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These remind one in their naiveté of Carpaccio's scurrying friars, in S. Giorgio degli Schiavone, Venice. There are some very fine bits in this fresco; the attitude of the monk to the left who is heaving up the stone is exceedingly good and true to nature, and the landscape is spacious and distant. No.
Titian's own pupils, Paris Bordone, Tintoretto, and Schiavone, may also be found here; the first in a Portrait of a Young Man , full of confidence and force.
After his few days with Titian, Tintoretto studied with Schiavone and afterward set up a studio for himself. As a determined lad in this studio of his, Tintoretto tried every means of developing his art. He studied the figures upon Medicean tombs made by Michael Angelo, taking plaster casts of them and copying them in his studio.
Likewise a good painter in our own day, in that city, has been Andrea Schiavone; I say good, because at times, for all his misfortunes, he has produced some good work, and because he has always imitated as well as he has been able the manners of the good masters.
Afterwards, in the altar-piece of the same chapel, Federigo painted the story of the Magi in oils. And then he painted some pictures in a loggia, which are much extolled, at the villa of M. Giovan Battista Pellegrini, between Chioggia and Monselice, where Andrea Schiavone and the Flemings, Lamberto and Gualtieri, have executed many works.
Above one of the side altars are six small Carpaccios on panel much repainted the one with the figure of S. Martin bears his signature; also a Palma Giovine and an Andrea Schiavone. Beneath the step of the high-altar is the sarcophagus of Oriental marble, with porphyry cover, of the three saints, Agape, Chionia, and Irene, whose remains are interred in the crypt.
Keeping on the right side of the Rio di S. Margherita we come quickly to the campo of the Carmine, where another church awaits us. S. Maria del Carmine is not beautiful, and such pictures as it possesses are only dimly visible a "Circumcision" by Tintoretto, a Cima which looks as though it might be rather good, and four Giorgionesque scenes by Schiavone.
Him Giorgio Vasari caused in the year 1540 to paint on a large canvas in oils the battle that had been fought a short time before between Charles V and Barbarossa; and that work, which is one of the best that Andrea Schiavone ever executed, and truly very beautiful, is now in Florence, in the house of the heirs of the Magnificent M. Ottaviano de' Medici, to whom it was sent as a present by Vasari.
In this same year Titian painted on the ceiling of the ante-chamber to Sansovino's great Library in the Piazzetta the allegorical figure Wisdom, thus entering into direct competition with young Paolo Veronese, Schiavone, and the other painters who, striving in friendly rivalry, had been engaged a short time before on the ceiling of the great hall in the same building.
The result of this critic's heavy labours is to reduce the certain Giorgiones to thirteen, among which is the S. Rocco altar-piece. With great daring he goes on to say who painted all the others: Sebastian del Piombo this, Andrea Schiavone that, Romanino another, Titian another, and so forth.
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