file which includes the original illustrations4 ,see #cjjih-;h4htm or #cjjih-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cjjih_/pg#cjjih-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#cj jih_/cjjih-;h4zip7 ,transcriber's note3 #a7 ,variations in the spelling of names and recording of some questionable dates have been left as printed in the original text4 #b7 ,chapter ,,ix--,sala del ,gran ,consiio possibly should be ,sala del ,gran ,consiglio4 #c7 ,likely corrections are noted in brackets within the text in the format ,,tn3 4 4 44 ,,the ,,venetian ,,school ,,of ,,painting ,illustration3 ,giorgione4 ,,madonna ,,with ,s4 ,,liberale ,,and ,s4 ,,francis4 ,castelfranco4 7,photo1 ,anderson47 ,,the ,,venetian ,,school ,,of ,,painting by ,,evelyn ,,march ,,phillipps ,with ,illustrations ,books for ,libraries ,press ,freeport1 ,new ,york ,first ,published #aiab ,reprinted #aigb ,international ,standard ,book ,number3 #j-hcfi-fgde-c ,library of ,congress ,catalog ,card ,number3 #gj-cgijg ,printed in the ,united ,states of ,america ,by ,new ,world ,book ,manufacturing ,co41 ,inc4 ,hallandale1 ,florida #ccjji ,,preface ,many visits to ,venice have brought home the fact that there exists1 in ,english at least1 no work which deals as a whole with the ,venetian ,school and its masters4 ,biographical catalogues there are in plenty1 but these1 though useful for reference1 say little to readers who are not already acquainted with the painters whose career and works are briefly recorded4 ,lives of individual masters abound1 but however excellent and essential these may be to an advanced study of the school1 the volumes containing them make too large a library to be easily carried about1 and a great deal of reading and assimilation is required to set each painter in his place in the long story4 ,crowe and ,cavalcaselle's ,history of ,painting in ,north ,italy still remains our sheet anchor2 but it is lengthy1 over full of detail of minor painters1 and lacks the interesting criticism which of late years has collected round each master4 ,there seems room for a portable volume1 making an attempt to consider the ,venetian painters1 in relation to one another1 and to help the visitor not only to trace the evolution of the school from its dawn1 through its full splendour and to its declining rays1 but to realise what the ,venetian ,school was1 and what was the philosophy of life which it represented4 ,such a book does not pretend to vie with1 much less to supersede1 the masterly treatises on the subject which have from time to time appeared1 or to take the place of exhaustive histories1 such as that of ,professor ,leonello ,venturi on the ,italian primitives4 ,it should but serve to pave the way to deeper and more detailed reading4 ,it does not aspire to give a complete and comprehensive list of the painters2 some of the minor ones may not even be mentioned4 ,the mere inclusion of names1 dates1 and facts would add unduly to the size of the book1 and1 when without real bearing on the course of ,venetian art1 would have little significance4 ,what the book does aim at is to enable those who care for art1 but may not have mastered its history1 to rear a framework on which to found their own observations and appreciations2 to supply that coherent knowledge which is beneficial even to a passing acquaintance with beautiful things1 and to place the unscientific observer in a position to take greater advantage of opportunities1 and to achieve a wide and interesting outlook on that cycle of artistic apprehension which the ,venetian ,school comprises1 and which marks it as the outcome and the symbol of a great historic age4 ,the works cited have been principally those with which the ordinary traveller is likely to come into contact in the chief ,european galleries1 and1 above all1 in ,venice itself4 ,the lists do not propose to be exhaustive1 but merely indicate the principal works of the artists4 ,those in private galleries1 unless easy of access or of first-rate importance1 are usually eliminated4 ,it has not been thought necessary to use profuse illustrations1 as the book is intended primarily for use when visiting the original works4 ,,contents ,,part ,i ,,chapter ,i ,,page ,,venice ,,and ,,her ,,art #c ,,chapter ,,ii ,,primitive ,,art ,,in ,,venice #aa ,,chapter ,,iii ,,influences ,,of ,,umbria ,,and ,,verona #ba ,,chapter ,,iv ,,the ,,school ,,of ,,murano #bi ,,chapter ,v ,,the ,,paduan ,,influence #cc ,,chapter ,,vi ,,jacopo ,,bellini #ci ,,chapter ,,vii ,,carlo ,,crivelli #dd ,,chapter ,,viii ,,gentile ,,bellini ,,and ,,antonello ,,da ,,messina #dh ,,chapter ,,ix ,,alvise ,,vivarini #eh ,,chapter ,x ,,carpaccio #fh ,,chapter ,,xi ,,giovanni ,,bellini #ha ,,chapter ,,xii ,,giovanni ,,bellini 7continued7 #ib ,,chapter ,,xiii ,,cima ,,da ,,conegliano ,,and ,,other ,,followers ,,of ,,bellini #ajc ,,part ,,ii ,,chapter ,,xiv ,,giorgione #aba ,,chapter ,,xv ,,giorgione 7continued7 #acb ,,chapter ,,xvi ,,the ,,giorgionesque #adj ,,chapter ,,xvii ,,titian #add ,,chapter ,,xviii ,,titian 7continued7 #aeg ,,chapter ,,xix ,,titian 7continued7 #agc ,,chapter ,,xx ,,palma ,,vecchio ,,and ,,lorenzo ,,lotto #ahd ,,chapter ,,xxi ,,sebastian ,,del ,,piombo #aih ,,chapter ,,xxii ,,bonifazio ,,and ,,paris ,,bordone #bjc ,,chapter ,,xxiii ,,painters ,,of ,,the ,,venetian ,,provinces #bab ,,chapter ,,xxiv ,,paolo ,,veronese #bbh ,,chapter ,,xxv ,,tintoretto #bdc ,,chapter ,,xxvi ,,tintoretto 7continued7 #bed ,,chapter ,,xxvii ,,bassano #bfi ,,part ,,iii ,,chapter ,,xxviii ,,the ,,interim #bha ,,chapter ,,xxix ,,tiepolo #big ,,chapter ,,xxx ,,pietro ,,longhi #cji ,,chapter ,,xxxi ,,canale #cad ,,chapter ,,xxxii ,,francesco ,,guardi #cba ,,bibliography #cbi ,,index #ccc ,,illustrations ,,by ,,at #a4 ,madonna with ,s4 ,liberale ,giorgione ,castelfranco and ,s4 ,francis ,frontispiece #b4 ,adoration of the ,antonio da ,murano ,berlin ,magi #ca #c4 ,agony in ,garden ,jacopo ,bellini ,british ,museum #da #d4 ,procession of the ,gentile ,bellini ,venice ,holy ,cross #eb #e4 ,altarpiece of #adhj ,alvise ,vivarini ,venice #fj #f4 ,arrival of the ,carpaccio ,venice ,ambassadors #ge #g4 ,piet ,giovanni ,bellini ,brera #hg #h4 ,an ,allegory ,giovanni ,bellini ,uffizi #id #i4 ,fte ,champtre ,giorgione ,louvre #acf #aj4 ,portrait of ,ariosto ,titian ,national ,gallery #aef #aa4 ,diana and ,actaeon ,titian ,earl ,brownlow #afa #ab4 ,holy ,family ,palma ,vecchio ,colonna ,gallery1 ,rome #ahe #ac4 ,portrait of ,laura di ,lorenzo ,lotto ,brera ,pola #aid #ad4 ,marriage in ,cana ,paolo ,veronese ,louvre #bcd #ae4 ,s4 ,mary of ,egypt ,tintoretto ,scuola di ,san ,rocco #beh #af4 ,bacchus and ,ariadne ,tintoretto ,ducal ,palace #bfa #ag4 ,baptism of ,s4 ,lucilla ,jacopo da ,ponte ,bassano #bgd #ah4 ,antony and ,cleopatra ,tiepolo ,palazzo ,labia1 ,venice #cjd #ai4 ,visit to the ,pietro ,longhi ,national ,gallery ,fortune-,teller #caj #bj4 ,s4 ,maria della ,salute ,francesco ,guardi ,national ,gallery #cbd ,,list ,,of ,,painters ,paolo da ,venezia1 fl4 #accc-aceh4 ,niccolo di ,pietro1 fl4 #acid-adjd4 ,niccolo ,semitocolo1 fl4 #acfd4 ,stefano di ,venezia1 fl4 #acec4 ,lorenzo ,veneziano1 fl4 #aceg-acgi4 ,chatarinus1 fl4 #acgb4 ,jacobello del ,fiore1 fl4 #adae-adci4 ,gentile da ,fabriano1 #acfj-adbh4 ,vittore ,pisano 7,pisanello71 circa #ache-adee4 ,michele ,giambono1 fl4 #adgj4 ,giovanni ,alemanus1 fl4 #addj-addg4 ,antonio da ,murano1 circa #adcj-adgj4 ,bartolommeo ,vivarini1 fl4 #adbj-adii4 ,alvise ,vivarini1 fl4 #adfa-aejc4 ,antonello da ,messina1 circa #addd-adic4 ,jacopo ,bellini1 fl4 #adcj-adff4 ,jacopo dei ,barbari1 circa #adej-aeaf4 ,andrea ,mantegna1 #adca-aejf4 ,carlo ,crivelli1 #adcj-adic4 ,bartolommeo ,montagna1 #adej-aebc4 ,francesco ,buonsignori1 #adec-aeai4 ,gentile ,bellini1 circa #adbg-aejg4 ,giovanni ,bellini1 #adbf-aeaf4 ,lazzaro ,bastiani1 fl4 #adgj-aejh4 ,vittore ,carpaccio1 fl4 #adgh-aebb4 ,girolamo da ,santa ,croce4 ,mansueti1 fl4 #adgd-aeaj4 ,giovanni ,battista da ,conegliano 7,cima71 #adfj-aeag4 ,vincenzo ,catena1 fl4 #adie-aeca4 ,bissolo1 #adfd-aebh4 ,marco ,basaiti1 circa #adgj-aebg4 ,andrea ,previtali1 fl4 #aejb-aebe4 ,bartolommeo ,veneto1 fl4 #aeje-aeee4 ,n4 ,rondinelli1 fl4 #adhj-aejj4 ,girolamo ,savoldo1 #adhj-aedh4 ,giorgio ,barbarelli 7,giorgione71 #adgh-aeaa4 ,giovanni ,busi 7,cariani71 circa #adhj-aedd4 ,tiziano ,vecellio 7,titian71 #adgg-aegf4 ,palma ,vecchio1 #adhj-aebh4 ,lorenzo ,lotto1 #adhj-aeef4 ,martino da ,udine 7,pellegrino di ,san ,daniele74 ,morto da ,feltre1 circa #adgd-aebb4 ,romanino1 #adhe-aeff4 ,sebastian ,luciani 7del ,piombo71 #adhe-aedg4 ,giovanni ,antonino ,licinio 7,pordenone71 #adhc-aedj4 ,bernardino ,licinio1 fl4 #aebj-aedd4 ,alessandro ,bonvicino 7,moretto71 circa #adih-aeed4 ,bonifazio de ,pitatis 7,veronese71 fl4 #aeaj-aedj4 ,paris ,bordone1 #aeaj-aegj4 ,jacopo da ,ponte 7,bassano71 #aeaj-aeib4 ,jacopo ,robusti 7,tintoretto71 #aeah-aeib4 ,paolo ,caliari 7,veronese71 #aebh-aehh4 ,domenico ,robusti1 #aefb-afcg4 ,palma ,giovine1 #aedd-afbh4 ,alessandro ,varotari 7,il ,padovanino71 #aeij-afej4 ,gianbattista ,fumiani1 #afdc-agaj4 ,sebastiano ,ricci1 #affb-agcd4 ,gregorio ,lazzarini1 #afeg-agce4 ,rosalba ,carriera1 #afge-ageg4 ,g4 ,b4 ,piazetta1 #afhb-aged4 ,gianbattista ,tiepolo1 #afif-aggj4 ,antonio ,canale 7,canaletto71 #afig-agfh4 ,belotto1 #agbj-aghj4 ,francesco ,guardi1 #agab-agic4 ,,part ,i ,,chapter ,i ,,venice ,,and ,,her ,,art ,venetian painting in its prime differs altogether in character from that of every other part of ,italy4 ,the ,venetian is the most marked and recognisable of all the schools2 its singularity is such that a novice in art can easily1 in a miscellaneous collection1 sort out the works belonging to it1 and added to this unique character is the position it occupies in the domain of art4 ,venice alone of ,italian ,states can boast an epoch of art comparable in originality and splendour to that of her great ,florentine rival2 an epoch which is to be classed among the great art manifestations of the world1 which has exerted1 and continues to exert1 incalculable power over painting1 and which is the inspiration as well as the despair of those who try to master its secret4 ,the other schools of ,italy1 with all their superficial varieties of treatment and feeling1 depended for their very life upon the extent to which they were able to imbibe the ,florentine influence4 ,siena rejected that strength and perished2 ,venice bided her time and suddenly struck out on independent lines1 achieving a magnificent victory4 ,art in ,florence made a strictly logical progress4 ,as civilisation awoke in the old ,latin race1 it went back in every domain of learning to the rich subsoil which still underlay the ruin and the alien structures left by the long barbaric dominion1 for the ,italian in his darkest hour had never been a barbarian2 and as the mind was once more roused to conscious life1 ,florence entered readily upon that great intellectual movement which she was destined to lead4 ,her cast of thought was1 from the first1 realistic and scientific4 ,its whole endeavour was to know the truth1 to weigh evidences1 to elaborate experiments1 to see things as they really were2 and when she reached the point at which art was ready to speak1 we find that the governing motive of her language was this same predilection for reality1 and it was with this meaning that her typical artists found a voice4 ,no artist ever sought for truth1 both physical and spiritual1 more resolutely than ,giotto1 and none ever spoke more distinctly the mind of his age and country2 and as one generation follows another1 art in ,tuscany becomes more and more closely allied to the intellectual movement4 ,the scientific predilection for form1 for the representation of things as they really are1 characterises not ,florentine painting alone1 but the whole of ,florentine art4 ,it is an art of contributions and discoveries1 marked1 it is needless to say1 at every step by dominating personalities1 positively as well as relatively great1 but with each member consciously absorbed in going one better than his predecessors1 in solving problems and in mastering methods4 ,florentine art is the outcome of ,florentine life and thought4 ,it is part of the definite clear-cut view of thought and reason1 of that exactitude of apprehension towards which the whole ,florentine mind was bent1 and the lesser tributaries1 as they flowed towards her1 formed themselves on her pattern and worked upon the same lines1 so that they have a certain general resemblance1 and their excellence is in proportion to the thoroughness with which they have learned their lesson4 ,the difference which separates ,venetian from the rest of ,italian painting is a fundamental one4 ,venice attains to an equally distinguished place1 but the way in which she does it and the character of her contribution are both so absolutely distinct that her art seems to be the outcome of another race1 with alien temperament and standards4 ,venice had1 indeed1 a history and a life of her own4 ,her entire isolation1 from her foundation1 gave her an independent government and customs peculiar to herself1 but at the same time her people1 even in their earliest and most precarious struggles1 were no barbarians who had slowly to acquire the arts of civilised life4 ,among the refugees were persons of high birth and great traditions1 and they brought with them to the first crazy settlement on the lagoons some political training and some idea of how to reconstruct their shattered social fabric4 ,the ,venetian ,republic rose rapidly to a position of influence in ,europe4 ,small and circumscribed as its area was1 every feature and sentiment was concentrated and intensified4 ,but one element above all permeates it and sets it apart from other ,european ,states4 ,the ,oriental element in ,venice must never be lost sight of if we wish to understand her philosophy of art4 ,there are some grounds1 seriously accepted by the most recent historians1 for believing that the first ,venetian colonists were the descendants of emigrants who in prehistoric times had established themselves in ,asia and who had returned from thence to ,northern ,italy4 ,these colonists1 says ,hazlitt1 were called ,tyrrhenians1 and from their settlements round the mouth of the ,po the ,venetian stock was ultimately derived4 ,if the tradition has any truth1 we think with a deeper interest of that instinct for commerce which seems to have been in the very blood of the early ,venetians4 ,did it1 indeed1 come down to them from the merchants of ,tyre and ,carthage8 ,from that wonderful trading race which stretched out its arms all over ,europe and penetrated even to our own island8 ,from the first1 ,venice cut herself adrift1 as far as possible1 from ,western ties1 but she turned to ,eastern people and to intercourse with the ,east with a natural affinity which savours of racial instinct4 ,all her greatness was derived from her ,asiatic trade1 and her bazaars1 heaped with ,eastern riches1 must have assumed a deeply ,oriental aspect4 ,her customs long retained many details peculiar to the ,east4 ,the people observed a custom for choosing and dowering brides1 which was of ,asia4 ,the national treatment of women was akin to that of an ,oriental ,state2 ,venetian women lived in a retirement which recalled the life of the harem1 only appearing on great occasions to display their brocades and jewels4 ,girls were closely veiled when they passed through the streets4 ,the attachment of men to women had no intellectual bias1 scarcely any sentiment1 but went straight to the mark3 the enjoyment of physical beauty4 ,the position of women in ,venice was a great contrast to that attained by the ,florentine lady of the ,renaissance1 who was highly educated1 deeply versed in men and in affairs1 the fine flower of culture1 and the queen of a brilliant society4 ,the love for colour and gorgeous pageantry was of ,semitic intensity and seemed insatiable1 and the gratification of the senses was a deliberate ,state policy4 ,but passionate as was the spirit of patriotism1 enthusiastic the love and loyalty of the people1 the civic spirit was absent4 ,the masses were contented to live under a despotic rule and to be little despots in their own houses4 ,in the twelfth century the people saw power pass into the hands of the aristocracy1 and as long as the despotism was a benevolent one1 the event aroused no opposition4 ,like ,orientals1 the ,venetians had wild outbursts1 and like them they quieted down and nothing came of them4 ,as ,mr4 ,hazlitt remarks1 their occasional resistance to tyranny1 though marked by deeds of horrid and dark cruelty1 left no deep or enduring traces behind it4 ,it established no principle4 ,it taught no lesson4 ,venice was a ,republic only in name4 ,the whole aspect of her government is ,eastern4 ,its system of espionage1 its secret tribunals1 its swift and silent blows1--these are all ,oriental traits1 and the ,east entering into her whole life from without found a natural home awaiting it4 ,we should be mistaken1 however1 in thinking that the ,venetians in their great days were enervated and lapped in the sensuality which we are apt to associate with ,eastern ideals4 ,sensuality did in the end drain the life out of her4 ,it is the disease which attacks sensuousness1 but it is not the same thing4 ,the ,venetians were by nature men with a deep capacity for feeling1 and it is this deep feeling which has so large a share in ,venetian art4 ,the painters of ,venice were of the people and had no wide intellectual outlook at its most splendid moment1 such as was possessed by those men who in ,florence were drawn into the company of the ,medici and their court of scholars1 and who all their lives were in the midst of a society of large aims and a free public spirit1 in which men took their share of the responsibilities and honours of a citizen's life4 ,the merchant-patrons of ,venice are quite uninterested in the solving of problems4 ,they pay a price1 and they want a good show of colour and gilding for their money4 ,presently they buy from outside1 and a half-hearted imitation of foreigners is the best ambition of ,venetian artists4 ,art1 it has been said1 does not declare itself with true spontaneity till it feels behind it the weight and unanimity of the whole body of the people4 ,that true outburst was long in coming1 but its seeds were fructifying deep in a congenial soil4 ,they were fostered by the warmth and colour of ,oriental intercourse1 and at last the racial instinct speaks with no uncertain accent in the great domain of art1 and speaks in a new and unexpected way2 as splendid as1 yet utterly unlike1 the grand intellectual declaration of ,florence4 ,let us bear in mind1 then1 that ,venice in all her history1 in all her character1 is ,eastern rather than ,western4 ,hers is the kingdom of feeling rather than that of thought1 of emotion as opposed to intellect4 ,her whole story tells of a profoundly emotional and sensuous apprehension of the nature of things2 and till the time comes when her artists are inspired to express that1 their creations may be interesting enough1 but they fail to reveal the true workings of her mind4 ,when they do1 they find a new medium and use it in a new way4 ,venetian colour1 when it comes into its kingdom1 speaks for a whole people1 sensuous and of deep feeling1 able for the first time to utter itself in art4 ,we have to divide the history of the ,venetian ,school into three parts4 ,the first extends from the primitives to the end of ,giovanni ,bellini's life4 ,he forms a link between the first and second periods4 ,the second begins with ,giorgione and ends with ,tintoretto and ,bassano1 and is the ,venetian ,school proper4 ,thirdly1 we have the eighteenth-century revival1 in which ,tiepolo is the most conspicuous figure1 and which is in an equal degree the expression of the life of its time4 ,,chapter ,,ii ,,primitive ,,art ,,in ,,venice ,the school of ,byzantium1 so widespread in its influence1 was particularly strong in ,venice1 where mosaics adorned the cathedral of ,torcello from the ninth century and ,st4 ,mark's became a splendid storehouse of ,byzantine art4 ,the earliest mosaic on the faade of ,st4 ,mark's was executed about the year #abej1 those in the ,baptistery date during the reign of ,andrea ,dandolo1 who was ,doge from #acdb to #aced4 ,yet though the life of ,giotto lies between these two dates1 and his frescoes at ,padua were within a few hours' journey1 there is no sign that the great revolution in painting1 which was making itself felt in every principal centre of ,italy1 had touched the richest and most peaceful of all her ,states4 ,yet local art in ,venice was no outcome of ,byzantinism4 ,it rose as that of the mosaicists fell1 but its rise differs from that of ,florence and ,siena in being for long almost imperceptible4 ,artists were looked upon merely as artisans in all the cities of ,italy1 but in ,venice before any other city they had been placed among the craftsmen4 ,the statute of the ,guild of ,siena was not formulated till #acee2 that of ,venice is the earliest of which we have any record1 and bears the date of #abgb4 ,there is scarcely a word to indicate that pictures in the modern sense of the term existed4 ,painters were employed on the adornment of arms and of household furniture4 ,leather helmets and shields were painted1 and such banners as we see in ,paolo ,uccello's battlepieces4 ,painted chests and cassoni were already in demand1 dishes and plates for the table and the surface of the table itself were treated in a similar way4 ,special regulations dealt with all these1 and it is only at the end of the list that ancon are mentioned4 ,the ancona was a gilded framework1 having a compartment containing a picture of the ,madonna and ,child1 and others with single figures of the saints1 and these were the only pictures proper produced at this date4 ,the demand for ancon was1 however1 large1 and they were very early placed1 not only in the churches1 but in the houses of patricians and burghers4 ,constant disputes arose between the painters and the gilders4 ,pictures were habitually painted upon a gold ground1 but the painters were forbidden to gild the backgrounds themselves4 ,gilding is the business of the gilder1 painting that of the painter1 says a contemporary record4 ,now the gilder contends that if a frame has to be gilt and then touched with colour1 he is entitled to perform both operations1 but the painter disputes this right1 and maintains that the gilder should return it to him when the addition of painting is desired4 ,it was1 however1 finally decided by law that each should exercise both professions1 when one or the other played a subordinate part in the finished work4 ,though the art of mosaic was falling into decay as painting began to emerge1 yet the commercial manufactory of ,byzantine ,madonnas1 which had been established as early as #fjj1 went on1 on the ,rialto1 without any variation of the traditional forms4 ,florence very early discarded the temptation to cling to material splendour1 but as we pass into the ,hall of the ,primitives in the ,venetian ,academy1 we see at once that ,venetian art1 in its earlier stages1 has more to do with the gilder than the painter4 ,the ,holy ,personages are merely accessories to the gorgeous framework1 the embossed ornaments1 the real jewels1 which were in favour with the rich and magnificent patrons4 ,there is no sign of any feeling for painting as painting1 no craving after the study of form as the outcome of intellectual activity1 no zest of discovery1 such as made the painter's life in ,florence an excitement in which the public shared4 ,what little ,venice imbibes of these things is from outside influence1 after due lapse of time4 ,a prosperous1 luxurious city of merchants and statesmen1 she was too much bound up in the transactions and sensations of actual life to develop any abstract and thoughtful ideals4 ,perhaps the first painting we can discover which shows any sign of independent effort is the series which ,paolo da ,venezia painted on the back of the ,pala d' ,oro1 over the high altar of ,st4 ,mark1 when it was restored in the fourteenth century4 ,this reveals an artist with some pictorial aptitude and one alive to the subjects that surround him4 ,it tells the story of ,st4 ,mark's corpse transported to ,venice4 ,the first panel contains a group of cardinals of varying types and expressions2 in another the disciple listening to ,st4 ,mark's teaching1 and crouching with his elbows on his knees1 has a true1 natural touch4 ,the dramatic feeling here and there is considerable4 ,the scene of the guards watching the imprisoned ,saint through the window and seeing the shadow of two heads1 as the ,saviour visits him1 imparts a distinct emotion2 and there is force as well as feeling for decorative composition in the panel in which the ,saint's body lies at the feet of the sailors1 while his vision appears shining upon the sails4 ,except for the exaggerated insistence on the gilded elaborations of the early ancona1 there is not much to differentiate the early art of ,venice from that of other centres2 but we notice that it persevered longer in the material and mechanical art of the craftsman4 ,tuscan taste made little impression1 and many years elapsed before work akin to that of ,giotto attracted attention and was admired and imitated4 ,a man like ,antonio ,veneziano met with the fate of the innovator in ,venice4 ,he had too much of the simplicity of the ,tuscan and was compelled to carry his work to ,pisa1 where his naf and humorous narratives still delight us in the ,campo ,santo4 ,it was in #achd that he was employed to finish the frescoes of the life of ,s4 ,ranieri1 which had been left uncompleted at ,andrea da ,firenze's death1 and the fondness for architecture and surroundings in the ,florentine taste1 which secured him a welcome1 may1 as ,vasari says1 be derived from ,agnolo ,gaddi1 who had already visited ,padua and ,venice4 ,in the last years of the fourteenth century tributary streams begin to feed the feeble main current4 ,in #acfe ,guariento1 a ,paduan1 was employed by the ,state to paint a huge fresco of ,paradise in the ,hall of the ,gran ,consiglio of the ,ducal ,palace4 ,this1 which lay hid for centuries under the painting by ,tintoretto1 was uncovered in #aiji and found to be in fairly good preservation4 ,it can now be seen in a side room4 ,it tells us that ,guariento had to some extent been influenced by ,giotto4 ,the thrones have long ,gothic pendatives1 the faces have more the ,giottesque than the ,byzantine cast and show that the old traditions were crumbling4 ,when painting in ,venice first begins to live a life of its own1 ,jacobello del ,fiore stands out as the most conspicuous of the indigenous ,venetians4 ,his father had been president of the ,painters' ,guild4 ,jacopo himself was president from #adae to #adcf4 ,he was a rich and popular member of the ,state and a man of high character4 ,his works1 to judge by the specimens left1 hardly attained the dignity of art1 though in the banner of ,justice1 in the ,academy1 the space is filled in a monumental fashion and the figure of ,st4 ,gabriel with the lily has something grand and graceful4 ,we trace the same treatment of flying banners and draperies and rippling hair in the fantastic but picturesque ,s4 ,grisogono in the left transept of ,san ,trovaso4 ,jacobello's will1 executed in #adci in favour of his wife ,lucia and his son1 ,ercole1 with provision for a possible posthumous son1 shows him to have been a man of considerable possessions4 ,he owned a slave and had other servants1 a house1 money1 and books4 ,among his fellow-workers who are represented in ,venice are ,niccolo ,semitocolo1 ,niccolo di ,pietro1 and ,lorenzo ,veneziano4 ,the important altarpiece by the last1 in the ,academy1 has evidently been reconstructed2 two ,eternal ,fathers hover over the ,annunciation1 and the ,saints have been restored to the framework in such wise that the backs of many of them are turned on the momentous central event4 ,in the ,marriage of ,st4 ,catherine1 in the same gallery1 ,lorenzo gets more natural4 ,the ,child1 in a light green dress with gold buttons1 has a lively expression1 and looks round at ,his ,mother as if playing a game4 ,the chapel of ,san ,tarasio in ,san ,zaccaria contains an ancona of which the central panel was only inserted in #ahci1 and is identical with ,lorenzo's other work4 ,one of the finest and most elaborate of all the ancon is in ,san ,giovanni in ,bragora1 and is also the work of ,lorenzo4 ,in this1 as well as in that of ,san ,tarasio1 the ,mother offers the ,child the apple1 signifying the fruit of the ,tree of ,jesse and symbolical of the ,incarnation4 ,this incident1 which is found thus early in art1 was evidently felt to raise the group of the ,mother and ,child from a representation of a merely earthly relationship to a spiritual scene of the deepest meaning and the highest dignity4 ,niccolo di ,pietro has several early works of the last decade of the fourteenth century1 from which we gather that he began as a ,byzantine1 but that he imitated ,guariento and was tentatively drawn to the ,giottesque movement1 but not1 we may remember1 before ,giotto had been dead for some sixty years4 ,niccolo di ,pietro has been confounded with ,niccolo ,semitocolo1 but it is now realised that they were two distinct masters4 ,the most important work of ,michele ,giambono which has come down to us is the signed ancona with five saints1 now in the ,venetian ,academy4 ,it is unusual to find a saint in the central panel instead of the ,madonna4 ,the saint is on a larger scale than his companions1 and has hitherto passed as the ,redeemer1 but ,professor ,venturi has identified him as ,st4 ,james the ,great4 ,he has the gold scallop-shell and pilgrim's staff4 ,it is clear from his size and position that the ancona has been painted for an altar specially dedicated to this ,apostle4 ,the saints on the right are ,s4 ,michael and ,s4 ,louis of ,toulouse4 ,between ,s4 ,john the ,evangelist and ,s4 ,james is a monastic figure which has evidently changed places with ,s4 ,john at some moment of restoration4 ,if the two figures are transposed1 their attitudes become intelligible4 ,s4 ,john is inculcating a message inscribed in his open book1 while the monk is displaying his humble answer on his own page4 ,the use in it of the term servus suggests that he is a ,servite1 though the want of the nimbus precludes the idea that he is one of the founders4 ,it is probable that he is ,s4 ,filipo ,benizzi1 who1 though considered as a saint from the time of his death1 was not canonised for several centuries4 ,the ,mond ,collection includes a glowing picture by ,giambono2 a seated figure clad in rich vestments and holding an orb1 probably representing a ,throne1 one of the angelic orders of the celestial ,hierarchy4#a #a ,these interesting particulars are given by ,mr4 ,g4 ,m',n4 ,rushforth in the ,burlington ,magazine for ,october #aiaa4 ,works are still in existence which may be ascribed to one or other of these masters1 or of which no attribution can be made1 but we know nothing positive of any other artists of the time which preceded the influence of ,gentile da ,fabriano4 ,nothing leads us to suppose that the ,venetian ,school in its origin had any pretension to be a school of colour1 or that it could claim anything like real excellence at a time when the ,republic first became alive to the movement which was going on in other parts of ,italy1 and decided to call in foreign talent4 ,,principal ,,works ,paolo da ,venezia4 ,venice4 ,st4 ,mark's3 ,the ,pala d' ,oro4 ,vicenza4 ,death of the ,virgin4 ,lorenzo da ,venezia4 ,venice4 ,academy3 ,altarpiece4 ,correr ,museum3 ,saviour giving ,keys to ,st4 ,peter4 ,s4 ,giovanni in ,bragora3 ,ancona4 ,berlin4 ,two ,saints4 ,nicoletto ,semitocolo4 ,venice4 ,academy3 ,altarpiece4 ,padua4 ,biblioteca ,archivescovo3 ,altarpiece4 ,stefano da ,venezia4 ,venice4 ,academy3 ,coronation of ,virgin1 with false signature of ,semitocolo4 ,jacobello del ,fiore4 ,venice4 ,academy3 ,justice4 ,s4 ,trovaso3 ,s4 ,grisogono4 ,niccolo di ,pietro4 ,venice4 ,s4 ,maria dei ,miracoli3 ,altarpiece4 ,michele ,giambono4 ,venice4 ,academy3 ,st4 ,james the ,great and other ,saints4 ,london4 ,mond ,collection3 ,a ,throne4 ,,chapter ,,iii ,,influences ,,of ,,umbria ,,and ,,verona ,gentile da ,fabriano1 the ,umbrian master1 when he reached ,venice in the early years of the fifteenth century1 was already a man of note4 ,he had received his art education in ,florence1 and he brought with him fresh and delicate devices for the enrichment of painting with gold1 which1 derived as it was from the ,sienese assimilation of ,byzantine methods1 was very superior in fancy and refinement to anything that ,venice had to show4 ,he was a man of a gentle1 mystic temperament1 but he was accustomed to courts1 and a finished master whose technique and artistic value was far beyond anything that the local painters were capable of4 ,he spent some years in ,venice1 adorning the great hall with episodes from the legend of ,barbarossa2 one of these1 which is specially cited1 was of the battle between the ,emperor and the ,venetians4 ,gentile was working till about #adad1 and the walls1 finished by ,pisanello1 were covered by #adaf4 ,after this ,gentile remained some time in ,bergamo and ,brescia1 and settled in ,florence about #adbb4 ,the year after reaching ,florence1 he painted the famous ,adoration of the ,magi1 now in the ,florentine ,academy4 ,even after leaving ,venice his fame survived2 pictures went from his workshop in the ,popolo ,s4 ,trinit1 and he sent back two portraits after he had returned to his native ,fabriano4 ,we have no positive record of ,gentile and ,vittore ,pisano1 commonly called ,pisanello1 having met in ,venice1 but there is every evidence in their work that they did so1 and that one overlapped the other in the paintings for the ,ducal ,palace4 ,the ,school of ,verona already had an honourable record1 and its ,guild dates from #acjc4 ,the following are its rules1 the document of which is still preserved1 while that of ,venice has been lost3 ,,rules ,,of ,,the ,,veronese ,,guild 7abridged7 #a4 ,no one to become a member who had not practised art for twelve years4 #b4 ,twelve artists to be elected members4 #c4 ,the reception of a new member depends on his being a senior4 #d4 ,the members are obliged in the winter season to take upon themselves the instruction of all the pupils in turn4 #e4 ,a member is liable to be expelled for theft4 #f4 ,each member is bound to extend to another fraternal assistance in necessity4 #g4 ,to maintain general agreement in any controversies4 #h4 ,to extend hospitality to strange artists4 #i4 ,to offer to one another reciprocal comfort4 #aj4 ,to follow the funerals of members with torches4 #aa4 ,the ,president is to exercise reference authority4 #ab4 ,the member who has the longest membership to be ,president4 ,there were also by-laws1 which provided that no master should accept a pupil for less than three years1 and this acceptance had to be definitely registered by the public notary1 a son1 brother1 grandson1 or nephew being the only exceptions4 ,no master might receive an apprentice who should have left another master before his time was out1 unless with that master's free consent4 ,there were penalties for enticing away a pupil1 and others to be enforced against pupils who broke the agreement4 ,severe restrictions existed with regard to the sale of pictures1 no one but a member of the ,guild being allowed to sell them4 ,no one might bring a work from any foreign place for purposes of sale4 ,it might not even be brought to the town without the special permission of the ,gastaldiones1 or trustees of the ,guild1 and those trustees were permitted to search for and destroy forged pictures4 ,every painter1 therefore1 had to subordinate his interests and inclinations to the local school4 ,it helps us to understand why the individual character of the different masters is so perceptible1 and one of the primary causes of this must have been the careful training of the pupils in the master's workshop4 ,the fresco left by ,altichiero1 ,pisanello's first master1 in the ,church of ,s4 ,anastasia in ,verona1 shows how worthily a ,veronese painter was at this early time following in the footsteps of ,giotto4 ,three knights of the ,cavalli family are presented by their patron saints to the ,madonna4 ,the composition has a large simplicity1 a breadth of feeling which is carried into each gesture4 ,the knights with their raised helmets1 in the pattern of horses' heads1 are full of reality1 the ,madonna is sweet and dignified1 and the saints are grand and stately4 ,the picture has a delightful suavity and ease1 and the colouring has evidently been lovely4 ,the setting is in good proportion and more satisfactory than that of the ,giottesques4 ,from the series of frescoes in ,s4 ,antonio1 ,verona1 we gather that while ,venice was still limited to stiff ancon1 the ,veronese masters were managing crowds of figures and rendering distances successfully4 ,altichiero puts in homely touches from everyday life with a freedom which shows he has not yet mastered the principles of selection or the dignified fitness which guided the great masters2 as1 for instance1 in the case of the old woman1 among the spectators of the ,crucifixion1 who shows her grief by blowing her nose4 ,he lets himself be drawn off by all manner of trivial detail and of gay costume2 but again in such frescoes as ,s4 ,lucia1 or the ,beheading of ,st4 ,george1 in the ,paduan chapel of the ,santo1 he proves how well he understands the force of solid1 simply-draped figures1 direct in gesture and expression1 while the decorative use he makes of lances against the background was long afterwards perhaps imitated1 but hardly surpassed1 by ,tintoretto4 ,pisanello1 who followed quickly upon ,altichiero and his assistant1 ,avanzi1 exhibits the same chivalresque and courtly inclinations which commended ,gentile da ,fabriano to the splendour-loving ,venetians4 ,verona1 under the peaceful but gallant government of the ,scaligeri1 had long been the home of all knightly lore1 and the artists had been employed to decorate chapels for the families of the great nobles4 ,among these1 ,pisanello had attained a high place4 ,though very few of his paintings remain1 they all show these influences1 and his subtly modelled medals establish him as a master of the most finished type4 ,a much destroyed fresco in ,s4 ,anastasia1 ,verona1 portrays the history of ,st4 ,george and the ,dragon4 ,in the ,st4 ,george we probably see the portrait of the great personage in whose honour the fresco was painted4 ,he is mounting his horse1 which1 seen from behind1 reminds us of the fore-shortened chargers of ,paolo ,uccello4 ,the rescued princess1 also a portrait1 wears a magnificent dress and an elaborate headgear in the fashion of the day4 ,other horses1 fiery and spirited1 are grouped around1 and in the band of cavaliers1 beyond ,st4 ,george1 every head is individualised2 one is beautiful1 another brutal1 and so on through the seven4 ,a greyhound and spaniel in the foreground are superbly painted1 the background is excellent1 and a realistic touch is given by the corpses which dangle unheeded from the trees outside the castle-gate4 ,a ruined1 but fortunately not restored1 ,annunciation in ,s4 ,fermo1 has a simple1 slender figure of the ,virgin sitting by her white bed1 and the angel1 with great sweeping1 rushing wings and bowed1 child-like head with fair hair1 is a most sweet and keen figure1 thrilling and convincing1 in contrast to all the dead1 over-worked frescoes round the church4 ,all these paintings are too small to be the least effective at the height at which they are placed1 and can only be seen with a good glass4 ,pisanello's art is not well adapted to wide1 frescoed walls1 and he seems to have enjoyed painting miniature panels1 such as the two we possess4 ,in these he is full of originality1 and shows his love for the knightly life1 the life of courts1 in the armed cap--pied figure of ,st4 ,george1 whose point-device armour is crowned by a wide ,tuscan hat and feather4 ,the artist's knowledge and love of animals and wild nature comes out in them1 and his interest in beauty and chivalry as opposed to the outworn conventionalities of ecclesiastic demands4 ,we shall be able to trace the influence of both the ,umbrian and the ,veronese painter on men like ,antonio di ,murano and ,jacopo ,bellini1 and it is important to note the likeness of the two to one another4 ,in ,gentile's ,adoration we have on the one hand the ,holy ,family and the gay pageant of the kings1 of which we could find the prototype in many an ,umbrian panel4 ,on the other we see those contrasting elements which were struggling in ,pisanello2 the delight in flowers and animals1 in gaily apparelled figures1 in dogs and horses4 ,the two have no lasting effect1 but though they created no actual school1 they gave a stimulus to ,venetian art1 and started it on a new tack1 enabling it to open its channels to fresh ideas4 ,during the time they were in ,venice1 ,jacobello del ,fiore shows some signs of adapting the new fashion to his early style1 and the horse of ,s4 ,grisogono is very like that of ,gentile in the ,adoration1 or like ,pisano's horses4 ,michele ,giambono is actually found in collaboration1 in the chapel of the ,madonna da ,mascoli in ,st4 ,mark's1 with such a virile painter as the ,florentine1 ,andrea del ,castagno1 who is evidently responsible for ,god the ,father and two of the ,apostles2 but ,castagno must have been thoroughly antipathetic to the ,venetians1 and though he may have taught them the way to draw1 he has not left any traces of a following4 ,facio1 writing in #adee1 speaks of ,gentile's work in the ,ducal ,palace as already decaying1 while ,pisanello's was painted out by ,alvise ,vivarini and ,bellini4 ,,principal ,,works ,gentile da ,fabriano4 ,florence4 ,academy3 ,adoration of the ,magi4 ,milan4 ,brera3 ,altarpiece4 ,altichiero4 ,padua4 ,capella ,s4 ,felice1 ,s4 ,antonio3 ,frescoes4 ,capella ,s4 ,giorgio1 ,s4 ,anastasia3 ,the ,cavalli ,family4 ,pisanello4 ,padua4 ,s4 ,anastasia3 ,st4 ,george and the ,dragon4 ,verona4 ,s4 ,fermo3 ,annunciation4 ,london4 ,s4 ,george and ,s4 ,jerome2 ,s4 ,eustace and the ,stag4 ,,chapter ,,iv ,,the ,,school ,,of ,,murano ,the important little town of ,murano1 a satellite of ,venice1 lies upon an island1 some ten minutes' row from the mother ,state1 distinct from which it preserved separate interests and regulations4 ,its glass manufacture was safeguarded by the most stringent decrees1 which forbade members of the ,guild to leave the islet under pain of death4 ,its mosaics1 stone work1 and architecture speak of an early artistic existence1 and we recognise the justice of the claim of ,muranese painters to be the first to strike out into a more emancipated type than that of the primitives4 ,the painter ,giovanni of ,murano1 called ,giovanni ,alemanus or d' ,alemagna1 names between which ,venetian jealousy for a time drew an imaginary distinction1 had certainly received his early education in ,germany1 and betrays it by his heavier ornamentation and more ,gothic style2 but he was a fellow-worker with ,antonio of ,murano1 the founder of the great ,vivarini family1 and the ,academy contains several large altarpieces in which they collaborated4 ,christ and the ,virgin in ,glory was painted for a church in ,venice in #addj1 and has an inscription with both names on a banderol across the foreground4 ,the ,eternal ,father1 with ,his hands on the shoulders of the ,mother and ,son1 makes a group of which we find the origin in ,gentile da ,fabriano's altarpiece in the ,brera1 and it is probable that one if not both masters had been studying with the ,umbrian and absorbing the principles he had brought to ,venice4 ,it is easy to trace the influence of ,giovanni d' ,alemagna1 though not always easy to pick out which part of a picture belongs to him and which to ,antonio working under his influence4 ,in ,s4 ,pantaleone is a ,coronation of the ,virgin1 with ,gothic ornaments such as are not found in purely ,italian art at this period1 but the example in which both masters can be most closely followed is the great picture in the ,academy1 the ,madonna enthroned1 where she sits under a baldaquin surrounded by saints4 ,here the ,gothic surroundings become very florid1 and have a gingerbread-cake effect1 which ,italian taste would hardly have tolerated4 ,many features are characteristic of the ,german2 the huge crown worn by the ,mother1 the floriated ornament of the quadrangle1 the almost baroque appearance of the throne4 ,through it all1 heavily repainted as it is1 shines the dawn of the tender expression which came into ,venetian art with ,gentile4 ,illustration3 ,antonio da ,murano4 ,,adoration ,,of ,,the ,,magi4 ,berlin4 7,photo1 ,hanfstngl47 ,giovanni d' ,alemagna and ,antonio da ,murano were no doubt widely employed1 and when the former died ,antonio founded and carried on a real school in ,venice4 ,in #addf he was living in the parish of ,s4 ,maria ,formosa with his wife1 who was the daughter of a fruit merchant1 and the wills of both are still preserved in the parish archives4 ,gentile da ,fabriano had set the example for gorgeous processions with gay dresses and strange animals2 winding paths in the background and foreshortened limbs prove that attention had been drawn to ,paolo ,uccello's studies in perspective1 while many figures and horses recall ,pisanello4 ,a striking proof of the sojourn of ,gentile and ,pisanello in ,venice is found in an ,adoration of ,magi1 now ascribed to ,antonio da ,murano1 in which the central group1 the oldest king kissing the ,child's foot1 is very like that in ,gentile's ,adoration1 but the foreshortened horses and the attendants argue the painter's knowledge of ,pisanello's work4 ,a comparison of the architecture in the background with that in the ,st4 ,george in ,s4 ,anastasia shows the same derivation1 and the dainty cavalier1 who holds a flag and is in attendance on the youngest king1 is reminiscent of ,st4 ,george and ,st4 ,eustace in ,pisanello's paintings in the ,national ,gallery1 so that in this one picture the influences of the two artists are combined4 ,antonio took his younger brother1 ,bartolommeo1 into partnership1 and the title of da ,murano was presently dropped for the more modern designation of ,vivarini4 ,both brothers are fine and delicate in work1 but from the outset of their collaboration the younger man is more advanced and more full of the spirit of the innovator4 ,in his altarpiece in the first hall of the ,academy the ,nativity has already a new realism2 ,joseph leans his head upon his hand1 crushing up his cheek4 ,the saints are particularly vivid in expression1 especially the old hermit holding the bell1 whose face is brimming with ardent feeling4 ,,principal ,,works ,giovanni d' ,alemanus and ,antonio da ,murano4 ,venice4 ,christ and the ,virgin in ,glory2 ,virgin enthroned1 with ,saints4 ,antonio da ,murano4 ,berlin4 ,adoration of ,magi4 ,,chapter ,v ,,the ,,paduan ,,influence ,and now into this dawning school1 employed chiefly in the service of the ,church1 with its tentative and languid essays to understand ,florentine composition1 resulting in what is scarcely more than a mindless imitation1 and with its rather more intelligent perception of the ,humanist qualities of ,pisanello's work1 there enters a new factor2 or rather a new agency makes a slightly more successful attempt than ,gentile and ,castagno had done to help the ,venetians to realise the supreme importance of the human figure1 its power in relation to other objects to determine space1 its modelling and the significance of its attitude in conveying movement4 ,giotto had been able to present all these qualities in the human form1 but he had done so by the light of genius1 and had never formulated any sufficient rules for his followers' guidance4 ,in ,ghiberti's school1 at the beginning of the fifteenth century1 the fascination of the antique in art was making itself felt1 but ,donatello had escaped from the artificial trammels it threatened to exercise1 and had carried the ,florentine school with him in his profound researches into the human form itself4 ,donatello had been working in ,padua for ten years before ,pisanello's death1 and in an indirect way the ,venetians were experiencing some after-results of the systematising and formulating of the new pictorial elements4 ,though the intellectual life had met with little encouragement among the positive1 practical inhabitants of ,venice1 in ,padua1 which had been subject to her since #adje1 speculative thought and ideal studies were in full swing4 ,there was no re-birth in ,venice1 whose tradition was unbroken and where men were too genuinely pagan to care about the echo of a paganism in the remote past4 ,st4 ,mark was the deity of ,venice1 and the other twelve ,apostles were only obscurely connected with her religious life1 which was strong and orthodox1 but untroubled by metaphysical enthusiasms and inconvenient heresies4 ,padua1 on the other hand1 was absorbed in questions of learning and religion4 ,a university had been established here for two centuries4 ,the abstract study of the antique was carried on with fervour1 and the memory of ,livy threw a lustre over the city which had never quite died out4 ,it seemed perfectly right and respectable to the ,venetians that the savants1 lying safely removed from the busy stream of commercial life1 should cultivate inquiries into theology and the classics1 which would only have been a hindrance to their own practical business2 but such1 as it was well known1 were of absorbing interest in the circles which gathered round the ,medici in ,florence4 ,the school of art1 which was now arising in ,padua1 was fed from such sources as these4 ,the love of the antique was becoming a fashion and a guiding principle1 and influenced the art of painting more formally than it could succeed in doing among the independent and original ,florentines4 ,francesco ,squarcione1 though1 as ,vasari says1 he may not have been the best of painters1 has left work 7now at ,berlin7 which is accepted as genuine and which shows that he was more than the mere organiser he is sometimes called4 ,he had travelled in ,greece1 and was apparently a dealer1 supplying the demand for classic fragments1 which was becoming widespread4 ,when he founded his school in ,padua he evidently was its leading spirit and a powerful artistic influence4 ,his pupils1 even the greatest1 were long in breaking away from his convention1 and few of them threw it off entirely1 even in after life4 ,that convention was carried with undeviating thoroughness into every detail4 ,draperies are arranged in statuesque folds1 designed to display every turn of the form beneath2 the figures are moulded with all the precision and limitations of statuary4 ,the very landscape becomes sculpturesque1 and rocks of a volcanic character are constructed with the regularity of masonry4 ,the colour and technique are equally uncompromising1 and the surface becomes a beautiful enamel1 unyielding1 definite in its lines1 lacquer-like in its firmness of finish1 while the ,gothic forms1 which had hitherto been so prevalent1 were replaced by more or less pedantic adaptations from ,roman bas-reliefs4 ,this system of design was practised most determinedly in ,padua itself1 but it soon spread to ,venice4 ,squarcione himself was employed there after #addj1 and though ,antonio da ,murano clung to the old archaic style he saw the ,paduan manner invading his kingdom1 and his own brother became strongly ,squarcionesque4 ,the two brothers of ,murano come most closely together in an altarpiece in the gallery of ,bologna1 where the framework is more simple than ,alemanus's ,german taste would have permitted1 and the ,madonna and ,child have some natural ease1 and the delicacy of feeling of primitive art4 ,bartolommeo1 when he breaks away and sets out to paint by himself1 is crude and strong1 but full of vital force4 ,in his altarpiece of #adfd1 in the ,academy1 he gives his saints reality by taking them off their pedestals and making them stand upon the ground1 and though they are still isolated from one another in the partitions of an ancona1 their sparkling eyes1 individual features1 and curly beards give them a look of life4 ,the draperies1 thin and clinging1 with little rucked folds1 which display the forms1 and the drawing of the bony structure1 exaggerated in the arms and legs1 are ,squarcionesque4 ,the rocks and stones1 too1 show the ,paduan convention4 ,in several of his other altarpieces1 ,bartolommeo introduces rich ornaments and swags of fruit1 such as ,donatello had first brought to ,padua1 or which ,paduan artists delighted to copy from classic columns4 ,antonio's manner to the end is the local ,venetian manner1 infused as it was with the soft and charming influence of ,gentile da ,fabriano and ,pisanello1 but ,bartolommeo adopts the new and more ambitious style4 ,though not a very good painter1 and inclined to be puffy and shapeless in his flesh forms1 he was the head of a crowd of artists1 and works of his school1 signed ,opus factum1 went all over ,italy1 and are found as far south as ,bari4 ,works of his pupils are numerous2 the ,st4 ,mark enthroned in the ,frari is as good if not better than the master's own work1 and the triptych in the ,correr ,museum is a free imitation4 ,round this early school gathered such painters as ,antonio da ,negroponte and ,quirizio da ,murano1 who were both working in #adej4 ,negroponte has left an enthroned ,madonna in ,s4 ,francesco della ,vigna1 which is one of the most beautiful examples of colour and of the fanciful charm of the ,renaissance that the early art of ,venice has to show4 ,the ,mother and ,child are placed in a marble shrine1 adorned with antique reliefs1 rich wreaths of fruit swag above her head1 a little ,gothic loggia is full of flowers and fruit1 and birds are perched on cornucopias4 ,on either side1 four badly drawn little angels1 with ugly faces and awkwardly foreshortened forms1 foreshadow the beautiful1 music-making angels which became such a feature of ,north ,italian art4 ,the ,divine ,mother1 adoring the ,child lying across her knees1 has an exquisite1 pensive face1 conceived with all the delicacy and simplicity of early art4 ,it seems quite possible1 as ,professor ,leonello ,venturi suggests1 that we have here the early master of ,crivelli1 in whom we find the love of fruit garlands1 of chains of beads and rich brocades carried to its farthest limits1 who takes keen pleasure in introducing the ugly but lively little angels1 and who gives the same pensive and almost mincing expression to his ,madonnas4 ,,principal ,,works ,antonio da ,murano and ,bartolommeo ,vivarini4 ,bologna4 ,altarpiece4 ,bartolommeo ,vivarini4 ,venice4 ,academy3 ,altarpiece1 #adfd2 ,two ,saints4 ,frari3 ,madonna and four ,saints4 ,s4 ,giovanni in ,bragora3 ,madonna and two ,saints4 ,s4 ,maria ,formosa3 ,triptych4 ,london4 ,madonna and ,saints4 ,vienna4 ,s4 ,ambrose and ,saints4 ,antonio da ,negroponte4 ,venice4 ,s4 ,francesco della ,vigna3 ,altarpiece4 ,,chapter ,,vi ,,jacopo ,,bellini ,while ,venice was assimilating the spirit of the school of ,squarcione1 which in the next few years was to be rendered famous by ,mantegna1 another influence was asserting itself1 which was sufficient to counteract the hard formalism of ,paduan methods4 ,when ,gentile da ,fabriano left ,venice1 he carried with him1 and presently established with him in ,florence1 a young man1 ,jacopo ,bellini1 who had already been working with him and ,pisanello1 and who was an ardent disciple of the new naturalistic and humanist movement4 ,both ,gentile and his apprentice were subjected to annoyance from the time they arrived in ,florence1 where the strict regulations which governed the ,guilds made it very difficult for any newcomer to practise his art4 ,the records of a police case report that on the #aath of ,june #adbc some young men1 among them1 one1 ,bernabo di ,san ,silvestri1 the son of a notary1 were observed throwing stones into the painter's room4 ,his assistant1 ,jacopo ,bellini1 came out and drove the assailants away with blows1 but ,bernabo1 accusing ,jacopo of assault1 the latter was committed to prison in default of payment4 ,after six months' imprisonment1 a compromise of the fine and a penitential declaration set him at liberty4 ,the accounts declare that ,gentile took no steps to be of service to his follower2 but ,jacopo soon after married a girl from ,pesaro1 and his first son was christened after his old master1 which does not look as though they were on unfriendly terms4 ,jacopo travelled in the ,romagna1 and was much esteemed by the ,estes of ,ferrara1 but he was back in ,venice in #adcj4 ,he has left us only three signed works1 and one or two more have lately been attributed to him1 but they give very little idea of what an important master he was4 ,illustration3 ,jacopo ,bellini4 ,,agony ,,in ,,garden--,,drawing4 ,british ,museum4 7,photo1 ,anderson47 ,his ,madonna in the ,academy has a round1 simple type of face1 and in the ,louvre ,madonna1 which is attributed but not signed1 it is easy to recognise the same arched eyebrows and half-shut1 curved eyelids4 ,in this picture1 where the ,madonna blesses the kneeling ,leonello d' ,este1 we see how ,pisanello acted on ,jacopo and1 through him1 on ,venetian art4 ,the connection between the two masters has been established in a very interesting way by ,professor ,antonio ,venturi's discovery of a sonnet1 written in #adda1 which recounts how they painted rival portraits of ,leonello1 and how ,bellini made so lively a likeness that he was adjudged the first place4 ,the landscape in the ,louvre picture is advanced in treatment1 and with its gilded mountain-tops1 its stag and its town upon the hill-side1 is full of reminiscences of ,pisanello1 especially of the ,st4 ,george in ,s4 ,anastasia4 ,we come upon such traces1 too1 in ,jacopo's drawings1 and it is by his two sketch-books that we can best judge of his greatness4 ,one of these is in the ,british ,museum2 the other1 in the ,louvre1 was discovered not many years ago in the granary of a castle in ,guyenne4 ,these drawings reveal ,jacopo as one of the greatest masters of his day4 ,he is larger1 simpler1 and more natural than ,pisanello1 and he apparently cares less for the human figure than for elaborate backgrounds and surroundings4 ,many of his designs we shall refer to again when we come to speak of his two sons4 ,his ,supper of ,herod reminds us of ,masolino's fresco at ,castiglione d' ,olona4 ,he sketches designs for numbers of religious scenes1 treated in an original and interesting manner4 ,a ,crucifixion has bands of soldiers ranged on either side1 an ,adoration of the ,magi has a string of camels coming down the hill1 the executioners in a ,scourging wear ,eastern head-dresses4 ,in a sketch for a ,baptism of ,christ tall angels hold the garments in the early traditional way2 on one side two play the lute and the violin1 while the two on the other side have a trumpet and an organ4 ,he has sketches for the ,ascension1 ,resurrection1 ,circumcision1 and ,entombment1 repeated over and over again with variations1 and one of ,s4 ,bernardino preaching in ,venice 7where he was in #adbg74 ,jacopo delights even more in fanciful and mythological than in sacred subjects4 ,a tournament with spectators1 a ,faun riding a lion1 a ,triumph of ,bacchus with panthers1 are among such essays4 ,the fauns pipe1 the wine-god bears a vase of fruit4 ,his love of animals is equal to that of ,pisanello1 and ,s4 ,hubert and the stag with the crucifix between its horns is directly reminiscent of the ,veronese4 ,his horses1 of which there are immense numbers1 sometimes look as if copied from ancient bas-reliefs4 ,his treatment of single nude figures is often poor and weak enough1 and his rocks have the flat-topped1 geological formation of the ,paduan ,school1 but no one who so drank in every description of lively scene about him could have been in any danger of becoming a mere archeological type1 and it was from this pitfall that he rescued ,mantegna4 ,to judge by his drawings1 ,jacopo did not overlook any source of art open to him2 he delights in the rich research of the ,paduans as much as in the varieties of wild nature and all the incidents of contemporary life first annexed by ,pisanello4 ,he is often very like ,gentile da ,fabriano1 he makes raids into ,uccello's domains of perspective1 he is frankly mundane and draws a revel of satyrs and centaurs with a real interpretation of the lyrical and pagan spirit of the ,greeks1 and he has an idealism of the soul1 which found its full expression in his son1 ,giovanni4 ,we cannot call ,jacopo ,bellini the founder of the ,venetian ,school1 for its makings existed already1 but it was his influence on his sons which1 above all1 was accountable for the development of early excellence4 ,his long1 flowing lines have a sweep and a fanciful grace which form an absolute antidote to the definite1 geometrical ,paduan convention4 ,in ,jacopo we see the thorough assimilation of those foreign elements which were in sympathy with the ,venetian atmosphere1 and while up to now ,venice had only imbibed influences1 she was soon to create for herself an artistic milieu and to become the leader of the movement of painting in the north of ,italy4 ,,principal ,,works ,jacopo ,bellini4 ,brescia4 ,annunciation and ,predelle4 ,verona4 ,christ on ,cross4 ,venice4 ,academy3 ,madonna4 ,museo ,correr3 ,crucifixion4 ,london4 ,british ,museum3 ,sketch-book4 ,paris4 ,madonna and ,leonello d' ,este3 ,sketch-book4 ,,chapter ,,vii ,,carlo ,,crivelli ,we must turn aside from the main stream when we come to speak of ,carlo ,crivelli1 who1 important master as he was1 occupies a place by himself4 ,a pupil of the ,vivarini and perhaps1 as we have noted1 of ,antonio ,negroponte1 ,crivelli was profoundly influenced by the ,paduans1 from whom he learned that metallic1 finished quality of paint which he carried to perfection4 ,crivelli shows intellect1 individuality1 even genius1 in the way in which he grapples with his medium and produces his own reading1 and the circumstances of his life were such as to throw him in upon himself and to preserve his originality4 ,his little early ,madonna and ,child at ,verona is linked with that of ,negroponte by the elaborate festoons1 strings of beads1 and large-patterned brocades used in the surroundings1 and has those ugly1 foreshortened little putti1 holding the instruments of the ,passion1 of the type elaborated by ,squarcione and ,marco ,zoppo1 and which1 in their improved state1 we are accustomed to think of as ,mantegnesque4 ,when ,crivelli was thirty-eight years old1 he was condemned to six months' imprisonment and to a fine of two hundred lire for an outrage on a neighbour's wife4 ,perhaps it was to escape from an unenviable reputation that he left ,venice soon after and set up painting in the ,marches1 where he lived from #adfh to #adgc4 ,he then went on to ,camerino in ,umbria1 where his great triptych1 now in the ,brera1 was painted1 and a few years later he was in ,ascoli1 with a commission for an ,annunciation in the ,cathedral4 ,this is the picture now in the ,national ,gallery1 in which the ,bishop holds a model of the ,duomo4 ,after #adij he worked in little towns in the ,marches1 and is not mentioned after #adic4 ,he does not seem ever to have come back to ,venice4 ,shut up in the ,marches1 where there was little strong local talent1 and where he could not keep up with the progress that was taking place in ,venice1 he was obliged himself to supply the artistic movement4 ,he kept the ,squarcionesque traditions to the end1 but moulded them by his own love of rich and exuberant decoration4 ,moreover1 he was of a very intense religious bias1 and this finds a deeply touching and mystical expression1 more especially in his ,piets4 ,the love of gilded patterns and fanciful detail was deep-seated in all the ,umbrian country4 ,his altarpieces were intended as sumptuous additions to rich churches1 and were consequently arranged1 with many divisions1 in the old ,muranese manner4 ,his great ancona1 in the ,national ,gallery1 is a marvel of elaborate ornament and enamel-like painting4 ,the ,madonna is delicate1 almost affected in her refinement4 ,her long fingers hold the ,child's garment with the extreme of dainty precision1 the croziers and rings of the saints and bishops are embossed with gold and real jewels4 ,the flowers in the panel of ,the ,immaculate ,conception1 which hangs beside it1 are twisted into heads of mythological beasts and grotesques or cherubs2 but ,crivelli has plenty of strength1 and his male saints have vigorous1 bony limbs and fierce fanatical eyes4 ,it is1 however1 in his colour that he charms us most1 and though he does not touch the real fount1 he is of all the earlier school the most remarkable for subtle tender tones and lovely harmonies of olive-greens and faded rose and cream embossed with gold4 ,crivelli continued executing one great ancona after another1 limiting his progress to perfecting his technique1 and his influence was most deeply felt by such ,umbrian painters as ,lorenzo di ,san ,severino and ,niccola ,alunno4 ,the honours paid him testify to the reputation he acquired4 ,he was created a knight and presented with a golden laurel wreath4 ,but though he never1 that we can hear of1 revisited his native ,state1 he always adds ,venetus to the signature on his paintings1 a fact which tells us that far from ,venice and in provincial districts1 her prestige was felt and gave his work an enhanced commercial value4 ,he had no after-influence upon the ,venetian ,school1 and in this respect is interesting as an example of the tenacity exercised by the ,squarcionesque methods1 when1 unchecked by any counter-attraction1 they came to act upon a very different temperament2 for in his love of grace and beauty and of rich effects1 and especially in his intensity of mystic feeling1 ,crivelli is a true ,venetian and has no natural affinity with the classic spirit of the ,paduans4 ,,principal ,,works ,venice4 ,,ss4 ,jerome and ,augustine4 ,ascoli4 ,duomo3 ,altarpiece and ,piet4 ,berlin4 ,madonna and six ,saints4 ,london4 ,piet2 ,the ,blessed ,ferretti2 ,madonna and ,saints2 ,annunciation2 ,ancona in thirteen compartments2 ,the ,immaculate ,conception4 ,mr4 ,benson3 ,madonna4 ,sir ,francis ,cook3 ,madonna enthroned4 ,mond ,collection3 ,,ss4 ,peter and ,paul4 ,lord ,northbrook3 ,madonna2 ,resurrection2 ,saints2 ,crucifixion2 ,madonna2 ,madonna and ,saints4 ,milan4 ,brera3 ,,ss4 ,james1 ,bernardino1 and ,pellegrino2 ,,ss4 ,anthony ,abbot1 ,jerome1 and ,andrew4 ,poldi-,pezzoli3 ,s4 ,francis in ,adoration4 ,rome4 ,vatican3 ,piet4 ,,chapter ,,viii ,,gentile ,,bellini ,,and ,,antonello ,,da ,,messina ,what1 then1 is the position which art has achieved in ,venice a decade after the middle of the fourteenth century1 and how does she compare with the ,florentine ,school8 ,the ,florentines1 ,fra ,angelico1 ,andrea del ,castagno1 and ,pesellino were lately dead4 ,antonio ,pollaiuolo was in his prime1 ,fra ,lippo was fifty-four1 ,paolo ,uccello was sixty-three4 ,but though the progress in the north had been slower1 art both in ,padua and ,venice was now in vigorous progress4 ,bartolommeo ,vivarini was still painting and gathering round him a numerous band of followers2 ,mantegna was thirty1 had just completed the frescoes in the ,eremitani ,chapel and the famous altarpiece in ,s4 ,zeno2 and ,gentile and ,giovanni ,bellini were two and four years his seniors4 ,francesco ,negro1 writing in the early years of the sixteenth century1 speaks of ,gentile as the elder son of ,jacopo ,bellini4 ,giovanni is thought to have been an illegitimate son1 as ,jacopo's widow only mentions ,gentile and another son1 ,niccolo1 in her will4 ,there is every reason to believe that1 as was natural1 the two brothers were the pupils and assistants of their father4 ,a ,madonna in the ,mond ,collection1 the earliest known of ,gentile's works1 shows him imitating his father's style2 but when his sister1 ,niccolosia1 married ,mantegna in #adec1 it is not surprising to find him following ,mantegna's methods for a time1 and a fresco of ,st4 ,mark in the ,scuola di ,san ,marco1 an important commission which he received in #adff1 is taken direct from ,mantegna's fresco at ,padua4 ,as the ,bellini matured1 they abandoned the ,squarcionesque tradition and evolved a style of their own2 ,gentile as much as his even more famous brother4 ,gentile is the first chronicler of the men and manners of his time4 ,in #adfj he settled in ,venice1 and was appointed to paint the organ doors in ,st4 ,mark's4 ,these large saints1 especially the ,st4 ,mark1 still recall the ,paduan period4 ,they have festoons of grapes and apples hung from the architectural ornaments1 and the cast of drapery1 showing the form beneath1 reminds us of ,mantegna's figures4 ,but ,gentile soon becomes an illustrator and portrait painter4 ,much of his work was done in the ,scuola of ,st4 ,mark1 where his father had painted1 and this was destroyed by fire in #adhe4 ,early1 too1 is the fine austere portrait of ,lorenzo ,giustiniani1 in the ,academy4 ,in #adgi an emissary from the ,sultan ,mehemet arrived in ,venice and requested the ,signoria to recommend a good painter and a man clever at portraits4 ,gentile was chosen1 and departed in ,september for ,constantinople4 ,he painted many subjects for the private apartments of the ,sultan1 as well as the famous portrait now in the possession of ,lady ,layard4 ,it would be difficult for a historic portrait to show more insight into character4 ,the face is cold1 weary1 and sensual1 with all the over-refined look of an old race and a long civilisation1 and has a melancholy note in its distant and satiated gaze4 ,the ,sultan showed ,gentile every mark of favour1 loaded him with presents1 and bestowed on him the title of ,bey4 ,he returned home in #adic1 bringing with him many sketches of ,eastern personages and the picture1 now in the ,louvre1 representing the reception of a ,venetian ,embassy by the ,grand ,vizier4 ,some five years before ,gentile's commission to ,constantinople ,antonello da ,messina had arrived in ,venice1 and the spread and popularisation of oil-painting had hastened the casting off of outworn ecclesiastical methods and brought the painters nearer to the truth of life4 ,antonello did not actually introduce oils to the notice of ,venetian painters1 for ,bartolommeo ,vivarini was already using them in #adgc1 but he was well known by reputation before he arrived1 and having probably come into contact with ,flemish painters in ,naples1 he had had better opportunities of seizing upon the new technique1 and was able to establish it both in ,milan and in ,venice4 ,a large number of ,venetians were at this time resident in ,messina3 the families of ,lombardo1 ,gradenigo1 ,contarini1 ,bembo1 ,morosini1 and ,foscarini were among those who had members settled there4 ,many of these were patrons of art1 and probably paved the way to ,antonello's reception in ,venice4 ,at first all the traits of ,antonello's early work are ,flemish3 the full mantles1 white linen caps and tuckers1 the straight sharp folds and long wings of the angels have much of ,van ,eyck1 but when he gets to ,venice in #adge1 its colour and life fascinate him1 and a great change comes over his work4 ,his portraits show that he grasped a new intensity of life1 and let us into the character of the men he saw around him4 ,his ,condottiere1 in the ,louvre1 declares the artist's recognition of that truculent and formidable being1 full of aristocratic disdain1 the product of a daring1 unscrupulous life4 ,the ,portrait of a ,humanist1 in the ,castello in ,milan1 is classic in its deepest sense2 and in the ,trivulzio ,college at ,milan an older man looks at us out of sly1 expressive eyes1 with characteristic eyebrows and kindly1 half-cynical mouth4 ,it was not wonderful that these portraits1 combined with the new medium1 worked upon ,gentile's imagination and determined his bent4 ,the first examples of great canvases1 illustrating and celebrating their own pageants1 must have mightily pleased the ,venetians4 ,scenes in the style of the reception of the ,venetian ambassadors were called for on all hands1 and when the excellence of ,gentile's portraits was recognised1 he became the model for all ,venice4 ,when his own and his father's and brother's paintings perished by fire in #adhe1 he offered to replace them quicker than was humanly possible and at a very low price4 ,giovanni1 who had been engaged on the external decorations1 was ill at the time1 but the ,signoria was so pleased with the offer that it was decided to let no one touch the work till the two brothers were able to finish it4 ,gentile still painted religious altarpieces with the ,virgin and ,child enthroned with saints1 but most of his time was devoted to the production of his great canvases4 ,some of these have disappeared1 but the ,procession and ,miracle of the ,cross1 commissioned by the school of ,s4 ,giovanni ,evangelista1 are now in the ,academy1 and the third canvas1 executed for the same school1 ,st4 ,mark preaching at ,alexandria1 which was unfinished at the time of his death1 and was completed by his brother1 is in the ,brera4 ,illustration3 ,gentile ,bellini4 ,,procession ,,of ,,the ,,holy ,,cross4 ,venice4 7,photo1 ,anderson47 ,these great compositions of crowds bring back for us the ,venice of ,gentile's day as no verbal description can do4 ,there is no especial richness of colour2 the light is that of broad day in the ,piazza and among the luminous waterways of the city4 ,we can see the scene any day now in the wide square1 making allowance for the difference of costume4 ,the groups are set about in the ample space1 with the wonderful cathedral as a background4 ,st4 ,mark's has been painted hundreds of times1 but no one has ever given such a good idea of it as ,gentile--of its stateliness and beauty1 of its wealth of detail2 and he does so without detracting from the general effect1 for ,st4 ,mark's1 though the keynote of the whole composition1 is kept subservient1 and is part of the stage on which the scene is enacted4 ,the procession passes along1 carrying the relics1 attended by the waxlights and the banners4 ,behind the reliquary kneels the merchant1 ,jacopo ,sal1 petitioning for the recovery of his wounded son4 ,then come the musicians2 the spectators crowd round1 they strain forward to see the chief part of the cortge1 as a crowd naturally does4 ,some watch with reverence1 others smile or have a negligent air4 ,the faces of the candle-bearers are very like those we may see to-day in a great ,church procession3 some absorbed in their task1 or uplifted by inner thoughts2 others looking curiously and sceptically at the crowd4 ,gentile tries in his crowds to bring together all the types of life in ,venice1 all the officials and the ecclesiastical world1 the young and old4 ,with a few strokes he creates the individual and also the type2--the careless rover2 the responsible magistrate2 the shrewd1 practical man of business2 the young men1 full of their own plans1 but pausing to look on at one of the great religious sights of their city4 ,in the ,finding of the ,cross he produces the effect of the whole city en fte4 ,it was a sight which often met his eyes4 ,the ,doge made no fewer than thirty-six processions annually to various churches of the city1 and on fourteen of these occasions he was accompanied by the whole of the nobles dressed in their ,state robes4 ,every event of importance was seized on by the ,venetian ladies as an opportunity for arraying themselves in the richest attire1 cloth of gold and velvet1 plumes and jewels4 ,gentile has massed the ladies of ,queen ,catherine ,cornaro's ,court around their ,queen upon the left side of the canal4 ,the light from above streams upon the keeper of the ,school1 who holds the sacred relic on high4 ,all round are the old1 irregular ,venetian houses1 and in the crowd he paints the variety of men he saw around him every day in ,venice4 ,yet even in this animated scene he retains his old quattrocento calm4 ,the groups are decorously assisting3 only here and there he is drawn off to some small detail of reality1 such as an oarsman dexterously turning his boat1 or the maid letting the negro servant pass out to take a header into the canal4 ,the spectators look on coolly at one more of the oft-seen1 miraculous events4 ,the committee1 kneeling at the side1 is a row of unforgettable portraits1 grave1 benign1 sour1 and austere1 with bald head or flowing hair4 ,in this composition he triumphs over all difficulties of perspective2 our eye follows the canals1 and the boats pass away under the bridge in atmospheric light4 ,all the joy of ,venice is in that play of light on broad brick surfaces1 light which is cast up from the water and dances and shimmers on the marble faades4 ,gentile made his will in #aejb1 as well as others in #aeje and #aejf4 ,he left word that he was to be buried in ,,ss4 ,giovanni e ,paolo1 and begged his brother ,giovanni to finish the work in the ,scuola1 in return for which he is to receive their father's sketch-book4 ,the unfinished piece is the ,st4 ,mark preaching at ,alexandria1 and it shows ,gentile still developing his capacity as a painter4 ,it is pale in colour but brilliant in sunlight4 ,the mass of white given by the head-dresses of the ,turkish women is cleverly subdued so as not to detract from the effect of the sunlight4 ,the thronged effect of the great square is studied with more than his usual care1 and the faces have all the old individuality4 ,the foremost figures in the crowd have a colour and richness which we may attribute to ,giovanni's hand4 ,gentile was always fully employed1 and the detailed paintings of functions became very popular2 but he was a far less modern painter than his brother1 and1 in fact1 they represent two distinct artistic generations1 though ,gentile's work was so much the most elaborate and1 as the quattrocento would have thought1 the most ambitious4 ,gentile is essentially the historic painter1 yet his is a grave1 sincere art1 and he has an unerring instinct for the right incidents to include4 ,he cuts out all unseemly trivialities1 his actors are stern1 powerful men1 the treatment is historic and contemporary1 but not gossipy4 ,we realise the look of the ,venice of his day1 in all its tide of human nature1 but we also feel that he never forgot that he was chronicling the doings of a city of strong men1 and that he must paint them1 even in their hours of relaxation and emotion1 so as to convey the real dignity and power which underlay all the events of the ,republic4 ,we gather from his will and that of his wife that they had no children1 which perhaps makes the more natural the affectionate terms upon which he remained all through his life with his brother4 ,their artistic sympathies must have differed widely4 ,gentile's love for historical research1 for costume and for pageants1 found no echo in the deeper idealism of ,giovanni--indeed1 his offer of the famous sketch-book1 as an inducement to the latter to finish his last great work1 seems to hint that it was an exercise out of his brother's line2 but he knew that ,giovanni was a great painter1 and did not trust it1 as we might have expected1 to his assistants1 ,giovanni ,mansueti and ,girolamo da ,santacroce4 ,,principal ,,works ,gentile ,bellini4 ,london4 ,s4 ,peter ,martyr2 ,portrait4 ,milan4 ,brera3 ,preaching of ,st4 ,mark4 ,venice4 ,doge ,lorenzo ,giustiniani2 ,miracle of ,true ,cross2 ,procession of ,true ,cross2 ,healing by ,true ,cross4 ,lady ,layard4 ,portrait of ,sultan4 ,antonello da ,messina4 ,antwerp4 ,crucifixion1 #adge4 ,berlin4 ,three ,portraits4 ,london4 ,the ,saviour1 #adfe2 ,portrait2 ,crucifixion1 #adgg4 ,messina4 ,madonna and ,saints1 #adgc4 ,paris4 ,condottiere4 ,milan4 ,portrait of a ,humanist4 ,venice4 ,academy3 ,ecce ,homo4 ,vicenza4 ,christ at the ,column4 ,,chapter ,,ix ,,alvise ,,vivarini ,contemporary with ,giovanni ,bellini were artists still firmly attached to the past1 who were far from suspecting that he was to outstrip them4 ,one of ,antonio de ,murano's sons1 ,luigi or ,alvise ,vivarini1 grew up to follow his father's profession1 and was enrolled in the school of his uncle1 ,bartolommeo4 ,the latter being an enthusiastic follower of ,squarcione1 ,alvise was at first trained in ,paduan principles4 ,jacopo ,bellini's efforts had done something to counteract the hard1 statuesque ,paduan manner1 and had rendered ,mantegna's art more human and less stony1 but ,jacopo could not prevent ,squarcionesque painters from importing into ,venice the style which he disliked so much4 ,bartolommeo threw in his lot with the ,paduans1 and his school1 especially when reinforced by ,alvise1 maintained its reputation as long as it only had to compete with local talent4 ,the ,vivarinis had now been firmly established in ,venice for two generations1 and were the best-known and most popular of her painters4 ,albert ,drer1 on his first visit1 admired them more than the ,bellini4 ,when1 however1 ,gentile and his brother set up in ,venice1 a hot rivalry arose between them and the old ,muranese ,school4 ,the ,bellini had come with their father from ,padua1 with all its new and scientific fashions4 ,they had all the prestige of relationship with ,mantegna1 and they shared the patronage of his powerful employers4 ,the striking historical compositions of ,gentile were at once in demand by the great confraternities4 ,bartolommeo had never been very successful in his dealing with oil-painting1 though he had dabbled in it for some years before ,antonello da ,messina came his way1 but the perception with which the ,bellini at once grasped the new technique gave them the victory4 ,we have only to compare the formless contours of much of ,bartolommeo ,vivarini's work1 the bladder-like flesh-painting of the ,holy ,child1 with the clear luminous colour and firm delicate touch of ,gentile1 to see that the one man is leagues ahead of the other4 ,alvise ,vivarini had more natural affinity with his father than with his uncle4 ,he never becomes so exaggerated in his forms as ,bartolommeo4 ,the expression of his faces is much deeper and more inward1 and he has something of the devotional sweetness of early art4 ,his first known work is an ancona of #adge at ,montefiorentino1 in a lonely ,franciscan monastery on the spurs of the ,apennines4 ,in the centre of the five panels the ,madonna sits with her hands pressed palm to palm1 in adoration of the ,child asleep across her knees4 ,the painter here follows the tradition of his father and uncle1 especially in the ,bologna altarpiece1 in which they collaborated in #adej4 ,four saints stand on either side1 framed in ,gothic panels2 it is all in the old way1 and it is only by degrees that we see there is more sweetness in the expression1 better modelling in the figures1 and a slenderer1 more graceful outline than the earlier ancon can show4 ,only five years after this ancona at ,montefiorentino1 with its stiff rows of isolated saints1 we have the altarpiece in the ,academy of #adhj1 which was painted for a church in ,treviso1 and here a great change is immediately apparent4 ,the antiquated division into panels has disappeared1 nothing is left of the artificial1 ,squarcionesque decorations1 the attitudes are simple1 and the scene is a united one4 ,the ,madonna's outstretched hand1 the suggestion of ,ecce ,agnus ,dei1 makes an appeal which draws the attention of all the saints to one point1 and it is made plain that the one idea pervades the entire assembly4 ,the curtain1 which symbolises the sanctuary1 still hangs behind the throne1 but the gold background is abandoned4 ,alvise has not indeed1 as yet1 imagined any landscape or constructed an interior1 but he lightens the effect by two arched windows which let in the sky4 ,the forms are characteristic of his idea of drawing the human figure2 they have the long thighs with the knees low down1 which we are accustomed to find1 and he constructs a very fine and sharply contrasted scheme of light and shade4 ,there is no trace of the statuesque ,paduan draperies4 ,the ,virgin's brocaded mantle is simply draped1 and the robes of the saints hang in long straight folds4 ,no doubt ,alvise1 though nominally the rival of the ,bellini1 has more affinity with them1 particularly with ,giovanni1 than with the ,paduan artists1 and as time goes on it is evident that he paints with many glances at what they were doing4 ,in the altarpiece in ,berlin he constructs an elaborate cupola above the ,virgin1 such as ,bellini was already using4 ,his saints are full of movement4 ,in the end he begins to attitudinise and to display those artificial graces which were presently accentuated by ,lotto4 ,illustration3 ,alvise ,vivarini4 ,,altarpiece ,,of #adhj4 ,venice4 7,photo1 ,anderson47 ,in #adhh the two ,bellini had for some time been employed in the ,sala del ,gran ,consiglio by the ,council of ,ten4 ,alvise1 with his busy school1 had hoped1 but hitherto in vain1 to be invited to enter into competition with them4 ,at length he wrote the following letter3-- ,,to ,,the ,,most ,,serene ,,the ,,prince ,,and ,,the ,,most ,,excellent ,,signoria--,i am ,alvise of ,murano1 a faithful servant of your ,serenity and of this most illustrious ,state4 ,i have long been anxious to exercise my skill before your ,sublimity and prove that continued study and labour on my part have not been useless4 ,therefore offer1 as a humble subject1 in honour and praise of that celebrated city1 to devote myself1 without return of payment or reward1 to the duty of producing a canvas in the ,sala del ,gran ,consiio1 according to the method at present in use by the two brothers ,bellinii1 and ,i ask no more for the said canvas than that ,i should be allowed the expenses of the cloth and colours as well as the wages of the journeymen1 in the manner that has been granted to the said ,bellinii4 ,when ,i have done ,i shall leave to your ,serenity of his goodness to give me in his wisdom the price which shall be adjudged to be just1 honest1 and appropriate1 in return for the labour1 which ,i shall be enabled1 ,i trust1 to continue to the universal satisfaction of your ,serenity and of all the excellent ,government1 to the grace of which ,i most heartily commend myself4 ,the method at present in use was presumably the oil-painting established by ,antonello1 which was now being made use of to replace the decorations in fresco and tempera which ,guariento1 ,pisanello1 and ,gentile da ,fabriano had executed1 and which were constantly decaying and suffering from the sea air and the dampness of the climate4 ,the ,council accepted ,alvise's offer with little delay1 and he was told to paint a picture for a space hitherto occupied by one of ,pisanello's1 and was given a salary of sixty ducats a year1 something less than that drawn by ,giovanni ,bellini4 ,unfortunately his work1 scenes from the history of ,barbarossa1 perished in the great fire of #aegg4 ,venice is rich in works which show us what sort of painter was at the head of the ,muranese ,school at the time when it rivalled that of the ,bellini4 ,alvise has two reading saints on either side of the altarpiece of #adhj1 and of these the ,baptist is one of his best figures1 admirably expressive of tension and of brooding thought4 ,it is large and free in stroke1 and particularly advanced in the treatment of the foliage4 ,close by hangs a character-study of ,st4 ,clare2 type of a strenuous1 fanatical old woman1 one which belongs not only to the period1 but will be recognised by every student of human nature4 ,formidable and even cruel is her unflinching gaze2 she is such a figure as might have stood for ,scott's ,prioress1 and looks as little likely to show mercy to an erring member of her order4 ,in contrast1 there is the exquisite little ,madonna and ,child with the two baby angels1 still shown as a ,bellini in the sacristy of the ,church of the ,redentore4 ,it is the most absolutely simple and direct picture of the kind painted in ,venice4 ,the baby life is more perfect than anything that ,gian4 ,bellini produced1 and if much less intellectual than his ,madonnas1 there is all the tender charm of the primitives1 combined with a freedom of drapery and a softness of form which could not be surpassed4 ,the two little angels are more mundane in spirit than those of the school of ,bellini2 they have nothing of the mystical quality1 though we are reminded of ,bellini1 and the painting is an exercise in his manner4 ,in the sacristy of ,san ,giobbe is an early ,annunciation1 which is now definitely assigned to ,alvise4 ,it has the old tender sentiment1 and the carnations of its draperies are of a lovely tint4 ,the priests of ,s4 ,giovanni in ,bragora were great patrons of the school of the ,vivarini1 for here1 besides several works by ,bartolommeo and his assistants1 is a little ,madonna in a side chapel1 which may be compared with the ,redentore picture4 ,the ,mother sits inside a room1 with the ,child lying across her knees in the same pose4 ,the two arched openings in the background of the #adhj altarpiece have become windows1 through which we look out on a charming landscape of lake and mountain4 ,in the same church a ,resurrection is not to be overlooked4 ,it was executed in #adih1 and some of the grace and beauty of the sixteenth century has crept into it4 ,against the pink flush of dawn stands the swaying figure of the risen ,christ1 and below appear the heads of the two guards1 looking up1 surprised and joyful4 ,it is perhaps the very earliest example of that soft and sensuous feeling1 that rhapsody of sensation which was presently to sweep like a flood over the art of ,venice4 ,what a time must the dawn of the sixteenth century have been when a man of seventy1 and not the most vigorous and advanced of his age1 had the freshness and youthful courage to greet it2 nay1 actually to depict its magic and glamour as ,alvise does in the ',resurrection'6 ,giorgione is here anticipated in the roundness and softness of the figures1 and in the effect of light4 ,titian's ,assunta is foreshadowed in the fervour of the guards' expressions4 ,alvise1 if he never thoroughly mastered the structure of the nude1 and if his forms keep throughout some touch of the archaic1 some awkwardness in the thickness of the figures1 with their round heads1 long thighs1 and uncertain proportions1 is yet extraordinarily refined and tender in sentiment1 his line has a natural flow and beauty1 and the heads of his ,madonnas and saints cannot be surpassed in loveliness4 ,his death came when the noble altarpiece to ,st4 ,ambrogio in the ,frari was still unfinished1 and it was completed by his assistant1 ,marco ,basaiti4 ,the execution is heavy and probably of ,basaiti1 but the venerable doctor is a grand figure1 and the two young soldier saints on his right and left hand are striking examples of the beauty we claim for him4 ,the architectural plan is very elaborate1 but altogether successful4 ,the group is set beneath an arched vault supported by columns and cornices4 ,overhead1 behind a balustrade1 is placed a coronation of the ,virgin4 ,the many figures are grouped so as not to interfere with each other1 and the sword of ,st4 ,george1 the crozier of ,st4 ,gregory1 and the crook of ,st4 ,ambrose break up the composition and give length and line4 ,the faces of the saints are extremely beautiful1 and the two angels making music below compare well with those of the ,bellinesque ,school4 ,the portraits ,alvise has left add to his reputation1 and remind us of those of ,antonello da ,messina1 particularly in the vital expression of the eyes1 though they are without ,antonello's intense force4 ,the ,bernardo di ,salla and the ,man feeding a ,hawk1 though some critics still ascribe them to ,savoldo1 have features which make their attribution to ,alvise almost certainly correct4 ,indeed1 the resemblance of ,bernardo to the ,madonna in the #adhj altarpiece cannot escape the most unscientific observer4 ,there is the same inflated nostril1 the peculiarly curved mouth1 and vivacious eyes4 ,among the followers of ,alvise1 ,marco ,basaiti1 ,bartolommeo ,montagna1 and ,lorenzo ,lotto are the most distinguished4 ,others less direct are ,giovanni ,buonconsiglio and ,francesco ,bonsignori1 while ,cima da ,conegliano was for a short time his greatest pupil4 ,we shall return to these later4 ,,principal ,,works ,berlin4 ,madonna enthroned1 with six ,saints4 ,london4 ,portrait of ,youth4 ,milan4 ,bonomi-,cereda ,collection3 ,portrait of a ,man4 ,naples4 ,madonna with ,,ss4 ,francis and ,bernardino4 ,paris4 ,portrait of ,bernardo di ,salla4 ,venice4 ,academy3 ,seven panels of single ,saints2 ,madonna and six ,saints1 #adhj4 ,frari3 ,s4 ,ambrose enthroned4 ,s4 ,giovanni in ,bragora3 ,madonna adoring ,child2 ,resurrection and ,predelle4 ,redentore3 ,sacristy3 ,madonna and ,child1 with ,angels4 ,vienna4 ,madonna4 ,windsor4 ,man feeding a ,hawk4 ,,chapter ,x ,,carpaccio ,vittore ,carpaccio was ,gentile ,bellini's most faithful pupil4 ,he and his master stand apart in having1 before the arrival of the ,venetian ,school proper1 captured an aspect and a charm inspired by the natural beauty of the ,city of the ,sea4 ,gentile1 as we have seen1 paints her historic appearance1 and ,carpaccio gives us something of the delight we feel to-day in her translucent waters and her ample1 sea-washed spaces flooded with limpid light4 ,while others were absorbed in assimilating extraneous influences1 he goes on his own way1 painting1 indeed1 the scenes that were asked for1 but painting them in his own manner and with his own enjoyment4 ,pageant-pictures had been the demand of the ,venetian ,state from very early days4 ,the first use of painting had been that made by the ,church to glorify religion1 and very soon the ,state had followed1 using it to enhance the love which ,venetians bore to their city1 and to bring home to them the consciousness of its greatness and glory4 ,pageants and processions were an integral part of ,venetian life4 ,the people looked on at them1 often as they occurred1 with more pride and sense of proprietorship than a ,londoner does at a coronation procession or at the ,king going in state to open ,parliament4 ,the ,venetian loved splendour and beauty and the story of the city's great achievements1 and nothing provided so welcome a subject for the decoration of the great public halls as portrayals of the events which had made ,venice famous4 ,artists had been employed to produce these as early as the end of the fourteenth century1 and those of the ,bellini and ,alvise ,vivarini 7which perished in the great fire7 were a rendering on modern lines of the same subjects1 satisfying the more advanced feeling for truth and beauty4 ,besides the ,church and the public ,government1 we have already seen the ,schools1 as they were called1 becoming important employers4 ,these schools were the great organised confraternities in the cause of charity and mutual help1 which sprang up in ,venice in the fifteenth century4 ,that of ,st4 ,mark was naturally the foremost1 but others were banded each under their patron saint4 ,each attracted numbers of rich patrons1 for it was the fashion to belong to the confraternities4 ,riches and endowments rolled in1 and halls for meeting and for transacting business were built1 and were adorned with pictures setting forth the legends of their patron saints4 ,we have already seen ,gentile ,bellini employed in the schools of ,san ,marco and ,san ,giovanni1 and now the schools of ,st4 ,ursula and ,st4 ,george gave commissions to ,carpaccio1 or perhaps it would be more correct to say that ,gentile1 having become pre-eminent in this art1 provided employment for his pupil and assistant1 and that by degrees ,carpaccio became a maestro on his own account4 ,a host of second-rate painters were plying side by side1 disciples first of one master1 then drawn off to become followers of a second2 assimilating the influence first of one workshop and then of another4 ,carpaccio has been lately identified as a pupil of ,lazzaro ,bastiani1 who had a school in ,venice1 and the recent attribution to this painter of the ,doge before the ,madonna1 in the ,national ,gallery1 gives some countenance to the contention that he was held to be of great excellence in his time4 ,though some historians advance the suggestion that ,carpaccio was a native of ,capo d',istria1 there is little proof that he was not1 like his father ,pietro1 born a ,venetian4 ,he seems to have worked in ,venice all his life1 his first work being dated #adij and his last #aebj4 ,in #aebg his wife1 ,laura1 declared herself a widow4 ,the narrative art needed by the confraternities was supplied in perfection by ,carpaccio1 and one of his earliest independent commissions was the important one of decorating the ,school of ,st4 ,ursula4 ,devotion to ,st4 ,ursula was a monopoly of the school4 ,no one else had a right to collect offerings in her name or to put up an image to her4 ,the legend afforded an opportunity for painting varied and dramatic scenes1 of which ,carpaccio takes full advantage1 and the cycle is one of the freshest and most characteristic things that has come down to us from the quattrocento4 ,problems are not conspicuous4 ,the mediocre masters who have educated the painter have made little impression on him4 ,he is entirely occupied in delight in his subject and in telling his story4 ,the story of ,st4 ,ursula1 told briefly1 is that she was the daughter of the ,king of ,brittany4 ,the ,king of ,england sends his ambassadors to beg her hand for his son1 ,hereo4 ,ursula discusses the proposal with her father1 and makes the conditions that ,hereo1 who is a heathen1 shall be baptized1 and that the betrothed couple must before marriage visit the ,pope and the sacred shrines4 ,after taking leave of their parents1 the ,prince and ,princess depart on their expedition1 but ,ursula has had a vision in her sleep in which an angel has announced her martyrdom4 ,she is accompanied on her journey by #aa1jjj virgins1 and they are received by ,pope ,cyriacus in ,rome4 ,the ,pope then makes the return journey with them as far as ,cologne1 where1 however1 they are assaulted and massacred by the ,huns1 after which ,ursula is accorded a splendid funeral1 and is canonised4 ,the thirteen scenes in which the story is told are arranged on nine canvases1 and the painter has not executed them in the chronological order1 some of the latest events being the least complete in artistic skill4 ,professor ,leonello ,venturi assigns the following dates to the list3 #a4 ,the ambassadors of the ,king of ,england meet those of the ,king of ,brittany to ask for the hand of ,ursula4 ,probably painted from #adif-ih4 #b4 7,on same canvas7 ,ursula discusses the proposal with her father4 #adif-ih4 #c4 ,the ,king of ,brittany dismisses the ambassadors4 #adif-ih4 #d4 ,the ambassadors return to the ,king of ,england4 #adif-ih4 #e4 ,an angel appears to ,ursula in her sleep4 #adib4 #f1 #g1 #h4 ,the betrothed couple take leave of their respective parents1 and the ,prince meets ,ursula4 #adie4 #i4 ,the betrothed couple and the #aa1jjj virgins meet the ,pope4 #adib4 #aj4 ,they arrive at ,cologne4 #adij4 #aa1 #ab4 ,the massacre by the ,huns4 ,the ,funeral4 #adie4 #ac4 ,the saint appears in glory1 with the palm of martyrdom1 venerated by the #aa1jjj virgins and received in heaven by the ,eternal ,father4 #adia4 ,no4 #aj is a small canvas1 such as might naturally have been chosen for a first experiment4 ,the heads are large with coarse features1 and the proportions of the figures are poor4 ,the face of the saint in glory 7,no4 #ac71 plump and without much expression1 is of the type of ,bastiani's saints4 ,it may be assumed that such a great scheme of decoration would not have been entrusted to any one who was not already well known as an independent master1 but perhaps ,carpaccio1 who would have been about thirty when the work was begun1 was still principally engrossed with the conventional1 ecclesiastical subject4 ,the heads of the virgins pressing round the saint appear to be portraits1 and were very possibly those of the wives and daughters of members of the confraternity4 ,the improvement that takes place is so rapid that we can guess how congenial the painter found the task and how quickly he adapted his already trained talent4 ,in ,no4 #e he takes delight in the opportunity for painting a little domestic scene1--the bedroom of a young ,venetian girl1 perhaps a sister of his own4 ,the comfortable bed1 the dainty furniture1 are carefully drawn4 ,the clear morning light streams into the room4 ,the saint lies peacefully asleep1 her hand under her head1 her long eyelashes resting upon her cheek3 the whole is an idyll1 full of insight into girlish life4 ,the tiny slippers made1 no doubt1 one of the details that caught his eye4 ,the crown lying on the ledge of the bed is an arbitrary introduction1 as naf as the angel4 ,in the funeral scene the luminous light is diffused over all1 the young saint lies upon her bier and is followed by priest and deacon1 the crowd is composed with truth to nature1 the draperies and garments are brought into harmony with the sky and background1 and in all those that follow we find this quality of light4 ,the landscape behind the massacre has gained in natural character1 the city is at some distance1 houses and churches are half buried in woods2 the setting is much more natural than are the quaint and elegant pages who occupy it1 and who are drawing their crossbows and attacking the martyrs with leisurely nonchalance4 ,the panel in which the betrothed couple meet shows a great advance1 and this and the succeeding ones of the ambassadors1 which were painted between #adie and #adih1 must have crowned ,carpaccio's reputation4 ,he paints ,venice in its most fascinating aspect2 the enamelled beauty of its marbles1 its sky and sea1 its palaces and ships1 the rich and picturesque dresses men wore in the streets1 the barge glowing with rich velvets4 ,he evinces a fairy-tale spirit which we may compare with the work of ,pintoricchio4 ,his ,prince1 kneeling in a white and gold dress1 with long fair curls1 is a real fairy prince2 ,ursula1 in her red dress and puffed sleeves1 her rippling1 flaxen hair and strings of pearls1 is a princess of story4 ,carpaccio's art is simple and garrulous in feeling1 his conception is as unpassionate as the fancies of a child1 but he has a true love for these gay crowds2 ,venice going upon her gallant way--her solid1 worthy citizens1 men of substance1 shrewd and valuable1 taking their pleasure seriously with a sense of responsibility4 ,they throng the streets and cross over the bridges1 every figure is full of freedom and vitality4 ,the arrival and dismissal of the ambassadors are the best of all the scenes4 ,in the middle of the great stage ,king ,maurus of ,brittany sits upon a ,venetian terrace4 ,in the colonnade to the left is gathered a group of ,venetian personages1 members of the ,loredano family1 which was a special patron of ,st4 ,ursula's ,guild1 and gave this panel4 ,the types are all vividly realised and differentiated3 the courtier looking critically at the arrivals2 the frankly curious bourgeoisie2 the man of fashion passing with his nose in the air1 disdaining to stare too closely2 the fop with his dogs and their dwarf keeper4 ,far beyond stretch the lagoons2 the sea and air of ,venice clear and fresh4 ,what is noticeable even now in an ,italian crowd1 the absence of women1 was then most true to life1 for except on special occasions they were not seen in the streets1 but were kept in almost ,oriental seclusion4 ,the dismissal of the ambassadors affords the opportunity for drawing an interior with the street visible through a doorway4 ,a group at the side1 of a man dictating a letter and the scribe taking down his words1 writing laboriously1 with his shoulders hunched and his head on one side1 is excellent in its quiet reality4 ,the same life-like vivacity is displayed in ,ursula's consultation with her father4 ,the old nurse crouched upon the steps is introduced to break the line and to throw back the main group4 ,carpaccio has already used such a figure in the funeral scene1 and ,titian himself adopts his suggestion4 ,illustration3 ,carpaccio4 ,,arrival ,,of ,,the ,,ambassadors4 ,venice4 7,photo1 ,anderson47 ,carpaccio is not a very great painter1 but a charming one4 ,his treatment of light and water1 of distant hills and trees1 shows a sense of peace and poetry1 and though he is influenced by ,gentile's splendid realistic heads1 the type which appeals to him is gentler and more idealised4 ,his fancy is caught by ,oriental details1 to which ,gentile would naturally have directed his attention1 and of which there was no lack in ,venice at this time4 ,all his episodes are very clearly illustrated1 and his popular brush was kept busily employed4 ,he took a share with other assistants in the series which ,gentile was painting in ,s4 ,giovanni ,evangelista4 ,in #aejb the ,dalmatians inhabiting ,venice resolved to decorate their school1 which had been founded fifty years earlier1 for the relief of destitute ,dalmatian seamen in ,venice4 ,the subjects were to be selected from the lives of the ,saviour and the patron saints of ,dalmatia and ,albania1 ,st4 ,jerome1 ,st4 ,george of the ,sclavonians1 and ,st4 ,tryphonius4 ,the nine panels and an altarpiece which ,carpaccio delivered between #aejb and #aejh still adorn the small but dignified ,hall of the school4 ,his ,jerome in his ,study has nothing ascetic1 but shows a prosperous ,venetian ecclesiastic seated in his well-furnished library among his books and writings4 ,he is less successful in his scenes from the life of ,christ2 the ,gethsemane is an obvious imitation of ,mantegna2 but when he leaves his own style he is weak and poor1 and imaginary scenes are quite beyond him4 ,in the death and interment of ,st4 ,jerome he gives a delightful impression of the peace of the old convent garden1 and in the scene where the lion introduced by the saint scatters the terrified monks he lets a sense of humour have free play4 ,the monks in their long garments1 escaping in all directions1 are really comical1 and in conjunction with the ingratiating smile of the lion1 the scene passes into the region of broad farce4 ,we divine the same sense of the comic in the scene in ,st4 ,ursula's history1 where the #aa1jjj virgins are hurrying in single file along a winding road which disappears out of the picture4 ,in the principal scene in the life of ,st4 ,george1 ,carpaccio again achieves a masterpiece4 ,the force and vivacity of the saint in armour charging the dragon1 lingers long in the memory4 ,the long1 decorative lines of lance and war-horse and dragon throw back the whole landscape4 ,the details show an almost childish delight in the realisation of ghoulish horrors4 ,he rather injures his ,triumph of ,st4 ,george by his anxiety to bring in the ,temple of ,solomon at ,jerusalem2 the flying flags distract the eye1 and the whole scene is one of confusion1 broken up into different parts1 while the dragon is reduced to very unterrifying insignificance4 ,his series for the school of the ,albanians dealt with the life of the ,virgin1 who was their special patron4 ,its remains are at ,bergamo1 ,milan1 and in the ,academy4 ,the single figures in the ,presentation1 the priest and maiden1 are excellent4 ,a child at the side of the steps1 leading a unicorn1 emblem of chastity1 shows once more what a hold this use of a figure had taken of him4 ,in the ,visitation the figures are too much scattered1 and the fantastic buildings attract more attention than the women4 ,he still produced altarpieces1 and the ,presentation of the ,infant ,christ in the ,temple1 which he was called upon to paint for ,san ,giobbe1 where one of ,bellini's most famous altarpieces stood1 challenged him to put forth all his strength4 ,he never produced anything more simple and noble or more worthy of the cinque-cento than this altarpiece 7now in the ,academy74 ,it surpasses ,bellini's arrangement in the way in which the personages are raised upon a step1 while the dome overhead and the angel musicians below give them height and dignity4 ,the contrast between the infant and the youthful woman and the old men is purposely marked4 ,such a contrast between youth and age is a very favourite one4 ,bellini1 in the same church1 draws it between ,,ss4 ,sebastian and ,job1 and ,alvise ,vivarini1 in his last painting1 balances a very youthful ,sebastian with ,st4 ,jerome4 ,this is the most grandiose1 the least of a genre picture of all ,carpaccio's creations1 although he does make ,simeon into a pontiff with attendant cardinals bearing his train4 ,one of his last works is the ,s4 ,vitale over the high altar of the church of that name1 where we forgive the wooden appearance of the horse which the saint rides for the sake of the simple dignity of the rider and the airy effect given by the balcony overhead4 ,nor must we forget that study of the ,two ,courtesans in the ,museo ,civico1 full of the sarcasm of a deep realism4 ,it conveys to us the matter-of-fact monotony of the long1 hot days1 and the women and the animals with which they are beguiling their idle hours are painted with the greatest intelligence4 ,it carries us back to another phase of life in ,carpaccio's ,venice1 seen through his observant1 humorous eyes1 and if there is nothing in his colour distinctive of the impending ,venetian richness1 it is still arresting in its brilliant limpidity2 it seems drawn straight from the transparent canals and radiant lagoons4 ,we apprehend the difference at once in ,bastiani and in ,mansueti1 who essay the same sort of compositions4 ,they studied grouping carefully1 and it must have seemed easy enough to paint their careful architecture and to place citizens in costume with appropriate action in a ,miracle of the ,cross1 or the ,preaching of ,st4 ,mark2 but these pictures are dry and crowded1 they give no illusion of truth1 there is none of the careless realism of ,carpaccio's crowds1--of incidents taking place which are not essential to the story1 and1 as in life1 are only half seen1 but which have their share in producing a full and varied illusion4 ,the scenes want the air and depth in which ,carpaccio's pictures are enveloped4 ,we are not stimulated and charmed1 taken into the outer air and refreshed by these heavy personages1 standing in rows1 painted in hot1 dry colour1 and carrying no conviction in their glance and action4 ,,principal ,,works ,berlin4 ,madonna and ,saints2 ,consecration of ,stephen4 ,ferrara4 ,death of ,virgin4 ,milan4 ,presentation of ,virgin2 ,marriage of ,virgin2 ,st4 ,stephen disputing4 ,paris4 ,st4 ,stephen preaching4 ,stuttgart4 ,martyrdom of ,st4 ,stephen4 ,venice4 ,academy3 ,the ,history of ,st4 ,ursula and the #aa1jjj ,virgins2 ,presentation in the ,temple4 ,museo ,correr3 ,visitation2 ,two ,courtesans4 ,s4 ,giorgio degli ,schiavone3 ,history of ,,ss4 ,george and ,tryphonius2 ,agony in the ,garden2 ,christ in the ,house of the ,pharisee2 ,history of ,st4 ,jerome4 ,s4 ,vitale3 ,altarpiece to ,s4 ,vitale4 ,lady ,layard4 ,death of the ,virgin2 ,st4 ,ursula taking leave of her ,father4 ,vienna4 ,christ adored by ,angels4 ,,chapter ,,xi ,,giovanni ,,bellini ,the difference between ,gian4 ,bellini and his accomplished brother1 that which makes us so conscious that the first was the greater of the two and which sets him in a later artistic generation than ,gentile1 is a difference of mind4 ,such pageant-pictures as we hear that ,giovanni was engaged upon have all been destroyed4 ,we may suspect that their composition was not particularly congenial to him1 and that the strictly religious pictures and the small allegorical studies1 by which we must judge him1 were more after his heart4 ,it is his poetic and ideal feeling which adds so strongly to his claim to be a great artist2 it was this which drew all men to him and enabled him so powerfully to influence the art of his day in ,venice4 ,jacopo's wife1 ,anna1 in a will of #adbi1 leaves everything to her two sons1 ,gentile and ,niccolo4 ,giovanni was evidently not her son1 but ,vasari speaks of him as the elder of the two1 so that it is very possible that he was an illegitimate child1 brought up1 after the fashion that so often obtained1 in the full privileges of his father's house4 ,documents show that ,jacopo ,bellini was living in ,venice in #adcg1 first near the ,piazza1 and afterwards in the parish of ,san ,lio4 ,he was a member of ,s4 ,giovanni ,evangelista1 and probably one of the leading artists of the city4 ,his two sons helped him in his great decorative works1 and also went with him to ,padua1 where he painted the ,gattamalata ,chapel4 ,their relative position is suggested by a document of #adeg1 which records that the father received twenty-one ducats for three figures1 done on cloth1 put in the ,great ,hall of the ,patriarch1 only two of which were to go to the son4 ,in #adei ,gian4 ,bellini's signature first appears on a document1 and at about this time we may suppose that he and his brother began to execute small commissions on their own account4 ,on these visits to ,padua the intimacy must have sprung up1 which led to ,mantegna's marriage in #adec with ,jacopo's daughter4 ,at ,padua1 too1 ,bellini1 in company with ,mantegna1 drank in the inspiration left there by ,donatello1 the greatest master that either of them encountered4 ,it was the humanistic and naturalistic side of ,donatello which touched ,giovanni ,bellini1 more than all his classic lore4 ,it chimed in1 too1 with his father's graceful and fanciful quality1 and there is no doubt that the ,venetian painters soon exercised a marked influence on ,mantegna4 ,they fought for him with ,squarcione1 and even in the ,eremitani frescoes he begins to lose his purely statuesque type and to become frankly ,renaissance4 ,in the later scenes of the series a pergola with grapes1 a ,venetian campanile and doorway replace his classic towers and arches of triumph4 ,in the ,martyrdom of ,st4 ,james the couple walking by and paying no attention whatever to the tragic event1 are very like the people whom ,gentile introduces in his backgrounds4 ,there are few documents more interesting in the history of art than the two pictures of the ,agony in the ,garden1 executed by the brothers-in-law1 about #adee1 from a design by ,jacopo in the ,british ,museum sketch-book4 ,jacopo draws the mound-like hill1 ,christ kneeling before the vision of the ,chalice1 the figures wrapt in slumber1 and the distant town4 ,in few pictures up to this time is the landscape conceived in such sympathy with the figures4 ,as we look at this sketch and examine the two finished compositions1 which it is so fortunate to find in juxtaposition in the ,national ,gallery1 we surmise that the two artists agreed to carry out the same idea and each to give his version of ,jacopo's suggestion1 and very curious it is to see the rendering each has produced4 ,mantegna has made use of the most formal and ,squarcionesque contours in his surroundings4 ,the rocks are of an unnatural1 geological structure4 ,the towers of ,jerusalem are defined in elaborate perspective1 and a band of classic figures fills the middle distance4 ,the sleeping forms of the disciples are laid about like so many draped statues taken from their pedestals4 ,the choir of child angels is solid and leaves nothing to the imagination1 and if it were not for the beautifully conceived ,christ1 the whole composition would leave us quite unmoved4 ,on the other hand1 we can never look at ,bellini's version without a fresh thrill4 ,he1 like ,mantegna1 has followed ,jacopo's scheme of winding roads and the city set on a hill1 and has drawn the advancing band of soldiers2 but1 independent of all details1 he gives us the vision of a poet4 ,the still dawn is breaking over the broadly painted landscape1 the rosy shafts of light are colouring the sky and casting their magic over every common object1 and1 lonely and absorbed1 the ,sacred ,figure kneels1 wrapt into the ,heavenly ,vision1 which is hardly more definite than a stronger beam of light upon the radiance4 ,one of the disciples1 at least1 is a successful and natural study of a tired-out man1 whose head has fallen back and whose every limb has relaxed in sleep4 ,bellini is less assured1 less accomplished than ,mantegna1 but he is able to touch us with the pathos of both natural and spiritual feeling4 ,even earlier than this picture1 critics place the ,crucifixion and ,transfiguration of the ,museo ,correr and our own ,salvator ,mundi4 ,in #addc1 when ,giovanni was a young man of four or five and twenty1 ,san ,bernardino had held a great revival at ,padua1 and the whole of ,venice had thronged to hear him4 ,it is very possible1 as ,mr4 ,roger ,fry suggests in his ,life of ,bellini1 that ,giovanni's emotional temperament had been worked upon by the preacher's eloquence1 and the very poignant feelings of love and pity which his early art expresses were the deliberate consequence of his sympathy with the deep religious mysteries expounded4 ,in the two pictures in the ,correr1 ,bellini is still going with the ,paduan current4 ,in both we have the winding roads so characteristic of his father1 but the rocks in the ,transfiguration have the jointed1 arbitrary character of ,mantegna's and the draperies are plastered to the forms beneath2 yet the figures here have a beauty and a dignity which no reproduction seems able to convey4 ,the feeling is already more imposing than the execution4 ,christ and the two prophets tower up against the belt of clouds1 the central figure conveying a sense of pathetic isolation2 while below1 ,st4 ,john's attitude betrays a state of tension1 the feet being drawn up and contorted4 ,this picture prepares us for the overwhelming emotion we find in the ,redeemer and the group of ,piets4 ,the treatment of the ,christ was a development of the early motif of angels flying forward on either side of the ,cross1 but here the sacred blood pouring into the chalice is also sacramental and connected with the intensified religious fervour which had led to the foundation of the ,franciscan and ,dominican orders1 illustrations of which are met with in the miniatures and wood-engravings of fifteenth-century books of devotion4 ,the accessories1 the antique reliefs1 the low wall1 the distant buildings1 have an allegorical meaning underlying each one1 and common to trecento and1 in a less degree1 to quattrocento art4 ,paradise regained is signified by the paved court with the open door1 in contradistinction to the ,hortus ,clausus1 or enclosed court2 the type of the old covenant4 ,in one of the bas-reliefs ,mucius ,scaevola thrusts his hand into the fire1 the ancient type of heroic readiness to suffer4 ,the other represents a pagan sacrifice1 foreshadowing the sacrifice upon the ,cross4 ,figures in the background are leaving a ruined temple and making their way towards the new ,christian city1 fortified and crowned with a church tower1 and in the midst of all this symbolism1 ,christ and the attendant angel are placed1 vibrating with nervous feeling4 ,during the next few years1 ,bellini devoted himself to two subjects of the highest devotional order4 ,these are the ,madonna and ,child1 the great exercise in every age for painters1 and the ,piet1 which he has made peculiarly his own4 ,illustration3 ,giovanni ,bellini4 ,,piet4 ,brera1 ,milan4 7,photo1 ,brogi47 ,close by1 at ,padua1 ,giotto had left a rendering of the last subject1 so full of passionate sorrow that it is hardly possible that it should not1 if only half consciously1 have stimulated the artistic sensibilities of the most sensitive of painters2 but ,bellini's pathos shrinks from all exaggeration4 ,he conceives grief with the tenderest insight4 ,his interest in the subject was so intense that he never left the execution to others1 and though not a single one bears his signature1 yet each is entirely by his own hand4 ,besides the ,piet at ,milan1 which is perhaps the best known1 there is one in the ,correr ,museum1 another in the ,doge's ,palace1 and yet others at ,rimini and at ,berlin4 ,the version he adopts1 which places the ,body of ,christ within the sarcophagus1 was a favourite in ,north ,italy4 ,donatello uses it in a bas-relief 7now in the ,victoria and ,albert ,museum71 but whether he brought or found the suggestion in ,padua nothing exists to show4 ,jacopo has left sketches in which the whole group is within the tomb1 and this rendering is followed by ,carpaccio1 ,crivelli1 ,marco ,zoppo1 and others4 ,it is never found in trecento art1 and is probably traceable to the ,paduan impulse to make use of classic remains4 ,giovanni ,bellini's ,piets fall into two groups4 ,in one1 the ,christ is placed between the ,virgin and ,st4 ,john1 who are embodiments of the agony of bereavement4 ,in the other1 the dead ,redeemer is supported by angels1 who express the amazement and grief of immortal beings who see their ,lord suffering an indignity from which they are immune4 ,mary and ,st4 ,john inside the sarcophagus shows that they are conceived mystically2 ,mary as the ,church1 and ,st4 ,john as the personification of ,christian ,philosophy--a significance frequently attached to these figures4 ,such a picture was designed to hang over the altar1 at which the mystical sacrifice of the ,mass was perpetually offered4 ,in his treatment of the ,brera example ,bellini has shaken off the ,paduan tradition1 and is forming his own style and giving free play to his own feeling4 ,the winding roads and evening sky1 barred with clouds1 are the accessories he used in the ,agony in the ,garden1 but the figures are treated much more boldly2 the drapery falls in broad masses1 and scarcely a trace is left of sculpturesque treatment4 ,careful as is the study of the nude1 everything is subordinated to the emotion expressed by the three figures3 the helpless1 indifferent calm of the dead1 the tender solicitude of the ,mother1 the wandering1 dazed look of the despairing friend4 ,here there is nothing of beautiful or pathetic symbol2 the group is intense with the common sorrow of all the world4 ,mary presses the corpse to her as if to impart her own life1 and gazes with anguished yearning on the beloved face4 ,bellini seems to have passed to a more complex age in his analysis of suffering1 yet here is none of the extravagance which the primitive masters share with the ,caracci3 his restraint is as admirable as his intensity4 ,in the ,rimini version the tender concern and questioning surprise of the attendant angels contrast with the inert weight of the beautiful dead body they support4 ,their childish limbs and butterfly wings make a sinuous pattern against the lacquered black of the ground-work1 and ,mr4 ,roger ,fry makes the interesting suggestion that the effect1 reminiscent of ,greek vase-painting1 and the likeness of the ,head of ,christ to an old bronze1 may1 in a composition painted for ,sigismondo ,malatesta1 be no mere accident1 but a concession to the patron's enthusiasm for classic art4 ,in #adgj ,bellini received his first commission in the ,scuola di ,san ,marco4 ,gentile had been employed there since #adff on the history of the ,israelites in the desert4 ,bellini agreed to paint ,the ,deluge and the ,ark of ,noah with all its attendant circumstances1 but of these1 except from ,vasari's descriptions1 we can form no idea4 ,these great pageant-pictures had become identified with the ,bellini and their following1 while the production of altarpieces was peculiarly the province of the ,vivarini4 ,here ,bellini effected a change1 for sacred subjects best suited the restrained and simple perfection of his style1 and afforded the most sympathetic opening for his idealistic spirit4 ,for the next twenty years or more1 however1 he was unavoidably absorbed in public work1 for we hear of his being given the direction of that which ,gentile left unfinished in the ,ducal ,palace when he went to the ,east in #adgi4 ,in #adib1 ,giovanni being ill1 ,gentile superintended the work for him1 and in that year he was appointed to paint in the ,hall of the ,grand ,council1 at an annual salary of sixty ducats4 ,other commissions were turned out of the bottega he had set up with his brother in #adga1 and between that year and #adhj he went to ,pesaro to paint the important altarpiece that still holds its place there4 ,it is in some ways the greatest and most powerful thing that ,bellini ever accomplished4 ,the central figures and the attendant saints have a large gravity and carefully studied individuality4 ,st4 ,jerome1 absorbed in his theological books1 an ascetic recluse1 is admirably contrasted with the sympathetic1 cultured ,st4 ,paul4 ,the landscape1 set in a marble frame1 is a gem of beauty1 and proves what an appeal nature was making to the painter4 ,the predella1 illustrating the principal scenes in the lives of the saints around the altar1 is full of ,oriental costumes4 ,the horses are small ,eastern horses1 very unlike the ponderous ,italian war-horse1 and the whole is evidently inspired by the sketches which ,gentile brought back on his return from ,constantinople in #adha4 ,looking from one to another of the cycle of ,madonna pictures which ,bellini produced1 and of which so many hang side by side in the ,academy1 we are able to note how his conception varied4 ,in one of the earliest the ,child lies across its ,mother's knee1 in the attitude borrowed from his father and the ,vivarini1 from whom1 too1 he takes the uplifted hands1 placed palm to palm4 ,the earlier pictures are of the gentle and adoring type1 but his later ,madonnas are stately ,venetian ladies4 ,he gives us a queenly woman1 with full throat and stately poise1 in the ,madonna degli ,alberi1 in which the two little trees are symbols of the ,old and ,new ,testament2 or1 again1 he paints a lovely intellectual face with chiselled and refined features1 and sad dark eyes1 and contrasts it dramatically with the bluff ,st4 ,george in armour2 and there is another ,madonna between ,st4 ,francis and ,st4 ,catherine1 a picture which has a curious effect of artificial light4 ,,chapter ,,xii ,,giovanni ,,bellini 7continued7 ,in #adig the ,maggior ,consiglio of the ,venetian ,republic appointed ,bellini superintendent of the ,great ,hall1 and conferred on him the honourable title of ,state ,painter4 ,in this capacity he was the overseer of all public works of painting1 and was expected to devote a part of his time to the decoration of the ,hall4 ,sansovino enumerates nine of his historical paintings1 which had been painted before the ,state appointment1 all having reference to the visit of ,pope ,alexander2 but though he must have been much engrossed1 he seems to have suspended the work from time to time1 for between #adhe and #adhh he painted the large altarpiece in the ,frari1 that at ,san ,pietro in ,murano1 and the one in the ,academy1 which was painted for ,san ,giobbe4 ,of these three1 the last shows the greatest advance and is fullest of experiment4 ,the ,madonna is a grand ecclesiastical figure4 ,it has been said with truth that it is a picture which must have afforded great support and dignity to the ,church4 ,the ,infant has an expression of omniscience1 and the ,mother gazes out of the picture1 extending invitation and encouragement to the advancing worshippers4 ,the religious feeling is less profound2 the artist has been more absorbed in the contrast between the beautiful1 youthful body of ,st4 ,sebastian and that of ,st4 ,giobbe1 older but not emaciated1 and with the exquisite surface that his now complete mastery of oil-painting enabled him to produce4 ,this technique has evidently been a great delight1 and is here carried to perfection2 the skin of ,st4 ,sebastian gleams with a gloss like the coat of a horse in high condition4 ,everything that architecture1 sculpture1 and rich material can supply is borrowed to enhance the grandeur of the group2 but the line of sight is still close to the bottom of the picture1 and if it were not for the exquisite grace with which the angels are placed1 the ,madonna would have a broad1 clumsy effect4 ,the ,madonna of the ,frari is the most splendid in colour of all his works4 ,as he paints the rich light of a golden interior and the fused and splendid colours1 he seems to pass out of his own time and gives a foretaste of the glory that is to follow4 ,the ,murano altarpiece is quite a different conception2 instead of the seclusion of the sanctuary1 it is a smiling1 plein air scene3 the ,mother benign1 the ,child soft and playful1 the old ,doge ,barbarigo and the patron saints kneeling among bright birds1 and a garden and medival townlet filling up the background1 for which1 by the way1 he uses the same sketch as in the ,pesaro picture4 ,it says much for his versatility that he could within a short time produce three such different versions4 ,among ,bellini's most fascinating achievements in the last years of the fifteenth century are his allegorical paintings1 known to us by the ,plerinage de l'me in the ,uffizi and the little series in the ,academy4 ,the meaning of the first has been unravelled by ,dr4 ,ludwig from a medival poem by ,guillaume de ,guilleville1 a ,cistercian monk who wrote about #acce1 and it is interesting to see the hold it has taken on ,bellini's mystic spirit4 ,the paved space1 set within the marble rail1 signifies1 as in the ,salvator ,mundi1 the ,paradise where souls await the ,resurrection4 ,the new-born souls cluster round the ,tree of ,life and shake its boughs4 ,the poem says3 ,there is no pilgrim who is not sometimes sad ,who has not those who wound his heart1 ,and to whom it is not often necessary ,to play and be solaced ,and be soothed like a child ,with something comforting4 ,know that those playing ,there in order to allay their sorrow ,have found beneath that tree ,an apple that great comfort gives ,to those that play with it4#b #b ,this translation is by ,miss ,cameron ,taylor4 ,illustration3 ,giovanni ,bellini4 ,,an ,,allegory4 ,florence4 7,photo1 ,anderson47 ,this may be an allusion to sacramental comfort4 ,st4 ,peter and ,st4 ,paul guard the door1 beside which the ,madonna and a saint sit in holy conversation4 ,a very beautiful figure on the left1 wrapped in a black shawl1 requires explanation1 and it has been suggested that it is the donor1 a woman who may have lost husband and children1 and who1 still in life1 is introduced1 watching the happiness of the souls in ,paradise4 ,,ss4 ,giobbe and ,sebastian1 who might have stepped out of the ,san ,giobbe altarpiece1 are obviously the patron saints of the family1 and ,st4 ,catherine1 at the ,virgin's side1 may be the donor's own saint4 ,this picture1 with its delicious landscape bathed in atmospheric light1 is a forerunner of those ,giorgionesque compositions of pure and unquestioning delight in the sensuous charm of rare and beautiful things in which the artistic nature is even more engrossed than with the intellectual conception1 and within its small space ,bellini seems to have enshrined all his artistic creed4 ,the allegories in the ,academy are also full of meaning4 ,they are decorative works1 and were probably painted for some small cabinet4 ,they seem too small for a cassone4 ,they are ruined by over-painting1 but still full of grace and fancy4 ,the figure in the classic chariot1 bearing fruit1 in the encounter between ,luxury and ,industry1 is drawn from ,jacopo's triumphant ,bacchus4 ,fortune floats in her barque1 holding the globe1 and the souls who gather round her are some full of triumphant success1 others clinging to her for comfort1 while several are sinking1 overwhelmed in the dark waters4 ,prudence1 the only example of a female nude in ,bellini's works1 holds a looking-glass4 ,hypocrisy or ,calumny is torn writhing from his refuge4 ,the ,summa ,virtus is an ugly representation of all the virtues2 a waddling deformity with eyes bound holds the scales of justice2 the pitcher in its hand means prudence1 and the gold upon its feet symbolises charity4 ,the landscape1 both of this and of the ,fortune1 resembles that which he was painting in his larger works at the end of the century4 ,soon after #aeja ,bellini entered into relations with ,isabela d',este1 ,marchioness of ,gonzaga4 ,that distinguished collector and connoisseur writes through her agent to get the promise of a picture1 a story or fable of antiquity1 to be placed in position with the allegories which ,mantegna had contributed to her ,paradiso4 ,bellini agreed to supply this1 and received twenty-five ducats on account4 ,he seems1 however1 to have felt that he would be at a disadvantage in competing with ,mantegna on his own ground1 and asks to be allowed to choose his subject4 ,isabela was unwillingly obliged to content herself with a sacred picture1 and a ,nativity was selected4 ,she is at once full of suggestions1 desiring to add a ,st4 ,john ,baptist1 whom ,bellini demurs at introducing except as a child1 but in ,april #aejd the commission is still unaccomplished1 and ,isabela angrily demands the return of her money4 ,this brings a letter of humble apology from ,bellini1 and presently the picture is forwarded4 ,lorenzo of ,pavia writes that it is quite beautiful1 and that though ,giovanni has behaved as badly as possible1 yet the bad must be taken with the good4 ,the joy of its acquisition appeased ,isabela1 who at once began to lay plans to get a further work out of ,bellini1 and in #aeje ,bembo wrote to her that he would take a fresh commission always providing he might fix the subject4 ,from the catalogue of her ,mantovan pictures we gather that the picture sul asse 7on panel7 represented the ,b4,v41 il ,putto1 ,s4 ,giovanni ,battista1 ,s4 ,giovanni ,evangelista1 ,s4 ,girolamo1 and ,santa ,caterina4 ,the great altarpieces which remain strike us less by their research1 their preoccupation with new problems of paint or grouping1 than by their intense delight in beauty4 ,bellini was now nearly eighty years old1 and in #aejd the young ,giorgione had proclaimed a revolution in art with his ,castelfranco ,madonna4 ,in composition and detail the ,madonna of ,san ,zaccaria is in some degree a protest against the ,arcadian1 innovating fashion of approaching a religious scene1 of which the ,church had long since decided on the treatment1 yet ,bellini cannot escape the indirect suggestion of the new manner4 ,the same leaven was at work in him which was transforming the men of a younger generation4 ,in this altarpiece1 in the ,baptism at ,vicenza1 in others1 perhaps1 which have perished1 and above all in the hermit saint in ,s4 ,giovanni ,crisostomo he is linked in feeling and in treatment with the later ,venetian ,school4 ,the new device1 which he adopts quite naturally1 of raising the line of sight1 sets the figures in increased depth4 ,for the first time he gives height and majesty to the young ,mother by carrying the draperies down over the steps4 ,he realises to the full the contrast between the young1 fragile heads of his girl-saints and the dark1 venerable countenances of the old men4 ,the head of ,s4 ,lucy1 detaching itself like a flower upon its stem1 reminds us of the type which we saw in his ,watcher in the sacred allegory of the ,uffizi4 ,the arched1 dome-like niche opens on a distance bathed in golden light4 ,bellini keeps the traditions of the old hieratic art1 but he has grasped a new perfection of feeling and atmosphere4 ,who the saints are matters little2 it is the collective enjoyment of a company of congenial people that pleases us so much4 ,the ,baptism in ,s4 ,corona1 at ,vicenza1 painted sixteen years later than ,cima's in ,s4 ,giovanni in ,bragora1 is in frank imitation of the younger man4 ,christ and the ,baptist1 traditional figures1 are drawn without much zest1 in a weak1 conventional way1 but the artist's true interest comes out in the beauty of face and gesture of the group of women holding the garments1 and above all in the sombre gloom of the distance1 which replaces ,cima's charming landscape1 and which keys the whole picture to the significance of a portent4 ,in the enthronement of the old hermit1 ,s4 ,chrysostom himself1 painted in #aeac1 ,bellini keeps his love for the golden dome1 but he lets us look through its arch1 at rolling mountain solitudes1 with mists rising between their folds4 ,the geranium robe of the saint1 an exquisite1 vivid bit of colouring1 is caught by the golden sunset rays1 the fine ascetic head stands out against the evening sky1 and in the faces of the two saints who stand on either side of the aged visionary ,bellini has gone back to all his old intensity of religious feeling1 a feeling which he seemed for a time to have exchanged for a more pagan tone4 ,in #aejg1 at ,gentile's death1 ,giovanni undertook1 at his brother's dying request1 to finish the ,preaching of ,st4 ,mark1 receiving as a recompense that coveted sketch-book of his father's1 from which he had adopted so many suggestions1 and which1 though he was the eldest1 had been inherited by the legitimate son4 ,in the preceding year ,albert ,drer had visited ,venice for the second time1 and ,bellini had received him with great cordiality4 ,drer writes1 ,bellini is very old1 but is still the best painter in ,venice2 and adds1 ,the things ,i admired on my last visit1 ,i now do not value at all4 ,implying that he was able now to see how superior ,bellini was to the hitherto more highly esteemed ,vivarini4 ,at the very end of ,bellini's life1 in #aead1 the ,duke of ,ferrara paid him eighty-five ducats for a painting of ,bacchanals1 now at ,alnwick ,castle2 which may be looked upon as an open confession by one who had always considered himself as a painter of distinctively religious works1 that such a gay scene of feasting afforded opportunities which he could not resist1 for beauty of attitude and colour2 but the gods1 sitting at their banquet in a sunny glade1 are almost fully draped1 and there is little of the abandon which was affected by later painters4 ,the picture was left unfinished1 and was later given to ,titian to complete4 ,in his capacity as ,state ,painter to the ,republic1 it was ,bellini's duty to execute the official portraits of the ,doges4 ,during his long life he saw eleven reigns1 and during four he held the ,state appointment4 ,besides the official1 he painted private portraits of the ,doges1 and that of ,doge ,loredano1 in the ,national ,gallery1 is one of the most perfect presentments of the quattrocento4 ,this portrait1 painted by one old man of another1 shows no weakening in touch or characterisation4 ,it is as brilliant and vigorous as it is direct and simple4 ,the face is quiet and unexaggerated2 there is no unnatural fire and feeling1 but an air of accustomed dignity and thought1 while the technique has all the perfection of the painter's prime4 ,in #aeaf ,giovanni was buried in the ,church of ,,ss4 ,giovanni and ,paolo1 by the side of his brother ,gentile4 ,to the last he was popular and famous1 overwhelmed with attentions from the most distinguished personages of the city4 ,though he had begun life when art showed such a different aspect1 he was by nature so imbued with that temperament1 which at the time of his death was beginning to assert itself in the younger school1 that he was able to assimilate a really astonishing share of the new manner4 ,he is guided by feeling more than by intellect4 ,all the time he is working out problems1 he is dominated by the emotion of his subject1 but his emotion1 his pathos1 are invariably tempered and restrained by the calm moderation of the quattrocento4 ,the golden mean still has command of ,bellini1 and never allows his feelings1 however poignant1 to degenerate into sentimentality or violence4 ,,principal ,,works ,bergamo4 ,lochis3 ,madonna 7,e474 ,morelli3 ,two ,madonnas4 ,berlin4 ,piet 7,l472 ,dead ,christ4 ,florence4 ,uffizi3 ,allegory2 ,the ,souls in ,paradise 7,l474 ,london4 ,portrait of ,doge 7,l472 ,madonna 7,l472 ,agony in ,garden 7,e472 ,salvator ,mundi 7,e474 ,milan4 ,brera3 ,piet 7,e472 ,madonna2 ,madonna1 #aeaj4 ,mond ,collection4 ,dead ,christ2 ,madonna 7,e474 ,murano4 ,s4 ,pietro3 ,madonna with ,saints and ,doge ,barbarigo1 #adhh4 ,naples4 ,sala ,grande3 ,transfiguration4 ,pesaro4 ,s4 ,francesco3 ,altarpiece4 ,rimini4 ,dead ,christ 7,e474 ,venice4 ,academy3 ,three ,madonnas2 ,five small allegorical paintings 7,l472 ,madonna with ,,ss4 ,catherine and ,magdalene2 ,madonna with ,,ss4 ,paul and ,george2 ,madonna with five ,saints4 ,museo ,correr3 ,crucifixion 7,e472 ,transfiguration 7,e472 ,dead ,christ2 ,dead ,christ with ,angels4 ,palazzo ,ducale1 ,sala di ,tre3 ,piet 7,e474 ,frari3 ,triptych2 ,madonna and ,saints1 #adhh4 ,s4 ,giovanni ,crisostomo3 ,s4 ,chrysostom with ,,ss4 ,jerome and ,augustine1 #aeac4 ,s4 ,maria dell' ,orto3 ,madonna 7,e474 ,s4 ,zaccaria3 ,madonna and ,saints1 #aeje4 ,vicenza4 ,s4 ,corona3 ,baptism1 #aeaj4 ,,chapter ,,xiii ,,cima ,,da ,,conegliano ,,and ,,other ,,followers ,,of ,,bellini ,the rising tide of feeling1 the growing sense of the joy of life and the apprehension of pure beauty1 which was strengthening in the people and leading up to the great period of ,venetian art1 flooded round ,bellini and recognised its expression in him4 ,he was more popular and had a larger following among the artists of his day than either ,gentile or ,carpaccio with their frankly mundane talent4 ,whatever ,giovanni's ,state works may have been1 his religious paintings are the ones which are copied and adapted and studied by the younger band of artists1 and this because of their beauty and notwithstanding their conventional subjects4 ,gentile's pageant-pictures have still something cold and colourless1 with a touch of the archaic1 while ,giovanni's religious altarpieces evince a new freedom of handling1 a modern conception of beautiful women1 a use of that colour which was soon to reign triumphant4 ,as far as it went indeed1 its triumph was already assured2 as ,giovanni advanced towards old age1 it was no longer of any use for the young masters of the day to paint in any way save the one he had made popular1 and one artist after another who had begun in the school of ,alvise ,vivarini ended as the disciple of ,giovanni ,bellini4 ,it was the habit of ,bellini to trust much to his assistants1 and as everything that went out of his workshop was signed by his name1 even if it only represented the use of one of his designs1 or a few words of advice1 and was passed by the master1 it is no wonder that ,european collections were flooded with works1 among which only lately the names of ,catena1 ,previtali1 ,pennacchi1 ,marco ,belli1 ,bissolo1 ,basaiti1 ,rondinelli1 and others begin to be disentangled4 ,only one of his followers stands out as a strong and original master1 not quite of the first class1 but developing his own individuality while he draws in much of what both ,alvise and ,bellini had to give4 ,cima da ,conegliano1 whose real name was ,giovanni ,battista1 always signs himself ,coneglianensis3 the title of ,cima1 the ,rock1 by which he is now so widely known1 having first been mentioned in the seventeenth century by ,boschini1 and perhaps given him by that writer himself4 ,he was a son of the mountains1 who1 though he came early to ,venice1 and lived there most of his life1 never loses something of their wild freshness1 and to the end delights in bringing them into his backgrounds4 ,he lived with his mother at ,conegliano1 the beautiful town of the ,trevisan marches1 until #adhd1 when he was twenty-five1 and then came down to ,vicenza1 where he fell under the tuition of ,bartolommeo ,montagna1 a ,vicentine painter1 who had been studying both with ,alvise and ,bellini4 ,cima's ,madonna with ,saints1 painted for the ,church of ,st4 ,bartolommeo1 ,vicenza1 in #adhi1 shows him still using the old method of tempera1 in a careful1 cold1 painstaking style1 yet already showing his own taste4 ,the composition has something of ,alvise1 yet that something has been learned through the agency of ,montagna1 for the figures have the latter's severity and austere character and the colour is clearer and more crude than ,alvise's4 ,it is no light resemblance1 and he must have been long with ,montagna4 ,in the type of the ,christ in ,montagna's ,piet at ,monte ,berico1 in the fondness for airy porticoes1 in the architecture and main features of his ,madonna enthroned in the ,museo ,civico at ,vicenza1 we see characteristics which ,cima followed1 though he interpreted them in his own way4 ,he turns the heavy arches and domes that ,alvise loved1 into airy pergolas1 decked with vines4 ,he gives increasing importance to high skies and to atmospheric distances4 ,when he got to ,venice in #adib1 he began to paint in oils1 and undertook the panel of ,s4 ,john ,baptist with attendant saints1 still in the ,church of ,s4 ,madonna dell' ,orto4 ,the work of this is rather angular and tentative1 but true and fresh1 and he comes to his best soon after1 in the ,baptism in ,s4 ,giovanni in ,bragora1 which ,bellini1 sixteen years later1 paid him the compliment of copying4 ,it was quite unusual to choose such a subject for the ,high ,altar1 and could only be justified by devotion to the ,baptist1 who was ,cima's own name-saint as well as that of the ,church4 ,cima is here at his very highest2 the composition is not derived from any one else1 but is all the conception of an ingenuous soul1 full of intuition and insight4 ,the ,christ is particularly fine and simple1 unexaggerated in pose and type2 the arm of the ,baptist is too long1 but the very fault serves to give him a refined1 tentative look1 which makes a sympathetic appeal4 ,the attendant angels look on with an air of sweet interest4 ,the distant mountains1 the undulating country1 the little town of ,conegliano1 identified by the castle on its great rock1 or ,cima1 are ,arcadian in their sunny beauty4 ,the clouds1 as a critic has pointed out1 are full of sun1 not of rain4 ,the landscape has not the sombre mystery of ,titian's1 but is bright with the joyous delight of a lover of outdoor life4 ,as ,cima masters the new medium he becomes larger and simpler1 and his forms lose much of their early angularity4 ,a confraternity of his native town ordered the grand altarpiece which is still in the ,cathedral there1 and in this he shows his connection with ,venice2 the architecture is partly taken from ,st4 ,mark's1 the lovely ,madonna head recalls ,bellini1 and a group of ,bellinesque angels play instruments at the foot of the throne4 ,cima is1 however1 never merged in ,bellini4 ,he keeps his own clearly defined1 angular type2 his peculiar1 twisted curls are not the curls of ,bellini's saints1 his treatment of surface is refined1 enamel-like1 perfectly finished1 but it has nothing of the rich1 broken treatment which ,bellini's natural feeling for colour was beginning to dictate4 ,cima's pale golden figures have an almost metallic sharpness and precision1 and though they are full of charm and refinement1 they may be thought lacking in spontaneity and passion4 ,to #aeja belongs the ,incredulity of ,st4 ,thomas1 now in the ,academy1 but painted for the ,guild of ,masons4 ,it is a picture full of expression and dignity1 broad in treatment if a little cold in its self-restraint4 ,cima seems to have not quite enough intellect1 and not quite enough strong feeling4 ,however1 the little altarpiece of the ,nativity1 in the ,church of the ,carmine in ,venice1 has a richer1 fuller touch1 and this foreshadows the work he did when he went to ,parma1 where his transparent shadows grow broader and stronger1 and his figures gain in ease and freedom4 ,he never loses the delicate radiance of his lights1 and his types and his architecture alike convey something of a peculiarly refined1 brilliant elegance4 ,like all these men of great energy and prolific genius1 ,cima produced an astonishing number of panels and altarpieces1 and no doubt had pupils on his own account1 for a goodly list could be made of pictures in his style1 but not by his own hand1 which have been carried by collectors into widely-scattered places4 ,his exquisite surface and finish and his marked originality make him a difficult master to imitate with any success4 ,his latest work is dated #aejh1 but ,ridolfi says he lived till #aeag1 and it seems probable that he returned to his beloved ,conegliano and there passed his last years4 ,if ,cima possessed originality1 ,vincenzo of ,treviso1 called ,catena1 gained an immense reputation by his industry and his power of imitating and adopting the manner of ,bellini's ,school4 ,in those days men did not trouble themselves much as to whether they were original or not4 ,they worked away on traditional compositions1 frankly introducing figures from their master's cartoons1 modifying a type here1 making some little experiment or arrangement there1 and1 as a ,french critic puts it1 leaving their own personality to hatch out in due time1 if it existed1 and when it was sufficiently ripened by real mastery of their art4 ,it is here that ,catena fails2 beginning as a journeyman in the ,sala del ,gran ,consiglio1 at a salary of three ducats a month1 he for long failed to acquire the absolute mastery of drawing which was possessed by the better disciples of the schools4 ,but he is painstaking1 determined to get on1 and eager to satisfy the continually increasing demand for work4 ,his draperies are confused and unmeaning1 his faces round1 with small features1 inexpressive button mouths1 and weak chins1 and his flesh tints have little of the glow which is later the prerogative of every second-rate painter4 ,yet ,catena succeeds1 like many another careful mediocre man1 in securing patronage1 and as the sixteenth century opened he gained the distinction from ,doge ,loredano of a commission to paint the altarpiece for the ,pregadi ,chapel of the ,sala di ,tre1 in the ,ducal ,palace4 ,he adapts his group from that of ,bellini in the ,cathedral of ,murano1 bringing in a profile portrait of the kneeling ,doge1 of which he afterwards made numerous copies1 one of which was for long assigned to ,gentile and one to ,giovanni ,bellini4 ,that ,catena is not without charm1 we discern in such a composition as his ,martyrdom of ,st4 ,cristina1 in ,s4 ,maria ,mater ,domini1 in which the saint1 a solid1 ,bellinesque figure1 kneels upon the water1 in which she met her death1 and is surrounded by little angels1 holding up the millstone tied round her neck1 and laden with other instruments of her martyrdom4 ,catena borrows right and left1 and tries to follow every new indication of contemporary taste4 ,for instance1 he remarks the growing admiration for colour1 and hopes by painting gay1 flat tints1 in bright contrast1 to produce the desired effect4 ,it is evident that he made many friends among the rich connoisseurs of the time1 and that his importance was out of proportion to his real merit4 ,marcantonio ,michele1 writing an account of ,raphael's last days to a friend in ,venice1 and touching on ,michelangelo's illness1 begs him to see that ,catena takes care of himself1 as the times are unfavourable to great painters4 ,catena had acquired and inherited considerable wealth2 he came of a family of merchants1 and resided in his own house in ,san ,bartolommeo del ,rialto4 ,he lived in unmarried relations with ,dona ,maria ,fustana1 the daughter of a furrier1 to whom he bequeaths in his will #cjj ducats and all his personal effects4 ,as a careful portrait-painter1 with a talent for catching a likeness1 he was in constant demand1 and in some of his heads--that of a canon dressed in blue and red1 at ,vienna1 and especially in one of a member of the ,fugger family1 now at ,dresden--he attains real distinction4 ,and in his last phase he does at length prove the power that lies behind long industry and perseverance4 ,suddenly the ,giorgionesque influence strikes him1 and turning to imbibe this new element1 he produces that masterpiece which throws a glamour over all his mediocre performances2 his ,warrior adoring the ,infant ,christ1 in the ,national ,gallery1 is a picture full of charm1 rich and romantic in tone and spirit4 ,the ,virgin and the ,child upon her knee are of his dull round-eyed type1 the form and colours of her draperies are still unsatisfactory1 but the knight in armour with his ,eastern turban1 the romantic young page1 holding his horse1 are pure ,giorgionesque figures4 ,beautiful in themselves1 set in a beautiful landscape glowing with light and air1 the whole picture exemplifies what surprising excellence could be suddenly attained by even very inferior artists1 who were constantly associating with greater men1 at a moment when the whole air was1 as it were1 vibrating with genius4 ,catena was very much addicted to making his will1 and at least five testaments or codicils exist1 one of them devising a sum of money for the benefit of the ,school of ,painters in ,venice1 and another leaving to his executor1 ,prior ,ignatius1 the picture of a ,st4 ,jerome in his ,cell1 which may be the one in our national collection1 which remained in ,venice till #ahfb4 ,it is painted in his gay tones1 imitating ,basaiti and ,lotto1 and brings in the partridge of which he made a sort of sign manual4 ,cardinal ,bembo writes in #aebe to ,pietro ,lippomano1 to announce that1 at his request1 he is continuing his patronage of ,catena3 ,though ,i had done all that lay in my power for ,vincenzo ,catena before ,i received your ,lordship's warm recommendation in his favour1 ,i did not hesitate1 on receipt of your letter1 to add something to the first piece ,i had from him1 and ,i did so because of my love and reverence for you1 and ,i trust that he will return appropriate thanks to you for having remembered that you could command me4 ,marco ,basaiti was alternately a journeyman in different workshops and a master on his own account4 ,for long the assistant and follower of ,alvise ,vivarini1 we may judge that he was also his most trusted confidant1 for to him was left the task of completing the splendid altarpiece to ,s4 ,ambrogio1 in the ,frari4 ,his heavy hand is apparent in the execution1 and the two saints1 ,sebastian and ,jerome1 in the foreground1 have probably been added by him1 for they have the air of interlopers1 and do not come up to the rest of the company in form and conception4 ,the ,sebastian1 with his hands behind his back and his loin cloth smartly tied1 is quite sufficiently reminiscent of ,bellini's figure of #adgc to make us believe that ,basaiti was at once transferring his allegiance to that reigning master4 ,in his earlier phase he has the round heads and the dry precise manner of the ,muranese4 ,in his large picture in the ,academy1 the ,calling of the ,sons of ,zebedee1 he produces a large1 important set piece1 cold and lifeless1 without one figure which arrests us1 or lingers in the memory4 ,the ,christ on the ,mount is more interesting as having been painted for ,san ,giobbe1 where ,bellini's great altarpiece was already hanging1 and coming into competition with ,bellini's early rendering of the same scene4 ,painted some thirty years later1 it is interesting to see what it has gained in modernness4 ,the landscape and trees are well drawn and in good colour1 and the saints1 standing on either side of a high portico1 have dignity4 ,in the ,dead ,christ1 in the ,academy1 he is following ,bellini very closely in the flesh-tints and the putti4 ,the putti1 looking thoughtfully at the dead1 is a motif beloved of ,bellini1 but ,basaiti cannot give them ,bellini's pathos and significance2 they are merely childish and seem to be amused4 ,in #aeae ,basaiti has entered upon a new phase4 ,he has felt ,giorgione's influence1 and is beginning to try what he can do1 while still keeping close to ,bellini1 to develop a fuller touch1 more animated figures1 and a brilliant effect of landscape4 ,he runs a film of vaporous colour over his hard outlines and makes his figures bright and misty1 and though underneath they are still empty and monotonous1 it is not surprising that many of his works for a time passed as those of ,bellini4 ,though he is a clever imitator1 his figures are designed with less mastery1 his drawing is a little less correct1 his drapery less adapted to the under form4 ,light and shade are not so cleverly balanced1 colours have the brightness1 but not the true contrast required4 ,in landscape he proceeds from a bleak aridity to extreme gaiety2 he does not dwell on detail1 but his masses have neither the sober tint nor the mysterious richness conspicuous in his teacher 444 he is a clever instrument4 ,both ,previtali and ,rondinelli were workers with ,basaiti in ,bellini's studio4 ,previtali occasionally signed himself ,andrea ,cordeliaghi or ,cordella1 and has left many unsigned pictures4 ,he copies ,catena and ,lotto1 ,palma and ,montagna2 but for a time his work went forth from ,bellini's workshop signed with ,bellini's name4 ,in #aeae1 in a great altarpiece in ,san ,spirito at ,bergamo1 he first takes the title of ,previtali1 compiling it in the cartello with the monogram already used as ,cordeliaghi4 ,there are traces of many other minor artists at this period1 all essaying the same manner1 copying one or other of the masters1 taking hints from each other4 ,the ,venetian love of splendour was turning to the collection of works of art1 and the work of second-class artists was evidently much in demand and obtained its meed of admiration4 ,bissolo was a fellow-labourer with ,catena in the ,hall of the ,ducal ,palace in #adib2 he is soft and nerveless1 but he copies ,bellini1 and has imbibed something of his tenderness of spirit4 ,it will be seen from this list how difficult it is to unravel the tale of the false ,bellinis4 ,the master's own works speak for themselves with no uncertain voice1 but away from these it is very difficult to pronounce as to whether he had given a design1 or a few touches1 or advice1 and still more difficult to decide whether these were bestowed on ,basaiti in his later manner1 or on ,previtali or ,bissolo1 or if the teaching was handed on by them in a still more diluted form to the lesser men who clustered round1 much of whose work has survived and has been masquerading for centuries under more distinguished names4 ,it is sometimes affirmed that the loss of originality in the endeavour to paint like greater men has been a symptom of decay in every school in the past4 ,it is interesting to notice1 therefore1 that in every great age of painting there has always been an undercurrent of imitation1 which has helped to form a stream of tradition1 and which1 as far as we can see1 has done no harm to the stronger spirits of the time4 ,,principal ,,works ,cima4 ,berlin4 ,madonna with four ,saints2 ,two ,madonnas4 ,conegliano4 ,duomo3 ,madonna and ,saints1 #adic4 ,dresden4 ,the ,saviour2 ,presentation of ,virgin4 ,london4 ,two ,madonnas2 ,incredulity of ,s4 ,thomas2 ,s4 ,jerome4 ,milan4 ,brera3 ,six pictures of ,saints2 ,madonna4 ,parma4 ,madonna with ,saints2 ,another2 ,endymion2 ,apollo and ,marsyas4 ,paris4 ,madonna with ,saints4 ,venice4 ,academy3 ,madonna with ,,ss4 ,john and ,paul2 ,piet2 ,madonna with six ,saints2 ,incredulity of ,s4 ,thomas2 ,tobias and the ,angel4 ,carmine3 ,adoration of the ,shepherds4 ,s4 ,giovanni in ,bragora3 ,baptism1 #adid2 ,,ss4 ,helen and ,constantine2 ,three ,predelle2 ,finding of ,true ,cross4 ,,ss4 ,giovanni and ,paolo3 ,coronation of the ,virgin4 ,s4 ,maria dell' ,orto3 ,s4 ,john ,baptist and ,,ss4 ,paul1 ,jerome1 ,mark1 and ,peter4 ,lady ,layard4 ,madonna with ,,ss4 ,francis and ,paul2 ,madonna with ,,ss4 ,nicholas of ,bari and ,john ,baptist4 ,vicenza4 ,madonna with ,,ss4 ,jerome and ,john1 #adhi4 ,vincenzo ,catena4 ,bergamo4 ,carrara3 ,christ at ,emmaus4 ,berlin4 ,portrait of ,fugger2 ,madonna1 ,saints1 and ,donor 7,e474 ,dresden4 ,holy ,family 7,l474 ,london4 ,warrior adoring ,infant ,christ 7,l472 ,s4 ,jerome in his ,study 7,l472 ,adoration of ,magi 7,l474 ,mr4 ,benson3 ,holy ,family4 ,lord ,brownlow3 ,nativity4 ,mond ,collection3 ,madonna1 ,saints1 and ,donors 7,e474 ,paris4 ,venetian ,ambassadors at ,cairo4 ,venice4 ,ducal ,palace3 ,madonna1 ,saints1 and ,doge ,loredan 7,e474 ,giovanelli ,palace3 ,madonna and ,saints4 ,s4 ,maria ,mater ,domini3 ,s4 ,cristina4 ,s4 ,trovaso3 ,madonna4 ,vienna4 ,portrait of a ,canon4 ,marco ,basaiti4 ,bergamo4 ,the ,saviour1 #aeag2 ,two ,portraits4 ,berlin4 ,piet2 ,altarpiece2 ,s4 ,sebastian2 ,madonna 7,e474 ,london4 ,s4 ,jerome2 ,madonna4 ,milan4 ,ambrosiana3 ,risen ,christ4 ,munich4 ,madonna1 ,saints1 and ,donor 7,e474 ,murano4 ,s4 ,pietro3 ,assumption4 ,padua4 ,portrait1 #aeba2 ,madonna with ,,ss4 ,liberale and ,peter4 ,venice4 ,academy3 ,saints2 ,dead ,christ2 ,christ in the ,garden1 #aeaj2 ,calling of ,children of ,zebedee1 #aeaj4 ,museo ,correr3 ,madonna and ,donor2 ,christ and ,angels4 ,salute3 ,s4 ,sebastian4 ,vienna4 ,calling of ,children of ,zebedee1 #aeae4 ,andrea ,previtali4 ,bergamo4 ,carrara3 ,pentecost2 ,marriage of ,s4 ,catherine2 ,altarpiece2 ,madonna1 #aead2 ,madonna with ,saints and ,donors4 ,lochis3 ,madonna and ,saint4 ,count ,moroni3 ,madonna and ,saints2 ,family ,group4 ,s4 ,alessandro in ,croce3 ,crucifixion1 #aebd4 ,s4 ,spirito3 ,s4 ,john ,baptist and ,saints1 #aeae2 ,madonna and four ,female ,saints1 #aebe4 ,berlin4 ,madonna and ,saints2 ,marriage of ,s4 ,catherine4 ,dresden4 ,madonna and ,saints4 ,london4 ,madonna and ,donor 7,e474 ,milan4 ,brera3 ,christ in ,garden1 #aeab4 ,oxford4 ,christchurch ,library3 ,madonna4 ,venice4 ,ducal ,palace3 ,christ in ,limbo2 ,crossing of the ,red ,sea4 ,redentore3 ,nativity2 ,crucifixion4 ,verona4 ,stoning of ,stephen2 ,immaculate ,conception4 ,n4 ,rondinelli4 ,berlin4 ,madonna4 ,florence4 ,uffizi3 ,madonna and ,saints4 ,milan4 ,brera3 ,madonna with four ,saints and three ,angels4 ,paris4 ,madonna and ,saints4 ,ravenna4 ,two ,madonnas with ,saints4 ,s4 ,domenico3 ,organ ,shutters2 ,madonna and ,saints4 ,venice4 ,museo ,correr3 ,madonna2 ,madonna with ,saints and ,donors4 ,giovanelli ,palace3 ,two ,madonnas4 ,bissolo4 ,london4 ,mr4 ,benson3 ,madonna and ,saints4 ,mond ,collection3 ,madonna and ,saints4 ,venice4 ,academy3 ,dead ,christ2 ,madonna and ,saints2 ,presentation in ,temple4 ,s4 ,giovanni in ,bragora3 ,triptych4 ,redentore3 ,madonna and ,saints4 ,s4 ,maria ,mater ,domini3 ,transfiguration4 ,lady ,layard3 ,madonna and ,saints4 ,,part ,,ii ,,chapter ,,xiv ,,giorgione ,when we enter a gallery of ,florentine paintings1 we find our admiration and criticism expressing themselves naturally in certain terms2 we are struck by grace of line1 by strenuous study of form1 by the evidence of knowledge1 by the display of thought and intellectual feeling4 ,the ,florentine gestures and attitudes are expressive1 nervous1 fervent1 or1 as in ,michelangelo and ,signorelli1 alive with superhuman energy4 ,but when looking at pictures of the ,venetian ,school we unconsciously use quite another sort of language2 epithets like dark and rich come most freely to our lips2 a golden glow1 a slumberous velvety depth1 seem to engulf and absorb all details4 ,we are carried into the land of romance1 and are fascinated and soothed1 rather than stimulated and aroused4 ,so it is with portraits2 before the ,mona ,lisa our intelligence is all awake1 but the men and women of ,venetian canvases have a grave1 indolent serenity1 which accords well with the slumber of thought4 ,up to the beginning of the sixteenth century the painters of ,venice had not differed very materially from those of other schools2 they had gradually worked out or learned the technicalities of drawing1 perspective and anatomy4 ,they had been painting in oils for twenty-five years1 and they betrayed a greater fondness for pageant-pictures than was felt in other ,states of ,italy4 ,florence appoints ,michelangelo and ,leonardo to decorate her public palace1 but no great store is set by their splendid achievements2 their work is not even completed4 ,the students fall upon the cartoons1 which are allowed to perish1 instead of being treasured by the nation4 ,gentile ,bellini and ,carpaccio and the band of ,state painters are appreciated and well rewarded4 ,these men have reproduced something of the lucent transparency1 the natural colour of ,venice1 but it is as if unconsciously2 they are not fully aiming at any special effect4 ,year after year the ,venetian masters assimilate more or less languidly the influences which reach them from the mainland4 ,they welcome ,guariento and ,gentile da ,fabriano1 they set themselves to learn from ,veronese or ,florentine1 the ,paduans contribute their chiselled drawing1 their learned perspective1 their archeological curiosity4 ,yet even early in the day the ,venetians escape from that hard and learned art which is so alien to their easy1 voluptuous temperament4 ,jacopo ,bellini cannot conform to it1 and his greatest son is ready to follow feeling and emotion1 and in his old age is quick to discover the first flavour of the new wine4 ,if ,venetian art had gone on upon the lines we have been tracing up to now1 there would have been nothing very distinctive about it1 for1 however interesting and charming ,alvise and ,carpaccio1 ,cima and the ,bellini may be1 it is not of them we think when we speak of the ,venetian ,school and when we rank it beside that of ,florence1 while ,giovanni ,bellini alone1 in his later works1 is not strong enough to bear the burden4 ,the change which now comes over painting is not so much a technical one as a change of temper1 a new tendency in human thought1 and we link it with ,giorgione because he was the channel through which the deep impulse first burst into the light4 ,we have tried to trace the growth of the early ,venetian ,school1 but it does not develop logically like that of ,florence2 it is not the result of long endeavour1 adding one acquisition and discovery to another4 ,venetian art was peculiarly the outcome of personalities1 and it did not know its own mind till the sixteenth century4 ,then1 like a hidden spring1 it bubbles irresistibly to the surface1 and the spot where it does so is called by the name of a man4 ,there are beings in most great creative epochs who1 with peculiar facility1 seem to embody the purpose of their age and to yield themselves as ready instruments to its design4 ,when time is ripe they appear1 and are able1 with perfect ease1 to carry out and give voice to the desires and tendencies which have been straining for expression4 ,these desires may owe their origin to national life and temperament2 it may have taken generations to bring them to fruition1 but they become audible through the agency of an individual genius4 ,a genius is inevitably moulded by his age4 ,rome1 in the seventeenth century1 drew to her in ,bernini a man who could with real power illustrate her determination to be grandiose and ostentatious1 and1 at the height of the ,renaissance1 ,venice draws into her service a man whose sensuous feeling was instilled1 accentuated1 and welcomed by every element around him4 ,more conclusively than ever1 at this time1 ,venice1 the world's great sea-power1 was in her full glory as the centre of the world's commerce and its art and culture4 ,vasco da ,gama had discovered the sea route to ,india in #adih1 but the stupendous effect which this was to exert on the whole current of power did not become apparent all at once4 ,venice was still the great emporium of the ,east1 linked to it by a thousand ties1 ,oriental in her love of ,eastern richness4 ,it would be exaggerating to say that the ,venetians of the sixteenth century could not draw4 ,as there were ,tuscans who understood beautiful harmonies of colour1 so there were ,venetians who knew a good deal about form2 but the other ,italians looked upon colour as a charming adjunct1 almost1 one might say1 as an amiable weakness3 they never would have allowed that it might legitimately become the end and aim in painting1 and in the same way form1 though respected and considered1 was never the principal object of the ,venetians4 ,up to this time ,venice had fed her emotional instincts by pageants and gold and velvets and brocades1 but with ,giorgione she discovered that there was a deeper emotional vehicle than these superficial glories1--glowing depths of colour enveloped in the mysterious richness of chiaroscuro which obliterated form1 and hid and suggested more than it revealed4 ,giorgione no longer described in drawing's learned tongue2 he carried all before him by giving his direct impression in colour4 ,he conceives in colour4 ,the ,florentines cared little if their finely drawn draperies were blue or red1 but ,giorgione images purple clouds1 their dark velvet glowing towards a rose and orange horizon4 ,he hardly knows what attitudes his characters take1 but their chestnut hair1 their deep-hued draperies1 their amber flesh1 make a moving harmony in which the importance of exact modelling is lost sight of4 ,his scenes are not composed methodically and according to the old rules1 but are the direct impress of the painter's joy in life4 ,it was a new and audacious style in painting1 and its keynote1 and absolutely inevitable consequence1 was to substitute for form and for gay1 simple tints laid upon it1 the quality of chiaroscuro4 ,we all know how the shades of evening are able to transform the most commonplace scene2 the dull road becomes a mysterious avenue1 the colourless foliage develops luscious depths1 the drab and arid plain glows with mellow light1 purple shadows clothe and soften every harsh and ugly object1 all detail dies1 and our apprehension of it dies also4 ,our mood changes2 instead of observing and criticising1 we become soothed1 contemplative1 dreamy4 ,it is the carrying of this profound feeling into a colour-scheme by means of chiaroscuro1 so that it is no longer learned and explanatory1 but deeply sensuous and emotional1 that is the gift to art which found full voice with ,giorgione1 and which in one moment was recognised and welcomed to the exclusion of the older manner1 because it touched the chord which vibrated through the whole ,venetian temperament4 ,and the immediate result was the picture of no subject4 ,giorgione creates for us idle figures with radiant flesh1 or robed in rich costumes1 surrounded by lovely country1 and we do not ask or care why they are gathered together4 ,we have all had dreams of ,elysian fields1 where falls not any rain1 nor ever wind blows loudly1 where all is rest and freedom1 where music blends with the plash of fountains1 and fruits ripen1 and lovers dream away the days1 and no one asks what went before or what follows after4 ,the ,golden ,age1 the haunt of fauns and nymphs3 there never has been such a day1 or such a land3 it is a mood1 a vision3 it has danced before the eyes of poets1 from ,david to ,keats and ,tennyson3 it has rocked the tired hearts of men in all ages3 the vision of a resting-place which makes no demands and where the dwellers are exempt from the cares and weakness of mortality4 ,needless to say1 it is an ideal born of the ,east2 it is the ,eastern dream of ,paradise1 and it speaks to that strain in the temperament which recognises that life cannot be all thought1 but also needs feeling and emotion4 ,and for the first time in all the world the painter of ,castelfranco sets that vague dream before men's eyes4 ,the world1 with its wistful yearnings and questionings1 such as ,leonardo or ,botticelli embodied1 said little to his audience4 ,here was their natural atmosphere1 though they had never known it before4 ,these deep1 solemn tones1 these fused and golden lights are what ,giorgione grasps from the material world1 and as he steeps his senses in them the subject counts but little in the deep enjoyment they communicate4 ,we1 who have seen his manner repeated and developed through thousands of pictures1 find it difficult to realise that there had been nothing like it before1 that it was a unique departure1 that when ,bellini and ,titian looked at his first creations they must have experienced a shock of revelation4 ,the old definite style must have seemed suddenly hard and meagre1 and every time they looked on the glorious world1 the deep glow of sunset1 the mysterious shades of falling night1 they must have felt they were endowed with a sense to which they had hitherto been strangers1 but which1 it was at once apparent1 was their true heritage4 ,they had found themselves1 and in them ,venice found her real expression1 and with ,giorgione and those who felt his impetus began the true ,venetian ,school1 set apart from all other forms of art by its way of using and diffusing and intensifying colour4 ,when ,giorgione1 the son of a member of the house of ,barbarelli and a peasant girl of ,vedelago1 came down to ,venice1 we gather that he had nothing of the provincial4 ,vasari1 who must often have heard of him from ,titian1 describes him as handsome1 engaging1 of distinguished appearance1 beloved by his friends1 a favourite with women1 fond of dress and amusement1 an admirable musician1 and a welcome guest in the houses of the great4 ,he was evidently no peasant-bred lad1 but probably1 though there is no record of the fact1 was brought up1 like many illegitimate children1 in the paternal mansion4 ,his home was not far from the lagoons1 in one of the most beautiful places it is possible to imagine1 on a lovely and fertile plain running up to the ,asolean hills and with the ,julian ,alps lying behind4 ,we guess that he received his education in the school of ,bellini1 for when that master sold his allegory of the ,souls in ,paradise to one of the ,medici1 to adorn the summer villa of ,poggio ,imperiale1 there went with it the two small canvases now in the ,uffizi1 the ,ordeal of ,moses and the ,judgment of ,solomon1 delightful little paintings in ,giorgione's rich and distinctive style1 but less accomplished than ,bellini's picture1 and with imperfections in the drawing of drapery and figures which suggest that they are the work of a very young man4 ,the love of the ,venetians for decorating the exterior of their palaces with fresco led to ,giorgione being largely employed on work which was unhappily a grievous waste of time and talent1 as far as posterity is concerned4 ,we have a record of faades covered with spirited compositions and heraldic devices1 of friezes with ,bacchus and ,mars1 ,venus and ,mercury4 ,zanetti1 in his seventeenth-century prints1 has preserved a noble figure of ,fortitude grasping an axe1 but beyond a few fragments nothing has survived4 ,before he was thirty ,giorgione was entrusted with the important commission of decorating the ,fondaco dei ,tedeschi4 ,this building1 which we hear of so often in connection with the artists of ,venice1 was the trading-house for ,german1 ,hungarian1 and ,polish merchants4 ,the ,venetian ,government surrounded these merchants with the most jealous restrictions4 ,every assistant and servant connected with them was by law a ,venetian1 and1 in fact1 a spy of the ,republic4 ,all transactions of buying and selling were carried out by ,venetian brokers1 of whom some thirty were appointed4 ,as time went on1 some of these brokerships must have resolved themselves into sinecure offices1 for we find ,bellini holding one1 and certainly without discharging any of the original duties1 and they seem to have become some sort of ,state retainerships4 ,in #aeje the old ,fondaco had been burnt to the ground1 and the present building was rising when ,giorgione and ,titian were boys4 ,a decree went forth that no marble1 carving1 or gilding were to be used1 so that painting the outside was the only alternative4 ,the roof was on in #aejg1 and from that date ,giorgione1 ,titian1 and ,morto da ,feltre were employed in the adornment of the faade4 ,vasari is very much exercised over ,giorgione's share in these decorations4 ,one does not find one subject carefully arranged1 he complains1 or which follows correctly the history or actions of ancients or moderns4 ,as for me1 ,i have never been able to understand the meaning of these compositions1 or have met any one able to explain them to me4 ,here one sees a man with a lion's head1 beside a woman4 ,close by one comes upon an angel or a ,love3 it is all an inexplicable medley4 ,yet he is delighted with the brilliancy of the colour and the splendid execution1 and adds1 ,colour gives more pleasure in ,venice than anywhere else4 ,among other early work was the little ,adoration of the ,magi1 in the ,national ,gallery1 and the so-called ,philosophers at ,vienna4 ,according to the latest reading1 this last illustrates ,virgil's legend that when the ,trojan neas arrived in ,italy1 ,evander pointed out the future site of ,rome to the ancient seer and his son4 ,giorgione1 in painting the scene1 is absorbed in the beauty of nature4 ,it is his first great landscape1 and all accessories have been sacrificed to intensity of effect4 ,he revels in the glory of the setting sun1 the broad tranquil masses of foliage1 the long evening shadows1 and the effect of dark forms silhouetted against the radiant light4 ,,chapter ,,xv ,,giorgione 7continued7 ,when ,giorgione was twenty-six he went back to ,castelfranco1 and painted an altarpiece for the ,church of ,san ,liberale4 ,in the sixteenth century ,tuzio ,costanza1 a well-known captain of ,free ,companions1 who had made his fortune in the wars1 where he had been attached to ,catherine ,cornaro1 followed the dethroned queen from ,cyprus1 and when she retired to ,asolo1 settled near her at ,castelfranco4 ,his son1 ,matteo1 entered the service of the ,venetian ,republic1 and became a leader of fifty lances2 but ,matteo was killed at the battle of ,ravenna in #aejd1 and ,costanza had his son's body embalmed and buried in the family chapel4 ,nothing is known of the details of this commission1 but we are not straining the bounds of probability by assuming that in a little town like ,castelfranco1 hardly more than a village1 the two youths must have been well known to each other1 and that this acquaintance and the familiarity of the one with the appearance of the other may have been the determining cause which led the bereaved father to give the commission to the young painter1 while the tragic circumstances were such as would appeal to an ardent1 enthusiastic nature4 ,a treasure of our ,national ,gallery is a study made by ,giorgione for the figure of ,san ,liberale1 who is represented as a young man with bare head and crisp1 golden locks1 dressed in silver armour1 copied from the suit in which ,matteo ,costanza is dressed in the stone effigy which is still preserved in the cemetery at ,castelfranco4 ,at the side of the stone figure lies a helmet1 resembling that on the head of the saint in the altarpiece4 ,in ,giorgione's group the ,mother and ,child are enthroned on high1 with ,st4 ,francis and ,st4 ,liberale on either hand4 ,the ,child's glance is turned upon the soldier-saint1 a gallant figure with his lance at rest1 his dagger on his hip1 his gloves in his hand1 young1 high-bred1 with features of almost feminine beauty4 ,the picture is conceived in a new spirit of simplicity of design1 and shows a new feeling for restraint in matters of detail4 ,it is the work of a man who has observed that early morning1 like late evening1 has a marvellous power of eliminating all unessential accessories and of enveloping every object in a delicious scheme of light4 ,repainted1 cleaned1 restored as the canvas is1 it is still full of an atmosphere of calm serenity4 ,it is not the ecstatic1 devotional reverie of ,perugino's saints4 ,the painter of ,castelfranco has not steeped his whole soul in religious imagination1 like the painter of ,umbria2 he is an exemplar of the lyric feeling2 his work is a poem in praise of youth and beauty1 and dreams in air and sunshine4 ,he uses atmosphere to enhance the mood1 but ,giorgione carries his unison of landscape with human feeling much further than ,perugino2 he observes the delicate effects of light1 and limpid air circulates in his distance4 ,the sun rising over the sea throws a glamour and purity of early morning over a scene meant to glorify the memory of a young life4 ,the painter shows his connection with his master by using the figure of the ,st4 ,francis in ,bellini's ,san ,giobbe altarpiece4 ,what ,bellini owed to ,giorgione is still a matter for speculation4 ,the ,san ,zaccaria altarpiece was1 as we have seen1 painted in the year following that of ,castelfranco4 ,something has incited the old painter to fresh efforts2 out of his own evolution1 or stimulated by his pupil's splendid experiments1 he is drawn into the golden atmosphere of the ,venetian cinque-cento4 ,the ,venetian painters were distinguished by their love for the kindred art of music4 ,giorgione himself was an admirable musician1 and linked with all that is akin to music in his work1 is his love for painting groups of people knit together by this bond4 ,he uses it as a pastime to bring them into company1 and the rich chords of colour seem permeated with the chords of sound4 ,not always1 however1 does he need even this excuse2 his conversation-pieces are often merely composed of persons placed with indescribable grace in exquisite surroundings1 governed by a mood which communicates itself to the beholder4 ,with the ,florentines1 the cartoon was carefully drawn upon the wall and flat tints were superimposed4 ,they knew beforehand what the effect was to be2 but the ,venetians from this time gradually worked up the picture1 imbedding tints1 intensifying effects1 one touch suggesting another1 till the whole rich harmony was gradually evoked4 ,with the ,florentines1 too1 the figures supply the main interest2 the background is an arbitrary addition1 placed behind them at the painter's leisure1 but ,giorgione's and ,titian's ftes champtres and concerts could not be at all in any other environment4 ,the amber flesh-tints and the glowing garments are so blended with the deep tones of the landscape1 that one would not instil the mood the artist desires without the other4 ,piero di ,cosimo and ,pintoricchio can place delightful nymphs and fairy princesses in idyllic scenes1 and they stir no emotion in us beyond an observant pleasure1 a detached amusement2 but ,giorgione's gloomy blues1 his figures shining through the warm dusk of a summer evening1 waken we hardly know what of vague yearning and brooding memory4 ,in the ,fte ,champtre of the ,louvre he acquires a frankly sensuous charm4 ,he becomes riper1 richer in feeling1 and displays great exuberance of style4 ,the woman filling her pitcher at the fountain is exquisite in line and curve and amber colour4 ,she seems to listen lazily to the liquid fall of the water mingling with the half-heard music of the pipes4 ,the beautiful idyll in the ,giovanelli ,palace is full of art of composition4 ,it is built up with uprights2 pillars are formed by the groups of trees and figures1 cut boldly across by the horizontal line of the bridge1 but the figures themselves are put in without any attention to subject1 though an unconscious humorist has discovered in them the domestic circle of the painter4 ,the man in ,venetian dress is there to assist the left-hand columnar group1 placed at the edge of the picture after the manner of ,leonardo4 ,the woman and child lighten the mass of foliage on the right and make a beautiful pattern4 ,the white town of ,castelfranco sings against the threatening sky1 the winds bluster through the space1 the trees shiver with the coming storm4 ,here and there leafy boughs are struck in with a slight1 crisp touch1 in which we can follow readily the painter's quick impression4 ,the ,knight of ,malta is a grand magisterial figure1 majestic1 yet full of ardent warmth lying behind the grave1 indifferent nobility4 ,the face is bisected with shadow1 in the way which ,michelangelo and ,andrea del ,sarto affected1 and the cone-shaped head with parted hair is of the type which seems particularly to have pleased the painter4 ,to ,giorgione1 too1 belongs the honour of having created a ,venus as pure as the ,aphrodite of ,cnidos and as beautiful as a courtesan of ,titian4 ,illustration3 ,giorgione4 ,f,,te ,,champ,,tre4 ,louvre4 7,photo1 ,alinari47 ,the death of ,giorgione from plague in #aeaa is registered by all the oldest authorities4 ,his body was conveyed to ,castelfranco by members of the ,barbarelli family and buried in the ,church of ,san ,liberale4 ,in #afch an epitaph was placed over his tomb by ,matteo and ,ercole ,barbarelli4 ,allowing that he was hardly more than twenty when his new manner began to gain a following1 he had only some twelve years in which to establish his deep and lasting influence4 ,we divine that he was a man of strong personality1 such a one as warms and stimulates his companions4 ,even his nickname tells us something1--,great ,george1 the ,chief1 the ,george of ,georges1--it seems to express him as a leader4 ,and we have no lack of proof that he was admired and looked up to4 ,his style became the only one that found favour in ,venice1 and the painters of the day did their best to conform to it4 ,few authentic examples are left from his own hand1 but out of his conscious and devoted and more or less successful imitators1 there grew up a school1 out of all those fascinating works1 rightly or wrongly attributed to him2 out of many copies from1 or variations on him1 by unknown or uncertain workmen1 whose drawings and designs were1 for various reasons1 prized as his2 out of the immediate impression he made upon his contemporaries and with which he continued in men's minds2 out of many traditions of subject and treatment which really descend from him to our own time1 and by retracing which we fill out the original image4 ,summing up all these influences1 he has left us the ,giorgionesque2 the art of choosing a moment in which the subject and the elements of colour and design are so perfectly fused and blended that we have no need to ask for any more articulate story2 a moment into which all the significance1 the fulness of existence has condensed itself1 so that we are conscious of the very essence of life4 ,those idylls of beings wrapped into an ideal dreamland by music and the sound of water and the beauty of wood and mountain and velvet sward1 need all our conscious apprehension of life if we are to drink in their full fascination4 ,the dream of the ,lotos-eaters can only come with force to those who can contrast it adequately with the experience1 the complication1 and the thousand distractions of an over-civilised world4 ,rest and relaxation1 the power of the deeply tinted eventide1 or of the fresh morning light1 and the calm that drinks in the sensations they are able to afford1 are among the precious things of life4 ,the instinct upon which ,giorgione's work rests is the satisfying of the feeling as well as the thinking faculty1 the life of the heart1 as compared to the life of the intellect1 the solution of life's problems by love instead of by thought4 ,it was the ,eastern ideal1 and its positive expression is conveyed by means of colour1 deep1 restful1 satisfying1 fused and controlled by chiaroscuro rather than by form4 ,,principal ,,works ,berlin4 ,portrait of a ,man4 ,buda-,pesth4 ,portrait of a ,man4 ,castelfranco4 ,duomo3 ,madonna with ,,ss4 ,francis and ,liberale4 ,dresden4 ,sleeping ,venus4 ,florence4 ,uffizi3 ,trial of ,moses 7,e472 ,judgment of ,solomon 7,e472 ,knight of ,malta4 ,hampton ,court4 ,a ,shepherd4 ,madrid4 ,madonna with ,,ss4 ,roch and ,anthony of ,padua4 ,paris4 ,fte ,champtre4 ,rome4 ,villa ,borghese3 ,portrait of a ,lady4 ,venice4 ,seminario3 ,apollo and ,daphne4 ,palazzo ,giovanelli3 ,gipsy and ,soldier4 ,san ,rocco3 ,christ bearing ,cross4 ,boston4 ,mrs4 ,gardner3 ,christ bearing ,cross4 ,london4 ,sketch of a ,knight2 ,adoration of ,shepherds4 ,viscount ,allendale3 ,adoration of ,shepherds4 ,vienna4 ,evander showing neas the ,future ,site of ,rome4 ,,chapter ,,xvi ,,the ,,giorgionesque ,giorgione had given the impulse1 and all the painters round him felt his power4 ,the ,venetian painters that is1 for it is remarkable1 at a time when the men of one city observed and studied and took hints from those of every other1 how faint are the signs that this particular manner attracted any great attention in other art centres4 ,leonardo da ,vinci was a master of chiaroscuro1 but he used it only to express his forms1 and never sacrifices to it the delicacy and fineness of his design4 ,it is the one quality ,raphael never assimilates1 except for a brief instant at the period when ,sebastian del ,piombo had arrived in ,rome from ,venice4 ,it takes hold most strongly upon ,andrea del ,sarto1 who seems1 significantly enough1 to have had no very pronounced intellectual capacity1 but in ,venice itself it now became the only way4 ,the old ,bellini finds in it his last and fullest ideal2 ,catena1 ,basaiti1 ,cariani do their best to acquire it1 and so successfully was it acquired1 so congenial was it to ,venetian art1 that even second- and third-rate ,venetian painters have usually something attractive which triumphs over superficial and doubtful drawing and grouping4 ,it is easy to see how much to their taste was this fused and golden manner1 this disregard of defined form1 and this new play of chiaroscuro4 ,the ,venetian room in the ,national ,gallery is full of such examples3 the ,nymphs and ,amoretti of ,no4 #afie1 charming figures against melting vines and olives2 ,venus and ,adonis1 in which a bewitching ,cupid chases a butterfly2 ,lovers in a landscape1 roaming in the summer twilight2 scenes in which neither person nor scenery is a pretext for the other1 but each has its full share in arousing the desired emotion4 ,such pictures are ascribed to1 or taken from ,giorgione by succeeding critics1 but have all laid hold of his charm1 and have some share in his inspiration4 ,one of the ablest of his followers1 a man whose work is still confounded with the master's1 is ,cariani1 the ,bergamasque1 who at different times in his life also successfully imitated ,palma and ,lotto4 ,in his ,giorgionesque manner ,cariani often creates charming figures and strong portraits1 though he pushes his colour to a coarse1 excessive tone4 ,his family group in the ,roncalli ,collection at ,bergamo is very close to ,giorgione4 ,seven persons1 three women and four men1 are grouped together upon a terrace1 and behind them stretches a calm landscape1 half concealed by a brocaded hanging4 ,the effect of the whole is restful1 though it lacks ,giorgione's concentration of sensation4 ,then1 again1 ,cariani flies off to the gayer1 more animated style of ,lotto4 ,later on1 when he tries to reproduce ,giorgione's pastoral reveries1 his shepherds and nymphs become mere peasants1 herdsmen1 and country wenches1 who have nothing of the idyllic distinction which ,giorgione never failed to infuse4 ,the ,adulteress before ,christ at ,glasgow still bears the greater name1 but its short1 vulgar figures and faulty composition disclaim his authorship1 while ,cariani is fully capable of such failings1 and the exaggerated1 red-brown tone is quite characteristic of him4 ,these painters are more than merely imitative2 they are also typical4 ,giorgione's new manner had appealed to some quality inherent and hereditary in their nature1 and the essential traits they single out and dwell upon are the traits which appeal equally to the instincts of both4 ,it is this which makes their efforts more sympathetic than those of other second-rate painters4 ,colour1 or rather the peculiar way in which ,giorgione used colour1 made a natural appeal to them1 and it is a medium which does make an immediate appeal and covers a multitude of shortcomings4 ,but ,giorgione was not to leave his message to the mercy of mere disciples and imitators1 however apt4 ,growing up around him were men to whom that message was an inspiration and a trumpet-call1 men who were to develop and deepen it1 endowing it with their own strength1 recognising that the way which the young pioneer of ,castelfranco had pointed out was the one into which they could unhesitatingly pour their whole inclination4 ,the instinct for colour was in their very blood4 ,they turned to it with the heart-whole delight with which a bird seeks the air or a fish the water1 and foremost among them1 to create and to consolidate1 was the mighty ,titian4 ,,principal ,,works ,cariani4 ,bergamo4 ,carrara3 ,madonna and ,saints4 ,lochis3 ,woman and ,shepherd2 ,portraits2 ,saints4 ,morelli3 ,madonna 7,l474 ,roncalli ,collection3 ,family ,group4 ,hampton ,court4 ,adoration of ,shepherds 7,l472 ,venus 7,l474 ,london4 ,death of ,s4 ,peter ,martyr 7,l472 ,madonna and ,saints 7,l474 ,milan4 ,brera3 ,madonna and ,saints 7,l472 ,madonna 7,l474 ,ambrosiana3 ,way to ,golgotha4 ,paris4 ,madonna1 ,saints1 and ,donor 7,e472 ,holy ,family and ,saints4 ,rome4 ,villa ,borghese3 ,sleeping ,venus2 ,madonna and ,s4 ,peter4 ,venice4 ,holy ,family2 ,portraits4 ,vienna4 ,christ bearing ,cross2 ,the ,bravo4 ,school of ,giorgione4 ,london4 ,unknown subject2 ,adoration of ,shepherds2 ,venus and ,adonis2 ,landscape1 with ,nymphs and ,cupids2 ,the ,garden of ,love4 ,mr4 ,benson4 ,lovers and ,pilgrim4 ,,chapter ,,xvii ,,titian ,the mountains of ,cadore are not always visible from ,venice1 but there they lie1 behind the mists1 and in the clear shining after rain1 in the golden eventide of autumn1 and on steel-cold winter days they stand out1 lapis-lazuli blue or deep purple1 or1 like ,shelley's enchanted peaks1 in sharp-cut1 beautiful shapes rising above billowy slopes4 ,cadore is a land of rich chestnut woods1 of leaping streams1 of gleams and glooms1 sudden storms and bursts of sunshine4 ,it is an order of scenery which enters deep into the affections of its sons1 and we can form some idea of the hold its mingling of wild poetry and sensuous softness obtained over the mind of ,titian from the fact that in after years1 while he never exerts himself to paint the city in which he lived and in which all his greatest triumphs were gained1 he is uniformly constant to his mountain home1 enters into its spirit and interprets its charm with warm and penetrating insight4 ,the district formed part of the dependencies of the great republic1 and relied upon ,venice for its safety1 its distinction1 and in great measure for its employment4 ,the small craftsmen and artists from all the country round looked forward to going down to seek their fortune at her hands4 ,they tacked the name of their native town to their own name1 and were drawn into the magnificent life of the city of the sea1 and came back from time to time with stories of her art1 her power1 and beauty4 ,the ,vecelli had for generations held honourable posts in ,cadore4 ,the father and grandfather of the young ,tiziano were influential men1 and with his brother and sisters he must have been brought up in comfort4 ,there are even traditions of noble birth1 and it is evident that ,titian was always a gentleman1 though this did not prevent his being educated as a craftsman1 and when he was only ten years old he was sent down to ,venice to be apprenticed to a mosaicist4 ,it was a changing ,venice to which ,titian came as a boy2 changing in its life1 its social and political conditions1 and its art was faithfully registering its aspirations and tastes4 ,more than at any previous time1 it was calculated to impress a youth to whom it had been held up as the embodiment of splendid sovereignty1 and the difference between the little hill-town set in the midst of its wild solitudes and the brilliant city of the sea must have been dazzling and bewildering4 ,a new sense of intellectual luxury had awakened in the great commercial centre4 ,the ,venetian love of splendour was displaying itself by the encouragement and collection of objects of art1 and both ancient and modern works were in increasing request4 ,on ,gentile ,bellini's and ,carpaccio's canvases we see the sort of people the ,venetians were1 shrewd1 quiet1 splendour-loving1 but business-like1 the young men fashionably dressed1 fastidious connoisseurs1 splendid patrons of art and of religion4 ,buyers were beginning to find out what a delightful decoration the small picture made1 and that it was as much in place in their own halls as over the altar of a chapel4 ,the portrait1 too1 was gaining in importance1 and the idea of making it a pleasure-giving picture1 even more than a faithful transcript1 was gathering ground4 ,the ,procession of the ,relic was still in ,gentile's studio1 but the ,frari ,madonna and ,child was just installed in its place4 ,carpaccio was beginning his long series of ,st4 ,ursula1 and the ,bellini and ,vivarini were in keen rivalship4 ,titian is said to have passed from the bottega of ,gentile to that of ,giovanni ,bellini1 but nothing in his style reminds us of the former1 and even his early work has very little that is really ,bellinesque1 whereas from the very first he reflects the new spirit which emanated from ,giorgione4 ,titian was a year the elder1 and we can divine the sympathy that arose between the two when they came together in ,bellini's ,school4 ,as soon as their apprenticeship was at an end they became partners4 ,fond of pleasure and gaiety1 loving splendour1 dress1 and amusement1 they were naturally congenial companions1 and were drawn yet more closely together by their love for their art and by the aptitude with which ,titian grasped ,giorgione's principles4 ,and if we ask ourselves why we take for granted that of two young men so closely allied in age and circumstance we accept ,giorgione as the leader and the creator of the new style1 we may answer that ,titian was a more complex character4 ,he was intellectual1 and carried his intellect into his art1 but this was no new feature4 ,the intellect had had and was having a large share in art4 ,but in that part which was new1 and which was launching art upon an untried course1 ,giorgione is more intense1 more one-idea'd than ,titian4 ,what he does he does with a fervour and a spontaneity that marks him as one who pours out the language of the heart4 ,the partnership between the two was probably arranged a few years before the end of the century1 for we have seen that young painters usually started on their own account at about nineteen or twenty4 ,for some years ,titian1 like ,giorgione1 was engrossed by the decorations of the ,fondaco dei ,tedeschi4 ,the groups of figures described by ,zanetti in #agga show us that while ,giorgione made some attempt at following classic figures1 ,titian broke entirely with ,greek art and only thought of picturesque nature and contemporary costume4 ,vasari complains that he never knew what ,titian's ,judith was meant to represent1 unless it was ,germania1 but ,zanetti1 who had the benefit of ,sebastiano ,ricci's taste1 declares that from what he saw1 both ,giorgione and ,titian gave proofs of remarkable skill4 ,while ,giorgione showed a fervid and original spirit and opened up a new path1 over which he shed a light that was to guide posterity1 ,titian was of a grander and more equable genius1 leaning at first1 indeed1 upon ,giorgione's example1 but expanding with such force and rapidity as to place him in advance of his companion1 on an eminence to which no later craftsman was able to climb4444 ,he moderated the fire of ,giorgione1 whose strength lay in fanciful movement and a mysterious artifice in disposing shadows1 contrasted darkly with warm lights1 blended1 strengthened1 blurred1 so as to produce the semblance of exuberant life4 ,certain works remain to link the two painters2 even now critics are divided as to which of the two to attribute the ,concert in the ,pitti4 ,the figures are ,giorgionesque1 but the technique establishes it as an early ,titian1 and it is doubtful whether ,giorgione would be capable of the intellectual effort which produced the dreamy1 passionate expression of the young monk1 borne far out of himself by his own melody1 and half recalled to life by the touch on his shoulder4 ,titian1 like ,giorgione1 was a musician1 and the fascination of music is felt by many masters of the ,italian schools4 ,in one picture the player feels vaguely after the melody1 in another we are asked to anticipate the song that is just about to begin1 or the last chords of that just finished vibrate upon the ear1 but nowhere else in all art has any one so seized the melody of an instant and kept its fulness and its passion sounding in our ears as this musician does4 ,though we cannot say that ,titian was the pupil of any one master1 the fifteen years1 more or less1 that he spent with ,giorgione left an indelible impression upon him4 ,we have only to look at such a picture as the ,madonna and ,child with ,,ss4 ,john ,baptist and ,antony ,abate1 in the ,uffizi1 an early work1 to recollect that in #aejc ,giorgione at ,castelfranco had taken the ,madonna from her niche in the sanctuary and had enthroned her on high in a bright and sunny landscape with ,s4 ,liberale standing sentinel at her feet1 like a knight guarding his liege lady4 ,titian in this early group casts every convention aside2 a beautiful woman and lovely children are placed in surroundings whose charm is devoid of hieratic and religious significance4 ,the same easy unfettered treatment appears in the ,madonna with the ,cherries at ,vienna1 and the ,madonna with ,st4 ,bridget and ,s4 ,ulfus at ,madrid1 and while it has been surmised that the example of the precise ,albert ,drer1 who paid his first visit to ,venice in #aejf1 was not without its effect in preserving ,titian from falling into laxity of treatment and in inciting him to fine finish1 it is interesting to find that ,titian was1 in fact1 discarding the use of the carefully traced and transferred cartoon1 and was sketching his design freely on panel or canvas with a brush dipped in brown pigment1 and altering and modifying it as he went on4 ,the last years of ,titian's first period in ,venice must have been anxious ones4 ,the ,emperor ,maximilian was attacking the ,venetian possessions on the mainland1 in anger at a refusal to grant his troops a free passage on their way to uphold ,german supremacy in ,central ,italy4 ,cadore was the first point of his invasion1 and from #aejg ,titian's uncle and great-uncle were in the ,councils of the ,state1 his father held an important command1 and his brother ,francesco1 who had already made some progress as an artist1 threw down his brush and became a soldier4 ,titian was not one of those who took up arms1 but his thoughts must have been full of the attack and defence in his mountain fastnesses1 and he must have anxiously awaited news of his father's troops and of the squadrons of ,maso of ,ferrara1 under whose colours ,francesco was riding4 ,francesco made a reputation as a distinguished soldier1 and was severely wounded1 and when peace was made1 ,titian1 who loved him tenderly1 persuaded him to return to the pursuit of art4 ,the ratification of the ,league of ,cambray1 in which ,julius ,,ii41 ,maximilian1 and ,ferdinand of ,naples combined against the power of ,venice1 was disastrous for a time to the city and to the artists who depended upon her prosperity4 ,craftsmen of all kinds first fled to her for shelter1 then1 as profits and orders fell off1 they left to look elsewhere for commissions4 ,an outbreak of plague1 in which ,giorgione perished1 went further to make ,venice an undesirable home1 and at this time ,sebastian del ,piombo left for ,rome1 ,lotto for the ,romagna1 and ,titian for ,padua4 ,we may believe that ,titian never felt perfectly satisfied with fresco-painting as a craft1 for when he was given a commission to fresco the halls of the ,santo1 the confraternity of ,st4 ,anthony1 patron-saint of ,padua1 he threw off beautifully composed and spirited drawings1 but he left the execution of them chiefly to assistants1 among whom the feeble ,domenico ,campagnola1 a painter whom he probably picked up at ,padua1 is conspicuous4 ,even where the landscape is best1 as in ,s4 ,anthony restoring a ,youth1 the drawing and composition only make us feel how enchanting the scene would have been in oils on one of ,titian's melting canvases4 ,in those frescoes which he executed himself while his interest was still fresh1 the ,miracle which grants ,speech to an ,infant is the most ,giorgionesque4 ,up to this time he had preserved the straight-cut corsage and the actual dress of his contemporaries1 after the practice of ,giorgione2 he keeps1 too1 to his companion's plan of design1 placing the most important figures upon one plane1 close to the frame and behind a low wall or ledge which forms a sort of inner frame and with a distant horizon4 ,in the ,paduan frescoes he makes use of this plan1 and the straight clouds1 the spindly trees1 and the youths in gay doublets are all reminiscent of his early comrade1 but the group of women to the left in the ,miracle of the ,child shows that ,titian is beginning more decidedly to enunciate his own type4 ,the introduction of portraits proves that he was tending to rely largely upon nature1 in contradistinction to ,giorgione's lyrically improvised figures4 ,he fuses the influence of ,giorgione and the influence of ,antonello da ,messina and the ,bellini in a deeper knowledge of life and nature1 and he is passing beyond ,giorgione in grasp and completeness4 ,when he was able to return to ,venice1 which he did in #aeab1 a temporary peace having been concluded with ,maximilian1 he abandoned the uncongenial medium of fresco for good1 and devoted himself to that which admitted of the afterthoughts1 the enrichments1 the gradual attainment of an exquisite surface1 and at this time his works are remarkable for their brilliant gloss and finish4 ,during the next twelve years we may group a number of paintings which1 taken in conjunction with those of ,giorgione1 show the true ,venetian ,school at its most intense1 idyllic moment4 ,they are the works of a man in the pride of youth and strength1 sane and healthy1 an example of the confident1 sanguine1 joyous temper of his age1 capable of embodying its dominant tendencies1 of expressing its enjoyment of life1 its worldly-mindedness1 its love of pleasure1 as well as its noble feeling and its grave and magnificent purpose4 ,for absolute delight in colour let us turn to a picture like the ,noli me tangere of the ,national ,gallery4 ,the golden light1 the blues and olives of the landscape1 the crimson of the ,magdalen's raiment1 combine in a feast of emotional beauty1 emphasising the feeling of the woman1 whose soul is breathed out in the word ,master4 ,the colour unites with the light and shadow1 is embedded in it2 and we can see ,titian's delight in the ductile medium which had such power to give material sensation4 ,in these liquid crimsons1 these deep greens and shoaling blues1 the velvety fulness and plenitudes of the brush become visible2 we can look into their depths and see something quite unlike the smooth1 opaque washes of the ,florentines4 ,in such a masterpiece as ,sacred and ,profane ,love1 painted during these years for the ,borghese1 there are summed up all those artistic aims towards which the ,venetian painters had been tending4 ,the picture is still ,giorgionesque in mood4 ,it may represent1 as ,dr4 ,wickhoff suggests1 ,venus exhorting ,medea to listen to the love-suit of ,jason2 but the subject is not forced upon us1 and we are more occupied with the contrast between the two beautiful personalities1 so harmoniously related to each other1 yet so opposed in type4 ,the gracious1 self-absorbed lady1 with her softly dressed hair1 her loose glove1 her silvery satin dress1 is a contrast in look and spirit to the goddess whose free1 simple attitude and outward gaze embody the nobler ideal4 ,the sinuous and enchanting line of ,venus's figure against the crimson cloak has1 ,i think1 been the outcome of admiration for ,giorgione's ,sleeping ,venus1 and has the same soft1 unhurried curves4 ,titian's two figures are perfectly spaced in a setting which breathes the very aroma of the early ,renaissance4 ,a bas-relief on the marble fountain represents nymphs whipping a sleeping ,love to life1 while a cupid teases the chaste unicorn4 ,a delicious baby ,love splashes in the water1 fallen rose-leaves strew the mellow marble rim1 around and away stretches a sunny country scene1 in which people are placidly pursuing a life of ease and pleasure4 ,what a revelation to ,venice these pictures were which began with ,giorgione's conversaziones6 ,how little occupied the women are with the story4 ,venus does not argue1 or check off reasons on her fingers1 like ,s4 ,ursula4 ,medea is listening to her own thoughts1 but the whole scene is bathed in the suggestion of the joy and happiness of love4 ,the little censer burning away in the blue and breathless air might be a philtre diffusing sensuous dreams1 and when the rays of the evening sun strike the picture1 where it now hangs1 and bring out each touch of its glowing radiance1 it seems to palpitate with the joy of life and to thrill with the magic of summer in the days when the world was young4 ,with the influence still lingering of ,giorgione's ,knight of ,malta1 ,titian produced some of his finest portraits in the decade that led to the middle of his life4 ,the ,dr4 ,parma at ,vienna1 the noble ,man in ,black and ,man with a ,glove of the ,louvre1 the ,young ,englishman of the ,pitti1 with his keen blue eyes1 the portrait at ,temple ,newsam1 which1 with some critics1 still passes as a ,giorgione1 are all examples in which he keeps the half-length1 invented by ,bellini and followed by ,giorgione4 ,after the visit to ,padua he shows less preference for costume1 and his women are generally clothed in a loose white chemise1 rather than the square-cut bodice4 ,we do not wonder that all the leading personages of ,italy wished to be painted by ,titian4 ,his are the portraits of a man of intellect4 ,they show the subject at his best2 grave1 cultivated1 stately1 as he appeared and wished to appear2 not taken off his guard in any way4 ,what can be more sympathetic as a personality than the ,ariosto of the ,national ,gallery8 ,we can enter into his mind and make a friend of him1 and yet all the time he has himself in hand2 he allows us to divine as much as he chooses1 and draws a thin veil over all that he does not intend us to discover4 ,the painter himself is impersonal and not over-sensitive2 he does not paint in his own fancies about his sitter--probably he had none2 he saw what he was meant to see4 ,there was what ,mr4 ,berenson calls a certain happy insensibility about him1 which prevented him from taking fantastic flights1 or from looking too deep below the surface4 ,illustration3 ,titian4 ,,ariosto4 ,london4 7,photo1 ,mansell and ,co47 ,,chapter ,,xviii ,,titian 7continued7 ,with the ,assumption1 finished in #aeah for the ,church of the ,frari1 ,titian rose to the very highest among ,renaissance painters4 ,the ,glorious ,s4 ,mary was his theme1 and he concentrated all his efforts on the realisation of that one idea4 ,the central figure is1 as it were1 a collective rather than an individual type4 ,well proportioned and elastic as it is1 it has the abundance of motherhood4 ,harmonious and serene1 it combines dramatic force and profound feeling4 ,exultant ,humanity1 in its hour of triumph1 rises with her1 borne up lightly by that throbbing company of child angels and followed by full recognition and awestruck satisfaction in the adoring gaze of the throng below1 yet ,titian has contrived to keep some touch of the loving woman hurrying to meet her son4 ,the flood of colour1 the golden vault above1 the garment of glowing blues and crimsons1 have a more than common share in that spirit of confident joy and poured-out life which envelops the whole canvas4 ,in the worthy representation of a great event1 the visible assumption of ,humanity to the ,throne of ,god1 ,titian puts forth all his powers and steeps us in that temper of sanguine emotion1 of belief in life and confidence in the capacity of man1 which was so characteristic of the ripe ,renaissance4 ,in looking at this splendid canvas1 we must call to mind the position for which ,titian painted it4 ,hung in the dusky recesses of the apse1 it was tempered by and merged in its stately surroundings4 ,the band of ,apostles almost formed a part of the whispering crowd below1 and the glorious ,mother was beheld soaring upwards to the golden light and the mysterious vistas of the vaulted arches above4 ,the patronage of courts had by this time altered the tenor of ,titian's life4 ,in #aeaf ,duke ,alfonso d',este had invited him to ,ferrara1 where he had finished ,bellini's ,bacchanals4 ,it bears the marks of ,titian's hand1 and he has introduced a well-known point of view at ,cadore into the background4 ,in #aeah ,alfonso writes to propose another painting1 and ,titian's acceptance is contained in a very courtier-like letter1 in which we divine a touch of irony4 ,the more ,i thought of it1 he ends1 the more ,i became convinced that the greatness of art among the ancients was due to the assistance they received from great princes1 who were content to leave to the painter the credit and renown derived from their own ingenuity in bespeaking pictures4 ,alfonso's requirements for his new castle were frankly pagan4 ,mythological scenes were already popular4 ,mantegna had adorned ,isabela d',este's ,paradiso with revels of the gods1 ,botticelli had given his conception of classic myth in the ,medici villa1 already ,bellini had essayed a ,bacchanal1 and ,titian was to make designs for similar scenes to complete the decorations of the halls of ,este4 ,the same exuberant feeling he shows in the ,assumption finds utterance in the ,garden of ,loves and the ,bacchanals1 both painted for ,alfonso of ,ferrara4 ,the children in the former may be compared with the angels in the ,assumption4 ,their blue wings match the heavenly blue sky1 and they are painted with the most delicate finish4 ,we can imagine the beauty of the great hall at ,ferrara when hung with this brilliant series1 which was completed in #aebc by the ,bacchus and ,ariadne of the ,national ,gallery4 ,the whole company of bacchanals is given up to wanton merrymaking4 ,above them broods the deep blue sky and great white clouds of a summer day4 ,the deep greens of the foliage throw the creamy-white and burning colour of the draperies and the fair forms of the nymphs into glowing relief1 while by a convention the satyrs are of a deep1 tawny complexion4 ,on a roll of music is stamped the rollicking device1 ,chi boit et ne reboit1 ne seais que boir soit4 ,the purple fruit hangs ripened from the vines1 its crimson juice shines like a jewel in crystal goblets and drips in streams over rosy limbs4 ,the influence of such pictures as these was absorbed by ,rubens1 but though they hardly surpass him in colour1 they are more idyllic and less coarse4 ,the perfect taste of the ,renaissance is never shown more victoriously than here1 where indulgence ceases to be repulsive1 and the actors are real flesh and blood1 yet more ,arcadian than revolting4 ,in the ,bacchus and ,ariadne1 ,titian gives triumphant expression to a mood of wild rejoicing1 so gay1 so good-tempered1 so simple1 that we must smile in sympathy4 ,the conqueror flinging himself from his golden chariot drawn by panthers1 his deep red mantle fluttering on high1 is so full of reckless life that our spirit bounds with him4 ,his rioting band1 marching with song and laughter1 seems to people that golden country-side with fit inhabitants4 ,the careless satyrs and little merry1 goat-legged fauns shock us no more than a herd of forest ponies1 tossing their manes and dashing along for love of life and movement4#c ,yet almost before this series was put in place ,titian was showing the diversity of his genius by the ,deposition1 now in the ,louvre1 which was painted at the instance of the ,gonzaga1 ,marquis of ,mantua and nephew of ,alfonso d',este4 ,here he makes a great step in the use of chiaroscuro4 ,while it is satisfying in balance and sweeping rhythm1 and by the way in which every line follows and intensifies the helpless1 slackened lines of the dead ,body1 it escapes ,raphael's academic treatment of the same subject4 ,its splendid colours are not noisy2 they merge into a scene of solemn pathos and tragedy4 ,the scene has a simplicity and unity in its passion1 and what above all gives it its intense power is the way in which the flaming hues are absorbed into the twilight shadows4 ,the dark heads stand out against the dying sunset1 the pallor of the dead is half veiled by the falling night4 ,it is a picture which has the emotional beauty of a scene in nature1 and makes a profound impression by its depth and mystery4 ,this same solemnity and gravity temper the brilliant colouring of the great altarpiece painted for the ,pesaro family in the ,frari4 ,columns rise like great tree-trunks1 light and air play through the clouds seen between them4 ,the grouping is a new experiment1 but the way in which the ,mother and ,child1 though placed quite at one side of the picture1 are focussed as the centre of interest1 by the converging lines1 diagonal on the one hand and straight on the other1 crowns it with success4 ,the scheme of colour brings the two figures into high relief1 while ,st4 ,francis and the family of the donor are subordinated to rich1 deep tints4 ,titian has abandoned1 more completely than ever before1 any attempt to invest the ,child with supernatural majesty4 ,he is a delightful1 spoiled baby1 fully aware of his sovereignty over his mother1 pretending to take no notice of the kneeling suppliants1 but occupying himself in making a tent over his head out of her veil4 ,the ,madonna in ,glory with six ,saints of the ,vatican is another example of the rich and smouldering colour in which ,titian was now creating his great altarpieces1 kneading his pigments into a quality1 a solidity1 which gives reality without heaviness1 and finishing with that fine-grained texture which makes his flesh look like marble endowed with life4 #c ,it is this quality of unarrested movement1 so conspicuous above all in the figure of ,bacchus1 which attracts us irresistibly in the ,huntress1 in ,lord ,brownlow's ,diana and ,actaeon4 ,the construction of the form of the goddess in this beautiful but little-known picture is admirable4 ,worn as the colour is1 appearing almost as a monochrome1 the landscape is full of atmospheric suggestion4 ,it is in ,titian's latest manner1 and its ample lines and free unimpeded motion can be due to no inferior brush4 ,illustration3 ,titian4 ,,diana ,,and ,,actaeon4 ,earl ,brownlow4 7,the ,medici ,society1 ,ltd47 ,venuses1 altarpieces1 and portraits all tell us how boldly his own style was established4 ,his sacred persons are not different from his pagans and goddesses4 ,yet though he has gone far1 he still reminds us of ,giorgione4 ,he has been constant to the earliest influences which surrounded him1 and to that temperament which made him accept those influences so instantaneously--and this constancy and unity give him the untroubled ascendancy over art which is such a feature of his position4 ,with ,leonardo and with ,titian1 painters had sprung to a recognised status in the great world of the ,renaissance4 ,they were no longer the patronised craftsmen4 ,they had become the courted guests1 the social equals4 ,titian1 passing from the courts of ,ferrara to those of ,mantua and ,urbino1 attended by a band of assistants1 was a magnificent personage1 whose presence was looked upon as a favour1 and who undertook a commission as one who conferred a coveted boon4 ,among those who clustered closest round the popular favourite1 no one did more to enhance his position than ,aretino1 the brilliant unscrupulous debauchee1 wit1 bully1 blackmailer1 but a man who1 with all his faults1 had evidently his own power of fascination1 and1 the friend of princes1 must have been himself the prince of good company4 ,aretino1 as far as he could be said to be attached to any one1 was consistent in his attachment to ,titian from the time they first met at the court of the ,gonzaga4 ,he played the part of a chorus1 calling attention to the great painter's merits1 jogging the memory of his employers as to payments1 and never ceasing to flatter1 amuse1 and please him4 ,titian1 for his part1 shows himself equally devoted to ,aretino's interests1 and has left various characteristic portraits of him1 handsome and showy in his prime1 sensual and depraved as age overtook him4 ,in the spring of #aebh the confraternity of ,st4 ,peter ,martyr invited artists to send in sketches for an altarpiece to their patron-saint1 in ,,ss4 ,giovanni and ,paolo1 to replace an old one by ,jacobello del ,fiore4 ,palma ,vecchio and ,pordenone also competed1 but ,titian carried off the prize4 ,the picture was delivered in #aecj1 and during the autumn of #aebi ,sebastian del ,piombo had returned to ,venice from ,rome1 and ,michelangelo had sought refuge there from ,florence and had stayed for some months4 ,a quarrel with the monks over the price had delayed the picture1 so that it may quite probably have only been begun after intercourse with the ,roman visitors had given a fresh turn to ,titian's ideas2 for though he never ceases to be himself1 it certainly seems as if the genius of ,michelangelo had had some effect4 ,from what we know of the altarpiece1 which perished by fire in #ahfg1 but of which a good copy by ,cigoli remains1 ,titian embarked suddenly upon forms of ,herculean strength in violent action1 but there his likeness to the ,florentine ended2 the figures were1 indeed1 drawn with a deep1 though not altogether successful1 attention to anatomy and foreshortening1 but the picture obtained its effect and derived its impressiveness from the setting in which the figures were placed--the great trees1 bending and straining1 the hurrying clouds1 as if nature were in portentous harmony with the sinister deed1 and overhead the enchanting gleam of light which shot downward and irradiated the face of the martyr and the two lovely winged boys1 bathed in a flood of blue ther1 who held aloft the palm of victory4 ,many copies of it remain1 and we only regret that one which ,rubens executed is not preserved among them4 ,when we look at the delicious ,madonna del ,coniglio in the ,louvre and our own ,marriage of ,s4 ,catherine1 the first of which certainly1 and the second probably1 was painted about this time1 we cannot doubt that the charm of the idea of motherhood had particularly arrested the painter4 ,about #aebe his first son1 ,pomponio1 was born1 and was followed by another son and a daughter4 ,in the ,s4 ,catherine he paints that passion of mother-love with an intensity and reality that can only be drawn from life1 and on the wheel at her feet he has inscribed his name1 ,ticianus1 ,f4 ,his feeling for landscape is increasing1 and the landscape in these pictures equals the figures in importance and has engrossed the painter quite as much4 ,every year ,titian paid a visit to ,cadore1 and in the rich woodlands1 the distant villages1 the great white villa on the hill-side1 and1 above all1 in the far-off blue mountains and the glooms and gleams of storm and sunshine1 the sudden dart of rays through the summer clouds1 which he has painted here1 we see how constant was his study of his native country1 and how profoundly he felt its poetry and its charm4 ,he had married ,cecilia1 the daughter of a barber belonging to ,perarolo1 a little town near ,cadore4 ,in #aecj she died1 and he mourned her deeply4 ,he went on working and planning for his children's future1 and his sister came from ,cadore to take charge of the motherless household2 but his friends' letters speak of his being ill from melancholy1 and he could not go on living in the old house at ,san ,samuele1 which had been his home for sixteen years4 ,he took a new house on the north side of the city1 in the parish of ,san ,canciano4 ,the ,casa ,grande1 as it was called1 was a building of importance1 which the painter first hired and finally bought1 letting off such apartments as he did not need4 ,the first floor had a terrace1 and was entered by a flight of steps from the garden1 which overlooked the lagoons1 and had a view of the ,cadore mountains4 ,it has been swept away by the building of the ,fondamenta ,nuove1 but the documents of the leases are preserved1 and the exact site is well established4 ,here his children grew up1 and he worked for them unceasingly4 ,pomponio1 his eldest son1 was idle and extravagant1 a constant source of trouble1 and ,aretino writes him reproachful letters1 which he treats with much impertinence4 ,orazio took to his father's profession1 and was his constant companion1 and often drew his cartoons2 and his beautiful daughter1 ,lavinia1 was his greatest joy and pride4 ,in this house ,titian showed constant hospitality1 and there are records of the princely fashion in which he entertained his friends and distinguished foreign visitors4 ,priscianese1 a well-known ,humanist and savant of the day1 describes a ,bacchanalian feast on the #ast of ,august1 in a pleasant garden belonging to ,messer ,tiziano ,vecellio4 ,aretino1 ,sansovino1 and ,jacopo ,nardi were present4 ,till the sun set they stayed indoors1 admiring the artist's pictures4 ,as soon as it went down1 the tables were spread1 looking on the lagoons1 which soon swarmed with gondolas full of beautiful women1 and resounded with music of voices and instruments1 which till midnight1 accompanied our delightful supper4 ,titian gave the most delicate viands and precious wines1 and the supper ended gaily4 ,in the year #aecb ,titian for the first time sought other than ,italian patronage4 ,charles ,v41 who was then at the height of his power1 with all ,italy at his feet1 passed through ,mantua1 and among all the treasures that he saw was most struck by ,titian's portrait of ,federigo ,gonzaga4 ,after much writing to and fro1 it was arranged that ,titian should meet the ,emperor at ,bologna1 where he had just been crowned4 ,he made his first sketch of him1 from which he afterwards produced a finished full length4 ,it was the first of many portraits1 and ,vasari declares that from that time forth ,charles would never sit to any other master4 ,he received a knighthood1 and many commissions from members of the ,emperor's court4 ,it was for one of his nobles1 da ,valos1 ,marquis of ,vasto1 that he painted the allegorical piece in the ,louvre1 in which ,mary of ,arragon1 the lovely wife of da ,valos1 is parting with her husband1 who is bound on one of the desperate expeditions against the terrible ,turks4 ,da ,valos is dressed in armour1 and the couple are encircled by ,hymen1 ,victory1 and the ,god of ,love4 ,the composition was repeated more than once1 but never with quite the same success4 ,we again suspect the influence of ,michelangelo in the altarpiece painted before ,titian next left ,venice1 of ,st4 ,john the ,almsgiver1 for the ,church of that name1 of which the ,doge was patron4 ,the figures are life-size1 the types stern and rugged1 daringly foreshortened1 and the colours1 though gorgeous1 are softened and broken by broad effects of light and shade4 ,it is painted in a solemn mood1 a contrast to that in which about this time he produced a series of beautiful female portraits1 nude or semi-nude1 chiefly1 it would appear1 at the instance of the ,duke of ,urbino4 ,the ,duke at this time was the ,general-in-,chief of the ,venetian forces1 a position which took him often to ,venice1 and ,titian's relations with him lasted till the painter's death4 ,at least twenty-five of his works must have adorned the castles of ,urbino and ,pesaro4 ,among these were the ,venus of the ,uffizi1 ,la ,bella di ,tiziano1 in her gorgeous scheme of blue and amethyst1 the ,girl in a ,fur ,cloak1 besides portraits of the ,duke and ,duchess4 ,it would be impossible to enumerate here the numbers of portraits which ,titian was now supplying4 ,the reputation he had acquired1 not only in ,italy1 but in ,spain1 ,france1 and ,germany1 was greater than had ever been attained by any painter1 while his social position was established among the highest in every court4 ,he had rivals in ,venice1 says ,vasari1 but none that he did not crush by his excellence and knowledge of the world in converse with gentlemen4 ,there is not a writer of the day who does not acclaim his genius4 ,titian was undoubtedly very fond of money1 and had amassed a good fortune4 ,he was constantly asking for favours1 and had pensions and allowances from royal patrons4 ,lavinia1 when she married1 brought her husband a dowry of #adjj ducats4 ,he had painted the portraits of the ,doges with tolerable regularity1 but all through his life complaints were heard of his neglect of the work of the ,hall of ,grand ,council4 ,occupied as he was with the work of his foreign patrons1 he had systematically neglected the conditions enjoined by his possession of a ,broker's patent1 and the ,signoria suddenly called on him to refund the salary amounting to over #ajj ducats a year1 for the twenty years during which he had drawn it without performing his promise1 while they prepared to instal ,pordenone1 who had lately appeared as his bitter rival1 in his stead4 ,though ,titian must have been making large sums of money at this time1 his expenses were heavy1 and he could not calmly face the obligation to repay such a sum as #bjjj ducats at the same time that he lost the annual salary1 nor was it pleasant to be ousted by a second-rate rival4 ,his easy remedy was1 however1 in his own hands2 he set to work and soon completed a great canvas of the ,battle of ,cadore1 which1 though it is only known to us from a contemporary print and a drawing by ,rubens1 evidently deserved ,vasari's verdict of being the finest battlepiece ever placed in the hall4 ,the movement and stir he contrives to give with a small number of figures is astonishing4 ,the fortress burns upon the hill-side1 a regiment advancing with lances and pennons produces the illusion that it is the vanguard of a great army1 the desperate conflict by the narrow bridge realises all the terrors of war4 ,it was an atonement for his long period of neglect1 but it was not till #adci ,,tn3 ,pordenone died in #aeci that1 ,pordenone having suddenly died1 the ,signoria relented and reinstated ,titian in his ,broker's patent4 ,one of his later paintings for the ,state still keeps its place1 ,the ,triumph of ,faith1 in which ,doge ,grimani1 a splendid1 steel-clad form with flowing mantle1 kneels before the angelic apparition of ,faith1 who holds a cross1 which angels and cherubs help her to support4 ,beneath the clouds are seen the ,venetian fleet1 the ,ducal ,palace1 and the ,campanile4 ,it is an allegory of ,grimani's life2 his defeat and captivity are symbolised by the cross and chalice1 and the magnificent figure of ,st4 ,mark with the lion is introduced to show that the ,doge believes himself to owe his freedom to the saint's intercession4 ,the prophet and standard-bearer at the sides were added by ,marco ,vecellio4 ,though the battlepiece perished in the fire of #aegg1 another masterpiece of this time marks a climax in ,titian's brilliantly coloured and highly finished style4 ,the ,presentation of the ,virgin was painted for the refectory of the ,confraternity of the ,carit1 which was housed in the building now used as the ,academy1 so that the picture remains in the place for which it was executed4 ,it is one of the most vivid and life-like of all his works4 ,the composition is the traditional one2 the fifteen steps of the ,gospel of ,mary1 the ,high ,priest of the old dispensation welcoming the childish representative of the new4 ,below is a great crowd1 but it is this little figure which first attracts the eye4 ,the contrast between the mass of architecture and the free and glowing country beyond is not without meaning1 and a broken ,roman torso1 lying neglected on the ground1 symbolises the downfall of the ,pagan ,empire4 ,the flight of steps1 with the figure sitting below them1 is an idea borrowed from ,carpaccio1 and perhaps taken by him from the sketch-book of ,jacopo ,bellini4 ,the men on the left are portraits of members and patrons of the confraternity4 ,most ,titianesque are the beautiful women in rich dresses at the foot of the steps4 ,in this stately composition we see what is often noticeable in ,titian's scenes2 he brings in the bystanders after the manner of a ,greek chorus4 ,they all1 with one accord1 express the same sentiment4 ,there is a certain acceptation of the obvious in ,titian1 a vein of simplicity flows through his nature4 ,he has not the sensitive and subtle search after the motives of humanity which we find in ,tintoretto or ,lotto4 ,he has great intellectual power1 but not great imagination4 ,it is a temper which helps to keep the unity1 the monumental quality of his scenes undisturbed and adds to their effect4 ,in the ,ecce ,homo ,christ is shown to the populace by ,pilate1 who with dubious compliment is a portrait of ,aretino1 and the contrast of the lonely1 broken-down man with the crowd which1 with all its lower instincts let loose1 thunders back the cry of ,crucify ,him1 is the more dramatic because of the unanimous spirit which possesses the raging multitude4 ,other artists would have given more incidental byplay1 and drawn off our attention from the main issue4 ,,chapter ,,xix ,titian 7continued7 ,while ,titian was executing portraits of the ,doges1 of ,aretino and of ,isabella of ,portugal1 and of himself and his daughter ,lavinia1 he was also striking out a new line in the ceiling pictures for the ,church of ,san ,spirito1 which have since been transferred to the ,salute4 ,though painted before his journey to ,rome1 it may be suspected that he had ,michelangelo's work in the ,sixtine ,chapel in mind1 and that he was setting himself the task of bold foreshortening and technical problems4 ,the daring of the conception is great1 yet we feel sure that this is not ,titian's element2 his figures in violent movement give a vivid idea of strength and muscular force1 but fail both in grace and drawing1 and though the colour and light and shade distract our attention from defects of form1 he does not possess that mastery over the flowing silhouette which ,tintoretto attained4 ,it was in #aedc that his relations with the ,farnese1 whose young cardinal he had been painting1 drew him at last to ,rome4 ,leo ,x4 had tried to attract him there without success1 but now at sixty-eight he found himself as far on the road as ,urbino4 ,his son ,orazio was with him1 and ,duke ,guidobaldo was himself his escort1 and sent him on with a band of men-at-arms from ,pesaro4 ,he was received in ,rome by ,cardinal ,bembo2 ,paul ,,iii4 gave him a cordial welcome and ,vasari was appointed his cicerone4 ,it is interesting to inquire what impression ,rome1 with its treasures of antique statuary and contemporary painting1 made upon ,titian4 ,he is filled with wonder and glad that he came1 writes ,bembo4 ,in a letter to ,aretino he regrets that he had not come before4 ,he stayed eight months in ,rome1 and was made a ,roman citizen4 ,he visits the ,stanze of ,raphael in company with ,sebastian del ,piombo1 and ,michelangelo comes to see him at his lodgings1 and he receives a long letter from ,aretino advising him to compare ,michelangelo with ,raphael1 and ,sansovino and ,bramante with the sculptors and architects of antiquity4 ,titian was well established in his own style1 and was received as the creator of acknowledged masterpieces1 and he never painted a more magnificent portrait-piece than that of ,paul ,,iii41 the peevish old ,pope1 ailing and humorous1 suspicious of the two nephews who are painted with him1 and who he guessed to be conspiring against him4 ,the characteristic attitude of the old man of eighty1 bent down in his chair1 his quick1 irritable glance1 the steady1 determined gaze of the cardinal1 the obsequious attitude and weak1 wily face of ,ottavio ,farnese are all immortalised in a broader1 more careless technique than ,titian has hitherto used4 ,though he does not seem to have been directly influenced by all he saw in ,rome1 we undoubtedly find a change coming over his work between #aedj and #aeej1 which may be in part ascribed to a widening of his artistic horizon and a consciousness of what others were doing1 both around him and abroad4 ,in its whole handling and character his late is different from his early manner4 ,it begins at this time to take on a blurred1 soft1 impressionist character4 ,his delight in rich colouring seems to wane1 and he aims at intensifying the power of light4 ,he reaches that point in the ,venetian ,school of painting which we may regard as its climax1 when there is little strong local colour1 but the canvas seems illumined from within4 ,there are no clear-cut lines1 but the shapes are suggested by sombre enveloping shades in which the radiant brightness is embedded4 ,his landscapes alter too2 they are no longer blue and smiling1 filled with loving detail1 but grander1 more mysterious4 ,in the ,st4 ,jerome in ,paris the old ,saint kneels in wild and lonely surroundings1 and the moon1 slowly rising behind the dark trees1 sends a sharp1 silver ray across the crucifix4 ,the ,supper at ,emmaus has the grandiose effect that is given by avoidance of detail and simplification of method4 ,titian painted several portraits of himself1 and we know what sort of stately figure was presented by the old man of seventy who1 at ,christmas in #aedg1 set forth to ride across the ,alps in the depths of winter to obey ,charles ,v4's call to ,augsburg4 ,the excitement of the public was great at his departure1 and ,aretino describes how his house was besieged for the sketches and designs he left behind him4 ,for nearly forty years ,titian was employed by the ,house of ,hapsburg4 ,he had been working for ,charles since #aecj1 and when the ,emperor abdicated1 his employment by ,philip ,,ii4 lasted till his death4 ,the palace inventory of #afhf contained seventy-six ,titians1 and though probably not all were genuine1 yet an immense number were really by him1 and the gallery1 even now1 is richer in his works than any other4 ,the great hall of the ,pardo must have been a wonderful sight1 with ,titian's finest portrait of himself in the midst1 and the magnificent portraits and sacred and allegorical pieces which he continued from this time forward to contribute to it4 ,in this year1 which was the last before ,charles's abdication1 and during this visit to ,south ,germany1 he painted the great equestrian portrait of the ,emperor on the field of ,mhlberg1 and two years later came the first of his many portraits of ,philip ,,ii4 ,the face1 in the first sketch1 is laid in with a sort of fury of impressionism1 and in the parade portrait the sitter is realised as a man of great distinction4 ,ugly and sensual as he is1 we never tire of looking at ,titian's conception--a full length of distinguished mien rendered attractive by magnificent colour4 ,everything in it lives1 and the slender1 aristocratic hands are1 as ,morelli says1 a whole biography in themselves4 ,the splendid series of allegorical subjects which ,titian contributed to the ,pardo1 while he was still supplying sacred pictures and altarpieces to ,venice and the neighbouring mainland1 are among his most mature and important works4 ,never has his gamut of tones been fuller and stronger than in the ,jupiter and ,antiope1 or the ,venus of the ,pardo as it is sometimes called4 ,the ,venus herself has the attitude of ,giorgione's dreaming goddess1 with her arm flung up above her head4 ,it is1 perhaps1 the only time that ,titian succeeds in giving anything ideal to one of his ,venuses4 ,the famous nudes of the ,uffizi and the ,louvre are splendid courtesans1 far removed from ,giorgione's idyllic vision2 but ,antiope1 slumbering on her couch of skins1 and her woodland lover1 gazing with adoring eyes on her beautiful face1 have a whole world of sweet and joyful fancy4 ,the whole scene is full of a joie de vivre1 which carries us back to the ,bacchanals painted so many years before1 and in these ,titian gives ,king ,philip his most perfect work1 every touch of which is his own4 ,this picture1 now in the ,louvre1 was given to ,charles ,i4 by the ,king of ,spain1 and bought for ,cardinal ,mazarin in #afej4 ,dana1 ,venus and ,adonis1 ,europa and the ,bull1 and a ,last ,supper followed in quick succession1 but ,titian was now employing many assistants1 and great parts of the canvases issuing from his workshop show weak1 imitative hands1 while replicas were made of other works4 ,his later feeling for the religious in art is expressed in the now bedimmed paintings in ,san ,salvatore in ,venice4 ,vasari describes these in #aeff4 ,painted when ,titian was nearly ninety years old1 the ,transfiguration is remarkable for forcible1 majestic movement1 while in the ,annunciation he invents quite a new treatment4 ,mary turns round and raises her veil1 while she grasps the book as if she depended on it for stay and support4 ,the four angels are full of life and gaiety1 and the whole has much grace and colour1 though it is dashed in1 in the painter's later style1 in broad and sweeping planes without patience of detail4 ,the old man has signed it ,titianus1 fecit1 fecit1 a contemptuous reply to some critics who complained of its want of finish4 ,he knew well what it was in composition and execution1 and that all that he had ever known or done lay within the careless strength of his last manner4 ,a letter written to the ,king of ,spain's secretary in #aegd gives a list in part of fourteen pictures sent to ,madrid during the last twenty-five years1 with many others which ,i do not remember4 ,on every hand we hear of lost pictures from the master's brush1 and the number produced even during the last ten years of his life must have been enormous1 for till the end he was full of great undertakings and achievements4 ,very late in life he painted a ,shepherd and ,nymph 7,vienna71 which in its idyllic feeling1 its slumberous delight1 its mingling of clothed and nude figures1 recalls the early days with ,giorgione1 yet the blurred and smouldering richness1 the absolute negation of all sharp lines and lights is in his very latest style1 and he has gone past ,giorgione on his own ground4 ,then in strange contrast is the ,christ ,crowned with ,thorns1 at ,vienna1 a tragic figure stupefied with suffering4 ,his last great work was the ,piet in the ,academy1 which1 though unfinished1 is nobly designed and very impressive4 ,he places the ,virgin supporting the ,body in a great dome-shaped niche1 which gives elevation4 ,it is flanked by two calm1 antique1 stone figures1 whose impassive air contrasts with the wild pain and grief below4 ,the ,magdalen steps out towards the spectator with the wailing cry of a ,greek tragedy4 ,it perhaps hardly moves us like the concentrated feeling of ,bellini's ,madonna1 or the hurried1 trembling grief of ,tintoretto's ,magdalen1 but it is monumental in the sweeping grace of its line1 and full of nobility of feeling4 ,it is sadly rubbed and darkened and has lost much of ,titian's colour1 but is still beautiful in its deep greys mingled with a sombre golden glow1 as of half-extinguished fires4 ,these late paintings are of the true impressionist order2 looked at closely they present a mass of scumbled touches1 of incoherent dashes1 but if we step farther away1 to the right focus1 light and dark arrange themselves1 order shines through the whole1 and we see what the great master meant us to see4 ,titian's later creations1 says ,vasari1 are struck off rapidly1 so that when close you cannot see them1 but afar they look perfect1 and this is the style which so many tried to imitate1 to show that they were practised hands1 but only produced absurdities4 ,titian was preparing the picture for the ,frari1 in payment for the grant of a tomb for himself1 when in ,august #aegf the plague broke out in ,venice1 and on the #bgth the great painter died of it in his own house4 ,the stringent regulations concerning infection were relaxed to do honour to one of the greatest sons of ,venice1 and he was laid to rest in the ,frari1 borne there in solemn procession1 through a city stricken by terror and panic1 and buried in the ,chapel of the ,crucified ,saviour1 for which his last work was ordered4 ,the ,assumption of his prime looked down upon him1 and close at hand was the ,madonna of ,casa ,pesaro4 ,his son ,orazio caught the plague and died immediately after1 and the painter's house was sacked by thieves and many precious things stolen4 ,the great personality of ,titian stands out as that which of all others established and consolidated the school of ,venice4 ,he is its central figure4 ,the century of life1 of which eighty years were passed in ceaseless industry of production1 left its deep impression on the art of every civilised country of ,europe4 ,every great man of the day who was a lover of art and culture fell under ,titian's spell4 ,his influence on his contemporaries was enormous1 and he had everything3 genius1 industry1 personal distinction1 character1 social charm4 ,he is1 perhaps1 of too intellectual a cast of mind to be quite typical of the ,venetian spirit1 in the way that ,tintoretto is2 it is conceivable that in another environment ,titian might have developed on rather different lines1 but this temper gave him greater domination4 ,he was free from the eccentricities which beset genius4 ,he possessed the saving salt of practical common sense1 so that the golden mean of sanity and healthful joy in his works commended them to all men1 and they are not difficult to understand4 ,yet while all can see the beauty of his poetic instinct for colour1 his interesting and original technique1 his grasp and scope1 his mastery and certainty have gained for him the title of the painter's painter4 ,there is no one from whom men feel that they can so safely learn so much1 and the grand breadth and power of elimination of his later years is justified by the way in which in his earlier work he has carried exquisite finish and rich impasto to perfection4 ,,principal ,,works ,ancona4 ,crucifixion 7,l474 ,s4 ,domenico3 ,madonna with ,saints and ,donor1 #aebj4 ,antwerp4 ,pope ,alexander ,,vi4 presenting ,jacopo ,pesaro4 ,berlin4 ,infant ,daughter of ,strozzi1 #aedb2 ,portrait of ,himself 7,l472 ,lavinia bearing ,charges4 ,brescia4 ,,ss4 ,nazaro e ,celso3 ,altarpiece1 #aebb4 ,dresden4 ,madonna with ,saints 7,e472 ,tribute ,money 7,e472 ,lavinia as ,bride1 #aeee2 ,lavinia as ,matron 7,l472 ,portrait1 #aefa2 ,lady with ,vase 7,l472 ,lady in ,red ,dress4 ,florence4 ,pitti3 ,la ,bella2 ,aretino1 #aede2 ,magdalen2 ,the ,young ,englishman2 ,the ,concert 7,e472 ,philip ,,ii42 ,ippolito de ,medici1 #aecc2 ,tomaso ,mosti4 ,uffizi3 ,eleanora ,gonzaga1 ,duchess of ,urbino1 #aecg2 ,francesco della ,rovere1 ,duke of ,urbino1 #aecg2 ,flora2 ,venus1 the head a portrait of ,lavinia2 ,venus1 the head a portrait of ,eleanora ,gonzaga2 ,madonna with ,s4 ,anthony ,abbot4 ,london4 ,holy ,family and ,shepherd2 ,bacchus and ,ariadne 7,e472 ,noli me tangere 7,e472 ,madonna with ,,ss4 ,john and ,catherine4 ,bridgewater ,house3 ,holy ,family 7,e472 ,venus of the ,shell2 ,three ,ages of ,man2 ,diana and ,actaeon1 #aeei2 ,callisto1 #aeei4 ,earl ,brownlow3 ,diana and ,actaeon 7,l474 ,sir ,f4 ,cook3 ,portrait of ,laura de ,dianti4 ,madrid4 ,madonna with ,,ss4 ,ulfus and ,bridget 7,e472 ,bacchanal2 ,the ,garden of ,loves2 ,dana1 #aeed2 ,venus and ,youth playing ,organ 7,l472 ,salome 7portrait of ,lavinia72 ,trinity1 #aeed2 ,entombment1 #aeei2 ,prometheus2 ,religion succoured by ,spain 7,l472 ,sisyphus 7,l472 ,alfonso of ,ferrara2 ,charles ,v4 at the ,battle of ,mhlberg1 #aedh2 ,charles ,v4 and his ,dog1 #aecc2 ,philip ,,ii41 #aeej2 ,philip ,,ii42 ,the ,infant2 ,don ,fernando and ,victory2 ,portrait2 ,portrait of ,himself2 ,duke of ,alva2 ,venus and ,adonis2 ,fall of ,man2 ,empress ,isabella4 ,medole 7near ,brescia74 ,christ appearing to ,his ,mother4 ,munich4 ,vanitas2 ,portrait of ,charles ,v41 #aedh2 ,madonna and ,saints2 ,man with ,baton4 ,naples4 ,paul ,,iii4 and ,cardinals1 #aede2 ,dana4 ,padua4 ,scuola del ,santo3 ,frescoes2 ,s4 ,anthony granting ,speech to an ,infant2 ,the ,youth who cut off his ,leg2 ,the ,jealous ,husband1 #aeaa4 ,paris4 ,madonna with ,saints 7,e472 ,la ,vierge au ,lapin2 ,madonna with ,s4 ,agnes2 ,christ at ,emmaus 7,l472 ,crowning with ,thorns 7,l472 ,entombment2 ,s4 ,jerome 7,l472 ,jupiter and ,antiope 7,l472 ,francis ,i42 ,allegory2 ,marquis da ,valos and ,mary of ,arragon2 ,alfonso of ,ferrara and ,laura ,dianti2 ,l',homme au ,gant 7,e472 ,portraits4 ,rome4 ,villa ,borghese3 ,sacred and ,profane ,love 7,e472 ,st4 ,dominio 7,l472 ,education of ,cupid 7,l474 ,capitol3 ,baptism 7,e474 ,doria3 ,daughter of ,herodias4 ,vatican3 ,madonna in ,glory and six ,saints1 #aebc4 ,treviso4 ,duomo3 ,annunciation4 ,urbino4 ,resurrection 7,l472 ,last ,supper 7,l474 ,venice4 ,academy3 ,presentation of ,virgin1 #aedj2 ,s4 ,john in the ,desert2 ,assumption1 #aeah2 ,piet1 #aegc4 ,palazzo ,ducale ,staircase3 ,s4 ,christopher1 #aebc4 ,sala di ,quattro ,porte3 ,doge ,giovanni before ,faith1 #aeee4 ,frari3 ,pesaro ,madonna1 #aebf4 ,s4 ,giovanni ,elemosinario3 ,s4 ,john the ,almsgiver1 #aebc4 ,scuola di ,san ,rocco3 ,annunciation 7,e474 ,salute ,sacristy3 ,descent of the ,holy ,spirit2 ,st4 ,mark enthroned with ,saints2 ,david and ,goliath2 ,sacrifice of ,isaac2 ,cain and ,abel4 ,s4 ,salvatore3 ,annunciation 7,l472 ,transfiguration 7,l474 ,verona4 ,duomo3 ,assumption4 ,vienna4 ,gipsy ,madonna 7,e472 ,madonna of the ,cherries 7,e472 ,ecce ,homo1 #aedc2 ,isabela d',este1 #aecd2 ,the ,tambourine ,player2 ,girl in ,fur ,cloak2 ,dr4 ,parma 7,e472 ,shepherd and ,nymph 7,l472 ,portraits2 ,doge ,andrea ,gritti2 ,jacopo ,strada2 ,diana and ,callisto2 ,madonna and ,saints4 ,wallace ,collection4 ,perseus and ,andromeda4 7,in collaboration with his nephew1 ,francesco ,vecellio47 ,louvre4 ,madonna and ,saints4 7,the same by ,francesco alone47 ,glasgow4 ,madonna and ,saints4 ,,chapter ,,xx ,,palma ,,vecchio ,,and ,,lorenzo ,,lotto ,among the many who clustered round ,titian's long career1 ,palma attained to a place beside him and ,giorgione which his talent1 which was not of the highest order1 scarcely warranted4 ,but he was classed with the greatest1 and influenced contemporary art because his work chimed in so well with the ,venetian spirit4 ,a ,bergamasque by birth1 he came of ,venetian parentage1 and learnt the first elements of his art in ,venice4 ,he never really mastered the inner niceties of anatomy in its finest sense1 and the broad generalisation of his forms may be meant to conceal uncertain drawing1 but his large-bosomed1 matronly women and plump children1 his round1 soft contours1 his clean brilliancy1 and the clear golden polish in which his pictures are steeped1 made a great appeal to the public4 ,his invention is the large ,santa ,conversazione1 as compared with those in half-length of the earlier masters4 ,the ,virgin and saints and kneeling or bending donors are placed under the spreading trees of a rich and picturesque landscape4 ,it is ,palma's version of the ,giorgionesque ideal1 which he had his share in establishing and developing4 ,the heavy tree-trunk and dark foliage1 silhouetted almost black against the background1 are characteristic of his compositions4 ,as his life goes on1 though he still clings to his full1 ripe figures and to the same smooth fleshiness in his women1 the features become delicate and chiselled1 and the more refined type and subtler feeling of his middle stage may be due to his companionship with ,lotto1 with whom he was in ,bergamo when they were both about twenty-five4 ,he touches his highest1 and at the same time keeps very near ,giorgione1 in the splendid ,st4 ,barbara1 painted for the company of the ,bombadieri or artillerists4 ,their cannon guard the pedestal on which she stands2 it was at her altar that they came to commend themselves on going forth to war1 and where they knelt to offer thanksgiving for a safe return2 and she is a truly noble figure1 regal in conception and fine and firm in execution1 attired in sumptuous robes of golden brown and green1 with splendid saints on either hand4 ,palma was often approached by his patrons who wanted mythological scenes1 gods1 and goddesses2 but though he produced a ,venus1 a handsome1 full-blown model1 he never excels in the nude1 and his tendency is to seize upon the homely4 ,his scenes have a domestic1 familiar flavour4 ,with all his golden and ivory beauty he lacks fire1 and his personages have a sluggish1 plethoric note4 ,in his latest stage he hides all sharpness in a sort of scumble or haze4 ,it would1 however1 be unfair to say he is not fine1 and his portraits especially come very near the best4 ,vienna is rich in examples in half-lengths of one beautiful woman after another robed in the ample and gorgeous garments in which he is always interested4 ,among them is his handsome daughter1 ,violante1 with a violet in her bosom1 and wearing the large sleeves he admires4 ,the ,tasso of the ,national ,gallery has been taken from him and given first to ,giorgione and then to ,titian1 but there now seems some inclination to return it to its first author4 ,it has a more dreamy1 intellectual countenance than we are accustomed to associate with ,palma2 but he uses elsewhere the decorative background of olive branches1 and the waxen complexion1 tawny colouring1 and the pronounced golden haze are ,palmesque in the highest degree4 ,the colouring is in strong contrast to the pale ivory glow of the ,ariosto of ,titian1 which hangs near it4 ,illustration3 ,palma ,vecchio4 ,,holy ,,family4 ,colonna ,gallery1 ,rome4 7,photo1 ,anderson47 ,no one could be more unlike ,palma than his contemporary1 ,lorenzo ,lotto1 who has for long been classed with the ,bergamasques1 but who is proved by recently discovered documents to have been born in ,venice4 ,it was for long an accepted fact that ,lotto was a pupil of ,bellini1 and his earliest altarpiece1 to ,s4 ,cristina at ,treviso1 bears traces of ,bellini's manner4 ,a ,piet above has child angels examining the wounds with the grief and concern which ,bellini made so peculiarly his own1 and the ,st4 ,jerome and the branch of fig-leaves silhouetted against the light remind us of the altarpiece in ,s4 ,crisostomo4 ,lotto seems to have clung to quattrocento fashions4 ,the ancona had long been rejected by most of his contemporaries1 but he painted one of the last for a church in ,recanati1 in carved and gilt compartments1 and he painted predellas long after they had become generally obsolete4 ,we ask ourselves how it was that ,lotto1 who had so susceptible and easily swayed a nature1 escaped the influence of ,giorgione1 the most powerful of any in the ,venice of his youth--an influence which acted on ,bellini in his old age1 which ,titian practically never shook off1 and which dominated ,palma to the exclusion of any earlier master4 ,it would take too long to survey the train of argument by which ,mr4 ,berenson has established ,alvise ,vivarini as the master of ,lotto4 ,notwithstanding that ,bellini's great superiority was becoming clear to the more cultured ,venetians1 ,alvise1 when ,lotto was a youth1 was still the painter par excellence for the mass of the public4 ,in the ,s4 ,cristina altarpiece the ,child standing on its ,mother's knee is in the same attitude as the ,child in ,alvise's altarpiece of #adhj1 and the ,mother's hand holds it in the same way4 ,other details which supply internal evidence are the shape of hands and feet1 the round heads and the way the ,child is often represented lying across the ,mother's knees4 ,lotto carries into old age the use of fruit and flowers and beads as decoration1 a ,squarcionesque feature beloved of the ,vivarini1 but which was never adopted by ,bellini4 ,about #aeab ,lotto comes into contact with ,palma1 and for a short time the two were in close touch4 ,a ,santa ,conversazione1 of which a good copy exists in ,villa ,borghese1 ,rome1 and one at ,dresden1 with the ,holy ,family grouped under spreading trees1 is saturated with ,palma's spirit1 but it soon passes away1 and except for an occasional touch1 disappears entirely from ,lotto's work4 ,lotto may have had relations in ,bergamo1 for when in #aeae a competition between artists was set on foot by ,alessandro ,martino1 a descendant of ,general ,colleone1 for an altarpiece for ,s4 ,stefano1 he competed and carried off the prize4 ,this was the first of the series of the great works for ,bergamo1 which enrich the little city1 where at this period he can best be studied4 ,the great altarpiece 7now removed to ,san ,bartolommeo7 is a most interesting human document1 a revelation of the painter's personality4 ,he does not break away from hieratic conventions1 like the rival school2 his ,madonna is still placed in the apse of the church with saints grouped round her1 a form from which the ,vivarini never departed1 but the whole is full of intense movement1 of a lyric grace and ecstasy1 a desire to express fervent and rapturous devotion4 ,the architectural background is not in happy proportion in relation to the figures1 but the effect of vista and space is more remarkable than in any ,north ,italian master4 ,the vivid treatment of light and shade1 and the gaiety and delicacy of the flying angels1 who hold the canopy1 and of the putti1 who spread the carpet below1 the shapes of throne and canopy and the decorations have led to the idea that ,lotto drew his inspiration from ,correggio1 whom he certainly resembles in some ways2 but at this time ,correggio was only twenty1 and had not given any examples of the style we are accustomed to call ,correggiesque4 ,we must look back to a common origin for those decorative details1 which are so conspicuous in ,crivelli and ,bartolommeo ,vivarini1 which came to ,lotto through the ,vivarini and to ,correggio through ,ferrarese painters1 and of which the fountain-head for both was the school of ,squarcione4 ,for the much more striking resemblances of composition and spirit1 the explanation seems to be that ,lotto on one side of his nature was akin to ,correggio2 he had the same lyrical feeling1 the same inclination to exuberance and buoyancy4 ,to both1 painting was a vehicle for the expression of feeling1 but ,lotto had also common sense and a goodly share of that humour that is allied to pathos4 ,till the year #aebf ,lotto was much in ,bergamo1 where the first altarpiece gained him orders for others4 ,the reputation of a member of the school of ,venice was a sure passport to employment4 ,we trace ,alvise's tradition very plainly in the altarpiece in ,san ,bernardino1 where the gesture of the ,madonna's hand as she expounds to the listening saints recalls ,alvise's of #adhj4 ,the little gathered roses1 which ,lotto makes use of to the end of his life1 lie scattered on the step2 angels1 daringly foreshortened1 sweep aside the curtain of the sanctuary4 ,the colour is in ,lotto's scarlet1 light blues1 and violet4 ,he soon shows himself fond of genre incidents1 and in ,christ taking leave of ,his ,mother gives a view into a bedroom and a cat running across the floor4 ,the donor kneels with her hair fashionably dressed and wearing a pearl necklace4 ,in the ,marriage of ,s4 ,catherine at ,bergamo the saint is evidently a portrait1 with hair pearl-wreathed4 ,she kneels very simply and naturally before the ,child1 and the exquisitely lovely and elaborately gowned young woman who represents the ,madonna1 looks out towards the spectator with a mundane and curiously modern air4 ,it was probably the recognition of ,lotto's success with portraits that led to their being so often introduced into his sacred pieces4 ,in the one we have just noticed1 the donor1 ,niccolas ,bonghi1 is brought in1 and is on rather a larger scale than the rest1 but ,lotto has evidently not found him interesting4 ,the portraits of the brothers della ,torre1 and that of the ,prothonotary ,giuliano in the ,national ,gallery1 inaugurate that wonderful series of characterisations which are his greatest distinction4 ,a series of frescoes in village churches round ,bergamo must also be noticed4 ,they are remarkable for spontaneous and original decoration1 and may compare with the ceremonial groups of ,gentile ,bellini and ,carpaccio4 ,lotto's personages1 as they chatter in the market-places1 are full of natural animation and gaiety1 and we realise what a step had been made in the painting of actual life4 ,owing to the unsettled state of the rest of ,italy1 the years from #aecj to #aedj1 which ,lotto spent in ,venice1 found that city the gathering-ground of many of the most distinguished scholars and deepest thinkers of the day4 ,men of all shades of religious thought were engaged in learned discussion1 and ,lotto's ardent and inquiring temperament must have been stimulated by such an environment4 ,during these years1 too1 he became intimate with ,titian1 and experimented in ,titian's style1 with the result that his painting gets thicker and richer1 more fused and solid1 and his figures are better put together4 ,he imitates ,titian's colour1 too1 but it makes him paint in deeper1 fiercer tints1 and he soon finds it does not suit him1 and returns to his own scheme4 ,his colour is still rather too dazzling1 but the distances are translucent and atmospheric4 ,he continues to introduce portraits4 ,in his altarpiece in ,,ss4 ,giovanni and ,paolo the deacons giving alms and receiving petitions curiously resemble in type and expression the ecclesiastics we see to-day4 ,lotto was now an accepted member of ,titian's set1 and ,aretino1 in a letter dated #aedh1 writes that ,titian values his taste and judgment as that of no other2 but ,aretino1 with his usual mixture of connoisseurship and clever spite1 goes on to insinuate accidentally1 as it were1 what he himself knew perfectly well1 that ,lotto was not considered on a par with the masters of the first rank4 ,envy is not in your breast1 he says1 rather do you delight to see in other artists certain qualities which you do not find in your own brush1 444 holding the second place in the art of painting is nothing compared to holding the first place in the duties of religion4 ,an interesting codex or commentary tells us that ,lotto never received high prices for his work1 and we hear of him hawking pictures about in artistic circles1 putting them up in raffles1 and leaving a number with ,jacopo ,sansovino in the hope that he might hear of buyers4 ,his work ended as it had begun1 in the ,marches4 ,he undertook commissions at ,recanati1 ,ancona1 and ,loreto1 and in ,september #aeed he concluded a contract with the ,holy ,house at ,loreto1 by which1 in return for rooms and food1 he made over himself and all his belongings to the care of the fraternity1 being tired of wandering1 and wishing to end his days in that holy place4 ,he spent the last four years of his life at ,loreto as a votary of the ,virgin1 painting a series of pictures which are distinguished by the same sort of apparent looseness and carelessness which we noticed in ,titian's late style2 a technique which1 as in ,titian's case1 conceals a profound knowledge of plastic modelling4 ,though ,lotto executed an immense number of important and very beautiful sacred works1 his portraits stand apart1 and are so interesting to the modern mind that one is tempted to linger over them4 ,other painters give us finer pictures2 in none do we feel so anxious to know who the sitters were and what was their story4 ,lotto has nothing of the ,pagan quality which marks ,giorgione and ,titian2 he is a born psychologist1 and as such he witnesses to an attitude of mind in the ,italy of his day which is of peculiar interest to our own4 ,lotto's bystanders1 even in his sacred scenes1 have nothing in common with ,titian's chorus2 they have the characterisation of distinct individuals1 and when he is concerned with actual portraits he is intensely receptive and sensitive to the spirit of his sitters4 ,he may be said to give them away1 and to take an almost unfair advantage of his perception4 ,the sick man in the ,doria ,gallery looks like one stricken with a death sentence4 ,he knows at least that it is touch and go1 and the painter has symbolised the situation in the little winged genius balancing himself in a pair of scales4 ,in the ,borghese ,gallery is the portrait of a young1 magnificently dressed man1 with a countenance marked by mental agitation1 who presses one hand to his heart1 while the other rests on a pile of rose-petals in which a tiny skull is half-hidden4 ,the ,old ,man in the ,brera has the hard1 narrow1 but intensely sad face of one whose natural disposition has been embittered by the circumstances of his life1 just as that of our ,prothonotary speaks of a large and gentle nature1 mellowed by natural affections and happy pursuits4 ,we smile1 as ,lotto does1 with kindly mischief at ,marsilio and his ,bride2 the broad1 placid countenance of the man is so significantly contrasted with the clever mouth and eyes of the bride that it does not need the malicious glance of the cupid1 who is fitting on the yoke1 to dot the i's and cross the t's of their future4 ,again1 the portrait of ,laura di ,pola1 in the ,brera1 introduces us to one of those women who are charming in every age1 not actually beautiful1 but harmonious1 thoughtful1 perfectly dressed1 sensible1 and self-possessed1 and the ,family ,group in our own gallery holds a history of a couple of antagonistic temperaments united by life in common and the clasping hands of children4 ,lotto does not keep the personal expression out of even such a canvas as his ,triumph of ,chastity in the ,rospigliosi ,gallery4 ,his delightful ,venus1 one of the loveliest nudes in painting1 flies from the attacking termagant1 whose virtue is proclaimed by the ermine on her breast1 and sweeps her little cupid with her with a well-bred1 surprised air1 suggestive of the manners of mundane society4 ,illustration3 ,lorenzo ,lotto4 ,,portrait ,,of ,,laura ,,di ,,pola4 ,brera4 7,photo1 ,anderson47 ,the painter who was thus able to unveil personality had evidently a mind that was aware of itself1 that looked forward to a wider civilisation and a more earnest and intimate religion4 ,his life seems to have been one of some sadness1 and crowned with only moderate success4 ,he speaks of himself as advanced in years1 without loving care of any kind1 and of a troubled mind4 ,his will shows that his worldly possessions were few and poor1 and that he had no heir closer than a nephew2 but he leaves some of his cartoons as a dowry to two girls of quiet nature1 healthy in mind and body1 and likely to make thrifty housekeepers1 on their marriage to two well-recommended young men1 about to become painters4 ,his sensitive and introspective temperament led him to prefer the retirement and the quiet beauty of ,loreto to the brilliant society of which he was made free in ,venice4 ,his spirit1 says ,mr4 ,berenson1 is more like our own than is perhaps that of any other ,italian painter1 and it has all the appeal and fascination of a kindred soul in another age4 ,,principal ,,works ,palma ,vecchio4 ,bergamo4 ,lochis3 ,madonna and ,saints 7,l474 ,cambridge4 ,fitzwilliam ,museum3 ,venus 7,l474 ,dresden4 ,madonna2 ,,ss4 ,john1 ,catherine2 ,three ,sisters2 ,holy ,family2 ,meeting of ,jacob and ,rachel 7,l474 ,london4 ,hampton ,court3 ,santa ,conversazione2 ,portrait of a ,poet4 ,milan4 ,brera3 ,,ss4 ,helen1 ,constantine1 ,roch1 and ,sebastian2 ,adoration of ,magi 7,l471 finished by ,cariani4 ,naples4 ,santa ,conversazione with ,donors4 ,paris4 ,adoration of ,shepherds4 ,rome4 ,villa ,borghese3 ,lucrece 7,l472 ,madonna with ,saints and ,donor4 ,capitol3 ,christ and ,woman taken in ,adultery4 ,palazzo ,colonna3 ,madonna1 ,s4 ,peter1 and ,donor4 ,venice4 ,academy3 ,st4 ,peter enthroned and six ,saints2 ,assumption4 ,giovanelli3 ,sposalizio 7,l474 ,s4 ,maria ,formosa3 ,altarpiece4 ,vienna4 ,santa ,conversazione2 ,violante 7,l472 ,five ,portraits of ,women4 ,lorenzo ,lotto4 ,ancona4 ,assumption1 #aeej2 ,madonna with ,saints 7,l474 ,asolo4 ,madonna in ,glory1 #aejf4 ,bergamo4 ,carrara3 ,marriage of ,s4 ,catherine2 ,predelle4 ,lochis3 ,holy ,family and ,s4 ,catherine2 ,predelle2 ,portrait4 ,s4 ,bartolommeo3 ,altarpiece1 #aeaf4 ,s4 ,alessandro in ,colonna3 ,piet4 ,s4 ,bernardino3 ,altarpiece4 ,s4 ,spirito3 ,altarpiece4 ,berlin4 ,christ taking leave of ,his ,mother2 ,portraits4 ,brescia4 ,nativity4 ,cingoli4 ,s4 ,domenico3 ,madonna and ,saints and fifteen ,small ,scenes4 ,florence4 ,uffizi3 ,holy ,family4 ,london4 ,hampton ,court3 ,portrait of ,andrea ,odoni1 #aebg2 ,portrait 7,e472 ,portraits of ,agostino and ,niccolo della ,torre1 #aeae2 ,family ,group2 ,portrait of ,prothonotary ,giuliano4 ,bridgewater ,house3 ,madonna and ,saints 7,e474 ,loreto4 ,palazzo ,apostolico3 ,saints2 ,nativity2 ,s4 ,michael and ,lucifer 7,l472 ,presentation 7,l472 ,baptism 7,l472 ,adoration of ,magi 7,l474 ,recanati4 ,municipio3 ,altarpiece1 #aejh2 ,transfiguration 7,e474 ,s4 ,maria ,sopra ,mercanti3 ,annunciation4 ,rome4 ,villa ,borghese3 ,madonna with ,s4 ,onofrio and a ,bishop1 #aejh4 ,rospigliosi3 ,love and ,chastity4 ,venice4 ,carmine3 ,s4 ,nicholas in ,glory1 #aebi4 ,s4 ,giacomo dall' ,orio3 ,madonna with ,saints1 #aedf4 ,,ss4 ,giovanni e ,paolo3 ,s4 ,antonino bestowing ,alms1 #aedb4 ,vienna4 ,santa ,conversazione1 etc4 ,,chapter ,,xxi ,,sebastian ,,del ,,piombo ,it was very natural that ,rome should wish for works of the masters of the new ,venetian ,school1 but the first-rate men were fully employed at home4 ,all the efforts made to secure ,titian failed till nearly the end of his career4 ,on the other hand1 ,venice was full of less famous masters following in ,giorgione's steps4 ,when ,sebastian ,luciani was a young man1 ,giorgione was paramount there1 and no one could have foretold that his life would be of such short duration4 ,it was to be expected1 therefore1 that a painter who consulted his own interests should leave the city where he was overshadowed by a great genius and go farther afield4 ,the influence of the ,guilds was withdrawn in the sixteenth century1 so that it was a simpler matter for painters to transfer their talents1 and painting was beginning to appeal strongly to the dilettanti1 who rivalled one another in their offers4 ,only one work of ,sebastian's is known belonging to this earlier time in ,venice4 ,it is the ,s4 ,chrysostom enthroned1 in ,s4 ,giovanni ,crisostomo1 and its majesty and rich colouring1 and more especially the splendid group of women on the left1 so proud and soft in their ,venetian beauty1 make us wonder if ,sebastian might not have risen to greater heights if he had remained in his natural environment4 ,he responded to the call to ,rome of ,agostino ,chigi1 the great painter1 ,,tn3 ,chigi was a banker art collector1 and patron1 the friend of ,leo ,x4 ,chigi had just completed the ,farnesina ,villa1 and ,sebastian was employed till #aeab on its decoration1 and at once came under the influence of ,michelangelo4 ,the ,piet at ,viterbo shows that influence very strongly2 in fact1 ,vasari says that ,michelangelo himself drew the cartoon for the figure of ,christ1 which would account for its extraordinary beauty4 ,sebastian embarked on a close intimacy with the ,florentine painter1 and1 according to ,vasari1 the great canvas of the ,raising of ,lazarus1 in the ,national ,gallery1 was executed under the orders and in part from the designs of ,michelangelo4 ,this colossal work was looked on as one of the most important creations of the sixteenth century1 but there is little to make us wish to change it for the altarpiece of ,s4 ,crisostomo4 ,the desire for scientific drawing and the search after composition have produced a laboured effect2 the female figures are cast in a masculine mould1 and it lacks both the severe beauty of the ,tuscan ,school and the emotional charm of ,sebastian's native style4 ,we cannot1 however1 avoid conjecturing if in the figure of ,lazarus himself we have not a conception of the great ,florentine4 ,it is so easy in pose1 so splendid in its1 perhaps excessive1 length of limb1 that our thoughts turn involuntarily to the ,ignudi in the ,sixtine ,chapel4 ,the picture has been dulled and injured by repainting1 but the distance still has the sombre depth of the ,venetians4 ,all through ,sebastian's career he seeks for form and composition1 but1 great painter as he undoubtedly is1 he is great because he possesses that inborn feeling for harmony of colour4 ,this is what we value in him1 and he excels in so far as he follows his ,venetian instincts4 ,the death of ,raphael improved ,sebastian's position in ,rome1 and though ,leo ,x4 never liked or employed him1 he did not lack commissions4 ,the ,fornarina in the ,uffizi1 with the laurel-wreathed head and leopard-skin mantle1 still reveals him as the ,venetian1 and it is curious that any critic should ever have assigned its rich1 voluptuous tone and its coarse type to ,raphael4 ,sebastian obtained commissions for decorating ,s4 ,maria del ,popolo in oils and ,s4 ,pietro in ,montorio in fresco1 but in the latter medium1 though he is ambitious of acquiring the force of ,michelangelo1 he lacks the ,tuscan ease of hand4 ,colour1 for which he possessed so true an aptitude1 the deep1 fused colour of ,giorgione1 is set aside by him2 his tints become strong and crude1 his surfaces grow hard and polished1 and he thinks1 above all1 of bold action1 of drawing and modelling4 ,the ,venetian genius for portraiture remains1 and he has left such fine examples as the ,andrea ,doria of the ,vatican1 or the ,portrait of a ,man in the ,pitti1 a masterly picture both in drawing and execution1 with grand draperies1 a fur pelisse1 and damask doublet with crimson sleeves4 ,in the ,national ,gallery we possess his own portrait by himself1 in company with ,cardinal de ,medici4 ,the faces are well contrasted1 and we judge from ,sebastian's that his biographer describes him justly1 as fat1 indolent1 and given to self-indulgence1 but genial and fond of good company4 ,after an absence of twenty years he returned to ,venice4 ,there he came in contact with ,titian and ,pordenone1 and struck up a friendship with ,aretino1 who became his great ally and admirer4 ,the sack of ,rome had driven him forth1 but in #aebi1 when the city was beginning partially to recover from that time of horror1 he returned1 and was cordially welcomed by ,clement ,,vii41 and admitted into the innermost ecclesiastical circles4 ,the ,piombo1 a well-paid1 sinecure office of the ,papal court1 was bestowed on him1 and his remaining years were spent in ,rome4 ,he was very anxious to collaborate with ,michelangelo1 and the great painter seems to have been quite inclined to the arrangement4 ,the ,last ,judgment1 in the ,sixtine ,chapel1 was suggested1 and ,sebastian had the melancholy task of taking down ,perugino's masterpieces2 but he wished to reset the walls for oils1 and ,michelangelo stipulated for fresco1 saying that oils were only fit for women1 so that no agreement was arrived at4 ,sebastian's mode of work was slow1 and he employed no assistants4 ,he seems to have been inordinately lazy1 fond of leisure and good living1 and his character shows in his work1 which1 with a few exceptions1 has something heavy and common about it1 a want of keenness and fire1 an absence of refinement and selection4 ,,principal ,,works ,florence4 ,uffizi3 ,fornarina1 #aeab2 ,death of ,adonis4 ,pitti3 ,martyrdom of ,s4 ,agatha1 #aebj2 ,portrait 7,l474 ,london4 ,resurrection of ,lazarus1 #aeai2 ,portraits4 ,naples4 ,holy ,family2 ,portraits4 ,paris4 ,visitation1 #aeba4 ,rome4 ,portrait of ,andrea ,doria 7,l474 ,farnesina3 ,frescoes1 #aeaa4 ,s4 ,pietro in ,montorio4 ,frescoes4 ,treviso4 ,s4 ,niccolo3 ,incredulity of ,s4 ,thomas 7,e474 ,venice4 ,academy3 ,visitation 7,e474 ,s4 ,giovanni ,chrisostomo3 ,s4 ,chrysostom enthroned 7,e474 ,viterbo4 ,piet 7,l474 ,,chapter ,,xxii ,,bonifazio ,,and ,,paris ,,bordone ,some uncertainty has existed as to the identity of the different members of the family of ,bonifazio4 ,all the early historians agree in giving the name to one master only4 ,boschini1 however1 in #aggg discovered the register of the death of a second1 and a third bearing the name was working twenty years later4 ,upon this ,dr4 ,morelli came to the conclusion that we must recognise three1 if not four1 masters bearing the name of ,bonifazio1 but documents recently discovered by ,professor ,ludwig have in great measure destroyed ,morelli's conjectures4 ,there may have been obscure painters bearing the name1 but they were mere imitators1 and it is doubtful if any were related to the family of de ,pitatis4 ,bonifazio ,veronese is really the only one who counts4 ,as ,ridolfi says1 he was born in ,verona in the most beautiful moment of painting4 ,he came to ,venice at the age of eighteen1 and became a pupil of ,palma ,vecchio1 with whom his work has sometimes been confused4 ,after ,palma's death ,bonifazio continued in friendly relations with his old master's family1 and his niece married ,palma's nephew4 ,bonifazio himself married the daughter of a basket-maker1 and appears to have had no children1 for he and his wife by their wills bestowed their whole fortune on their nephews4 ,antonio ,palma1 who married ,bonifazio's niece1 was a painter whose pictures have sometimes been attributed to the legendary third ,bonifazio4 ,bonifazio's life was passed peacefully in ,venice4 ,he received many important commissions from the ,republic1 and decorated the ,palace of the ,treasurers4 ,his character and standing were high1 and he was appointed1 in company with ,titian and ,lotto1 to administer a legacy which ,vincenzo ,catena had left to provide a yearly dower for five maidens4 ,after a long life spent in steady work1 ,bonifazio withdrew to a little farm amidst orchards--fifteen acres of land in all--at ,san ,zenone1 near ,asolo2 but he still kept his house in ,san ,marcuola1 where he died4 ,he was buried in ,s4 ,alvise in ,venice4 ,a son of the plains and of ,venetian stock1 his work is always graceful and attractive1 though inclined to be hot in colour4 ,it has a very pronounced aristocratic character1 and bears no trace of the rough1 provincial strain of such men as ,cariani or ,pordenone4 ,it is very fine and glowing in colour1 but lacks vigour and energy in design4 ,nowhere do we get more worldly magnificence or such frank worship of wealth as on ,bonifazio's joyous canvases4 ,he represents ,christian saints and ,eastern kings alike1 as gentlemen of princely rank4 ,there is a note of purely secular art about his ,adorations and ,holy ,families4 ,in the ,adoration of the ,magi1 in the ,academy1 the ,madonna is a handsome1 prosperous lady of ,bonifazio's acquaintance4 ,the ,child1 so far from raising ,his hand in benediction1 holds it out for the proffered cup4 ,he does not1 as usual1 distinguish the eldest king1 but singles out the cup held by the second1 who1 in a puffed velvet dress1 is an evident portrait1 probably that of the donor of the picture1 who is in this way paid a courtier-like compliment4 ,the third king is such a ,moor as ,bonifazio must often have seen embarking from his ,eastern galley on the ,riva dei ,schiavoni4 ,a servant in a peaked hood peers round the column to catch sight of what is going on4 ,the groups of animals in the background are well rendered4 ,in the ,rich ,man's ,feast1 where ,lazarus lies upon the step1 we have another scene of wealthy and sumptuous ,venetian society1 an orgy of colour4 ,and1 again1 in the ,finding of ,moses 7,brera7 he paints nobles playing the lute1 making love and feasting1 and lovely fair-haired women listening complacently4 ,we are reminded of the way in which they lived3 their one preoccupation the toilet1 the delight of appearing in public in the latest and most magnificent fashions4 ,and in these paintings ,bonifazio depicts the elaborate striped and brocaded gowns in which the beautiful ,venetians arrayed themselves1 made in the very fashions of the year1 and their thick1 fair hair is twisted and coiled in the precise mode of the moment4 ,the deep-red velvet he introduces into nearly all his pictures is of a hue peculiar to himself4 ,as ,catena often brings in a little white lap-dog1 so ,bonifazio constantly has as an accessory a liver-and-white spaniel4 ,vasari speaks of ,paris ,bordone as the artist who most successfully imitated ,titian4 ,he was the son of well-to-do tradespeople in ,treviso1 and received a good education in music and letters1 before being sent off to ,venice and placed in ,titian's studio4 ,bordone does not seem to have been on very friendly terms with ,titian4 ,he was dissatisfied with his teaching1 and ,titian played him an ill turn in wresting from him a commission to paint an altarpiece which had been entrusted to him when he was only eighteen4 ,he was1 above all1 in love with the manner of the dead ,giorgione1 and it was upon this master that he aspired to form his style4 ,his masterpiece1 in the ,academy1 was painted for the ,confraternity of ,st4 ,mark1 and made his reputation4 ,the legend it represents may be given in a few words3 ,in the days of ,doge ,gradenigo1 one ,february1 there arose a fearful storm in ,venice4 ,during the height of the tempest1 three men accosted a poor old fisherman1 who was lying in his decayed old boat by the ,piazza1 and begged that he would row them to ,s4 ,niccolo del ,lido1 where they had urgent business4 ,after some demur they persuaded him to take the oars1 and in spite of the hurricane1 the voyage was accomplished4 ,on reaching the shore they pointed out to him a great ship1 the crew of which he perceived to consist of a band of demons1 who were stirring up the waves and making a great hubbub4 ,the three passengers laid their commands on them to desist1 when immediately they sailed away and there was a calm4 ,the passengers then made the oarsman row them1 one to ,s4 ,niccolo1 one to ,s4 ,giorgio1 and the third was rowed back to the ,piazza4 ,the fisherman timidly asked for his fare1 and the third passenger desired him to go to the ,doge and ask for payment1 telling him that by that night's work a great disaster had been averted from the city4 ,the fisherman replied that he should not be believed1 but would be imprisoned as a liar4 ,then the passenger drew a ring from his finger4 ,show him this for a sign1 he said1 and know that one of those you have this night rowed is ,s4 ,niccolas1 the other is ,s4 ,george1 and ,i am ,s4 ,mark the ,evangelist1 ,protector of the ,venetian ,republic4 ,he then disappeared4 ,the next day the fisherman presented the ring1 and was assigned a provision for life from the ,senate4 ,there has1 perhaps1 never been a richer and more beautiful subject-picture painted than this glowing canvas1 or one which brings more vividly before us the magnificence of the pageants which made such a part of ,venetian life in the golden age of painting4 ,it is all strength and splendour1 and escapes the hectic colour and weaker type which appear in ,bordone's ,last ,supper and some of his other works4 ,in #aech he went to ,france and entered the service of ,francis ,,ii41 painting for him many portraits of ladies1 besides works for the ,cardinals of ,guise and of ,lorraine4 ,the ,king of ,poland sent to him for a ,jupiter and ,antiope4 ,at ,augsburg he was paid #cjjj crowns for work done for the great ,fugger family4 ,no one gives us so closely as ,bordone the type of woman who at this time was most admired in ,venice4 ,the ,venetian ideal was golden haired1 with full lips1 fair1 rosy cheeks1 large limbed and ample1 with abundant flanks and snow-white breast4 ,a type glowing with health and instinct with life1 but1 to say the truth1 rather dull1 without deep passions1 and with no look that reveals profound emotions or the struggle of a soul4 ,from what we see of ,bordone's female portraits and from some of the mythological compositions he has left1 he might have been among the most sensually minded of men4 ,his beautiful courtesan1 in the ,national ,gallery1 is an almost over-realistic presentment of a woman who has just parted from her lover4 ,his women1 with their carnation cheeks and expressionless faces1 are like beautiful animals2 but1 as a matter of fact1 their painter was sober and temperate in his life1 very industrious1 and devoted to his widowed mother4 ,about #aecf he married the daughter of a ,venetian citizen1 and had a son1 who became one of the many insignificant painters of the end of the sixteenth century4 ,most of his days were divided between his little ,villa of ,lovadina in the district of ,belluno1 and his modest home in the ,corte dell' ,cavallo near the ,misericordia4 ,he lives comfortably in his quiet house1 writes ,vasari1 who certainly knew ,bordone in ,venice1 working only at the request of princes1 or his friends1 avoiding all rivalry and those vain ambitions which do but disturb the repose of man1 and seeking to avert any ruffling of the serene tranquillity of his life1 which he is accustomed to preserve simple and upright4 ,many of his pictures show an intense love of country solitudes4 ,his poetic backgrounds1 lonely mountains1 leafy woods1 and sparkling water are in curious contrast to the sumptuous groups in the foreground4 ,his ,three ,heads1 in the ,brera1 is a superb piece of painting and an interesting characterisation4 ,the woman is ripe1 sensual1 and calculating1 feeling with her fingers for the gold chain1 a mere golden-fleshed1 rose-flushed hireling1 solid and prosaic4 ,the go-between is dimly seen in the background1 but the face of the suitor is a strange1 ironic study3 past youth1 worn1 joyless1 and bitter1 taking his pleasure mechanically and with cynical detachment4 ,the ,storm calmed by ,s4 ,mark 7,academy7 was1 in ,mr4 ,berenson's opinion1 begun by ,giorgione4 ,rich1 brilliant1 and essentially ,venetian as is the work of these two painters1 it does not reach the highest level4 ,it falls short of grandeur1 and has that worldly tone that borders on vulgarity4 ,as we study it we feel that it marks the point to which ,venetian art might have attained1 the flood-mark it might have touched1 if it had lacked the advent of the three or four great spirits1 who1 appearing about the same time1 bore it up to sublimer heights and developed a more distinguished range of qualities4 ,bonifazio and ,bordone lack the grandeur and sweetness of ,titian1 the brilliant touch and imaginative genius of ,tintoretto1 the matchless feeling for colour1 design1 and decoration of ,veronese1 but they continue ,venetian painting on logical lines1 and they form a superb foundation for the highest4 ,,principal ,,works ,bonifazio ,veronese4 ,dresden4 ,finding of ,moses4 ,florence4 ,pitti3 ,madonna2 ,s4 ,elizabeth and ,donor 7,e472 ,rest in ,flight into ,egypt2 ,finding of ,moses4 ,hampton ,court4 ,santa ,conversazione4 ,london4 ,santa ,conversazione 7,e474 ,milan4 ,brera3 ,finding of ,moses4 ,paris4 ,santa ,conversazione4 ,rome4 ,villa ,borghese3 ,mother of ,zebedee's ,children2 ,return of the ,prodigal ,son4 ,colonna3 ,holy ,family with ,saints4 ,venice4 ,academy3 ,rich ,man's ,feast2 ,massacre of ,innocents2 ,judgment of ,solomon1 #aecc2 ,adoration of ,kings4 ,giovanelli3 ,santa ,conversazione4 ,vienna4 ,santa ,conversazione2 ,triumph of ,love2 ,triumph of ,chastity2 ,salome4 ,paris ,bordone4 ,bergamo4 ,lochis3 ,vintage ,scenes4 ,berlin4 ,portrait of ,man in ,black2 ,chess ,players2 ,madonna and four ,saints4 ,dresden4 ,apollo and ,marsyas2 ,diana2 ,holy ,family4 ,florence4 ,pitti3 ,portrait of ,woman4 ,genoa4 ,brignole ,sale3 ,portraits of ,men2 ,santa ,conversazione4 ,hampton ,court4 ,madonna and ,donors4 ,london4 ,daphnis and ,chloe2 ,portrait of ,lady4 ,bridgewater ,house3 ,holy ,family4 ,milan4 ,brera3 ,descent of ,holy ,spirit2 ,baptism2 ,s4 ,dominio presented to the ,saviour by ,virgin2 ,madonna and ,saints2 ,venal ,love4 ,s4 ,maria pr4 ,celso3 ,madonna and ,s4 ,jerome4 ,munich4 ,portrait2 ,man counting ,jewels4 ,paris4 ,portraits4 ,rome4 ,colonna3 ,holy ,family and ,saints4 ,treviso4 ,madonna and ,saints4 ,duomo3 ,adoration of ,shepherds2 ,madonna and ,saints4 ,venice4 ,academy3 ,fisherman and ,doge2 ,paradise2 ,storm calmed by ,s4 ,mark4 ,palazzo ,ducale ,chapel3 ,dead ,christ4 ,giovanelli3 ,madonna and ,saints4 ,s4 ,giovanni in ,bragora2 ,last ,supper4 ,vienna4 ,allegorical ,pictures2 ,lady at ,toilet2 ,young ,woman4 ,,chapter ,,xxiii ,,painters ,,of ,,the ,,venetian ,,provinces ,it has become usual to include in the ,venetian ,school those artists from the subject provinces on the mainland1 who came down to try their luck at the fountain-head and to receive its hallmark on their talent4 ,the ,friulan cities1 ,udine1 ,serravalle1 and small neighbouring towns1 had their own primitive schools and their scores of humble craftsmen4 ,their art wavered for some time in its expression between the ,german taste1 which came so close to their gates1 and the ,italian1 which was more truly their element4 ,up to #adii ,friuli was invaded seven times in thirty years by the ,turks4 ,they poured in large numbers over the ,bosnian borders1 crossed the ,isonzo and the ,tagliamenta1 and massacred and carried off the inhabitants4 ,these terrible periods are marked by the cessation of work in the provinces1 but hope always revived again4 ,the break caused by such a visitation can be distinctly traced in the ,church of ,s4 ,antonino1 at the little town of ,san ,daniele4 ,martino da ,udine obtained the epithet of ,pellegrino da ,san ,daniele in #adid when he returned from an early visit to ,venice1 where he had been apprenticed to ,cima4 ,he was appointed to decorate ,s4 ,antonino4 ,his early work there is hard and coarse1 ill-drawn1 the figures unwieldy and shapeless1 and the colour dusky and uniform2 but owing to the ,turkish raid1 he had to take flight1 and it was many a year before the monks gained sufficient courage and saved enough money to continue the embellishment of their church4 ,in the meantime1 ,pellegrino's years had been spent partly in ,venice and partly1 perhaps1 in ,ferrara1 for the reason ,raphael gave for refusing to paint a ,bacchus for the ,duke1 was that the subject had already been painted by ,pellegrino da ,san ,daniele4 ,when ,pellegrino resumed his work1 it demonstrated that he had studied the modern ,venetians and had come under a finer1 deeper influence4 ,a ,st4 ,george in armour suggests ,giorgione's ,s4 ,liberale at ,castelfranco2 he specially shows an affinity with ,pordenone1 who was his pupil and who was to become a better painter than his old master4 ,as ,pellegrino goes on he improves consistently1 and adopts the method1 so peculiarly ,venetian1 of sacrificing form to a scheme of chiaroscuro4 ,he even1 to some extent1 succeeds in his difficult task of applying to wall painting the system which the ,venetians used almost exclusively for easel pictures4 ,he was an ambitious1 daring painter1 and some of his church standards were for long attributed to ,giorgione4 ,the church of ,san ,antonino remains his chief monument2 but for all his travels ,pellegrino remains provincial in type1 is unlucky in his selection1 cares little for precision of form1 and trusts to colour for effect4 ,the same transition in art was taking place in other provinces4 ,morto da ,feltre1 ,pennacchi1 and ,girolamo da ,treviso have all left work of a ,giorgionesque type1 and some painters who went far onward1 began their career under such minor masters4 ,giovanni ,antonio ,licinio1 who takes his name from his native town of ,pordenone1 in ,friuli1 was one of these4 ,all the early part of his life was spent in painting frescoes in the small towns of the ,friulan provinces4 ,at first they bear signs of the tuition of ,pellegrino1 but it soon becomes evident that ,pordenone has learned to imitate ,giorgione and ,palma4 ,quite early1 however1 one of his chief failings appears1 and one which is all his own1 the disparity in size between his various figures4 ,the secondary personages1 the ,magi in a ,nativity1 the ,saints standing round an altar1 are larger and more athletic in build and often more animated in action than the principal actors in the scene4 ,what pleased ,pordenone's contemporaries was his daring perspective and his instinctive feeling for movement4 ,he carried out great schemes in the hill-towns1 till at length his reputation1 which had long been ripe in his native province1 reached ,venice4 ,in #aeai he was invited to ,treviso to fresco the faade of a house for one of the ,raviguino family4 ,the painter1 as payment1 asked fifty scudi1 and ,titian was called in to adjudicate1 but he admired the work so much that he hinted to ,raviguino that he would be wise not to press him for a valuation4 ,as a direct consequence of this piece of business1 ,pordenone was employed on the chapel at ,treviso1 in conjunction with ,titian4 ,at this time the ,assumption and the ,madonna of ,casa ,pesaro were just finished1 and it is probable that ,pordenone paid his first visit to ,venice1 hard by1 and saw his great contemporary's work4 ,with his characteristic distaste for fresco1 ,titian undertook the altarpiece and painted the beautiful ,annunciation which still holds its place1 and ,pordenone covered the dome with a foreshortened figure of the ,eternal ,father1 surrounded by angels4 ,among the remaining frescoes in the ,chapel1 an ,adoration of the ,magi and a ,s4 ,liberale are from his brush4 ,fired by his success at ,treviso1 ,pordenone offered his services to ,mantua and ,cremona1 but the ,mantovans1 accustomed to the stately and restrained grace of ,mantegna1 would have nothing to say to what ,crowe and ,cavalcaselle call his large and colossal fable-painting4 ,he pursued his way to ,cremona1 and that he studied ,mantegna as he passed through ,mantua is evident from the first figures he painted in the cathedral4 ,in ,cremona every one admired him1 and all the artists set to work to imitate his energetic foreshortening1 vehement movement and huge proportions4 ,pordenone1 with his love for fresco1 was all his life an itinerant painter4 ,in #aeba he was back at ,udine and wandered from place to place1 painting a vast distemper for the organ doors at ,s4 ,maria at ,spilimbergo1 the faade of the ,church of ,valeriano1 an imposing series at ,travesio1 and in #aebe1 the ,story of the ,true ,cross at ,casara4 ,at the last place he threw aside much of his exaggeration1 and1 ruined and restored as the frescoes are1 they remain among his most dignified achievements4 ,he may be studied best of all at ,piacenza1 in the ,church of the ,madonna di ,campagna1 where he divides his subjects between sacred and pagan1 so that we turn from a ,flight into ,egypt or a ,marriage of ,s4 ,catherine1 to the ,rape of ,europa or ,venus and ,adonis4 ,at ,piacenza he shows himself the great painter he undoubtedly is1 having achieved some mastery over form1 while his colour has the true ,venetian quality and almost equals oils in its luscious tones and vivid hues1 which he lowers and enriches by such enveloping shadows as only one whose spirit was in touch with the art of ,giorgione would have understood how to use4 ,very complete records remain of ,pordenone's life1 full details of a quarrel with his brother over property left by his father in #aecc1 and accounts of the painter's negotiations to obtain a knighthood1 which he fancied would place him more on a par with ,titian when he went to live in ,venice4 ,the coveted honour was secured1 but from this time he seems to have been very jealous of ,titian and to have aimed continually at rivalling him4 ,pordenone was a punctual and rapid decorator1 and on being given the ceiling of the ,sala di ,san ,finio to decorate in the summer of #aecf1 he finished the whole by ,march #aech4 ,we have seen how ,titian annoyed the ,signoria by his delays1 how anxious they were to transfer his commission to ,pordenone1 and what a narrow escape the ,venetian had of losing his ,broker's patent4 ,pordenone was engaged by the nuns of ,murano to paint an ,annunciation1 after they had rejected one by ,titian on account of its price1 and though it seems hardly possible that any one could have compared the two men1 yet no doubt the pleasure of getting an altarpiece quickly and punctually and for a moderate sum1 often outweighed the honour of the possible painting by the great ,titian4 ,no one has left so few easel-paintings as ,pordenone2 fresco was so much better suited to his particular style4 ,the canvas of the ,madonna of ,mercy in the ,venice ,academy1 was painted about #aebe for a member of the house of ,ottobono1 and introduces seven members of the family4 ,it is very free from his colossal1 exaggerated manner2 the attendant saints are studied from nature1 and in his journals the painter mentions that the ,st4 ,roch is a portrait of himself4 ,the ,s4 ,lorenzo enthroned1 in the same gallery1 shows both his virtues and failings4 ,the saints have his enormous proportions4 ,the ,baptist is twisting round1 to display the foreshortening which ,pordenone particularly affects4 ,the gestures are empty and inexpressive1 but the colour is broad and fluid2 there is a large sense of decoration in the composition1 and something simple and austere about the figure of ,s4 ,lorenzo4 ,as is so often the case with ,pordenone1 the principal actor of the scene is smaller and more sincerely imagined than the attendant personages1 who are crowded into the foreground1 where they are used to display the master's skill4 ,pordenone died suddenly at ,ferrara1 where he had been summoned by its ,duke to undertake one of his great schemes of decoration4 ,he was said to have been poisoned1 but though he had jealous rivals there seems no proof of the truth of the assertion1 which was one very commonly made in those days4 ,he is interesting as being the only distinguished member of the ,venetian ,school whose frescoes have come down to us in any number1 and as being the only one of the later masters with whom it was the chosen medium4 ,his kinsman1 ,bernardino ,licinio1 is represented in the ,national ,gallery by a half-length of a young man in black1 and at ,hampton ,court by a large family group and by another of three persons gathered round a spinet4 ,his masterpiece is a ,madonna and ,saints in the ,frari1 which shows the influence of ,palma4 ,his flesh tints1 striving to be rich1 have a hot1 red look1 but his works have been constantly confounded with those of ,giorgione and ,paris ,bordone4 ,a long list might be given of minor artists who were industriously turning out work on similar lines to one or other of these masters3 ,calderari1 who imitates ,paris ,bordone as well as ,pordenone2 ,pomponio ,amalteo1 ,pordenone's son-in-law1 a spirited painter in fresco2 ,florigerio1 who practised at ,udine and ,padua1 and of whom an altarpiece remains in the ,academy2 ,giovanni ,battista ,grassi1 who helped ,vasari to compile his notices of ,friulan art1 and many others only known by name4 ,at the close of the fifteenth century the revulsion against ,paduan art extended as far as ,brescia1 and ,girolamo ,romanino was one of the first to acquire the trick of ,venetian painting4 ,he probably studied for a time under ,friulan painters4 ,pellegrino is thought to have been at ,brescia or ,bergamo during the ,friulan disturbances of #aejf-ab1 and about #aeaj ,romanino emerges1 a skilled artist in ,pellegrino's ,palmesque manner4 ,his works at this time are dark and glowing1 full of warm light and deep shadow2 the scene is often laid under arches1 after the manner of the ,vivarini and ,cima2 a gorgeous scheme of accessory is framed in noble architecture4 ,brescia was an opulent city1 second only to ,milan among the towns of northern ,italy1 and ,romanino obtained plenty of patronage2 but in #aeaa the city fell a prey to the horrors of war1 was taken and lost by ,venice1 and in #aeab was sacked by the ,french4 ,romanino fled to ,padua1 where he found a home among the ,benedictines of ,s4 ,giustina4 ,here he was soon well employed on an altarpiece with life-size figures for the high altar1 and a ,last ,supper for the refectory4 ,it is also surmised that he helped in the series for the ,scuola del ,santo1 for several of which ,titian in #aeaa had signed a receipt1 and the ,death of ,st4 ,anthony is pointed out as showing the ,brescian characteristics of fine colour1 but poor drawing4 ,romanino returned to ,brescia when the ,venetians recovered it in #aeaf1 but before doing so he went to ,cremona and painted four subjects1 which are among his most effective1 in the choir of the ,duomo4 ,he is not so daring a painter as ,pordenone1 from whom he sometimes borrows ideas1 but he is quite a convert to the modern style of the day1 setting his groups in large spaces and using the slashed doublets1 the long hose1 and plumed headgear which ,giorgione had found so picturesque4 ,romanino is often very poor and empty1 and fails most in selection and expression at the moments when he most needs to be great1 but he is successful in the golden style he adopted after his closer contact with the ,venetians1 and his draperies and flesh tints are extremely brilliant4 ,he is1 indeed1 inclined to be gaudy and careless in execution1 and even the fine ,nativity in the ,national ,gallery gives the impression that size is more regarded than thought and feeling4 ,moretto is perhaps the only painter from the mainland who1 coming within the charmed circle of ,venetian art and betraying the study of ,palma and ,titian and the influence of ,pordenone1 still keeps his own gamut of colour1 and as he goes on1 gets consistently cooler and more silvery in his tones4 ,he can only be fully studied in ,brescia itself1 where literally dozens of altarpieces and wall-paintings show him in every phase4 ,his first connection was probably with ,romanino1 but he reminds us at one time of ,titian by his serious realism1 and finished1 careful painting1 at another of ,raphael1 by the grace and sentiment of his heads1 and as time goes on he foreshadows the style of ,veronese4 ,in the ,feast in the ,house of ,simon in the organ-loft of the ,church of the ,piet in ,venice1 the very name prepares us for the airy1 colonnaded building1 with vistas of blue sky and landscape1 and the costly raiment and plenishing which might have been seen at any ,venetian or ,brescian banquet4 ,in his portraits ,moretto sometimes rivals ,lotto4 ,his personages are always dignified and expressive1 with pale1 high-bred faces1 and exceedingly picturesque in dress and general arrangement4 ,he loved to paint a great gentleman1 like the ,sciarra ,martinengo in the ,national ,gallery1 and to endow him with an air of romantic interest4 ,one of those who entered so closely into the spirit of the ,venetian ,school that he may almost be included within it1 is ,savoldo4 ,his pictures are rare1 and no gallery can show more than one or two examples4 ,the ,louvre has a portrait by him of ,gaston de ,foix1 long thought to be by ,giorgione4 ,his native town can only show one altarpiece1 an ,adoration of ,shepherds1 low in tone but intense in dusky shadow with fringes of light4 ,he is grey and slaty in his shadows1 and often rough and startling in effect1 but at his best he produces very beautiful1 rich1 evening harmonies2 and a letter from ,aretino bears witness to the estimation in which he was held4 ,it is not easy to say if ,brescia or ,vicenza has most claim to ,bartolommeo ,montagna1 the early master of ,cima4 ,born of ,brescian parents1 he settled early in ,vicenza1 and he is by far the most distinguished of those ,vicentine painters who drank at the ,venetian fount4 ,he must have gone early to ,venice and worked with the ,vivarini1 for in his altarpiece in the ,brera he has the vaulted porticoes in which ,bartolommeo and ,alvise ,vivarini delighted4 ,his ,madonna enthroned in the gallery at ,vicenza has many points of contact with that of ,alvise at ,berlin4 ,among these are the four saints1 the cupola1 and the raised throne1 and he is specially attracted by the groups of music-making angels2 but ,montagna has more moral greatness than ,alvise1 and his lines are stronger and more sinewy4 ,he keeps faithful to the ,alvisian feeling for calm and sweetness1 but his personages have greater weight and gravity4 ,he essays1 too1 a ,piet with saints1 at ,monte ,berico1 and shows both pathos and vehemence4 ,he has evidently seen ,bellini's rendering1 and attempts1 if only with partial success1 to contrast in the same way the indifference of death with the contemplation and anguish of the bereaved4 ,hard and angular as ,montagna's saints often are1 they show power and austerity4 ,his colour is brilliant and enamel-like2 he does not arrive at the ,venetian depth1 yet his altarpieces are very grand1 and once more we are struck by the greatness of even the secondary painters who drew their inspiration from ,padua and ,venice4 ,among the other ,vicentines1 ,giovanni ,speranza and ,giovanni ,buonconsiglio were imbued with characteristics of ,mantegna4 ,speranza1 in one of his few remaining works1 almost reproduces the beautiful ,assumption by ,pizzolo1 ,mantegna's young fellow-student1 in the ,chapel of the ,eremitani4 ,he employs ,buonconsiglio as an assistant1 and they imitate ,montagna to such an extent that it is difficult to distinguish between their works4 ,buonconsiglio's ,piet in the ,vicenza gallery1 is reminiscent of ,montagna's at ,monte ,berico4 ,the types are lean and bony1 the features are almost as rugged as ,drer's1 the flesh earthy and greenish4 ,about #adig ,buonconsiglio was studying oils with ,antonello da ,messina2 he begins to reside in ,venice1 and a change comes over his manner4 ,his colours show a brilliancy and depth acquired by studying ,titian2 and then1 again1 his bright tints remind us of ,lotto4 ,his name was on the register of the ,venetian ,guild as late as #aecj4 ,after ,pisanello's achievement and his marked effect on early ,venetian art1 ,veronese painting fell for a time to a very low ebb2 but ,mantegna's influence was strongly felt here1 and art revived in ,liberale da ,verona1 ,falconetto1 ,casoto1 the ,morone and ,girolamo dai ,libri1 painters delightful in themselves1 but having little connection with the school of ,venice4 ,francesco ,bonsignori1 however1 shook himself free from the narrow circle of ,veronese art1 where he had for a time followed ,liberale1 and grows more like the ,vicentines1 ,montagna and ,buonconsiglio4 ,he is careful about his drawing1 but his figures1 like those of many of these provincial painters1 are short1 bony and vulgar1 very unlike the slender1 distinguished type of the great ,paduan4 ,under the name of ,francesco da ,verona1 ,bonsignori works in the new palace of the ,gonzagas1 and several pictures painted for ,mantua are now scattered in different collections4 ,at ,verona he has left four fine altarpieces4 ,he went early to ,venice1 where he became the pupil of the ,vivarini4 ,his faces grow soft and oval1 and the very careful outlines suggest the influence of ,bellini4 ,girolamo ,mocetto was journeyman to ,giovanni ,bellini2 in fact1 ,vasari says that a ,dead ,christ in ,s4 ,francesco della ,vigna1 signed with ,bellini's name1 is from ,mocetto's hand4 ,his short1 broad figures have something of ,bartolommeo ,vivarini's character4 ,francesco ,torbido went to ,venice to study with ,giorgione1 and we can trace his master's manner of turning half tones into deep shades2 but he does not really understand the ,giorgionesque treatment1 in which shade was always rich and deep1 but never dark1 dirty and impenetrable1 nor in the lights can he produce the clear glow of ,giorgione4 ,another ,veronese1 ,cavazzola1 has left a masterpiece upon which any painter might be happy to rest his reputation2 the ,gattemalata with an ,esquire in the ,uffizi1 a picture noble in feeling and in execution1 and one which owes a great deal to ,venetian portrait-painters4 ,,principal ,,works ,pordenone4 ,casara4 ,old ,church3 ,frescoes1 #aebe4 ,colatto4 ,s4 ,salvatore3 ,frescoes 7,e474 ,cremona4 ,duomo3 ,frescoes2 ,christ before ,pilate2 ,way to ,golgotha2 ,nailing to ,cross2 ,crucifixion1 #aeba2 ,madonna enthroned with ,saints and ,donor1 #aebb4 ,murano4 ,s4 ,maria d4 ,angeli3 ,annunciation 7,l474 ,piacenza4 ,madonna in ,campagna3 ,frescoes and ,altarpiece1 #aebi-ca4 ,pordenone4 ,duomo3 ,madonna of ,mercy1 #aeae2 ,s4 ,mark enthroned with ,saints1 #aece4 ,municipio3 ,,ss4 ,gothard1 ,roch1 and ,sebastian1 #aebe4 ,spilimbergo4 ,duomo3 ,assumption2 ,conversion of ,s4 ,paul4 ,sensigana4 ,madonna and ,saints4 ,torre4 ,madonna and ,saints4 ,treviso4 ,duomo3 ,adoration of ,magi2 ,frescoes1 #aebj4 ,venice4 ,academy3 ,portraits2 ,madonna1 ,saints1 and the ,ottobono ,family2 ,saints4 ,s4 ,giovanni ,elemosinario3 ,saints4 ,s4 ,rocco3 ,saints1 #aebh4 ,pellegrino4 ,san ,daniele4 ,frescoes in ,s4 ,antonio4 ,cividale4 ,s4 ,maria3 ,madonna with six ,saints4 ,venice4 ,academy3 ,annunciation4 ,romanino4 ,bergamo4 ,s4 ,alessandro in ,colonna3 ,assumption4 ,berlin4 ,madonna and ,saints2 ,piet4 ,brescia4 ,galleria ,martinengo3 ,portrait2 ,christ bearing ,cross2 ,nativity2 ,coronation4 ,duomo3 ,sacristy3 ,birth of ,virgin2 ,visitation4 ,s4 ,francesco3 ,madonna and ,saints2 ,sposalizio4 ,cremona4 ,duomo3 ,frescoes4 ,london4 ,polyptych2 ,portrait4 ,padua4 ,last ,supper2 ,madonna and ,saints4 ,sato1 ,lago di ,garda4 ,duomo3 ,saints and ,donor4 ,trent4 ,castello3 ,frescoes4 ,verona4 ,st4 ,jerome4 ,s4 ,giorgio in ,braida3 ,organ shutters4 ,moretto4 ,bergamo4 ,lochis3 ,holy ,family2 ,christ bearing ,cross2 ,donor4 ,brescia4 ,galleria ,martinengo3 ,nativity and ,saints2 ,madonna appearing to ,s4 ,francis2 ,saints2 ,madonna in ,glory with ,saints2 ,christ at ,emmaus2 ,annunciation4 ,s4 ,clemente3 ,high ,altar and four other ,altarpieces4 ,s4 ,francesco3 ,altarpiece4 ,s4 ,giovanni ,evangelista3 ,high ,altar2 ,third ,altar4 ,s4 ,maria in ,calchera3 ,dead ,christ and ,saints2 ,magdalen washing ,feet of ,christ4 ,s4 ,maria delle ,grazie3 ,high ,altar4 ,,ss4 ,nazaro and ,celso3 ,two ,altarpieces2 ,sacristy3 ,nativity4 ,seminario di ,s4 ,angelo3 ,high ,altar4 ,london4 ,portrait of ,count ,sciarra ,martinengo2 ,portrait2 ,madonna and ,saints2 ,two ,angels4 ,milan4 ,brera3 ,madonna and ,saints2 ,assumption4 ,castello3 ,triptych2 ,saints4 ,rome4 ,vatican3 ,madonna enthroned with ,saints4 ,venice4 ,s4 ,maria della ,piet3 ,christ in the ,house of ,levi4 ,verona4 ,s4 ,giorgio in ,braida3 ,madonna and ,saints4 ,bartolommeo ,montagna4 ,bergamo4 ,lochis3 ,madonna and ,saint1 #adhg4 ,berlin4 ,madonna1 ,saints1 and ,donors1 #aejj4 ,milan4 ,brera3 ,madonna1 ,saints1 and ,angels4 ,padua4 ,scuola del ,santo3 ,fresco2 ,opening of ,s4 ,antony's ,tomb4 ,pavia4 ,certosa3 ,madonna1 ,saints1 and ,angels4 ,venice4 ,academy3 ,madonna and ,saints2 ,christ with ,saints4 ,verona4 ,,ss4 ,nazaro e ,celso3 ,saints2 ,piet2 ,frescoes1 #adia-ic4 ,vicenza4 ,holy ,family2 ,madonna enthroned2 ,two ,madonnas with ,saints2 ,three ,madonnas4 ,duomo3 ,altarpiece2 ,frescoes4 ,s4 ,corona3 ,madonna and ,saints4 ,monte ,berico3 ,piet1 #aejj2 ,fresco4 ,,chapter ,,xxiv ,,paolo ,,veronese ,paolo ,veronese1 though perhaps he is not to be placed on the very highest pinnacle of the ,venetian ,school1 must be classed among those few great painters who rose far above the level of most of his contemporaries and who brought in a special note and flavour of his own4 ,his art is an independent art1 and he borrows little from predecessors or contemporaries4 ,his free and joyous temperament gave relief at a moment when the ,venetian scheme of colour threatened to become too sombre1 and when ,sebastian del ,piombo1 ,pordenone1 ,titian himself1 and above all ,tintoretto1 were pushing chiaroscuro to extremes4 ,veronese discards the deepest bronzes and mulberries and crimsons and oranges1 and finds his range among cream and rose and grey-greens4 ,titian concentrated his colours and intensified his lights1 ,tintoretto sacrifices colour to vivid play of light and dark1 but ,veronese avoids the dark2 the generous light plays all through his scenes4 ,he has no wish to secure strong effects but delights in soft1 faded tints2 old rose and turquoise morte4 ,in his colour and his subjects he is a personification of the robust1 proud1 joy-loving ,republic1 in which1 as ,m4 ,yriarte says1 a man produced his works as a tree produces its fruit4 ,we get very near him in those vast palaces and churches and villas1 where his heroic figures expand in the azure air1 against the white clouds1 and yet he is one of the artists of the ,renaissance about whom we know least4 ,here and there1 in contemporary biography1 we come across a mention of him and learn that he was sociable and lively1 quick at taking offence1 fond of his family and anxious to do his best by them4 ,he was1 too1 very generous with his work--a great contrast in this respect to ,titian--and contracts with convents and confraternities show that he often only stipulated for payment for bare time4 ,yet he was fond of personal luxury1 loved rich stuffs1 horses and hounds1 and1 says ,ridolfi1 always wore velvet breeches4 ,his first masters1 according to ,mr4 ,berenson1 were ,badile and ,brusasorci1 masters of ,verona1 but before he was twenty1 he was away working on his own account4 ,his first patron was ,cardinal ,gonzaga1 who brought several painters from ,verona to ,mantua2 but ,mantua was no longer what it had been in the days of ,isabela d',este1 and ,paolo ,caliari soon returned to his own town4 ,before he was twenty-three he had decorated ,villa ,porti1 near ,vicenza1 in collaboration with ,zelotti1 a ,veronese1 portraying feasting gods and goddesses1 framed in light architectural designs in monochrome4 ,the two painters went on to other villas1 mixing mortal and mythical figures in a happy1 light-hearted medley4 ,zelotti having received a commission at ,vicenza1 ,paolo decided to seek his fortune in ,venice4 ,the ,prior of the ,convent of ,san ,sebastiano1 on the ,zattere1 was a ,veronese1 and ,caliari wrote to him before arriving in ,venice in #aeee4 ,thanks to the good ,prior1 who played a considerable part in his destiny1 he obtained a commission for a ,coronation of the ,virgin and four other ,saints4 ,he first painted the sacristy1 but his success was instantaneous1 and many orders followed4 ,the ceiling of the church was devoted to the history of ,esther4 ,the whole of these paintings are marvellously well preserved1 and1 inset in the carved and gilt framework1 make a coup d'oeil of surprising beauty4 ,they had an immense effect4 ,every one was able to appreciate these joyous pictures of ,venice1 the loveliness of her skies1 the pomp of her ceremonies1 the rich ,eastern stuffs and the glorious architecture of her palaces4 ,it was an auspicious moment for a painter of ,veronese's temper2 the so-called ,republic1 now1 more than ever1 an oligarchy1 was at the height of its fortunes1 redecorating was going forward everywhere1 the merchant-nobility was rich and spending magnificently1 the ,eastern trade was flourishing1 ,venice was in all her glory4 ,the patrons ,caliari came to work for1 preferred the ceremonial to the imaginative treatment of sacred themes1 and he does not choose the tragedies of the ,bible for illustration4 ,he paints the history of ,esther1 with its royal audiences1 banquets1 and marriage-feasts4 ,his ,christs and ,maries and ,martyrs are composed1 courtly personages1 who maintain a dignified calm under misfortune1 and have very little violent feeling to show4 ,at the time of his arrival in ,venice1 ,palma ,vecchio was just dead1 ,tintoretto was absorbed by the ,scuola di ,san ,rocco1 ,paris ,bordone was with ,francis ,i4 ,as rivals1 ,caliari had ,salviati1 ,bonifazio1 ,schiavone1 and ,zelotti1 all rendering homage to ,titian who was eighty years old1 but still in full vigour4 ,titian's opinions in matters of art were dictates1 his judgment was a law4 ,he immediately recognised ,veronese's genius1 which was of a kind to appeal to him1 and together with ,sansovino1 who at this time was ,director of ,buildings to the ,signoria1 he received the young painter with an approval which ensured him a good start4 ,five years after ,veronese's arrival he was retained to decorate the ,villa ,barbaro at ,maser1 which is a type of those patrician country-houses to which the ,venetians were becoming more attached every year4 ,daniele ,barbaro1 ,patriarch of ,aquileia1 whose magnificent portrait by ,veronese is in the ,pitti1 was himself an artist and designed the ceiling of the ,hall of the ,council of ,ten4 ,palladio1 ,alessandro ,vittoria1 and ,veronese were associated to build him a dwelling worthy of a ,prince of the ,church4 ,in style the villa is a total contrast to the gorgeous ,venetian palaces2 it is sober and simple1 and well adapted to leisure and retirement4 ,its white stucco walls and decorations are devoid of gilding and colour1 and the rooms adorned by ,veronese's brush show him in quite a new light4 ,his visit to ,rome did not take place till four years later1 but he has been influenced here by the feeling for the antique1 and he thinks much of line and style4 ,he leaves on one side the gorgeous brocades and gleaming satins1 in which he usually delights1 and his nymphs are only clothed in their own beauty4 ,and here ,veronese shows his admirable taste and discretion2 his patrons1 the ,barbaro family1 are his friends1 men and women of the world1 who put no restraint on his fancy1 and are not prone to censure1 and ,veronese1 with the bridle on his neck1 so to speak1 uses his opportunities fully1 yet never exceeds the limits of good taste4 ,he is not gross and sensual like ,rubens1 but proud1 grave and sweet1 seductive1 but never suggestive or vulgar4 ,after having placed single figures wherever he can find a nook1 he assembles all the gods of ,olympia at a supper in the cupola4 ,immortality is a beautiful young woman seated on a cloud4 ,mercury gazes at her1 caduceus in hand2 ,diana caresses her great hound2 ,saturn1 an old man1 rests his head on his hand2 ,mars1 ,apollo1 ,venus1 and a little cupid are scattered in the ,empyrean1 and ,jupiter presides over the party4 ,below1 a balcony rail runs round the cupola1 and looking over it1 an old lady1 dressed in the latest fashion1 points out the company to a beautiful young one and to a young man in a doublet who holds a hound in a leash4 ,they are evidently family portraits1 taken from those who looked on at the artist1 and on the other side he has introduced members of his own family who were helping him4 ,these decorations have a gaiety1 an absence of pedantry1 a sound and sane sympathy with the spirit of the ,renaissance which tell of a happy moment when art was at its height and in touch with its environment4 ,from about #aefc we may begin to date his great supper pictures4 ,the ,marriage of ,cana 7,louvre71 one of his most famous works1 was painted for the refectory in ,sammichele1 the old part of ,s4 ,giorgio ,maggiore4 ,the treaty for it is still in existence1 dated ,june #aefb4 ,the artist asks for a year2 the ,prior is to furnish canvas and colours1 the painter's board1 and a cask of wine4 ,the further payment of #igb ducats illustrates the prices received by the greatest artists at the height of the ,renaissance3 #bhj for work which occupied quite eight months4 ,veronese must have delighted in painting this work4 ,needless to say1 it is not in the least religious4 ,he has united in it all the most varied personages who struck his imagination4 ,so we see a ,spanish grandee1 ,francis ,i41 ,suleiman the ,sultan1 ,charles ,v41 ,vittoria ,colonna1 and ,eleanor of ,austria4 ,in the foreground1 grouped round a table1 are ,veronese himself1 playing the viol1 ,tintoretto accompanying him1 ,jacopo da ,ponte seated by them1 and ,paolo's brother1 the architect1 with his hand on his hip1 tossing off a full glass2 and in the governor of the feast1 opulent and gorgeously attired1 we recognise ,aretino4 ,under the marble columns of a ,grimani or a ,pesaro1 he brings in all the illustrious actors of his own time and leaves us an odd and informing document4 ,we can but accept the scene and admire the originality of its design and the freedom of its execution1 its boldness and fancy1 the way in which the varied incidents are brought into harmony1 and the grace of the colonnade1 peopled with spectators1 standing out against the depth of distant sky4 ,the celebrated suppers1 of which this is the first example1 are dispersed in different galleries and some have disappeared1 but from this time ,veronese loved to paint these great displays1 repeating some of them1 but always introducing variety4 ,illustration3 ,paolo ,veronese4 ,,marriage ,,in ,,cana4 ,louvre4 7,photo1 ,mansell and ,co47 ,in #aefd he accompanied ,girolamo ,grimani1 procurator of ,st4 ,mark's1 who was appointed ambassador to the ,holy ,see1 and for the first time saw the works of ,raphael and ,michelangelo and the treasures of antiquity4 ,for a time1 the sight of the antique had some effect upon his work2 in his famous ceiling in the ,louvre1 ,jupiter destroying the ,vices1 the influence of ,michelangelo is apparent and its large gestures are inspired by sculpture4 ,ridolfi says that ,veronese brought home casts from ,rome1 and statues of ,amazons and the ,laocoon seem to have inspired the ,jupiter4 ,he did not go on long in this path2 he does not really care for the nude--it is too simple for him4 ,he prefers that his saints and divinities should appear in the gorgeous costumes of the day1 and that his ,venus and ,diana and the nymphs should trail in rich brocades4 ,but few documents are left concerning his work for the ,ducal ,palace up to #aegf2 much of it was destroyed in the great fire1 but the ,signoria then gave him a number of fresh commissions4 ,the most important was the immense oval of the ,triumph of ,venice1 or1 as it is sometimes called1 the ,thanksgiving for ,lepanto2 the ,republic crowned by victory and surrounded by allegorical figures1 ,glory1 ,peace1 ,happiness1 ,ceres1 ,juno and the rest4 ,the composition shows the utmost freedom3 the fair ,queen leans back1 surrounded by laughing patricians1 who look up from their balconies1 as if they were attending a regatta on the ,grand ,canal4 ,the horses of the ,free ,companions1 the soldiers who go afar to carry out the will of the ,republic1 prance in a crowd of personages1 each of whom represents a town or colony of her domain4 ,like all ,veronese's creations1 this will always be pre-eminently a picture of the sixteenth century1 dated by a thousand details of costume1 architecture1 and armour4 ,venice1 the ,venice of ,lepanto and the ,venier1 of ,titian1 ,aretino1 and ,veronese himself1 makes a deep impression upon us1 and the artist reflects his age with sympathetic spontaneity4 ,hardly a hall of the ,ducal ,palace but can show a canvas of ,veronese or the assistants by whom he was now surrounded4 ,from time to time he resumed the decorations of ,s4 ,sebastiano1 and his incessant production betrays no trace of fatigue or languor4 ,the martyrdom of the saint is a triumph of the beauty of the silhouette against a radiant sky4 ,he goes back to ,verona and paints the ,martyrdom of ,st4 ,george4 ,he pours light into it4 ,the saints open a shining path1 down which a flower-crowned ,love flutters with the diadem and palm of victory4 ,the whole air and expression of ,st4 ,george is full of strength and that look of goodness and serenity which is the painter's nearest approach to religious feeling4 ,veronese was created a ,chevalier of ,st4 ,mark2 every one was asking for his services1 but he was a stay-at-home by nature and fond of living with his family4 ,philip ,,ii4 longed to get him to cover his great walls in the ,escurial1 but he very civilly declined all his invitations and sent ,federigo ,zucchero in his stead4 ,it was on account of the ,feast in the ,house of ,levi that in #aegc he was hauled before the tribunal of the ,inquisition1 and the document concerning this was only discovered a few years ago4 ,the ,signoria had never allowed any tribunal to chastise works of literature2 on the contrary1 ,venice1 though comparatively poor herself in geniuses of the mind1 was the refuge of freedom of thought1 and1 in fact1 had made a sort of compact with ,niccolas ,v41 which allowed her to set aside or suspend the decisions of the ,holy ,office1 from which she could not quite emancipate herself4 ,veronese1 however1 was denounced by some aggrieved person1 to whom his way of treating sacred subjects seemed an outrage on religion4 ,the members of the tribunal demanded who the boy was with the bleeding nose8 and why were halberdiers admitted8 ,veronese replied that they were the sort of servants a rich and magnificent host would have about him4 ,he was then asked why he had introduced the buffoon with a parrot on his hand4 ,he replied that he really thought only ,christ and ,his ,apostles were present1 but that when he had a little space over1 he adorned it with imaginary figures4 ,this defence of the vast and crowded canvas did not commend itself1 and he was asked if he really thought that at the ,last ,supper of our ,saviour it was fitting to bring in dwarfs1 buffoons1 drunken ,germans1 and other absurdities4 ,did he not know that in ,germany and other places infested with heresy1 they were in the habit of turning the things of ,holy ,church into ridicule1 with intent to teach false doctrine to the ignorant8 ,paolo for his defence cited the ,last ,judgment1 where ,michelangelo had painted every figure in the nude1 but the ,inquisitor replied crushingly1 that these were disembodied spirits1 who could not be expected to wear clothing4 ,could ,veronese uphold his picture as decent8 ,the painter was probably not very much alarmed4 ,he was a person of great importance in ,venice1 and the proceedings of the ,inquisition were always jealously watched by members of the ,senate1 who would not have permitted any unfair interference with the liberties of those under the protection of the ,state4 ,the real offence was the introduction of the ,german soldiers1 who were peculiarly obnoxious to the ,venetians2 but ,veronese did not care what the subject was as long as it gave him an excuse for a great spectacle4 ,brought to bay1 he gave the true answer3 ,my ,lords1 ,i have not considered all this4 ,i was far from wishing to picture anything disorderly4 ,i painted the picture as it seemed best to me and as my intellect could conceive of it4 ,it meant that ,veronese painted in the way that he considered most artistic1 without even remembering questions of religion1 and in this he summed up his whole sthetic creed4 ,he was set at liberty on condition that he took out one or two of the most offending figures4 ,the ,feast in the ,house of ,levi 7as he named it after the trial7 is the finest of all his great scenic effects4 ,the air circulates freely through the white architecture1 we breathe more deeply as we look out into the wide blue sky1 and such is the sensation of expansion1 that it is hardly possible to believe we are gazing at a flat wall4 ,titian's backgrounds are a blue horizon1 a burning twilight4 ,veronese builds marble palaces1 with rosy shadows1 or columns blanched in the liquid light4 ,his personages show little violent action4 ,he places them in noble poses in which they can best show off their magnificent clothes1 and he endows his patricians1 his goddesses1 his sacred persons1 with a uniform air of majestic indolence4 ,after his trial1 ,veronese proceeded more triumphantly than ever4 ,every prince wished to have something from his brush2 the ,emperor ,rudolph1 at ,prague1 showed with pride the canvases taken later by ,gustavus ,adolphus4 ,the ,duke of ,modena1 carrying on the traditions of ,ferrara1 added ,veronese's works to the treasures of the house of ,este4 ,the last ten years of his life were given up to visiting churches on the mainland and on the little islands round ,venice1 all covetous to possess something by the brilliant ,veronese1 whose name was in every mouth4 ,torcello1 ,murano1 ,treviso1 ,castelfranco1 every convent and monastery loaded him with commissions1 and it is significant of the spirit of the time1 that in spite of the disapproval of the ,holy ,see1 his most ardent patrons1 those who delighted most in his robust1 uncompromising worldliness1 were to be found in the religious houses4 ,then1 when he went to rest in the summer heats in some villa on the ,brenta1 he left delightful souvenirs here and there4 ,it was on such an occasion1 for the ,pisani1 that he painted the ,family of ,darius1 which was sold to ,england by a member of the house in #aheg4 ,the royal captives1 who are throwing themselves at the feet of the conqueror1 are1 with ,paolo's usual frank navet and disregard of anachronisms1 dressed in full ,venetian costume--all the chief personages are portraits of the ,pisani family4 ,the freedom and rapidity of execution1 the completeness and finish1 the charm of colour1 the beauty of the figures 7especially the princely ones of ,alexander and ,hephaestion71 and its extraordinary energy1 make this one of the finest of all his works4 ,the critic1 ,charles ,blanc1 says of it1 ,it is absurd and dazzling4 ,in the ,rape of ,europa1 he recurred again to one of those legends of fabled beings who have outlasted dynasties and are still fresh and living4 ,veronese was surrounded by men like ,aretino and ,bembo1 well versed in mythology1 and with his usual zest he makes the tale an excuse for painting lovely1 blooming women1 rich toilets1 and a delightful landscape4 ,the wild flowers spring1 and the little ,loves fly to and fro against a cloud-flecked sky of the wonderful ,veronese turquoise4 ,it is the work of a man who is a true poet of colour and for whom colour represents all the emotions of joy and pleasure4 ,veronese died comparatively young1 of chill and fever1 and all his family survived him4 ,he lies buried in ,san ,sebastiano4 ,from contemporary memoirs we know that he lived and dressed splendidly4 ,he kept immense stores of gorgeous stuffs to paint from in his studio1 and drew everything from life1--the negroes covered with jewels1 the bright-eyed pages1 the models who1 robed in velvets1 brocades and satins1 became queens or courtesans or saints4 ,the pearls which bedecked them were from his own caskets4 ,though we know little of his private life1 his work is so alive that he seems personified in it4 ,he is saved from what might have been a prosaic or a sordid style by the delicious1 ever-changing colour in which he revels2 his silks and satins are less modelled by shadows than tinted by broken reflections1 his embroidered and striped and arabesqued tissues are so harmoniously combined that the eye rests1 wherever it falls1 on something exquisite and subtle in tint4 ,this is where his genius lies1 the decoration does not add to the interest of the drama2 it replaces it2 in short1 it is the drama itself1 for his types show little selection1 and his ideal of female beauty is not a very sympathetic one4 ,his personages are cold and devoid of expression1 their gestures are rather meaningless1 but by means of light and air and exquisite colour he gives the poetical touch which all great art demands4 ,on account of their size few examples of ,veronese's work are to be found in private collections1 but the galleries of the different ,european capitals are rich in them4 ,numbers of paintings1 too1 which are by his assistants are dignified by his name1 and directly after his death spurious works were freely manufactured and sold as genuine4 ,,principal ,,works ,dresden4 ,madonna with ,cuccina ,family2 ,adoration of ,magi2 ,marriage of ,cana4 ,florence4 ,pitti3 ,portrait of ,daniele ,barbaro4 ,uffizi3 ,martyrdom of ,s4 ,giustina2 ,holy ,family 7,e474 ,london4 ,consecration of ,s4 ,niccolas2 ,the ,family of ,darius before ,alexander2 ,adoration of the ,magi4 ,maser4 ,villa ,barbaro3 ,frescoes4 ,padua4 ,s4 ,giustina3 ,martyrdom of ,s4 ,giustina4 ,paris4 ,christ at ,emmaus2 ,marriage of ,cana4 ,venice4 ,academy3 ,battle of ,lepanto2 ,feast in the ,house of ,levi2 ,madonna with ,saints4 ,ducal ,palace3 ,triumph of ,venice2 ,rape of ,europa2 ,venice enthroned4 ,s4 ,barnab3 ,holy ,family4 ,s4 ,francesco della ,vigna3 ,holy ,family4 ,s4 ,sebastiano3 ,madonna and ,saints2 ,crucifixion2 ,madonna in ,glory with ,s4 ,sebastian and other ,saints2 others in part2 ,frescoes2 ,saints and ,figure of ,faith2 ,sibyls4 ,verona4 ,portrait of ,pasio ,guadienti1 #aeef4 ,s4 ,giorgio3 ,martyrdom of ,s4 ,george4 ,vicenza4 ,monte ,berico3 ,feast of ,st4 ,gregory1 #aegb4 ,vienna4 ,christ at the ,house of ,jairus4 ,,chapter ,,xxv ,,tintoretto ,it does not seem likely that many new discoveries will be made about ,tintoretto's life4 ,it was an open and above-board one1 and there is practically no time during its span that we are not able to account for1 and to say where he was living and how he was occupied4 ,the son of a dyer1 a member of one of the powerful guilds of ,venice1 the little dyer1 il tentoretto1 appears as an enthusiastic boy1 keen to learn his chosen art4 ,he was apprenticed to ,titian and1 immediately after1 summarily ejected from that master's workshop1 on account1 it seems probable1 of the independence and innovation of his style1 which was of the very kind most likely to shock and puzzle ,titian's courtly1 settled genius4 ,after this he painted when and where he could1 pursuing his artistic studies with the headlong ardour which through life characterised his attitude towards art4 ,mr4 ,berenson thinks he may have worked in ,bonifazio's studio4 ,he formed a close friendship with ,andrea ,schiavone1#d he imported casts of ,michelangelo's statues1 he studied the works of ,titian and ,palma4 ,over his door was written the colour of ,titian and the form of ,michelangelo4 ,all his energies were for long devoted to the effort to master that form4 ,colour came to him naturally1 but good drawing meant more to him than it had ever done to any ,venetian4 ,long afterwards1 to repeated inquiries as to how excellence could be best ensured1 he would give no other advice than the reiterated1 study drawing4 ,he practised till the human form in every attitude held no difficulties for him4 ,he suspended little models by strings1 and drew every limb and torso he could get hold of over and over again4 ,he was found in every place where painting was wanted1 getting the builders to let him experiment upon the house-fronts4 ,to master light and shade he constructed little cardboard houses1 in which1 by means of sliding shutters1 lamplight and skylight effects could be arranged4 ,it is particularly interesting to hear of this part of his education1 as in the end the love of shine and shadow was the most victorious of all his inspirations4 #d ,andrea ,meldola1 the ,sclavonian1 a native of ,dalmatia1 landing in ,venice1 had a great struggle for existence4 ,he drew from ,parmegianino1 and studied ,giorgione and ,titian4 ,he was probably an assistant of ,titian1 and helped him1 as in the ,venus and ,adonis of the ,national ,gallery1 which owes much to his hand4 ,he fails conspicuously in form1 his shadows are black1 and his figures often vulgar1 but he has a fine sense of colour1 and a free1 crisp touch4 ,he was one of the young masters who flooded ,venice with light1 sketchy wares4 ,the chief events in ,tintoretto's life are art-events4 ,for some years he frescoed the outside of houses at a nominal price1 or merely for his expenses4 ,he decorated household furniture and everything he could lay hands on4 ,then came a few small commissions1 an altarpiece here1 organ-doors there1 for unimportant churches4 ,no one in ,venice talked of any one save ,palma1 ,bonifazio1 and1 above all1 ,titian1 and it was difficult enough for an outsider1 who was not one of their clique1 to get employment4 ,but by the time ,tintoretto was twenty-six his talent was becoming recognised2 he had painted the two altarpieces for ,,ss4 ,ermagora and ,fortunato1 and the offer he made to decorate the vast church of his parish brought him conspicuously into notice4 ,in the first ardour of youth he completed the ,last ,judgment for the choir4 ,from time to time1 during fourteen years1 he redeemed his early promises and executed the ,golden ,calf and the ,presentation of the ,virgin4 ,within two years of his offer to the ,prior1 came his first great opportunity of achieving distinction4 ,this was a commission from the ,confraternity of ,st4 ,mark1 and with the ,miracle of the ,slave he sprang at once to the highest place4 ,the picture was universally admired1 and was followed by three more dealing with the patron saint4 ,at forty he married happily a beautiful young girl1 ,faustina dei ,vescovi1 or ,episcopi1 as it is indifferently given1 the daughter of a noble family of the mainland4 ,tradition has always pointed to the girl in blue in the ,golden ,calf as her portrait1 while it is easy to recognise ,tintoretto himself in the black-bearded giant1 who helps to carry the idol4 ,his house at this time was somewhere in the ,parrocchia dell' ,orto1 and there1 during the next fourteen years1 eight children were born1 of whom the two eldest1 ,domenico and ,marietta1 attained distinction in their father's profession4 ,another great event1 which profoundly influenced his life1 was the beginning of his connection in #aefj with the ,scuola di ,san ,rocco1 the great confraternity which was devoted to combating the ravages of the plague and to succouring the families of its victims4 ,his work for this lasted to the end of his life and is his most distinguished memorial4 ,the palace to which the ,robusti family moved in #aegd1 and which was inhabited by his descendants so late as #ahcj1 can still be identified in the ,calle della ,sensa4 ,it is broken up into two parts1 but it is evident that it was a dwelling of some importance1 a good specimen of ,venetian ,gothic4 ,it still bears marks of considerable decoration2 the walls are sheathed in marble plaques1 and the first floor has rows of ,gothic windows in delicately carved frames and little balconies of fretted marble4 ,zanetti1 in #agga1 gives an etching of a magnificent bronze frieze cast from the master's design1 which ran round the ,grand ,sala4 ,the family must have occupied the piano nobile and let off the floors they did not require4 ,descriptions of the life led by the painter and his family are given by ,vasari1 who knew him personally1 and by ,ridolfi1 whose book was published in #afdf1 and who must have known his children1 several of whom were still alive and proud of their father's fame4 ,we hear of pleasant evenings spent in the little palace1 of the enthusiastic love of music1 ,tintoretto himself and his daughter being highly gifted4 ,among the habitus were ,zarlino1 for twenty-five years chapel-master of ,st4 ,mark's1 one of the fathers of modern music2 ,bassano2 and ,veronese1 who1 in spite of his love for magnificent entertainments1 was often to be found in ,tintoretto's pleasant home4 ,poor ,andrea ,schiavone was always welcome1 and as time went on the house became the haunt of all the cultured gentlemen and litterati of ,venice4 ,it is not difficult from the materials available to form a sufficiently lively idea of this ,venetian citizen of the sixteenth century1 as father and husband1 host and painter4 ,ridolfi has collected a number of anecdotes1 which space forbids me to use1 but which are all very characteristic4 ,we gather that he was a man of strong character1 generous1 sincere and simple1 decided in his ways1 caring little for the great world1 but open-handed and hospitable under his own roof1 observant of men and manners1 and sometimes rather brusque in dealing with bores and offensive persons4 ,full of dry quiet humour and of good-natured banter of his wife's little weaknesses4 ,a man1 too1 of upright conduct and free1 as far as it can be ascertained1 from any of those laxities and infidelities1 so freely quoted of celebrated men and so easily condoned by his age4 ,art was ,tintoretto's main preoccupation2 but he seems to have been a man of strong religious bias1 making a close study of the ,bible1 and turning naturally in his last days to those truths with which his art had made him familiar1 truths which he had represented with that touch of mystic feeling which was the deepest part of his nature4 ,his relations with the ,state commenced in #aegd1 when his offer to present a superb painting of the ,victory of ,lepanto was made to and accepted by the ,council of ,ten4 ,tintoretto was rewarded by a ,broker's patent1 and between this and the ,paradiso1 the work of his old age1 he executed a number of pictures for the ,signoria4 ,the only record of any travels are confined to two journeys paid to ,mantua1 where he went in the 'sixties and again in #aegi to see to the hanging of paintings done for the ,gonzaga1 and of which the documents have been kept1 though the pictures have vanished4 ,tintoretto's last years were saddened by the death of his beloved daughter1 who had always been his constant companion4 ,he died in #aegi after a fortnight's illness and left a will1 which1 together with that of his son1 throws a good deal of light upon the family history4 ,it is not easy to select from the vast quantity of work left by ,tintoretto4 ,he is one of those painters whose whole life was passed in his native city and who can only be adequately studied in that city4 ,perhaps the first place in which to seek him1 is the great church which was the monument of his early prime4 ,the ,last ,judgment was probably inspired by that of ,michelangelo1 of which descriptions and sketches must have reached the younger master1 over whom the ,florentine had exercised so strong a fascination4 ,tintoretto's version impresses one as that of a mind boiling with thoughts and visions which he pours out upon the huge space4 ,it depicts a terrible catastrophe1 a scene of rushing destruction1 of forms swept into oblivion1 of others struggling to the light1 of many beautiful figures and of a flood of air and light behind the rushing water1--water which makes us almost giddy as we watch it4 ,the ,golden ,calf is a maturer production and includes some of the loveliest women ,tintoretto ever painted4 ,we see too plainly the planning1 the device of concentrating interest on the idol by turning figures and pointing fingers1 but nothing can be imagined more supple and queenly than the woman in blue1 and the way the light falls on her head and perfectly foreshortened arm shows to what excellence ,tintoretto had attained4 ,the ,presentation is a riper work4 ,the drawing of the flight of steps and of the groups upon them could not be bettered4 ,the little figure of the ,virgin1 prototype of the new dispensation1 as she advances to meet the representative of the old1 thrills with mystic feeling1 yet the painter has contrived to retain the sturdy simplicity of a child4 ,the ,st4 ,agnes1 with its contrast of light and shade1 of strength made perfect in weakness1 is of later date and was the commission of ,cardinal ,contarini4 ,it is interesting to realise how ,tintoretto1 especially in the ,presentation1 has contrived1 while using the traditional episodes1 to infuse so strong an imaginative sense4 ,the contrast of age and youth1 the joy of the ,gentiles1 the starlike figure of the child surrounded by shadows1 convey an emotional feeling1 in harmony with the nature of the scene4 ,next let us group together the miracles in the history of ,st4 ,mark4 ,one of the qualities which strikes us most in the ,miracle of the ,slave is its strong local colour4 ,it tells of ,titian and ,bonifazio and is unlike ,tintoretto's later style4 ,the colours are glowing and gem-like2 carnations1 orange-yellows1 deep scarlet1 and turquoise-blue4 ,the crimson velvet of the judge's dress is finely relieved against a blue-green sky1 and ,tintoretto has kept that instinctive fire and dash which culminates at once and without effort in perfect action1 as a bird flies1 or a horse gallops4 ,it startled the quiet members of the ,guild1 and at the first moment they hesitated to accept it4 ,the ,rescue of the ,saracen and the ,transportation of the ,body are more in the golden-brown manner to which he was moving1 but it is in the ,finding of the ,body 7,brera7 that he rises to the highest emotional pitch4 ,the colossal form of the saint1 expanding with life and power as he towers in the spirit above his own lifeless clay1 draws all eyes to him and seems to fill the barrel-roofed hall with ease and energy4 ,every part of the vault is flooded by his life-giving energy1 and here ,tintoretto deals with light and shade with full mastery4 ,as we follow ,tintoretto's career1 it is borne in upon us how little positive colour it takes to make a great colourist4 ,the whole ,venetian ,school1 indeed1 does not deal with what we understand as bright colour4 ,vivid tints are much more characteristic of the ,flemish and the ,florentine1 or1 let us say1 of the painters of to-day4 ,strong1 crude colours are to be seen on all sides in the ,salon or the ,royal ,academy1 but they are absent from the scheme of sombre splendour which has given the ,venetians their title to fame4 ,this is especially true of ,tintoretto1 and it becomes more so as he advances4 ,his gamut becomes more golden-brown and mellow2 the greys and browns and ivories combine in a lustrous symphony more impressive than gay tints1 flooded with enveloping shadow and illumined by flashes of iridescent light4 ,another noticeable feature is the way in which he puts on his oil-colour1 so that it bears the direct impression of the painter's hand4 ,the ,florentines had used flat tints1 opaque and with every brush-mark smoothed away2 but as the later ,venetians covered large spaces with oil-colour1 they no longer sought to dissimulate the traces of the brush1 and light1 distance1 movement1 were all conveyed by the turns and twists and swirls with which the thin oil-colour was laid on4 ,look at the power of touch in such a picture as the ,death of ,abel2 we see this spontaneity of execution actually forming part of the emotion with which the picture is charged4 ,the concentrated hate of the one figure1 the desperate appeal of the other1 the lurid note of the landscape1 gain their emotion as much from the impetuous brush-work as from the more studied design4 ,we come closest to the painter's mind in the ,scuola di ,san ,rocco4 ,he had already been employed in the church1 and there remains1 darkened and ruined by damp1 the series illustrative of the career of ,s4 ,roch1 patron saint of sufferers from the plague4 ,when the great ,halls of ,assembly were to be decorated in #aefj1 the confraternity asked a conclave of painters1 among whom were ,veronese and ,andrea ,schiavone1 to prepare sketches for competition4 ,when they assembled to display their designs1 ,tintoretto swept aside a cartoon from the ceiling of the refectory and discovered a finished picture1 the ,s4 ,roch in ,glory1 which still holds its place there4 ,neither the other artists nor the brethren seem to have approved of this unconventional proceeding1 but he hoped they would not be offended2 it was the only way he knew4 ,partly from the displeased withdrawal of some of the rest1 but partly also from the excellence of the work1 the commission fell to ,tintoretto1 and after two years' work he was received into the order1 and was assigned an annual provision of #ajj ducats 7#ej7 a year for life1 being bound every year to furnish three pictures4 ,,chapter ,,xxvi ,,tintoretto 7continued7 ,the first portion of the vast building that was finished was the ,refectory1 but in examining the scheme1 it is perhaps more convenient to leave it to its proper place1 which is the climax4 ,before beginning1 ,tintoretto must have had the whole thing planned1 and we cannot doubt that he was influenced by the ,sixtine ,chapel and recalled its plan and significance2 the old dispensation typifying the new1 the ,old ,testament history vivified by the acts of ,christ4 ,the main feature of the harmony which it is only reasonable to suppose governs the whole building1 is its dedication to ,s4 ,roch1 the special patron of mercy4 ,the principal paintings of the ,upper ,hall are therefore concerned with acts of divine mercy and deliverance1 and even the monochromes bear upon the central idea4 ,on the roof are the three most important miracles of mercy performed on behalf of the ,chosen ,people4 ,the paintings on roof and walls are linked together4 ,the ,fall of ,man at one end of the ,hall1 the disobedient eating1 corresponds with the obedient eating of the ,passover at the other1 and is interdependent with the ,manna in the ,wilderness1 the ,last ,supper1 and the ,miracle of the ,loaves4 ,the ,miracles of satisfied thirst are represented by ,moses striking the ,rock1 ,samson drinking from the jawbone and the waters of ,meribah4 ,the ,baptism and other signs of the ,advent of ,christ and the ,divine preparation1 balance events in the early life of ,moses4 ,in the ,refectory which opens from the ,great ,hall1 we come to the ,crucifixion1 the crowning act of mercy1 surrounded by the events which immediately succeeded it1 and typified immediately above in the ,central ,hall1 by the lifting up of the ,brazen ,serpent4 ,the miracles include six of refreshment and succour1 two of miraculous restoration to health1 and two of deliverance from danger4 ,the whole scheme has been worked out in detail in my book on ,tintoretto4 ,in the working out of his great scheme1 ,tintoretto is impatient of hackneyed and traditional forms2 he must have a reading of his own1 and one which appeals to his imagination4 ,we see that passion for movement which distinguishes his early work4 ,moses striking the ,rock is a figure instinct with purpose and energy4 ,the water bounds forth1 living1 life-giving1 the people strain wildly to reach it4 ,his figures are sometimes found fault with1 as extravagant in gesture1 but the attitudes were intended to be seen and to arrest attention from far below1 and we must not forget that the painter's models were drawn from a ,southern race1 to whom emphasis of action is natural4 ,tintoretto1 it may be conceded1 is on certain occasions1 generally when dealing with accessory figures1 inclined to excess of gesture2 it is the defect of his temperament1 but when he has a subject that carries him away he is sincere and never violent in spirit4 ,titian is cold compared to him2 his colour1 however effective1 is calculated1 whereas ,tintoretto's seems to permeate every object and to soak the whole composition4 ,to quote a recent critic3 ,he chose to begin1 if possible1 with a subject charged with emotion4 ,he then proceeded to treat it according to its nature1 that is to say1 he toned down and obscured the outlines of form and mapped out the subject instead in pale or sombre masses of light and shade4 ,under the control of this powerful scheme of chiaroscuro1 the colouring of the composition was placed1 but its own character1 its degree of richness and sobriety1 was determined by the kind of emotion belonging to the subject4 ,to use colour in this way1 not only with emotional force1 but with emotional truth1 is to use it to perform one of the greatest functions of art4#e #e ,venice and the ,renaissance1 ,edinburgh ,review1 #aiji4 ,so in the ,crucifixion it is not so much the aspect of the groups1 the pathos of the faces or gestures1 that tells1 but it is the mystery and gloom in which the whole scene is muffled1 the atmosphere into which we are absorbed1 the sense of livid terror conveyed by the brooding light and shadow1 that makes us feel how different the rendering is from any other4 ,in the ,christ before ,pilate the head and figure of ,christ are not particularly impressive in themselves1 but the brilliant light falling on the white robes and coursing down the steps supplies dignity and poetry2 the slender white figure stands out like a shaft of light against the lurid and troubled background4 ,again1 in the ,way to ,golgotha the falling evening gleam1 the wild sky1 the deep shadow of the ravine1 throw into relief the quiet form1 detached in look and feeling1 as of one upborne by the spirit far above the brutal throng4 ,nowhere does that spiritual emotion find deeper expression than in the ,visitation4 ,the passion of thanksgiving1 the poignancy of mother-love1 throb through the two women1 who have been travelling towards one another1 with a great secret between them1 and who at length reach the haven of each other's love and knowledge4 ,here1 too1 the dying light1 the waving tree1 the obliteration of form1 and the feeling of mystery make a deep appeal to the sensuous apprehension4 ,we find it again and again2 the great trees sway and whisper in the gathering darkness as the ,virgin rides through the falling evening shadows1 clasping her ,babe1 and in that most moving of all ,tintoretto's creations1 the ,s4 ,mary of ,egypt1 the emotional mood of ,nature's self is brought home to us4 ,the trees that dominate the landscape are painted with a few strokes like sabre cuts2 the landscape1 given with apparent carelessness1 yet conveying an indescribable sense of space and solemnity1 unfolds itself under the dying day2 and in solitary meditation1 thrilling with ecstasy1 sits that little figure1 whose heart has travelled far away to commune with the ,spirit1 whose dwelling is the light of setting suns4 ,it is not possible in a short space to touch1 even in passing1 on all the many scenes in these halls3 the ,annunciation1 with its marvellous flight of cherubs1 reminding us of the flight of pigeons in the ,piazza1 and how often the old painter must have watched them2 the ,temptation1 contrasting the throbbing evil1 the flesh that must be fed1 with the calm of absolute purity2 the ,massacre of the ,innocents1 for which the horrors of sacked towns could have supplied many a parallel1--we have not time to dwell on these1 but we may notice how the artist has overcome the difficulty of seeing clearly in the dark halls1 by choosing strong and varied effects of light for the most shadowed spaces1 and we can picture what the halls must have been like when they first glowed from his hand1 adorned with gilded fretwork and moulding1 and hung with opulent draperies1 with the rose-red and purple of bishops' and cardinals' robes reflected in the gleaming pavement4 ,illustration3 ,tintoretto4 ,scuola di ,san ,rocco4 ,s4 ,,mary ,,of ,,egypt4 7,photo1 ,anderson47 ,leonardo1 by one supreme example1 ,tintoretto1 by many renderings1 have made the ,last ,supper peculiarly their own in the domain of art4 ,it shows how strongly the mystic strain entered into the man's character1 that often as ,tintoretto treated the subject1 it never lost its interest for him1 and he never failed to find a fresh point of view4 ,in that in ,s4 ,polo1 ,christ offers the sacred food with a gesture of vehement generosity4 ,placed as the picture is1 to appeal to all comers to the ,mass1 to afford them a welcome as they pass to the ,high ,altar1 it tells of the ,bread of ,life given to all mankind4 ,tintoretto himself1 painted in the character of ,s4 ,paul1 stands at one side1 absorbed in meditation4 ,we need not insist again on the emotional value of the deep colours1 the rich creams and crimsons and the chiaroscuro4 ,in his latest rendering1 in ,s4 ,giorgio ,maggiore1 he touches his highest point in symbolical treatment4 ,some people are only able to see a theatrical1 artificial spirit in this picture1 but at least1 when we consider what deep meditation ,tintoretto had bestowed on his subjects1 we may believe that he himself was sincere and that he let himself go over what commended itself as an entirely new rendering4 ,the ,light shined in the ,darkness1 and the ,darkness comprehended it not4 ,the supernatural is entering on every side1 but the feast goes on2 the serving men and maids busy themselves with the dishes2 the disciples are inquiring1 but not agitated2 none see that throng of heavenly visitants1 pouring in through the blue moonlight1 called to their ,master's side by the supreme significance of ,his words4 ,the painter has taken full advantage of the opportunity of combining the light of the cresset lamp1 pouring out smoky clouds1 with the struggling moonlight and the unearthly radiance1 in divers1 yet mingling streams which fight against the surrounding gloom4 ,in the scene in the ,scuola di ,s4 ,rocco the betrayal is the dominating incident1 and in ,san ,stefano all is peace1 and the ,saviour is alone with the faithful disciples4 ,illustration3 ,tintoretto4 ,,bacchus ,,and ,,ariadne4 ,ducal ,palace1 ,venice4 7,photo1 ,anderson47 ,though several of the large compositions ascribed to ,tintoretto in the ,ducal ,palace are only partly by him1 or entirely by followers and imitators1 its halls are still a storehouse of his genius4 ,there is much that is fine about the great state pieces4 ,in the ,marriage of ,st4 ,catherine1 the saint1 in silken gown and long transparent veil1 is an exquisite figure4 ,tintoretto bathes all his pageantry in golden light and air1 and yet we feel that these huge official subjects1 with the prosaic old ,doges introduced in incongruous company1 neither stimulated his imagination nor satisfied his taste4 ,it is on the smaller canvases that he finds inspiration4 ,he never painted anything more lovely1 more perfect in design1 or more gay and tender in idea1 than the cycle in the ,ante-,collegio4 ,the glowing light and exquisitely graded shadows upon ivory limbs have a sensuous perfection and a refined1 unselfconscious joy such as is felt in hardly any other work1 except the painter's own ,milky ,way in the ,national ,gallery4 ,in all these four pictures the feeling for design1 a branch of art in which ,tintoretto was past master1 is fully displayed4 ,in the ,bacchus and ,ariadne all the principal lines1 the eyes and gestures1 converge upon the tiny ring which is the symbol of union between the goddess and her lover1 between the queenly city and the ,adriatic sea4 ,or take ,pallas driving away ,mars3 see how the mass into which the figures are gathered on the left adds strength to the thrust of the goddess's arm1 and what steadiness is given by that short straight lance of hers1 coming in among all the yielding curves4 ,the whole four are linked together in meaning3 the call to ,venice to reign over the seas1 her triumphant peace1 with ,wisdom guiding her council1 and her warriors forging arms in case of need4 ,in conjunction with these pictures are two small ones in the chapel1 hardly less beautiful--,st4 ,george with ,st4 ,margaret1 and ,,ss4 ,andrew and ,jerome4 ,it is difficult to say whether the exultant ,st4 ,george1 the dignified young bishop1 or the two older saints are the more sympathetic creations1 or the more admirable1 both in drawing and colour4 ,the sense of space in both settings is an added charm1 and every scrap of detail1 the leafy boughs1 the cross and crozier1 is important to the composition4 ,there are many other striking examples1 ranging all through ,tintoretto's life1 of his untiring imagination4 ,in the ,salute is that ,marriage of ,cana1 in which all the actors seem to swim in golden light4 ,the sharp silhouettes bring out an effect of radiant sunshine with which the hall is flooded1 and all the architectural lines lead our eyes towards the central figure1 placed at a distance4 ,on that long canvas in the ,academy1 kneel the three treasurers1 pouring out their gold and bending in homage before the ,madonna and ,child1 who sit enthroned upon a broad piazza1 through the marble pillars of which a blue and distant landscape shines4 ,grave senators in mulberry velvet and ermine kneel before the ,child1 or hold counsel on ,paduan affairs under the patronage of ,s4 ,giustina4 ,the ,crucifixion 7in ,s4 ,cassiano7 is another triumph of the painter's imaginative conception4 ,the bold lines of the crosses1 the ladder1 and the figures detach against a glorious sky1 and the presence of the moving1 murmuring throng1 of which1 by the placing of the line of sight1 the spectator is made to form a part1 is conveyed by the swaying and crossing of the lances borne by the armed men who keep the ground4 ,there is a series1 too1 which deals with the ,magdalen4 ,she mourns her dead in that solemn1 restrained ,entombment1 where the enfolding shadows frame the cross against the sad dawn1 which adorns the mortuary chapel of ,s4 ,giorgio ,maggiore2 and the ,piet in the ,brera1 the long lines of which add to the impression of tender repose1 has its peace broken by the passionate cry of the woman who loved much4 ,tintoretto's ideas are exhaustless2 he can paint the same scene in a dozen different ways1 and1 in fact1 the book of sketches lately acquired by the ,british ,museum shows as many as thirty trials dashed off for one subject1 and after all he uses one composed for something quite different4 ,it is this habit of throwing off red-hot essays1 fresh from his brain1 that has led to the common but superficial judgment that ,tintoretto was merely a great improvisatore1 whose successes came more or less by good luck4 ,he could1 indeed1 paint pictures at a pace at which many great masters could only sketch1 but he had already designed and considered and rejected1 doing with oil1 ink1 and paper what many of his contemporaries did mentally4 ,such achievements as the ,ante-,collegio cycle1 the ,house of ,martha and ,mary1 the ,marriage of ,cana1 the ,temptation of ,s4 ,anthony1 to name only a few1 show a finish and perfection and a balance of design which preclude the idea of their being lightly painted pictures4 ,when he was actually engaged1 ,tintoretto let himself go with impetuous ardour1 but we may feel assured he left nothing to chance1 though he had his own way of making sure of the result4 ,it is strange to hear people1 as one does now and then1 talking of the ,paradiso as a splendid failure4 ,it may be granted that the subject is an impossible one for human art to realise1 yet when all allowance has been made for a lamentable amount of drying and blackening1 it is difficult to agree that ,ruskin was all wrong in his admiration of that thronging multitude1 ordered and disciplined by the tides of light and shadow1 which roll in and out of the masses1 resolving them into groups and single figures of almost matchless beauty and melting away into a sea of radiant ther1 which tells us of the boundless space which surrounds the serried ranks of the ,blessed4 ,tintoretto was seventy-eight when it was allotted to him1 and it was the last great effort of his mind and hand4 ,studies for it are preserved both at the ,louvre and at ,madrid1 and it is evident that the painter has framed it upon the thought of ,dante's mystic rose4 ,the circles and many of the figures can be traced in the poem1 and the idea of the ,eternal ,light streaming through the leaves of the rose dominates the composition4 ,it is appropriate that it should have been his last great work1 as it was also the greatest attempt at composition ever made by a master of the ,venetian ,school4 ,there is no room here to study ,tintoretto as a painter of battlepieces1 though from the time he painted the ,battle of ,lepanto1 for the ,council of ,ten1 he often returned to such subjects4 ,his two series for the ,gonzaga included several1 and the ,ducal ,palace still possesses examples4 ,the impetuosity of his style stood him in good stead1 and he never fails to bring in graceful and striking figures4 ,his portraits are hardly equal to ,titian's intellectual grasp or fine-grained colour1 but they are extraordinarily characteristic4 ,he prefers to paint men rather than women1 and he painted hundreds--all the great persons of his time who lived in and visited ,venice4 ,the ,venetian portrait by this time was expected to be more than a likeness and more than a problem4 ,it was to please the taste as a picture1 to interest and to satisfy criticism4 ,tintoretto1 like ,lotto1 gets behind the scenes1 and we see some mood1 some aspect of the sitter that he hardly expected to show4 ,his penetration is not equal to ,lotto's1 but he deals with his sitters with an observation which pierces below the surface4 ,in criticising ,tintoretto1 men seem often unable to discriminate between the turgid and melodramatic1 and the spontaneous and temperamental4 ,the first all must abhor1 but the last is sincere and deserves to be respected4 ,it is by his best that we must judge a man1 and taking his best and undoubtedly authentic work1 no one has left a larger amount which will stand the test of criticism4 ,as an exponent of lofty and elevated central ideas1 which unify all parts of his composition1 ,tintoretto stands with the greatest imaginative minds4 ,the intellectual side of life was exemplified in ,florentine art1 but the ,renaissance would have been a one-sided development if there had not arisen a body of men to whom emotion and the gift of sensuous apprehension seemed of supreme value1 and at the very last there arose with him one who1 to their philosophy of feeling and the mastery of their chosen medium1 added the crowning glory of the imaginative idea4 ,,principal ,,works ,augsburg4 ,christ in the ,house of ,martha and ,mary4 ,berlin4 ,portraits2 ,madonna and ,saints2 ,luna and the ,hours2 ,procurator before ,s4 ,mark4 ,dresden4 ,lady in ,black2 ,the ,rescue2 ,portraits4 ,florence4 ,pitti3 ,portraits of ,men2 ,luigi ,cornaro2 ,vincenzo ,zeno4 ,uffizi3 ,portrait of ,himself2 ,admiral ,venier2 ,portrait of ,old ,man2 ,jacopo ,sansovino2 ,portrait4 ,hampton ,court4 ,esther before ,ahasuerus2 ,nine ,muses2 ,portrait of ,dominican2 ,knight of ,malta4 ,london4 ,s4 ,george and the ,dragon2 ,christ washing ,feet of ,disciples2 ,origin of ,milky ,way4 ,bridgewater ,house3 ,entombment2 ,portrait4 ,madrid4 ,battle on ,land and ,sea2 ,solomon and the ,queen of ,sheba2 ,susanna and the ,elders2 ,finding of ,moses2 ,esther before ,ahasuerus2 ,judith and ,holofernes4 ,milan4 ,brera3 ,s4 ,helena1 ,saints and ,donors2 ,finding of the ,body of ,s4 ,mark 7,e474 ,paris4 ,susanna and the ,elders2 ,sketch for ,paradise2 ,portrait of ,himself4 ,rome4 ,capitol3 ,baptism2 ,ecce ,homo2 ,the ,flagellation4 ,colonna3 ,adoration of the ,holy ,spirit2 ,old ,man playing ,spinet2 ,portraits4 ,turin4 ,the ,trinity4 ,venice4 ,academy3 ,s4 ,giustina and ,three ,senators2 ,madonna with ,saints and ,treasurers1 #aeff2 ,portraits of ,senators2 ,deposition2 ,jacopo ,soranzo1 #aefd 7still attributed to ,titian72 ,andrea ,capello 7,e472 ,death of ,abel2 ,miracle of ,s4 ,mark1 #aedh2 ,adam and ,eve2 ,resurrected ,christ blessing ,three ,senators2 ,madonna and ,portraits2 ,crucifixion2 ,resurrection2 ,presentation in ,temple4 ,palazzo ,ducale3 ,doge ,mocenigo commended to ,christ by ,s4 ,mark2 ,doge da ,ponte before the ,virgin2 ,marriage of ,s4 ,catherine2 ,doge ,gritti before the ,virgin4 ,ante-,collegio3 ,mercury and ,three ,graces2 ,vulcan's ,forge2 ,bacchus and ,ariadne2 ,pallas resisting ,mars1 abt4 #aegh4 ,ante-room of ,chapel3 ,,ss4 ,george1 ,margaret1 and ,louis2 ,,ss4 ,andrew and ,jerome4 ,senato3 ,s4 ,mark presenting ,doge ,loredano to the ,virgin4 ,sala ,quattro ,porte3 ,ceiling4 ,ante-room3 ,portraits2 ,ceiling1 ,doge ,priuli with ,justice4 ,passage to ,council of ,ten3 ,portraits2 ,nobles illumined by ,holy ,spirit4 ,sala del ,gran ,consiglio3 ,paradise1 #aeij4 ,sala dello ,scrutino3 ,battle of ,zara4 ,palazzo ,reale3 ,transportation of ,body of ,s4 ,mark2 ,s4 ,mark rescues a ,shipwrecked ,saracen2 ,philosophers4 ,giovanelli ,palace3 ,battlepiece2 ,portraits4 ,s4 ,cassiano3 ,crucifixion2 ,christ in ,limbo2 ,resurrection4 ,s4 ,giorgio ,maggiore3 ,last ,supper2 ,gathering of ,manna2 ,entombment 7in ,mortuary ,chapel74 ,s4 ,maria ,mater ,domini3 ,finding of ,true ,cross4 ,s4 ,maria dell' ,orto3 ,last ,judgment 7,e472 ,golden ,calf 7,e472 ,presentation of ,virgin 7,e472 ,martyrdom of ,s4 ,agnes4 ,s4 ,polo3 ,last ,supper2 ,assumption of ,virgin4 ,s4 ,rocco3 ,annunciation2 ,pool of ,bethesda2 ,s4 ,roch and the ,beasts2 ,s4 ,roch healing the ,sick2 ,s4 ,roch in ,campo d' ,armata2 ,s4 ,roch consoled by an ,angel4 ,scuola di ,s4 ,rocco3 ,lower ,hall1 all the paintings on wall4 ,staircase3 ,visitation4 ,upper ,hall3 all the paintings on walls and ceiling4 ,refectory3 ,crucifixion1 #aefe2 ,christ before ,pilate2 ,ecce ,homo2 ,way to ,golgotha2 ,ceiling1 #aefj4 ,salute3 ,marriage of ,cana1 #aefa2 ,martyrdom of ,s4 ,stephen4 ,s4 ,silvestro3 ,baptism4 ,s4 ,stefano3 ,last ,supper2 ,washing of ,feet2 ,agony in ,garden4 ,s4 ,trovaso3 ,temptation of ,s4 ,anthony4 ,vienna4 ,susanna and the ,elders2 ,sebastian ,venier2 ,portraits of ,procurators1 ,senators1 and ,men 7fifteen in all72 ,old ,man and ,boy2 ,portrait of ,lady4 ,,chapter ,,xxvii ,,bassano ,we wonder how many of those sightseers who pass through the ,ante-,collegio in the ,ducal ,palace1 and stare for a few moments at ,tintoretto's famous quartet and at ,veronese's ,rape of ,europa1 turn to give even such fleeting attention to the long1 dark canvas which hangs beside them1 ,jacob's ,journey into ,canaan1 by ,jacopo da ,ponte1 called ,bassano4 ,yet from the position in which it is placed the visitor might guess that it is considered to be a gem1 and it gains something in interest when we learn from ,zanetti that it was ordered by ,jacopo ,contarini at the same time as the ,rape of ,europa1 as if the great connoisseur enjoyed contrasting ,veronese's light1 gay style with the vigorous brush of da ,ponte4 ,if attention is arrested by the beauty of the painting1 and the visitor should be inspired to seek the painter in his native city1 he will be well repaid4 ,bassano once held an important position on the main road between ,italy and ,germany1 but since the railroad was made across the ,brenner ,pass1 few people ever see the little town which lies cradled on the spurs of the ,italian ,alps1 where the gorge of ,valsugana opens4 ,it is surrounded by chestnut woods1 which sweep up to the blue mountains1 the wide ,brenta flows through the town1 and the houses cluster high on either side1 and have gardens and balconies overhanging the water4 ,the faades of many of the houses are covered with fading frescoes1 relics of da ,ponte's school of fresco-painters1 which1 though they are fast perishing1 still give a wonderful effect of warmth and colour4 ,jacopo da ,ponte was the son and pupil of his father1 ,francesco1 who in his day had been a pupil of the ,vicentine1 ,bartolommeo ,montagna4 ,francesco da ,ponte's best work is to be found at ,bassano1 in the cathedral and the church of ,san ,giovanni1 and has many of the characteristics1 such as the raised pedestal and vaulted cupola1 which we have noticed that ,montagna owed to the ,vivarini4 ,francesco's son went when very young to ,venice1 and was there thrown at once among the artists of the lagoons1 and attached himself in particular to ,bonifazio4 ,in ,jacopo's earliest work1 now in the ,museum at ,bassano1 a ,flight into ,egypt1 ,bonifazio's tuition is markedly discernible in the build of the figures and1 above all1 in the form of the heads4 ,a comparison of the very peculiarly shaped head of the ,virgin in this picture with that of the ,venetian lady in ,bonifazio's ,rich ,man's ,feast1 in the ,venetian ,academy1 leaves us in no doubt on this score4 ,jacopo's ,adulteress before ,christ and the ,three in the ,fiery ,furnace have ,bonifazio's manner in the architecture and the staging of the figures4 ,only five examples are known of this early work of da ,ponte1 and it is all in ,bonifazio's lighter style1 not unlike his ,holy ,family in the ,national ,gallery4 ,the house in which the painter lived when he returned to his native town1 still stands in the little ,piazza ,monte ,vecchio1 and its whole faade retains the frescoes1 mouldy and decaying1 with which he decorated it4 ,the design is in four horizontal bands4 ,first comes a frieze of children in every attitude of fun and frolic4 ,then follows a long range of animals--horses1 oxen1 and deer4 ,musical instruments and flowers make a border1 with allegorical representations of the arts and crafts filling the spaces between the windows4 ,the principal band is decorated with ,scriptural subjects1 most of which are now hardly discernible1 but which represent ,samson slaying the ,philistines1 ,the ,drunkenness of ,noah1 ,cain and ,abel1 ,lot and his ,daughters1 and ,judith with the ,head of ,holofernes4 ,between the two last there formerly appeared a drawing of a dead child1 with the motto1 ,mors omnia aequat1 which was removed to the ,museum in #ahhc1 in comparatively good preservation4 ,jacopo da ,ponte lived a busy life at ,bassano1 where1 with the help of his four sons1 who were all painters1 he poured out an inexhaustible stream of works1 which1 it is said1 were put up to auction at the neighbouring fairs1 if no other market was forthcoming4 ,from time to time he and his sons went down to ,venice1 and with the help of the eldest1 ,francesco1 ,bassano 7as he is generally known7 painted the ,siege of ,padua and five other works in the ,ducal ,palace4 ,his mature style was founded mainly upon that of ,titian1 and it is to this second manner that he owes his fame4 ,he makes use of fewer colours1 and enhances his lights by deepening and consolidating his shadows1 so that they come into strong contrast1 and his technique gains a richer impasto4 ,he has a marvellous faculty for keeping his colour pure1 and his greens shine like a beetle's wing4 ,a nature-lover in the highest degree1 his painting of animals and plants evinces a mind which is steeped in the magic of outdoor life4 ,a subject of which he was particularly fond1 and which he seems to have undertaken for half the collectors of ,europe1 was the ,four ,seasons4 ,here was found united everything that ,bassano most loved to paint3 beasts of the farmyard and countryside1 agriculturists with their implements1 scenes of harvest-time and vintage1 rough peasants leading the plough1 cutting the grass1 harvesting the grain1 young girls making hay1 driving home the cattle1 taking dinner to the reapers4 ,when he was obliged to paint for churches he chose such subjects as the ,adoration of the ,shepherds1 the ,sacrifice of ,noah1 the ,expulsion from the ,temple1 into which he could introduce animals1 painting them with such vigour and such forcible colour that ,titian himself is said to have had a copy hanging in his studio4 ,he loved to paint his daughters engaged in household tasks1 and perhaps placed his figures with rather too obvious a reference to light and shade1 and to the sun striking full on sunburnt cheeks and buxom shoulders4 ,a friend1 not a rival1 of ,veronese and ,tintoretto1 ,gianbattista ,volpado1 records that when he was one day discussing contemporary painters with the latter1 ,tintoretto exclaimed1 ,ah1 ,jacopo1 if you had my drawing and ,i had your colour ,i would defy the devil himself to enable ,titian1 ,raphael1 and the rest to make any show beside us4 ,bassano was invited to take up his residence at the ,court of the ,emperor ,rudolph1 but he refused to leave his mountain city1 where he died in #aeib4 ,his funeral was attended by a crowd of the poorest inhabitants1 for whom his charity had been boundless4 ,the ,journey of ,jacob1 to which we have already alluded1 is among his most beautiful works4 ,the brilliant array of figures is subordinated to the charm of the landscape4 ,the evening dusk draws all objects into its embrace4 ,the long1 low1 deep-blue distance stands out against a gleam of sunset sky4 ,the tree-trunks and light play of leafy branches1 which break up the composition1 are from da ,ponte's own country round ,bassano4 ,the pony upon which the boy scrambles1 the cows1 the dog among the quiet sheep1 are given with all the loving truth of the born animal-painter4 ,it is no wonder that ,teniers borrowed ideas from him1 and has more than once imitated his whole design4 ,the ,baptism of ,st4 ,lucilla 7in the ,museum at ,bassano7 is one of his most ,titianesque creations4 ,the personages in it are grouped upon a flight of steps1 in front of a long ,renaissance palace with cypresses against a sky of evening-red barred with purple clouds4 ,the drawing and modelling of the figures are almost faultless1 and the colour is dazzling4 ,the bending figure of ,s4 ,lucilla1 with the light falling on her silvery satin dress1 as she kneels before the young bishop1 ,st4 ,valentine1 is one of the most graceful things in art1 and ,titian himself need not have disowned the little angels1 bearing palm branches and frolicking in the stream of radiance overhead4 ,bassano has a ,concert1 which is interesting as a family piece4 ,it was painted in the year in which his son ,leandro's marriage took place1 and is probably a bridal painting to celebrate the event4 ,the ,magistrates in ,adoration 7,vicenza7 again gives a brilliant effect of light1 and its stately ceremonial is founded on ,tintoretto's numerous pictures of kneeling doges and procurators in fur-trimmed velvet robes4 ,illustration3 ,jacopo da ,ponte4 ,,baptism ,,of ,s4 ,,lucilla4 ,bassano4 7,photo1 ,alinari47 ,madonnas and saints are usually built into close-packed pyramids1 but in the ,repose in ,egypt1 now in the ,ambrosiana1 ,milan1 his arrangement comes very close to ,palma and ,lotto4 ,the beautiful ,mother and ,child1 the attendants1 above all the ,st4 ,joseph1 resting1 head on hand1 at the ,virgin's feet and gazing in rapt adoration on the ,child1 are examples of the true ,venetian manner1 while the exquisite landscape behind them1 and the vigorously drawn tree under which they recline1 show ,bassano true to his passion for nature4 ,hampton ,court is rich in his pictures4 ,the ,adoration of the ,shepherds1 in which the pillars rise behind the sacred group1 is an exercise in the manner of ,titian's ,frari altarpiece4 ,his portraits are fine and sympathetic1 but hardly any of them are signed or can be dated4 ,his own is in the ,uffizi1 and there is a splendid ,old ,man at ,buda-,pesth4 ,ariosto and ,tasso1 ,sebastian ,venier1 and many other distinguished men were among his sitters2 most of them are in half-length with three-quarter heads4 ,the ,national ,gallery possesses a singularly attractive one of a young man with a sensitive1 acute countenance1 robed in dignified1 picturesque black1 relieved by an embroidered linen collar4 ,he stands by the sort of square window1 opening on a distant landscape1 of which ,tintoretto and ,lotto so often made use1 in front of which a golden vase1 holding a branch of olive1 catches the rays of light4 ,bassano has no great power of design1 and his knowledge of the nude seems to have been small1 but his brushwork is facile1 and his colour leaps out with a vivid beauty which obliterates other shortcomings4 ,,principal ,,works ,augsburg4 ,madonna and ,saints4 ,bassano4 ,susanna and ,elders 7,e472 ,christ and ,adulteress 7,e472 ,the ,three ,holy ,children 7,e472 ,madonna1 ,saints1 and ,donor 7,e472 ,flight into ,egypt 7,e472 ,paradise2 ,baptism of ,s4 ,lucilla2 ,adoration of ,shepherds2 ,st4 ,martin and the ,beggar2 ,st4 ,roch recommending ,donor to ,virgin2 ,st4 ,john the ,evangelist adored by a ,warrior2 ,descent of ,holy ,spirit2 ,madonna in ,glory1 with ,saints 7,l474 ,duomo3 ,s4 ,lucia in ,glory2 ,martyrdom of ,s4 ,stephen 7,l472 ,nativity4 ,s4 ,giovanni3 ,madonna and ,saints4 ,bergamo4 ,carrara3 ,portrait4 ,lochis3 ,portraits4 ,cittadella4 ,duomo3 ,christ at ,emmaus4 ,dresden4 ,israelites in ,desert2 ,moses striking ,rock2 ,conversion of ,s4 ,paul4 ,hampton ,court4 ,portraits2 ,jacob's ,journey2 ,boaz and ,ruth2 ,shepherds 7,e472 ,christ in ,house of ,pharisee2 ,assumption of ,virgin2 ,men fighting ,bears2 ,tribute ,money4 ,london4 ,portrait of ,man2 ,christ and the ,money-,changers2 ,good ,samaritan4 ,milan4 ,ambrosiana3 ,adoration of ,shepherds 7,e472 ,annunciation to ,shepherds 7,l474 ,munich4 ,portraits2 ,s4 ,jerome2 ,deposition4 ,padua4 ,s4 ,maria in ,vanzo3 ,entombment4 ,paris4 ,christ bearing ,cross2 ,vintage 7,l474 ,rome4 ,villa ,borghese3 ,last ,supper2 ,the ,trinity4 ,venice4 ,academy3 ,christ in ,garden2 ,a ,venetian ,noble2 ,s4 ,elenterino blessing the ,faithful4 ,ducal ,palace1 ,ante-,collegio3 ,jacob's ,journey4 ,s4 ,giacomo dell' ,orio3 ,madonna and ,saints4 ,vicenza4 ,madonna and ,saints2 ,madonna2 ,st4 ,mark and ,senators4 ,vienna4 ,the ,good ,samaritan2 ,thomas led to the ,stake2 ,adoration of ,magi2 ,rich ,man and ,lazarus2 ,the ,lord shows ,abraham the ,promised ,land2 ,the ,sower2 ,a ,hunt2 ,way to ,golgotha2 ,noah entering the ,ark2 ,christ and the ,money-,changers2 ,after the ,flood2 ,saints2 ,adoration of ,magi2 ,portraits2 ,christ bearing ,cross4 ,academy3 ,deposition2 ,portrait4 ,,part ,,iii ,,chapter ,,xxviii ,,the ,,interim ,many of the churches and palaces of ,venice and the adjoining mainland1 and almost every public and private gallery throughout ,europe1 contain pictures purporting to be painted by ,titian1 ,tintoretto1 ,veronese1 and others of that famous company4 ,hardly a great ,english house but boasts of a round dozen at least of such specimens1 acquired in the days when rich ,englishmen made the grand tour and substantiated a reputation for taste and culture by collecting works of art4 ,these pictures resemble the genuine article in a specious yet half-hearted way4 ,their owners themselves are not very tenacious as to their authenticity1 and the visit of an expert1 or the ordeal of a public exhibition tears their pretensions to tatters4 ,in the ,academia itself the ,bonifazio and ,tintoretto rooms are crowded with imitations4 ,the ,ducal ,palace has ceilings and panels on which are reproduced the kind of compositions initiated by the great artists1 which make an effort to capture their gamut of colour and to master their scheme of chiaroscuro1 copying them1 in short1 in everything except in their inimitable touch and fire and spirit4 ,it would have been impossible for any men1 however industrious and prolific1 to have carried out all the work which passes under their names1 to say nothing of that which has perished2 but our surprise and curiosity diminish when we come to inquire systematically into the methods of that host of copyists which1 even before the masters' death1 had begun to ply its lucrative trade4 ,we must bear in mind that every great man was surrounded by busy and attentive satellites1 helping him to finish and1 indeed1 often painting a large part of important commissions1 witnesses of the high prices received1 and alive to all the gossip as to the relative popularity of the painters and the requests and orders which reached them from all quarters4 ,the painters' own sons were in many instances those who first traded upon their fathers' fame4 ,from ,ridolfi1 ,zanetti1 or ,boschini we learn of the many paintings executed by ,carlotto ,caliari and the vast numbers painted by ,domenico ,robusti in the style of their respective fathers4 ,domenico seems to have particularly affected the subject of ,st4 ,george and the ,dragon1 and the picture at ,dresden1 which passes under ,tintoretto's name1 is perhaps by his hand4 ,of ,bassano's four sons1 ,francesco imitated his father perfectly1 conserving his warmth of tint1 his relief and breadth4 ,zanetti enumerates a surprising number of ,francesco's works1 seven of them being painted for the ,ducal ,palace4 ,leandro followed more particularly his father's first manner1 was a good portrait-painter1 and possessed lightness and fancy4 ,girolamo copied and recopied the old ,bassano till he even deceived connoisseurs1 how much more1 says ,zanetti1 writing in #agga1 those of the present day1 who behold them harmonised and accredited by time4 ,no school in ,venice was so beloved1 or lent itself so well to the efforts of the imitators1 as that of ,paolo ,veronese4 ,even at an early date it was impossible not to confound the master with the disciples2 the weaker of the originals were held to be of imitators1 the best imitations were assigned to the master himself4 ,oh how easy it is1 exclaims ,zanetti again1 to make mistakes about ,veronese's pictures1 but ,i can point out sundry infallible characteristics to those who wish for light upon this doubtful path2 the fineness and lightness of the brushwork1 the sublime intelligence and grace1 shown particularly in the form of the heads1 which is never found in any of his imitators4 ,few ,venetians1 however1 followed the style of only one man2 the output was probably determined and varied by the demand4 ,too many attractive manners existed to dazzle them1 and when once they began to imitate1 they were tempted on all hands4 ,it must also be remembered that every master left behind him stacks of cartoons1 sketches and suggestions1 and half-finished pictures1 which were eagerly seized upon1 bought or stolen1 and utilised to produce masterpieces masquerading under his name4 ,as the seventeenth century advanced the character of art and manners underwent a change4 ,men sought the beautiful in the novel and bizarre1 and the complex was preferred to the simple4 ,venetian art1 in all its branches1 had passed from the stately and restrained to the pompous and artificial4 ,yet the barocco style was used by ,venice in a way of its own2 whimsical1 contorted1 and overloaded with ornament as it is1 it yet compels admiration by its vigorous life and movement4 ,the art of the sei-cento in ,venice was extravagant1 but it was alive4 ,it escaped the most deadly of all faults1 a cold and academic mannerism--and this at a time when the rest of ,italy was given over to the inflated followers of ,michelangelo and the calculated elaborations of the eclectics4 ,many of the things we most love in ,venice1 such as the ,salute1 the ,clock-,tower1 the ,dogana1 the ,bridge of ,sighs1 the ,rezzonico and ,pesaro ,palaces1 are additions of the seventeenth century4 ,the barocco intemperance in sculpture was carried on by disciples of ,bernini2 and as the immediate influence of the great masters declined1 painting acquired the same sort of character4 ,the carelessness and rapidity of ,tintoretto1 which1 in his case1 proceeded from the lightning speed of his imagination and the unerring sureness of his brush1 became a mechanical trick in the hands of superficial students4 ,true art had migrated elsewhere--to the homes of ,velasquez1 ,rubens1 and ,rembrandt4 ,as art grew more pompous it became less emotional4 ,painters like ,palma ,giovine spoilt their ready1 lively fancy by the vice of hurry4 ,the nickname of ,fa ,presto was deserved by others besides ,luca ,giordano1 and ,venice was overrun by a swarm of painters whose prime standard of excellence was the ability to make haste4 ,grandeur of conception was forgotten2 a grave1 ample manner was no longer understood2 superficial sentiment and bombastic size carried the day4 ,yet a few painters1 though their forms had become redundant and exaggerated1 retained something of what had been the ,venetian glory--the deep and moist colour of old4 ,it still glowed with traces of its old lustre on the canvases of ,giovanni ,contarini1 or ,tiberio ,tinelli1 or ,pietro ,liberi2 and though there was a perfect fury of production1 without order and without law1 there can still be perceived the survival of that sense of the decorative which kept the thread of art4 ,we discover it in the ceiling of the ,church of ,san ,pantaleone1 where ,gianbattista ,fumiani paints the glorification of the martyred patron1 and which1 fantastic and extravagant as it is1 with its stupendous1 architectural setting1 and its acutely1 almost absurdly foreshortened throng1 is not without a certain grandiose geniality1 ample and picturesque1 like the buildings of that date4 ,in ,alessandro ,varotari 7il ,padovanino71 whose ,nozze di ,cana in the ,academia is a finely spaced scene1 in which a charming use is made of cypresses1 we seem to recognise the last ray of the ,titianesque4 ,the painting of the seventeenth century passed on towards the eighteenth1 and1 from ceilings and panels1 rosy nymphs and ,venuses smile at us1 attitudinising and contorted upon their cloudy backgrounds4 ,lackadaisical ,magdalens drop sentimental tears1 and the ,angel of the ,annunciation capers above the head of an affected ,virgin1 while violent colours1 intensified chiaroscuro1 and black greasy impasto betray the neighbourhood of the tenebrosi4 ,when1 towards the end of the seventeenth century1 ,gregorio ,lazzarini set himself to shake off these influences1 he went to the opposite extreme4 ,although a beautiful designer1 he becomes cold and flat in colour1 with a coldness and insipidity1 indeed1 that take us by surprise1 appearing in a country where the taste for luminous and brilliant tints was so strongly rooted4 ,the student of ,venetian painting1 who wishes to fill up the hiatus which lies between the ,golden ,age and the revival of the eighteenth century1 cannot do better than compare ,fumiani's vault in ,san ,pantaleone with ,lazzarini's sober and earnest fresco1 ,the ,charity of ,san ,lorenzo ,giustiniani1 in ,san ,pietro in ,castello1 and with ,pietro ,liberi's ,battle of the ,dardanelles in the ,ducal ,palace4 ,in all three we have examples of the varied and accomplished yet soulless art of this period4 ,not many of the scenes painted for the palaces of patricians in the seventeenth century have survived4 ,they are to be found here and there by the curious who wander into old churches and palaces with a second-hand copy of ,boschini in their hands2 but in the reaction from the florid which took place in the ,empire period1 many of them gave place to whitewash and stucco4 ,in the ,ducal ,palace1 side by side with the masterpieces of the ,renaissance1 are to be found the overcrowded canvases of ,vicentino1 ,giovanni ,contarini1 ,pietro ,liberi1 ,celesti1 and others like them4 ,some of the poor and meretricious mosaics in ,st4 ,mark's are from designs by ,palma ,giovine and ,fumiani4 ,carlo ,ridolfi1 who was a painter himself1 as well as the painter's chronicler1 has an ,adoration of the ,magi in ,s4 ,giovanni ,elemosinario1 poor enough in invention and execution4 ,two pictures by obscure artists disfigure a corner of the ,scuola di ,san ,rocco4 ,the ,museo ,civico has a large canvas by ,vicentino1 a ,coronation of a ,dogaressa1 which once adorned ,palazzo ,grimani4 ,we hear of a school opened by ,antonio ,balestra1 who was the master of ,rosalba ,carriera and ,pietro ,longhi1 and the names of others have come down to us in numbers too numerous to be quoted4 ,towards the end of the seventeenth century more light and novelty sparkles in the painting of the ,bellunese1 ,battista ,ricci1 and assures us that he was no mere copyist2 and1 as the eighteenth century opens1 we become aware of the strong and daring brush of ,gianbattista ,piazetta4 ,piazetta studied the works of the ,carracci for some time in ,bologna1 and especially those of ,guercino1 whose style1 with its bold contrasts of light and shade1 has served above all as his model4 ,he paints very darkly1 and his figures often blend with and disappear into the profound tones of his backgrounds4 ,charles ,blanc calls him a ,venetian ,caravaggio2 and he has something of the strength and even the brutality of the ,bolognese4 ,a fine decorative and imaginative example of his work is the ,madonna appearing to ,s4 ,philip ,neri in the ,church of ,s4 ,fava4 ,the erect form of the ,madonna is relieved in striking chiaroscuro against the mantle1 upheld by putti4 ,radiant clouds light up the background and illumine the form of the old saint1 a refined and spirited figure1 gazing at the vision in an ecstasy of devotion4 ,piazetta is a bold realist1 and many of his small pictures are strong and forcible4 ,sebastiano ,ricci1 ,battista's son1 is described as a fine intelligence1 and attracts our notice as having forged special links with ,england4 ,hampton ,court possesses a long array of his paintings4 ,in the chapel of ,chelsea ,hospital the plaster semi-dome is painted by him1 in oils1 with very good effect4 ,he is said to have worked in ,thornhill's studio1 and his influence may be suspected in the ,blenheim frescoes1 and even in touches in ,hogarth's work4 ,by the eighteenth century ,venice had parted with her old nobility of soul1 and enjoyment had become the only aim of life4 ,yet ,venice1 among the ,states of ,italy1 alone retained her freedom4 ,the ,doge reigned supreme as in the past4 ,beneath the ceiling of ,veronese the dreaded ,three still sat in secret council4 ,venice was still the city of subtle poisons and dangerous mysteries1 but the days were gone when she had held the balance in ,european affairs1 and she had become1 in a superlative degree1 the city of pleasure4 ,nowhere was life more varied and entertaining1 more full of grace and enchantment4 ,a long period of peace had rocked the ,venetian people into calm security4 ,there was1 indeed1 a little spasmodic fighting in ,corf1 ,dalmatia1 and ,algiers1 but no real share was retained in the struggles of ,europe4 ,the whole policy of the city's life was one of self-indulgence4 ,holiday-makers filled her streets2 the whole population lived in piazza1 laughing1 gossiping1 seeing and being seen4 ,the very churches had become a rendezvous for fashionable intrigues2 the convents boasted their salons1 where nuns in low dresses1 with pearls in their hair1 received the advances of nobles and gallant abbs4 ,people came to ,venice to waste time2 trivialities1 the last scandal1 sensational stories1 were the only subjects worth discussing4 ,in an age of parodies and practical jokes1 the more absurd any one could be1 the more silly or witty stories he could tell1 the more assured was his success in the joyous1 frivolous circle1 full of fun and laughter4 ,the ,carnival lasted for six months of the year1 and was the occasion for masques and licence of every description4 ,in the hot weather1 the gay descendants of the ,contarini1 the ,loredan1 the ,pisani1 and other grand old houses1 migrated to villas along the ,brenta1 where by day and night the same reckless1 irresponsible life went gaily on4 ,the power of such courtesans as ,titian and ,paris ,bordone had painted was waning4 ,their place was adequately supplied by the easy dames of society1 no longer secluded1 proud and tranquil1 but stirred by the wild blood of youth and stooping to the frolic4 ,they are but faces and smiles1 teasing and trumpery1 says one of their critics1 yet they are declared to be wideawake1 natural and charming1 making the most of their smattering of letters4 ,love was the great game2 every woman had lovers1 every married woman openly flaunted her cicisbeo or cavaliere servente4 ,the older portion of the middle class was still moderate and temperate1 contented to live in the old fashion1 eschewing all interest in politics1 with which it was dangerous for the ordinary individual to meddle2 but the new leaven was creeping through every level of society4 ,the sons and daughters of the bourgeoisie tried to rise in the social scale by aping the pleasant vices of the aristocracy4 ,they deserted the shop and the counting-house to play cards and strut upon the piazza4 ,they mimicked the fine gentleman and the gentildonna1 and made fashionable love and carried on intrigues4 ,the spirit of the whole people had lost its elevation2 there were no more proud patricians1 full of noble ambitions and devoted zeal of public service2 it was hardly possible to get a sufficient number of persons to carry on public business4 ,it is a contemptible indictment enough2 yet among all this degenerate life1 we come upon something more real as we turn to the artists4 ,they were very much alive4 ,in music1 in literature1 and in painting1 new and graceful forms of art were emerging4 ,painting was not the grand art of other days2 it might be small and trivial1 but there grew up a real little ,renaissance of the eighteenth century1 full of originality and fire1 and showing a reaction from the pompous and banale style of the imitators4 ,the influence of the lady was becoming increasingly felt by society4 ,confidential little boudoirs1 small and cosy apartments were the mode1 and needed decorating as well as vast salas4 ,the dainty luxury of gilt furniture1 designed by ,andrea ,brustolon and upholstered in delicate silks1 was matched by small1 attractive works of art4 ,venice had lost her ,eastern trade1 and as the ,east faded out of her scheme of life1 the ,west1 to which she now turned1 was bringing her a different form of art4 ,the great reception rooms were still suited by the grandiose compositions of ,ricci1 ,piazetta1 and ,pittoni1 but another genre of charming creations smiled from the brocaded alcoves and more intimate suites of rooms4 ,it is impossible to name more than a fraction of these artists of the eighteenth century4 ,there is ,amigoni1 admirable as a portrait-painter2 ,pittoni1 one of the ablest figure-painters of the day2 ,luca ,carlevaris1 the forerunner of ,canale2 ,pellegrini1 whose decorations in this country are mentioned by ,horace ,walpole and of which the most important are preserved in the cupola and spandrils of the ,grand ,hall at ,castle ,howard4 ,their work is still to be found in many a ,venetian church or ,north ,italian gallery4 ,some of it is almost fine1 though too often vitiated by the affected1 exaggerated spirit of their day4 ,when originality asserts itself more decidedly1 ,rosalba ,carriera stands out as an artist who acquired great popularity4 ,in #agjj1 when she was a young woman of twenty-four1 she was already a great favourite with the public4 ,she began life as a lace-maker1 but when trade was bad1 ,jean ,stve1 a ,frenchman1 taught her to paint miniatures4 ,she imparted a wonderfully delicate feeling to her art1 and1 passing on to pastel1 she brought to this branch of portraiture a brilliancy and freshness which it had not known before4 ,rosalba has perhaps preserved for us better than any one else1 those women of ,venice who floated so lightly on the dancing waves of that sparkling stream4 ,there they are3 ,la ,cornaro2 ,la ,maria ,labia1 who was surrounded by ,french lovers1 very courteous and very beautiful2 ,la ,zenobio and ,la ,pisani2 ,la ,foscari1 with her black plumes2 ,la ,mocenigo1 the lady with the pearls4 ,she has pinned them all to the canvas2 lovely1 frail1 light-hearted butterflies1 with velvet neck-ribbons round their snowy throats and coquettish patches on their delicate skin and bouquets of flowers in their high-dressed hair and sheeny bodices4 ,they look at us with arch eyes and smile with melting mouths1 more frivolous than depraved2 sweet1 ephemeral1 irresponsible in every relation of life4 ,older men and women there are1 too1 when those artificial years have produced a succession of rather dull1 sodden personages1 kindly1 inoffensive1 but stupid1 and still trifling heavily with the world4 ,of ,rosalba we have another picture to compare with those of her sitters4 ,she and the other artists of her circle lived the merry1 busy life of the worker1 and found in their art the antidote to the evil living and the dissipation of the gay world which provided sitters and patrons4 ,rosalba's milieu is a type of others of its class4 ,she lives with her mother and sisters1 an honest1 cheerful1 industrious existence4 ,they are fond of old friends and old books1 and indulge in music and simple pleasures4 ,her sisters help ,rosalba by preparing the groundwork of her paintings4 ,she pays visits1 and writes rhymes1 and plays on the harpsichord4 ,she receives great men without much ceremony1 and the ,elector ,palatine1 the ,duke of ,mecklenburg1 ,frederick1 ,king of ,norway1 and ,maximilian1 ,king of ,bavaria1 come to her to order miniatures of their reigning beauties4 ,then she goes off to ,paris where she has plenty of commissions1 and the frequently occurring names of ,english patrons in her fragmentary diaries1 tell how much her work was admired by ,english travellers4 ,she did more than anybody else to promote the fashion for pastels1 and her delightful art may be seen at its best in the pastel room of the ,dresden ,gallery4 ,henrietta1 ,countess of ,pomfret1 has left us a charming description of a party of ,english travellers1 which included ,horace ,walpole1 arriving in ,venice in #agda1 strolling about in mask and bauta1 and visiting the famous pastellist in her studio4 ,it is in such guise that ,rosalba has painted ,walpole1 and has left one of the most interesting examples of her art4 ,,some ,,examples ,francesco da ,ponte4 ,venice4 ,ducal ,palace3 ,sala del ,maggior ,consiglio4 ,four pictures on ceiling 7second from the four corners of the sala74 ,on left as you face the ,paradiso3 #a4 ,pope ,alexander ,,iii4 giving the ,stocco1 or ,sword1 to the ,doge as he enters a ,galley to command the ,army against ,ferrara2 #b4 ,victory against the ,milanese2 #c4 ,victory against ,imperial ,troops at ,cadore2 #d4 ,victory under ,carmagnola1 over ,visconti4 ,these four are all very rich in colour4 ,chiesetta3 ,circumcision2 ,way to ,calvary4 ,sala dell' ,scrutino3 ,padua taken by ,night from the ,carraresi4 ,leandro da ,ponte4 ,venice4 ,sala del ,maggior ,consiglio3 ,the ,patriarch giving a ,blessed ,candle to the ,doge4 ,sala of ,council of ,ten3 ,meeting of ,alexander ,,iii4 and ,doge ,ziani4 ,a fine decorative picture1 running the whole of one side of the sala4 ,sala of ,archeological ,museum3 ,virgin in ,glory1 with the ,avogadori ,family4 ,palma ,giovine4 ,dresden4 ,presentation of the ,virgin4 ,florence4 ,uffizi3 ,s4 ,margaret4 ,munich4 ,deposition2 ,nativity2 ,ecce ,homo2 ,flagellation4 ,venice4 ,academy3 ,scenes from the ,apocalypse2 ,s4 ,francis4 ,ducal ,palace3 ,the ,last ,judgment4 ,vienna4 ,cain and ,abel2 ,daughter of ,herodias2 ,piet2 ,immaculate ,conception4 ,il ,padovanino4 ,florence4 ,uffizi3 ,lucretia4 ,london4 ,cornelia and her ,children4 ,paris4 ,venus and ,cupid4 ,rome4 ,villa ,borghese3 ,toilet of ,minerva4 ,venice4 ,academy3 ,the ,marriage of ,cana2 ,madonna in ,glory2 ,vanity1 ,orpheus1 and ,eurydice2 ,rape of ,proserpine2 ,virgin in ,glory4 ,verona4 ,man and ,woman playing ,chess2 ,triumph of ,bacchus4 ,vienna4 ,woman taken in ,adultery2 ,holy ,family4 ,pietro ,liberi4 ,venice4 ,ducal ,palace3 ,battle of the ,dardanelles4 ,andrea ,vicentino4 ,venice4 ,museo ,civico3 ,the ,marriage of a ,dogaressa4 ,g4 ,a4 ,fumiani4 ,venice4 ,san ,pantaleone3 ,ceiling4 ,church of the ,carit3 ,christ disputing with the ,doctors4 ,a4 ,balestra4 ,verona4 ,s4 ,tomaso3 ,annunciation4 ,g4 ,lazzarini4 ,venice4 ,s4 ,pietro in ,castello4 ,the ,charity of ,s4 ,lorenzo ,giustiniani4 ,sebastiano ,ricci4 ,venice4 ,s4 ,rocco3 ,the ,glorification of the ,cross4 ,gesuati3 ,pope ,pius ,v4 and ,saints4 ,london4 ,royal ,hospital1 ,chelsea3 ,half-dome4 ,g4 ,b4 ,pittoni4 ,vicenza4 ,the ,bath of ,diana4 ,g4 ,b4 ,piazetta4 ,venice4 ,chiesa della ,fava3 ,madonna and ,s4 ,philip ,neri4 ,academy3 ,crucifixion2 ,the ,fortune-,teller4 ,rosalba ,carriera4 ,venice4 ,academy3 pastels4 ,dresden4 ,pastels4 ,,chapter ,,xxix ,,tiepolo ,we have already noted that to establish the significance of any period in art1 it is necessary that the tendencies should unite and combine in some culminating spirits who rise triumphant over their contemporaries and soar above the age in which they live4 ,such a genius stands out above the eighteenth century crowd1 and is not only of his century1 but of every time4 ,for two hundred years ,tiepolo has been stigmatised as extravagant1 mannered1 as just equal to painting cupids1 nymphs1 and parroquets4 ,in the last century he experienced the effect of the profound discredit into which the whole of eighteenth-century art had fallen4 ,in ,france1 ,david had obliterated ,watteau2 and the reputation of ,pompeo ,battoni1 a sort of ,italian ,david1 effaced ,tiepolo and his contemporaries4 ,when the delegates of the ,french ,republic inspected ,italian churches and palaces1 and decided what works of art should be sent to the ,louvre1 they singled out the ,bolognese1 the ,guercinos and ,guidos1 the ,carracci1 even ,pompeo ,battoni and other such forgotten masters1 a ,gatti1 a ,nevelone1 a ,badalocchio2 but to the lasting regret of their descendants1 they disdained to annex a single one of the great paintings of the ,venetian1 ,gianbattista ,tiepolo4 ,eastlake only vouchsafes him one line as an artist of fantastic imagination4 ,most of the nineteenth-century critics do not even mention him4 ,burckhardt dismisses him with a grudging line of praise1 ,blanc is equally disparaging1 and for ,taine he is a mere mannerist1 yet his influence has been felt far beyond his lifetime2 only now is he coming into his own1 and it is recognised that the plein-air artist1 the luminarist1 the impressionist1 owe no small share of their knowledge to his inspiration4 ,the name of ,tiepolo brings before us a whole string of illustrious personages--doges and senators1 magnificent procurators and great captains--but we have nothing to prove that the artist belonged to a decayed branch of the famous patrician house4 ,born in ,castello1 the people's quarter of ,venice1 he studied in early youth with that good draughtsman1 ,lazzarini4 ,at twenty-three he married the sister of ,francesco ,guardi2 ,guardi1 who comes between ,longhi and ,canale and who is a better painter than either4 ,tiepolo appeared at a fortunate moment4 ,the demand for a facile1 joyous genius was at its height4 ,the life of the aristocracy on the lagoons was every year growing more gay1 more abandoned to capricious inclination1 to light loves and absurd amusements4 ,and the art which reflected this life was called upon to give gaiety rather than thought1 costume rather than character4 ,yet if the ,venetian art had lost all connection with the grave magnificence of the past1 it had kept aloof from the academic coldness which was in fashion beyond the lagoons1 so that though theatrical1 it was with a certain natural absurdity4 ,the age had become romantic2 the ,arcadian convention was in full force1 ,nature herself was pressed into the service of idle1 sentimental men and women4 ,the country was pictured as a place of delight1 where the sun always shone and the peasants passed their time singing madrigals and indulging in rural pleasures4 ,the public1 however1 had begun to look for beauty2 the traditions which had formed round the decorative schools were giving way to the appreciation of original work4 ,tiepolo1 sincere and spontaneous even when he is sacrificing truth to caprice1 struck the taste of the ,venetians1 and without emancipating himself from the tendencies of the time1 contrives to introduce a fresh accent4 ,all round him was a weak and self-indulgent world1 but within himself he possessed a fund of buoyant and inexhaustible energy4 ,he evokes a throng of personages on the ceilings of the churches and palaces confided to his fancy4 ,his creations range from mythology to religion1 from the sublime to the grotesque4 ,all ,olympia appears upon his ample and luminous spaces4 ,it is not to the cold1 austere ,lazzarini1 or to the clashing chiaroscuro of ,piazetta1 or the imaginative spirit of ,battista ,ricci1 though he was touched by each of them1 that we must turn for ,tiepolo's derivation4 ,long before his time1 the kind of decoration of ceilings which we are apt to call ,tiepolesque2 the foreshortened architecture1 the columns and cornices1 the figures peopling the edifices1 or reclining upon clouds1 had been used by an increasing throng of painters4 ,the style arose1 indeed1 in the quattrocento2 ,mantegna1 the ,umbrians1 and even ,michelangelo had used it1 though in a far more sober way than later generations4 ,correggio and the ,venetians had perfected the idea1 which the artists of the seventeenth century seized upon and carried to the most intemperate excess4 ,but ,tiepolo rose above them all2 he abandoned the heavy1 exaggerated1 contorted designs1 which by this time defied all laws of equilibrium1 and we must go back further than his immediate predecessors for his origins4 ,his claim to stand with ,tintoretto or ,veronese may be contested1 but he is nearest to these1 and no doubt ,veronese is the artist he studied with the greatest fervour4 ,without copying1 he seems to have a natural affinity of spirit with ,veronese and assimilates the ample arrangement of his groups1 the grace of his architecture1 and his decorative feeling for colour4 ,zanetti1 who was one of ,tiepolo's dearest friends1 writes3 ,no painter of our time could so well recall the bright and happy creations of ,veronese4 ,the difference between them is more one of period than of temperament4 ,paolo ,veronese represented the opulence of a rich1 strong society1 full of noble life1 while ,tiepolo's lot was cast among effeminate men and frivolous women1 and full of the modern spirit himself1 he adapts his genius to his time and devotes himself to satisfy the theatrical1 sentimental vein of the ,venice of the decadence4 ,full of enthusiasm for his work1 he was ready to respond to any call4 ,he went to and fro between ,venice and the villas along the mainland and to the neighbouring towns4 ,then coveting wider fields1 he travelled to ,milan and ,genoa1 where his frescoes still gleam in the palaces of the ,dugnani1 the ,archinto1 and the ,clerici4 ,at ,wrzburg in ,bavaria he achieved a magnificent series of decorations for the palace of the ,prince-,archbishop4 ,then coming back to ,italy1 he painted altarpieces1 portraits1 pictures for his friends1 and a fresh multitude of allegorical and mythological frescoes in palaces and villas4 ,his charming villa at ,zianigo is frescoed from top to bottom by himself and his sons1 and has amusing examples of contemporary dress and manners4 ,when the ,academy was instituted in #agee1 ,tiepolo was appointed its first director1 but the sort of employment it provided was not suited to his impetuous spirit1 and in #agfb he threw up the post and went off to ,spain with his two sons4 ,there he received a splendid welcome and was loaded with commissions1 the only dissentient voice being that of ,raphael ,mengs1 who1 obsessed by the taste for the classic and the antique1 was fiercely opposed to the ,venetian's art4 ,tiepolo died suddenly in ,madrid in #aggj1 pencil in hand4 ,though he was past seventy1 the frescoes he has left there show that his hand was as firm and his eye as sure as ever4 ,his frescoes have1 as we have said1 that frankly theatrical flavour which corresponds exactly to the taste of the time4 ,such works as the ,transportation of the ,holy ,house of ,loretto in the ,church of the ,scalzi in ,venice1 or the ,triumph of ,faith in that of the ,piet1 the ,triumph of ,hercules in ,palazzo ,canossa in ,verona1 or the decorations in the magnificent villa of the ,pisani at ,str1 are extravagant and fantastic1 yet have the impressive quality of genius4 ,these last1 which have for subject the glorification of the ,pisani1 are full of portraits4 ,the patrician sons and daughters appear1 surrounded by ,abundance1 ,war1 and ,wisdom4 ,a woman holding a sceptre symbolises ,europe4 ,all round are grouped flags and dragons1 nations grappling in the airy blue1 bands of ,red ,indians in their war-paint and happy couples making love4 ,the idea of the history1 the wealth1 the supreme dignity of the ,house is paramount1 and over all appears ,fame1 bearing the noble name into immortality4 ,in ,palazzo ,clerici at ,milan a rich and prodigal committee gave the painter a free hand1 and on the ceiling of a vast hall the ,sun in a chariot1 with four horses harnessed abreast1 rises to the meridian1 flooding the world with light4 ,venus and ,saturn attend him1 and his advent is heralded by ,mercury4 ,a symbolical figure of the earth joys at his coming1 and a concourse of naiads1 nymphs1 and dolphins wait upon his footsteps4 ,in the school of the ,carmine in ,venice ,tiepolo has left one of his grandest displays4 ,the haughty ,queen of ,heaven1 who is his ideal of the ,virgin1 bears the ,child lightly on her arm1 and1 standing enthroned upon the rolling clouds1 hardly deigns to acknowledge the homage of the prostrate saint1 on whom an attendant angel is bestowing her scapulary4 ,the most charming amoretti are disporting in all directions1 flinging themselves from on high in delicious abandon1 alternating with lovely groups of the cardinal virtues4 ,at ,villa ,valmarana near ,vicenza1 after revelling among the gods1 he comes to earth and delights in painting lovely ladies with almond eyes and carnation cheeks1 attended by their cavaliers1 seated in balconies1 looking on at a play1 or dancing minuets1 and carnival scenes with masques and dominoes and ftes champtres1 which give us a picture of the fashions and manners of the day4 ,he brings in groups of ,chinese in oriental dress1 and then he condescends to paint country girls and their rustic swains1 in the style of ,phyllis and ,corydon4 ,sometimes he becomes graver and more solid4 ,he abandons the airy fancies scattered in cloud-land4 ,the story of ,esther in ,palazzo ,dugnano affords an opportunity for introducing magnificent architecture1 warriors in armour1 and stately dames in satin and brocades4 ,he touches his highest in the decorations of ,palazzo ,labia1 where ,antony and ,cleopatra1 seated at their banquet1 surrounded by pomp and revelry1 regard one another silently1 with looks of sombre passion4 ,four exquisite panels have lately been acquired by the ,brera ,gallery1 representing the loves of ,rinaldo and ,armida1 and are a feast of gay1 delicate colour1 with fascinating backgrounds of ,italian gardens4 ,the throne-room of the palace at ,madrid has the same order of compositions--neas conducted by ,venus from ,time to ,immortality1 and other deifications of ,spanish royalty4 ,illustration3 ,tiepolo4 ,,antony ,,and ,,cleopatra4 ,palazzo ,labia1 ,venice4 ,now and then ,tiepolo is possessed by a tragic mood4 ,in the ,church of ,san ,alvise he has left a ,way to ,calvary1 a ,flagellation1 and a ,crowning of ,thorns1 which are intensely dramatic1 and which show strong feeling4 ,particularly striking is the contrast between the refined and sensitive type of his ,christ and the realistic and even brutal study of the two despairing malefactors--one a common ruffian1 the other an aged offender of a higher class4 ,his altarpiece at ,este1 representing ,s4 ,tecla staying the plague1 is painted with a real insight into disaster and agony1 and ,s4 ,tecla is a pathetic and beautiful figure4 ,sometimes in his easel-pictures he paints a ,head of ,christ1 a ,s4 ,anthony1 or a ,crucifixion1 but he always returns before long to the ample spaces and fantastic subjects which his soul loved4 ,tiepolo is a singular contradiction4 ,his art suggests a strong being1 held captive by butterflies4 ,sometimes he is joyous and limpid1 sometimes turbulent and strong1 but he has always sincerity1 force1 and life4 ,a great space serves to exhilarate him1 and he asks nothing better than to cover it with angels and goddesses1 white limbs among the clouds1 sea-horses ridden by ,tritons1 patrician warriors in ,roman armour1 balustrades and columns and amoretti4 ,he does not even need to pounce his design1 but puts in all sorts of improvised modifications with a sure hand4 ,the vastness of his frescoes1 the daring poses of his countless figures1 and the freedom of his line speak eloquently of the mastery to which his hand had attained4 ,he revels1 above all1 in effects of light--all the light of the sky1 and all the light of the sea2 all the light of ,venice 444 in which he swims as in a bath4 ,he paints not ideas1 scarcely even forms1 but light4 ,his ceilings are radiant1 like the sky of birds2 his poems seem to be written in the clouds4 ,light is fairer than all things1 and ,tiepolo knows all the tricks and triumphs of light4#f #f ,philippe ,monnier1 ,venice in the ,eighteenth ,century4 ,nearly all his compositions have a serene and limpid horizon1 with the figures approaching it painted in clear1 silvery hues1 airy and diaphanous1 while the forms below are more muscular1 the flesh tints are deeper1 and the whole of the foreground is often enveloped in shadow4 ,veronese had lit up the shadows1 which1 under his contemporaries1 were growing gloomy4 ,tiepolo carries his art further on the same lines4 ,he makes his figures more graceful1 his draperies more vaporous1 and illumines his clouds with radiance4 ,his faded blue and rose1 his golden-greys1 and pearly whites and pastel tints are not so much solid colours as caprices of light4 ,we have remarked already that with ,veronese the accessories of gleaming satins and rich brocades serve to obscure the persons4 ,in many of ,tiepolo's scenes the figures are lost in a flutter of drapery1 subject and action melt away1 and we are only conscious of soft harmonies of delicious colour1 as ethereal as the hues of spring flowers in woodland ways and joyous meadows4 ,with these delicious1 audacious fancies1 put on with a nervous hand1 we forget the age of profound and ardent passion1 we escape from that of pompous solemnity and studied grace1 and we breathe an atmosphere of irresponsible and capricious pleasure4 ,in this last word of her great masters ,venice keeps what her temperament loved--sensuous colour and emotional chiaroscuro1 used to accentuate an art adapted to a city of pleasure4 ,the excellence of the old masters' drawings is a perpetual revelation4 ,even second-class men are almost invariably fine draughtsmen1 proving that drawing was looked upon as something over which it was necessary for even the meanest to have entire mastery4 ,tiepolo's drawings1 preserved in ,venice and in various museums1 are as beautiful as can be wished2 perfect in execution and vivid in feeling4 ,in ,venice are twenty or thirty sheets in red carbon1 of flights of angels1 and of draperies studied in every variety of fold4 ,poor work of his school is often ascribed to his sons1 but the superb ,stations of the ,cross1 in the ,frari1 which were etched by ,domenico1 and published as his own in his lifetime1 are almost equal to the father's work4 ,tiepolo had many immediate followers and imitators4 ,the colossal roof-painting of ,fabio ,canal in the ,church of ,,ss4 ,apostoli1 ,venice1 may be pointed out as an example of one of these4 ,but he is full of the tendencies of modern art4 ,mr4 ,berenson1 writing of him1 says he sometimes seems more the first than the last of a line1 and notices how he influenced many ,french artists of recent times1 though none seem quite to have caught the secret of his light intensity and his exquisite caprice4 ,,principal ,,works ,aranjuez4 ,royal ,palace3 ,frescoes2 ,altarpiece4 ,orangery3 ,frescoes4 ,bergamo4 ,cappella ,colleoni3 ,scenes from the ,life of the ,baptist4 ,berlin4 ,martyrdom of ,s4 ,agatha2 ,s4 ,dominia and the ,rosary4 ,london4 ,sketches2 ,deposition4 ,madrid4 ,escurial2 ,ceilings4 ,milan4 ,palazzi ,clerici1 ,archinto1 and ,dugnano3 ,frescoes4 ,brera3 ,loves of ,rinaldo and ,armida4 ,paris4 ,christ at ,emmaus4 ,str4 ,villa ,pisani3 ,ceiling4 ,venice4 ,academy3 ,s4 ,joseph1 the ,child1 and ,saints2 ,s4 ,helena finding the ,cross4 ,palazzo ,ducale3 ,sala di ,quattro ,porte3 ,neptune and ,venice4 ,palazzo ,labia3 ,frescoes2 ,antony and ,cleopatra4 ,palazzo ,rezzonico3 ,two ,ceilings4 ,s4 ,alvise3 ,flagellation2 ,way to ,golgotha4 ,,ss4 ,apostoli3 ,communion of ,s4 ,lucy4 ,s4 ,fava3 ,the ,virgin and her ,parents4 ,gesuati3 ,ceiling2 ,altarpiece4 ,s4 ,maria della ,piet3 ,triumph of ,faith4 ,s4 ,paolo3 ,stations of the ,cross4 ,scalzi3 ,transportation of the ,holy ,house of ,loretto4 ,scuola del ,carmine3 ,ceiling4 ,verona4 ,palazzo ,canossa3 ,triumph of ,hercules4 ,vicenza4 ,museo ,entrance ,hall3 ,immaculate ,conception4 ,villa ,valmarana3 ,frescoes2 ,subjects from ,homer1 ,virgil1 ,ariosto1 and ,tasso2 ,masks and ,oriental ,scenes4 ,wrzburg4 ,palace of the ,archbishop3 ,ceilings2 ,ftes ,galantes2 ,assumption2 ,fall of ,rebel ,angels4 ,,chapter ,,xxx ,,pietro ,,longhi ,we have here a master who is peculiarly the ,venetian of the eighteenth century1 a genre-painter whose charm it is not easy to surpass1 yet one who did not at the outset find his true vocation4 ,longhi's first undertakings1 specimens of which exist in certain palaces in ,venice1 were elaborate frescoes1 showing the baneful influence of the ,bolognese ,school1 in which he studied for a time under ,giuseppe ,crispi4 ,he attempts to place the deities of ,olympus on his ceilings in emulation of ,tiepolo1 but his ,juno is heavy and common1 and the ,titans at her feet appear as a swarm of sprawling1 ill-drawn nudities4 ,he shows no faculty for this kind of work1 but he was thirty-two before he began to paint those small easel-pictures which in his own dainty style illustrate the ,vanity ,fair of his period1 and in which the eighteenth century lives for us again4 ,his earliest training was in the goldsmith's art1 and he has left many drawings of plate1 exquisite in their sense of graceful curve and their unerring precision of line4 ,it was a moment when such things acquired a flawless purity of outline1 and ,longhi recognised their beauty with all the sensitive perception of the artist and the practised workman4 ,his studies of draperies1 gestures1 and hands are also extraordinarily careful1 and he seems besides to have an intimate acquaintance with all the elegant dissipation and languid excesses of a dying order4 ,we feel that he has himself been at home in the masquerade1 has accompanied the lady to the fortune-teller1 and1 leaning over her graceful shoulder1 has listened to the soothsayer's murmurs4 ,he has attended balls and routs1 danced minuets1 and gossiped over tiny cups of ,china tea4 ,he is the last chronicler of the ,venetian feasts1 and with him ends that long series that began with ,giorgione's concert and which developed and passed through suppers at ,cana and banquets at the houses of ,levi and the ,pharisee4 ,we are no longer confronted with the sumptuosity of ,bonifazio and ,veronese2 the immense tables covered with gold and silver plate1 the long lines of guests robed in splendid brocades1 the stream of servants bearing huge salvers1 or the bands of musicians1 nor are there any more alfresco concerts1 with nymphs and bacchantes4 ,instead there are masques1 the life of the ,ridotto or gaming-house1 routs and intrigues in dainty boudoirs1 and surreptitious love-making in that city of eternal carnival where the bauta was almost a national costume4 ,longhi holds that post which in ,french art is filled by ,watteau1 ,fragonard1 and ,lancret1 the painters of ftes galantes1 and though he cannot be placed on an equal footing with those masters1 he is representative and significant enough4 ,on his canvases are preserved for us the mysteries of the toilet1 over which ladies and young men of fashion dawdled through the morning1 the drinking of chocolate in nglig1 the momentous instants spent in choosing headgear and fixing patches1 the towers of hair built by the modish coiffeur--children trooping in1 in hoops and uniforms1 to kiss their mother's hand1 the fine gentleman choosing a waistcoat and ogling the pretty embroideress1 the pert young maidservant slipping a billet-doux into a beauty's hand under her husband's nose1 the old beau toying with a fan1 or the discreet abb taking snuff over the morning gazette4 ,the grand ladies of ,longhi's day pay visits in hoop and farthingale1 the beaux make a leg1 and the lacqueys hand chocolate4 ,the beautiful ,venetians and their gallants swim through the gavotte or gamble in the ,ridotto1 or they hasten to assignations1 disguised in wide bauti and carrying preposterous muffs4 ,the ,correr ,museum contains a number of his paintings and also his book of original sketches4 ,one of the most entertaining of his canvases represents a visit of patricians to a nuns' parlour4 ,the nuns and their pupils lend an attentive ear to the whispers of the world4 ,their dresses are trimmed with point de ,venise1 and a little theatre is visible in the background4 ,this and the ,sala del ,ridotto which hangs near1 are marked by a free1 bold handling1 a richness of colouring1 and more animation than is usual in his genre-pictures4 ,he has not preserved the lovely1 indeterminate colour or the impressionist touch which was the natural inheritance of ,watteau or ,tiepolo4 ,his backgrounds are dark and heavy1 and he makes too free a use of body colour2 but his attitude is one of close observation--he enjoys depicting the life around him1 and we suspect that he sees in it the most perfect form of social intercourse imaginable4 ,longhi is sometimes called the ,goldoni of painting1 and he certainly more nearly resembles the genial1 humorous playwright than he does ,hogarth1 to whom he has also been compared4 ,yet his execution and technique are a little like ,hogarth's1 and it is possible that he was influenced by the elder and stronger master1 who entered on his triumphant career as a satirical painter of society about #agcd4 ,this was just the time when ,longhi abandoned his unlucky decorative style1 and it is quite possible that he may have met with engravings of the ,marriage la mode1 and was stimulated by them to the study of eighteenth-century manners1 though his own temperament is far removed from ,hogarth's moral force and grim satire4 ,his serene1 painstaking observation is never distracted by grossness and violence4 ,the ,venetians of his day may have been--undoubtedly were--effeminate1 licentious1 and decadent1 but they were kind and gracious1 of refined manners1 well-bred1 genial and intelligent1 and so ,longhi has transcribed them4 ,in the time which followed1 ceilings were covered by ,boucher1 pastels by ,latour were in demand1 the scholars of ,david painted classical scenes1 and ,pietro ,longhi was forgotten4 ,antonio ,francesco ,correr bought five hundred of his drawings from his son1 ,alessandro1 but his works were ignored and dispersed4 ,the classic and romantic fashions passed1 but it was only in #ahej that the brothers de ,goncourt1 writing on art1 revived consideration for the painter of a bygone generation4 ,many of his works are in private collections1 especially in ,england1 but few are in public galleries4 ,the ,national ,gallery is fortunate in possessing several excellent examples4 ,illustration3 ,pietro ,longhi4 ,,visit ,,to ,,the ,,fortune-,,teller4 ,london4 7,photo1 ,hanfstngl47 ,,principal ,,works ,bergamo4 ,lochis3 ,at the ,gaming ,table2 ,taking ,coffee4 ,baglioni3 ,the ,festival of the ,padrona4 ,dresden4 ,portrait of a ,lady4 ,hampton ,court4 ,three genre-pictures4 ,london4 ,visit to a ,circus2 ,visit to a ,fortune-,teller2 ,portrait4 ,mond ,collection3 ,card party2 ,portrait4 ,venice4 ,academy3 ,six genre-paintings4 ,correr ,museum3 ,eleven paintings of ,venetian life2 ,portrait of ,goldoni4 ,palazzo ,grassi3 ,frescoes2 ,scenes of fashionable life4 ,quirini-,stampalia3 ,eight paintings2 ,portraits4 ,,chapter ,,xxxi ,,canale ,while ,piazetta and ,tiepolo were proving themselves the inheritors of the great school of decorators1 ,venice herself was finding her chroniclers1 and a school of landscape arose1 of which ,canale was the foremost member4 ,giovanni ,antonio ,canale was born in ,venice in #afig1 the same year as ,tiepolo4 ,his father earned his living at the profession1 lucrative enough just then1 of scene-painting1 and ,antonio learned to handle his brush1 working at his side4 ,in #agai he went off to seek his fortune in ,rome1 and though he was obliged to help out his resources by his early trade1 he was most concerned in the study of architecture1 ancient and modern4 ,rome spoke to him through the eye1 by the picturesque masses of stonework1 the warm harmonious tones of classic remains and the effects of light upon them4 ,he painted almost entirely out-of-doors1 and has left many examples drawn from the ruins4 ,his success in ,rome was not remarkable1 and he was still a very young man when he retraced his steps4 ,on regaining his native town1 he realised for the first time the beauty of its canals and palaces1 and he never again wavered in his allegiance4 ,two rivals were already in the field1 ,luca ,carlevaris1 whose works were freely bought by the rich ,venetians1 and ,marco ,ricci1 the figures in whose views of ,venice were often touched in by his uncle1 ,sebastiano2 but ,canale's growing fame soon dethroned them1 i cacciati del nido1 as he said1 using ,dante's expression4 ,in a generation full of caprice1 delighting in sensational developments1 ,canale was methodical to a fault1 and worked steadily1 calmly producing every detail of ,venetian landscape with untiring application and almost monotonous tranquillity4 ,he lived in the midst of a band of painters who adored travel4 ,sebastiano ,ricci was always on the move2 ,tiepolo spent much of his time in other cities and countries1 and passed the last years of his life in ,spain2 ,pietro ,rotari was attached to the ,court of ,st4 ,petersburg2 ,belotto1 ,canale's nephew1 settled in ,bohemia2 but ,canale remained at home1 and1 except for two short visits paid to ,england1 contented himself with trips to ,padua and ,verona4 ,early in life ,canale entered into relations with ,joseph ,smith1 the ,british ,consul in ,venice1 a connoisseur who had not only formed a fine collection of pictures1 but had a gallery from which he was very ready to sell to travellers4 ,he bought of the young ,venetian at a very low price1 and contrived1 unfairly enough1 to acquire the right to all his work for a certain period of time1 with the object of sending it1 at a good profit1 to ,london4 ,for a time ,canale's luminous views were bought by the ,english under these auspices1 but the artist1 presently discovering that he was making a bad bargain1 came over to ,england1 where he met with an encouraging reception1 especially at ,windsor ,castle and from the ,duke of ,richmond4 ,canale spent two years in ,england and painted on the ,thames and at ,cambridge1 but he could not stand the ,english climate and fled from the damp and fogs to his own lagoons4 ,to describe his paintings is to describe ,venice at every hour of the day and night--,venice with its long array of noble palaces1 with its ,grand ,canal and its narrow1 picturesque waterways4 ,he reproduces the ,venice we know1 and we see how little it has changed4 ,the gondolas cluster round the landing-stages of the ,piazzetta1 the crowds hurry in and out of the arcades of the ,ducal ,palace1 or he paints the festivals that still retained their splendour3 the ,great ,bucentaur leaving the ,riva dei ,schiavoni on the ,feast of the ,ascension1 or ,san ,geremia and the entrance to the ,cannaregio decked in flags for a feast-day4 ,from one end to another of the ,grand ,canal1 that most beautiful street in the world1 as des ,commines called it in #adie1 we can trace every aspect of ,canale's time1 when the city had as yet lost nothing of its splendour or its animation4 ,at the entrance stands ,s4 ,maria della ,salute1 that sanctuary dear to ,venetian hearts1 built as a votive offering after the visitation of the plague in #afca4 ,its flamboyant dome1 with its volutes1 its population of stone saints1 its green bronze door catching the light1 pleased ,canale1 as it pleased ,sargent in our own day1 and he painted it over and over again4 ,the annual fte of the ,confraternity of the ,carit takes place at the ,scuola di ,san ,rocco1 and ,canale paints the old ,renaissance building which shelters so much of ,tintoretto's finest work1 decorated with ropes of greenery and gay with flags1#g while ,tiepolo has put in the red-robed1 periwigged councillors and the gazing populace4 ,near it in the ,national ,gallery hangs a ,regatta with its array of boats1 its shouting gondoliers1 and its shadows lying across the range of palaces1 and telling the exact hour of the day that it was sketched in2 or1 again1 the painter has taken peculiar pleasure in expressing quiet days1 with calm green waters and wide empty piazzas1 divided by sun and shadow1 with a few citizens plodding about their business in the hot midday1 or a quiet little abb crossing the piazza on his way to ,mass4 ,canale has made a special study of the light on wall and faade1 and of the transparent waters of the canals and the azure skies in which float great snowy fleeces4 #g ,it is thought that it may have been painted from his studio4 ,his second visit to ,england was paid in #agea4 ,he was received with open arms by the great world1 and invited to the houses of the nobility in town and country4 ,the ,english were delighted with his taste and with the mastery with which he painted architectural scenes1 and in spite of advancing years he produced a number of compositions1 which commanded high prices4 ,the ,garden of ,vauxhall1 the ,rotunda at ,ranelagh1 ,whitehall1 ,northumberland ,house1 ,eton ,college1 were some of the subjects which attracted him1 and the treatment of which was signalised by his calm and perfect balance4 ,he made use of the camera ottica1 which is in principal identical with the camera oscura4 ,lanzi says he amended its defects and taught its proper use1 but it must be confessed that in the careful perspective of some of his scenes1 its traces seem to haunt us and to convey a certain cold regularity4 ,canale was a marvellous engraver4 ,mantegna1 ,bellini1 and ,titian had placed engraving on a very high level in the ,venetian ,school1 and though at a later date it became too elaborate1 ,tiepolo and his son brought it back to simplicity4 ,canale aided them1 and his eaux-fortes1 of which he has left about thirty1 are filled with light and breadth of treatment1 and he is particularly happy in his brilliant1 transparent water4 ,the high prices ,canale obtained for his pictures in his lifetime led to the usual imitations4 ,he was surrounded by painters whose whole ambition was limited to copying him4 ,among these were ,marieschi1 ,visentini1 ,colombini1 besides others now forgotten4 ,more than fifty of his finest works were bought by ,smith for ,george ,,iii4 and fill a room at ,windsor4 ,he was made a member of the ,academy at ,dresden1 and ,bruhl1 the ,prime ,minister of the ,elector1 obtained from him twenty-one works which now adorn the gallery there4 ,canale died in ,venice1 where he had lived nearly all his life1 and where his gondola-studio was a familiar object in the ,piazzetta1 at the ,lido1 or anchored in the long canals4 ,his nephew1 ,bernardo ,belotto1 is often also called ,canaletto1 and it seems that both uncle and nephew were equally known by the diminutive4 ,belotto1 too1 went to ,rome early in his career1 where he attached himself to ,panini1 a painter of classic ruins1 peopled with warriors and shepherds4 ,he was1 by all accounts1 full of vanity and self-importance1 and on a visit to ,germany managed to acquire the title of ,count1 which he adhered to with great complacency4 ,he travelled all over ,italy looking for patronage1 and was very eager to find the road to success and fortune4 ,about the same time as his uncle1 he paid a visit to ,london and was patronised by ,horace ,walpole1 but in the full tide of success he was summoned to ,dresden1 where the ,elector1 disappointed at not having secured the services of the uncle1 was fain to console himself with those of the nephew4 ,the extravagant and profligate ,augustus ,,ii41 whose one idea was to extract money by every possible means from his subjects1 in order to adorn his palaces1 was consistently devoted to ,belotto1 who was in his element as a ,court painter4 ,he paints all his uncle's subjects1 and it is not always easy to distinguish between the two2 but his paintings are dull and stiff as compared with those of ,canale1 though he is sometimes fine in colour1 and many of his views are admirably drawn4 ,,some ,,works ,,of ,,canale ,it is impossible to draw up any exhaustive list1 so many being in private collections4 ,dresden4 ,the ,grand ,canal2 ,campo ,s4 ,giacomo2 ,piazza ,s4 ,marco2 ,church and ,piazza of ,,ss4 ,giovanni and ,paolo4 ,florence4 ,the ,piazzetta4 ,hampton ,court4 ,the ,colosseum4 ,london4 ,scuola di ,san ,rocco2 ,interior of the ,rotunda at ,ranelagh2 ,s4 ,pietro in ,castello1 ,venice4 ,paris4 ,louvre3 ,church of ,s4 ,maria della ,salute4 ,venice4 ,heading2 ,courtyard of a ,palace4 ,vienna4 ,liechtenstein ,gallery3 ,church and ,piazza of ,s4 ,mark1 ,venice2 ,canal of the ,giudecca1 ,venice2 ,view on ,grand ,canal2 ,the ,piazzetta4 ,windsor4 ,about fifty paintings4 ,wallace ,collection4 ,the ,giudecca2 ,piazza ,san ,marco2 ,church of ,san ,simione2 ,s4 ,maria della ,salute2 ,a ,fte on the ,grand ,canal2 ,ducal ,palace2 ,dogana from the ,molo2 ,palazzo ,corner2 ,a ,water-fte2 ,the ,rialto2 ,s4 ,maria della ,salute2 ,a ,canal in ,venice4 ,,chapter ,,xxxii ,,francesco ,,guardi ,an entry in ,gradenigo's diary of #agfd1 preserved in the ,museo ,correr1 speaks of ,francesco ,guardi1 painter of the quarter of ,,ss4 ,apostoli1 along the ,fondamenta ,nuove1 a good pupil of the famous ,canaletto1 having by the aid of the camera ottica1 most successfully painted two canvases 7not small7 by the order of a stranger 7an ,englishman71 with views of the ,piazza ,san ,marco1 towards the ,church and the ,clock ,tower1 and of the ,bridge of the ,rialto and buildings towards the ,cannaregio1 and have to-day examined them under the colonnades of the ,procurazie and met with universal applause4 ,francesco ,guardi was a son of the ,austrian ,tyrol1 and his mountain ancestry may account1 as in the case of ,titian1 for the freshness and vigour of his art4 ,both his father1 who settled in ,venice1 and his brother were painters4 ,his son became one in due time1 and the profession being followed by four members of the family accounts for the indifferent works often attributed to ,guardi4 ,his indebtedness to ,canale is universally acknowledged1 and perhaps it is true that he never attains to the monumental quality1 the traditional dignity which marks ,canale out as a great master1 but he differs from ,canale in temperament1 style1 and technique4 ,canale is a much more exact and serious student of architectural detail2 ,guardi1 with greater visible vigour1 obliterates detail1 and has no hesitation in drawing in buildings which do not really appear4 ,in his oval painting of the ,ducal ,palace 7,wallace ,collection7 he makes it much loftier and more spacious than it really is4 ,in his ,piazzetta he puts in a corner of the ,loggia where it would not actually be seen4 ,in the ,fair in ,piazza ,s4 ,marco the arch from under which the ,fair appears is gigantic1 and he foreshortens the wing of the royal palace4 ,he curtails the length of the columns in the piazza and so avoids monotony of effect1 and he often alters the height of the campaniles he uses1 making them tall and slender or short and broad1 as his picture requires4 ,at one time he produced some colossal pictures1 in several of which ,mr4 ,simonson1 who has written an admirable life of the painter1 believes that the hand of ,canale is perceptible in collaboration2 but it was not his natural element1 and he often became heavy in colour and handling4 ,in #aghb he undertook a commission from ,pietro ,edwards1 who was a noted connoisseur and inspector of ,state pictures1 and had been appointed superintendent in #aggh of an official studio for the restoration of old masters4 ,edwards had important dealings with ,guardi1 who was directed to paint four leading incidents in the rejoicings in honour of the visit of ,pius ,,iv4 to ,venice4 ,the ,venetians themselves had become indifferent patrons of art1 but ,venice attracted great numbers of foreign visitors1 and before the second half of the eighteenth century the export of old masters had already become an established trade4 ,there is no sign1 however1 that ,joseph ,smith1 who retained his consulship till #agfj1 extended any patronage to ,guardi1 though he enriched ,george ,,iii4's collection with works of the chief contemporary artists of ,venice4 ,it is probable that ,guardi had been warned against him by ,canale and profited by the latter's experience4 ,we can divide his work into three categories4 #a4 ,views of ,venice4 #b4 ,public ceremonies4 #c4 ,landscapes4 ,gradenigo mentions casually that he used the camera ottica1 but though we may consider it probable1 we cannot trace the use of it in his works4 ,he is not only a painter of architecture1 but pays great attention to light and atmosphere1 and aims at subtle effects2 a transparent haze floats over the lagoons1 or the sun pierces though the morning mists4 ,his four large pendants in the ,wallace ,collection show his happiest efforts2 light glances off the water and is reflected on the shadowed walls4 ,his views round the ,salute bring vividly before us those delicious morning hours in ,venice when the green tide has just raced up the ,grand ,canal1 when a fresh wind is lifting and curling all the loose sails and fluttering pennons1 and when the gondoliers are straining at the oars1 as their light craft is caught and blown from side to side upon the rippling water4 ,the sky occupies much of his space1 he makes searching studies of it1 and his favourite effect is a flash of light shooting across a piled-up mass of clouds4 ,the line of the horizon is low1 and he exhibits great mastery in painting the wide lagoons1 but he also paints rough seas1 and is one of the few masters of his day--perhaps the only one--who succeeds in representing a storm at sea4 ,often as he paints the same subjects he never becomes mechanical or photographic4 ,we may sometimes tire of the monotony of ,canale's unerring perspective and accurate buildings1 but ,guardi always finds some new rendering1 some fresh point of interest4 ,sometimes he gives us a summer day1 when ,venice stands out in light1 her white palaces reflected in the sun-illumined water2 sometimes he is arrested by old churches bathed in shadow and fusing into the rich1 dark tones of twilight4 ,his boats and figures are introduced with great spirit and brio1 and are alive with that handling which a ,french critic has described as his griffe endiable4 ,illustration3 ,francesco ,guardi4 ,s4 ,,maria ,,della ,,salute4 ,london4 7,photo1 ,mansell and ,co47 ,his masterly and spirited painting of crowds enables him to reproduce for us all those public ceremonies which ,venice retained as long as the ,republic lasted3 yearly pilgrimages of the ,doge to ,venetian churches1 to the ,salute to commemorate the cessation of the plague1 to ,san ,zaccaria on ,easter ,day1 the solemn procession on ,corpus ,christi ,day1 receptions of ambassadors1 and1 most gorgeous of all1 the ,feast of the ,wedding of the ,adriatic4 ,he has faithfully preserved the ancient ceremonial which accompanied ,state festivities4 ,in the ,fte du ,jeudi ,gras 7,louvre7 he illustrates the acrobatic feats which were performed before ,doge ,mocenigo4 ,a huge ,temple of ,victory is erected on the ,piazzetta1 and gondoliers are seen climbing on each other's shoulders and dancing upon ropes4 ,his motley crowds show that the whole population1 patricians as well as people1 took part in the feasts4 ,he has also left many striking interiors3 among others1 that of the ,sala del ,gran ,consiglio1 where sometimes as many as a thousand persons were assembled1 the ,reception of the ,doge and ,senate by ,pius ,,iv4 7which formed one of the series ordered by ,pietro ,edwards71 or the fine ,interior of a ,theatre1 exhibited at the ,burlington ,fine ,arts in #aiaa1 belonging to a series of which another is at ,munich4 ,in his landscapes ,guardi does not pay very faithful attention to nature4 ,the landscape painters of the eighteenth century1 as ,mr4 ,simonson points out1 were not animated by any very genuine impulse to study nature minutely4 ,it was the picturesque element which appealed to them1 and they were chiefly concerned to reproduce romantic features1 grouped according to fancy4 ,guardi composes half fantastic scenes1 introducing classic remains1 triumphal arches1 airy ,palladian monuments4 ,his capricci include compositions in which ,roman ruins1 overgrown with foliage1 occupy the foreground of a painting of ,venetian palaces1 but in which the combination is carried out with so much sparkle and nervous life and such charm of style1 that it is attractive and piquant rather than grotesque4 ,england is richest in ,guardis1 of any country1 but ,france in one respect is better off1 in possessing no less than eleven fine paintings of public ceremonials4 ,guardi may be considered the originator of small sketches1 and perhaps the precursor of those glib little views which are handed about the ,piazza at the present day4 ,his drawings are fairly numerous1 and are remarkably delicate and incisive in touch4 ,a large collection which he left to his son is now in the ,museo ,correr4 ,in his later years he was reduced to poverty and used to exhibit sketches in the ,piazza1 parting with them for a few ducats1 and in this way flooding ,venice with small landscapes4 ,the exact spot occupied by his bottega is said to be at the corner of the ,palazzo ,reale1 opposite the ,clock ,tower4 ,the house in which he died still exists in the ,campiello della ,madonna1 ,no4 #edcc1 ,parrocchia ,s4 ,canziano1 and has a shrine dedicated to the ,madonna attached to it4 ,when quite an old man1 ,guardi paid a visit to the home of his ancestors1 at ,mastellano in the ,austrian ,tyrol1 and made a drawing of ,castello ,corvello on the route4 ,to this day his name is remembered with pride in his ,tyrolean valley4 ,,some ,,works ,,of ,,guardi ,bergamo4 ,lochis3 ,landscapes4 ,berlin4 ,grand ,canal2 ,lagoon2 ,cemetery ,island4 ,london4 ,views in ,venice4 ,milan4 ,museo ,civico3 ,landscapes4 ,poldi-,pezzoli3 ,piazzetta2 ,dogana2 ,landscapes4 ,oxford4 ,taylorian ,museum3 ,views in ,venice4 ,padua4 ,views in ,venice4 ,paris4 ,procession of the ,doge to ,s4 ,zaccaria2 ,embarkment in ,bucentaur2 ,festival at ,salute2 ,jeudi ,gras in ,venice2 ,corpus ,christi2 ,sala di ,collegio2 ,coronation of ,doge4 ,turin4 ,cottage2 ,staircase2 ,bridge over ,canal4 ,venice4 ,museo ,correr3 ,the ,ridotto2 ,parlour of ,convent4 ,verona4 ,landscapes4 ,wallace ,collection4 ,the ,rialto2 ,san ,giorgio ,maggiore 7two72 ,s4 ,maria della ,salute2 ,archway in ,venice2 ,vaulted ,arcades2 ,the ,dogana4 ,,bibliography ,it is an advantage to the student of ,italian art to be able to read ,french1 ,german1 and ,italian1 for though translations appear of the most important works1 there are many interesting articles and monographs of minor artists which are otherwise inaccessible4 ,vasari1 not always trustworthy1 either in dates1 facts1 or opinions1 yet delightfully human in his histories1 is indispensable1 and new editions and translations are constantly issued4 ,sansoni's edition 7,florence71 with ,milanesi's notes1 is the most authoritative2 and for translations1 those of ,mrs4 ,foster 7,messrs4 ,blashfield and ,hopkins71 and a new edition in the ,temple classics 7,dent1 #h vols41 #bs4 each vol474 ,ridolfi1 the principal contemporary authority on ,venetian artists1 who published his ,maraviglie dell' arte nine years after ,domenico ,tintoretto's death1 is only to be read in ,italian1 though the anecdotes with which his work abounds are made use of by every writer4 ,crowe and ,cavalcaselle's ,painting in ,north ,italy 7,murray7 is a storehouse of painstaking1 minute1 and1 on the whole1 marvellously correct information and sound opinion4 ,it supplies a foundation1 fills gaps1 and supplements individual biographies as no other book does4 ,for the early painters1 down to the time of the ,bellini1 ,i ,origini dei pittori veneziani1 by ,professor ,leonello ,venturi1 ,venice1 #aijg1 is a large book1 written with mastery and insight1 and well illustrated2 ,la ,storia della pittura veneziana is another careful work1 which deals very minutely with the early school of mosaics4 ,in studying the ,bellini1 the late ,mr4 ,s4 ,a4 ,strong has ,the ,brothers ,bellini 7,bell's ,great ,masters71 and the reader should not fail to read ,mr4 ,roger ,fry's ,bellini 7,artist's ,library71 a scholarly monograph1 short but reliable1 and full of suggestion and appreciation1 though written in a cool1 critical spirit4 ,dr4 ,hills has dealt ably with ,pisanello 7,duckworth74 ,molmenti and ,ludwig in their monumental work ,vittore ,carpaccio1 translated by ,mr4 ,r4 ,h4 ,cust 7,murray1 #aijg71 and ,paul ,kristeller in the equally important ,mantegna1 translated by ,mr4 ,s4 ,a4 ,strong 7,longmans1 #aija71 seem to have exhausted all that there is to be said for the moment concerning these two painters4 ,it is almost superfluous to mention ,mr4 ,berenson's two well-known volumes1 ,the ,venetian ,painters of the ,renaissance1 and the ,north ,italian ,painters of the ,renaissance 7,putnam74 ,they are brilliant essays which supplement every other work1 overflowing with suggestive and critical matter1 supplying original thoughts1 and summing up in a few pregnant words the main features and the tendencies of the succeeding stages4 ,in studying ,giorgione1 we cannot dispense with ,pater's essay1 included in ,the ,renaissance4 ,the author is not always well informed as to facts--he wrote in the early days of criticism--but he is rich in idea and feeling4 ,mr4 ,herbert ,cook's ,life of ,giorgione 7,bell's ,great ,masters7 is full and interesting4 ,some authorities question his attributions as being too numerous1 but whether we regard them as authentic works of the master or as belonging to his school1 the illustrations he gives add materially to our knowledge of the ,giorgionesque4 ,when we come to ,titian we are well off4 ,crowe and ,cavalcaselle's ,life of ,titian 7,murray1 out of print71 in two large volumes1 is well written and full of good material1 from which subsequent writers have borrowed4 ,an excellent ,life1 full of penetrating criticism1 by ,mr4 ,c4 ,ricketts1 was lately brought out by ,methuen 7,classics of ,art71 complete with illustrations1 and including a minute analysis of ,titian's technique4 ,sir ,claude ,phillips's ,monograph on ,titian will appeal to every thoughtful lover of the painter's genius1 and ,dr4 ,gronau has written a good and scholarly ,life 7,duckworth74 ,mr4 ,berenson's ,lorenzo ,lotto must be read for its interest and learning1 given with all the author's charm and lucidity4 ,it includes an essay on ,alvise ,vivarini4 ,my own ,tintoretto 7,methuen1 ,classics of ,art7 gives a full account of the man and his work1 and especially deals exhaustively with the scheme and details of the ,scuola di ,san ,rocco4 ,professor ,thode has written a detailed and profusely illustrated ,life of ,tintoretto in the ,knackfuss ,series1 and the ,paradiso has been treated at length and illustrated in great detail in a very scholarly dition de luxe by ,mr4 ,f4 ,o4 ,osmaston4 ,it is the fashion to discard ,ruskin1 but though we may allow that his judgments are exaggerated1 that he reads more into a picture than the artist intended1 and that he is too fond of preaching sermons1 there are few critics who have so many ideas to give us1 or who are so informed with a deep love of art1 and both ,modern ,painters and the ,stones of ,venice should be read4 ,m4 ,charles ,yriarte has written a ,life of ,paolo ,veronese1 which is full of charm and knowledge4 ,it is interesting to take a copy of ,boschini's ,della pittura veneziana1 #agig1 when visiting the galleries1 the palaces1 and the churches of ,venice4 ,his lists of the pictures1 as they were known in his day1 often open our eyes to doubtful attributions4 ,second-hand copies of ,boschini are not difficult to pick up4 ,when the later-century artists are reached1 a good sketch of the ,venice of their period is supplied by ,philippe ,monnier's delightful ,venice in the ,eighteenth ,century 7,chatto and ,windus71 which also has a good chapter on the lesser ,venetian masters4 ,the best ,life of ,tiepolo is in ,italian1 by ,professor ,pompeo ,molmenti4 ,the smaller masters have to be hunted for in many scattered essays2 a knowledge of ,goldoni adds point to ,longhi's pictures4 ,canaletto and his nephew1 ,belotto1 have been treated by ,m4 ,uzanne1 ,les ,deux ,canaletto2 and ,mr4 ,simonson has written an important and charming volume on ,francesco ,guardi 7,methuen1 #aijd71 with beautiful reproductions of his works4 ,among other books which give special information are ,morelli's two volumes1 ,italian ,painters in ,borghese and ,doria ,pamphili1 and ,in ,dresden and ,munich ,galleries1 translated by ,miss ,jocelyn ffoulkes 7,murray72 and ,dr4 ,j4 ,p4 ,richter's magnificent catalogue of the ,mond ,collection--which1 though published at fifteen guineas1 can be seen in the great art libraries--has some valuable chapters on the ,venetian masters4 ,,index ,academy1 ,florence1 #bh ,venice1 #ac1 #af1 #ai1 #cb1 #cf1 #ch1 #dj1 #dc1 #dg1 #eb1 #eg1 #fg1 #hj1 #ajb1 #aaf1 #aag1 #aga1 #ahc1 #aif1 #bjb1 #bje1 #bjf1 #baj1 #baa1 #bag1 #bai1 #bbf1 #bbg1 #bdb1 #bfb1 #bfg1 #bga1 #bgg1 #bha1 #bhf1 #bie1 #bif1 #cjh1 #cac1 #cbj ,adoration of ,magi1 #bh1 #ca1 #aaf1 #aca1 #aig1 #bje1 #bhg ,adoration of ,shepherds1 #aaf1 #aif1 #bbb1 #bgc1 #bge ,agnolo ,gaddi1 #ae 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