finished, by Vivarino, it is necessary to say something of the latter. That part of the Hall which was not done by Gentile was given partly to Giovanni and partly to the said Vivarino, to the end that rivalry might induce each man to do his best. Vivarino, then, putting his hand to the part that belonged to him, painted, beside the last scene of Gentile, the aforesaid Otto offering to the Pope and to the Venetians to go to conclude peace between them and his father Frederick; and, having obtained this, he is dismissed on oath and goes his way. In this first part, besides other things, which are all worthy of consideration, Vivarino painted an open temple in beautiful perspective, with steps and many figures. Before the Pope, who is seated and surrounded by many Senators, is the said Otto on his knees, binding himself by an oath. Beside this scene, he painted the arrival of Otto before his father, who is receiving him gladly; with buildings wrought most beautifully in perspective, Barbarossa on his throne, and his son kneeling and taking his hand, accompanied by many Venetian noblemen, who are portrayed from the life so finely that it is clear that he imitated nature very well. Poor Vivarino would have completed the remainder of his part with great honour to himself, but, having died, as it pleased God, from exhaustion and through being of a weakly habit of body, he carried it no further--nay, even what he had done was not wholly finished, and it was necessary for Giovanni Bellini to retouch it in certain places.
[Illustration: GIOVANNI BELLINI: LA FORTUNA
[Illustration: GIOVANNI BELLINI: THE DEAD CHRIST
Meanwhile, Giovanni had also made a beginning with four scenes, which follow in due order those mentioned above. In the first he painted the said Pope in S. Marco--which church he portrayed exactly as it stood--presenting his foot to Frederick Barbarossa to kiss; but this first picture of Giovanni's, whatever may have been the reason, was rendered much more lifelike and incomparably better by the most excellent Tiziano. However, continuing his scenes, Giovanni made in the next the Pope saying Mass in S. Marco, and afterwards, between the said Emperor and the Doge, granting plenary and perpetual indulgence to all who should visit the said Church of S. Marco at certain times, particularly at that of the Ascension of Our Lord. There he depicted the interior of that church, with the said Pope in his pontifical robes at the head of the steps that issue from the choir, surrounded by many Cardinals and noblemen--a vast group, which makes this a crowded, rich, and beautiful scene. In the one below this the Pope is seen in his rochet, presenting a canopy to the Doge, after having given another to the Emperor and keeping two for himself. In the last that Giovanni painted are seen Pope Alexander, the Emperor, and the Doge arriving in Rome, without the gates of which the Pope is presented by the clergy and by the people of Rome with eight standards of various colours and eight silver trumpets, which he gives to the Doge, that he and his successors may have them for insignia. Here Giovanni painted Rome in somewhat distant perspective, a great number of horses, and an infinity of foot-soldiers, with many banners and other signs of rejoicing on the Castle of S. Angelo. And since these works of Giovanni, which are truly very beautiful, gave infinite satisfaction, arrangements were just being made to give him the commission to paint all the rest of that Hall, when, being now old, he died.
