While the second half of the 14th century saw artists like Guariento, Giusto de' Menabuoi, Altichiero and Tommaso da Modena working in Padua and Treviso and bringing Gothic painting to its finest flowering in the Veneto,
in Venice itself there were very few who showed any signs of being influenced by the lively scene on the mainland.
The greatest of those who did was Lorenzo Veneziano who, like Paolo, overcame the contradictions between the western and eastern worlds by trusting to the ineffable sensuousness of colour,
the fundamental and most moving component of Venetian painting.
But Lorenzo, much more than Paolo, inclined towards Gothic culture for his means of expression. Clear evidence of this tendency is seen in the great polyptych in the collection of the Galleries of the Academy in Venice.
