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The same gallery affords several instances of similar decorative pieces by other Venetian artists which serve admirably to show the great gulf fixed in quality between Giorgione's work and that of the Schiavones, the Capriolis, and others who imitated him. See postea, p. 63. Bellini adopted it later in his S. Giov. Crisostomo altar-piece of 1513.
Despatches of Bartolomeo de'Cavallieri, Ferrarese ambassador at the court of France, to Ercole, July 10, 14, and 21, 1501. Despatch of the same, undated. Ercole to Giovanni Valla, his special envoy to the Cardinal of Rouen, in Milan, July 21 and 26, 1501. Da Roma accertasi, che la figliola del papa ha partorito.... Giov. Alberto della Pigna to the duke, Venice, March 15, 1498. Archives of Modena.
At about the same time the Amatis were introducing the use of side-linings, Giov. Maggini was trying other means of preventing the parting of the upper and lower tables from the ribs by damp. A method he adopted, and which many later makers imitated if it did not occur to them spontaneously was by cutting a groove all round and inserting the ribs.
The later interpreters of the pomp and grandeur of the Venetian state, Veronese and Tintoret, are represented to L. and R. by several typical canvases. A Last Supper, 1547, and other works by Tiepolo, the last of the Venetian masters of the grand style; and some Bassanos 1429, by Jacopo, Giov. da Bologna is an admirable portrait conclude the collection of Venetians.
From Perkins's Tuscan Sculptors, vol. i. p. 54. A recent work by Signor G.J. Cavallucci, entitled S. Maria del Fiore, Firenze, 1881, has created a revolution in our knowledge regarding this church. Giov. Villani, x. 192. Illustrated Handbook of Architecture, book vi. chap. i. Ib. See Grüner's Terra Cotta Architecture of North Italy, plates 3 and 4.
The contract, dated June 1494, is transcribed in Pungileoni's "Elogio Stor. di Giov. Santi.," p. 77. Vasari, iii. 689. The MS. is in the possession of Conte Scipione Bicchi-Borghese, Siena. Vasari, iii. 688. "Die Galerie zu Berlin," p. 46.
It is well, indeed, not to pause over these defects; but it might have been better to have paused a moment beside that noble image of a king's mortality. SECTION XLI. In the choir of the same church, St. Giov. and Paolo, is another tomb, that of the Doge Andrea Vendramin. This doge died in 1478, after a short reign of two years, the most disastrous in the annals of Venice.
This tomb is remarkable as the earliest instance of the canopy withdrawn by attendant angels from the dead man's form, afterwards so frequently adopted by the Pisan school. Giov. Villani, viii. 26. See Milizia, vol. i. p. 135. These walls were not finished till some, time after Arnolfo's death. They lost their ornament of towers in the siege of 1529, and they are now being rapidly destroyed.
Reverse: S. VENANTIVS DE CAMERI. They are described in the Periodico di Numismatica e Sfragistica per la Storia d'Italia diretto dal March. C. Strozzi, Flor. 1870, A. III, Fascic. ii, 70-77, by G. Amati, and also in A. IV, fasc. vi, 259-265, by M. Santoni. Both writers erroneously describe this Giov.
It is well, indeed, not to pause over these defects; but it might have been better to have paused a moment beside that noble image of a king's mortality. § XLI. In the choir of the same church, St. Giov. and Paolo, is another tomb, that of the Doge Andrea Vendramin. This doge died in 1478, after a short reign of two years, the most disastrous in the annals of Venice.
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