It was the birthplace of the painter Cima da Conegliano, a fine altarpiece by whom is in the cathedral (1492).
In the Communal Gallery is an altarpiece from the cathedral by the Venetian Jacobello del Fiore (1400-1439).
The Gothic church of San Niccolo (1310-1352) contains a fine tomb by Tullio Lombardo, and a large altarpiece by Fra Marco Pensabene and others; in the church and adjoining chapter-house are frescoes by Tommaso da Modena (1352), some frescoes by whom (life of S.
The town has four Evangelical churches, one of which, dedicated to the Holy Ghost, has a valuable altarpiece dating from the 14th century.
Of the churches, that of Notre-Dame (12th and 14th centuries) is remarkable for the possession of a fine altarpiece of the early 16th century, composed of wooden panels painted by Jean Bellegambe, a native of Douai.
Our Lady's church, built in the 13th century and restored in1851-1852and again in 1864, contains a carved altarpiece (r6th century) by Claus Berg of Lubeck.
One of these is the portrait of Frederick the Wise of Saxony, formerly in the Hamilton collection and now at Berlin; the second, much disfigured by restoration, is the Dresden altarpiece with a Madonna and Child in the middle and St Anthony and Sebastian in the wings.
In an altarpiece at Ober St Veit and in the scattered wings of the Jabach altarpiece severally preserved at Munich, Frankfort and Cologne, the workmanship seems to be exclusively that of journeymen working from his drawings.
The period is closed, so far as paintings are concerned, by two examples of far higher value than those above named, that is to say the Paumgartner altarpiece at Munich, with its romantically attractive composition of the Nativity with angels and donors in the central panel, and the fine armed figures of St George and St Eustace (lately freed from the over-paintings which disfigured them) on the wings; and the happily conceived and harmoniously finished "Adoration of the Magi" in the Uffizi at Florence.
In 1509 followed the "Assumption of the Virgin" with the Apostles gathered about her tomb, a rich altarpiece with figures of saints and portraits of the donor and his wife in the folding wings, executed for Jacob Heller, a merchant of Frankfort, in 1509.
This altarpiece was afterwards replaced at Frankfort (all except the protraits of the donors, which remained behind) by a copy, while the original was transported to Munich, where it perished by fire in 1674.
It has some old churches, containing pictures and frescoes; in the cathedral is a large altarpiece by Nicolo Alunno.
Marco in Florence, and in 1438 undertook to paint the altarpiece for the choir, followed by many other works; he may have studied about this time the renowned frescoes in the Brancacci chapel in the Florentine church of the Carmine and also the paintings of Orcagna.
All these works are later than the altarpiece which Angelico painted (as before mentioned) for the choir connected with this convent, and which is now in the academy of Florence; it represents the Virgin with Saints Cosmas and Damian (the patrons of the Medici family), Dominic, Peter, Francis, Mark, John Evangelist and Stephen; the pediment illustrated the lives of Cosmas and Damian, but it has long been severed from the main subject.
In the Uffizi gallery, an altarpiece, the Virgin (life-sized) enthroned, with the Infant and twelve angels.
Marco; also an altarpiece in tempera of the Virgin and Child between Saints Peter, Thomas Aquinas, Dominic and Peter Martyr, now much destroyed.
This predella was highly lauded by Vasari; still more highly another picture which used to form an altarpiece in Fiesole, and which now obtains world-wide celebrity in the Louvre - the "Coronation of the Virgin," with eight predella subjects of the miracles of St.
Jesus in the painted window of Mansfeld church, stern of face, sword in hand, sitting on a rainbow, coming to judge; an altarpiece at Magdeburg, in which a ship with its crew was sailing on to heaven, carrying no layman on board; the deeds of St Elizabeth emblazoned on the window of St George's parish church at Eisenach; the living pictures of a young nobleman who had turned monk to save his soul, of a monk, the holiest man Luther had ever known, who was aged far beyond his years by his maceration; and many others of the same kind.
Maria di Sastello has a large altarpiece by Foppa and Brea (of 1490).
A number of his best drawings of the next following years are preparatory pen-studies for an altarpiece of the "Adoration of the Magi," undertaken early in 1481 on the commission of the monks of S.
The rich background with gold decoration in relief is characteristic. There is also a late altarpiece by Perugino (1521) and a fine early Renaissance canopy by Rocco da Vicenza (1515).
Andrea contains a large altarpiece by Pinturicchio (1508), upon which a letter from G.