If, in writing the history of the minor Italian schools of the 14th century, we begin with that of Venice, it is because, as in the past, the City of the Lagunes took rather an unusual place in the development of painting. We must admit, however, that it was not a very distinguished one. Venetian painting, more than that of any other region, remained under the domination of the Byzantine tradition. The geographical situation of the city suffices to explain this persistence, and the specimens of art that we find along the Dalmatian coast are abundant proof of the route by which the Byzantine style reached Venice. Nevertheless if the city had possessed any painters of exceptional talent, it is very probable that the Oriental domination would have disappeared long before the I5th century; but the Venetian artists, although skilful in technique and very capable, had little individuality. However we cannot deny the presence of characteristics peculiar to the Italian national art in almost all the pictorial productions of Venice, and the struggle which took place between the Byzantine and the Western elements in the rest of Italy more than a hundred years before, is manifest in Venetian painting of the 14th century. The Occidental form of art, however, had acquired a different aspect. Whereas in the 13th century, we called the current manner of painting during the transition stage, the Italo-Byzantine style, in Venice during the 14th, we have to give it another name and that which I think best describes it is Gothico-Byzantine. It is however a Gothic element peculiar to Venice and very different to the Northern Gothic.