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Updated: June 16, 2025
Not merely did she go through the entire range of her old parts, Susanna, Moslna, Desdemona, Donna Anna, etc., but she presented herself in a number of new works which did not exist at her farewell to the stage Bellini's "Sonnambula," Donizetti's "Linda," "La Figlia del Reggimento," "Don Pasquale," "Le Tre Nozze" of Alary, and Ilalévy's "La Tempesta"; indeed, in the latter two creating the principal rôles.
He had confounded an opera with a play, and had chosen a box close to the stage, with the idea that one's chief object at a musical performance is to see the faces of the singers as plainly as possible! Fortunately for our ears, Bellini's lovely melodies are, for the most part, tenderly and delicately accompanied or the orchestra might have deafened us.
This mysterious picture certainly stands alone in Giovanni Bellini's work, and suggests the thoughts at least of Mantegna; and while it is true that Giovanni had worked at Padua, one is surprised to come upon its influence so late in his life. The influence of the Bellini is to be found in almost all the great painters of Venice in the Cinquecento.
I have had it for a long time, and it has hung on the frame of a photograph of Bellini's lovely Madonna. This little girl has always liked that picture, and she has often spoken to me about it. But she had never mentioned the rosary, which not only is made of dark wood, but is darker still with its centuries of age.
It is also the earliest I know of. The Virgin, pensive, sedate, and sweet, like all Bellini's Virgins, is seated in the centre, and seen in front. The Child, on her knee, blesses with his right hand, and the Virgin places hers on the head of a votary, who just appears above the edge of the picture, with hands joined in prayer; he is a fine young man with an elevated and elegant profile.
And they saw what was indeed one of the wonders of the world the glorious front of St. Mark's just as we see it in Gentile Bellini's great picture, with the many domes and myriads of pillars, the glittering mosaics and famous bronze horses, and the crimson standards floating from the three tall Venetian masts on the Piazza.
Of another great work at Vicenza, painted in Gian Bellini's old age, when neither his skill nor his strength was abated, 'The Baptism of Christ, Dean Alford writes thus: 'Let us remain long and look earnestly, for there is indeed much to be seen.
His letters of the period are as buoyant as could be wished. He had other schemes. At the Freemasons' concerts his Die Feen overture made a hit. He heard Schröder-Devrient in Bellini's Montechi e Capuleti, and found to his astonishment that a great singer could create great artistic effects in music of no very high value.
Next, this anonymous painter must have been a singularly refined and poetical artist, a master of brilliant colour, and an accomplished chiaroscurist. Truly a deus ex machina! Next you have to find a vacancy for such a phenomenon in the already crowded lists of Bellini's pupils and followers, as if there were not more names than enough already to fully account for every Bellinesque production.
I cannot forbear to tell, in this place, the story of what happened between him and Giovanni Bellini. Bellini had the highest reputation as a painter at Venice, and indeed throughout all Italy. When Albrecht was there he easily became intimate with him, and both artists naturally began to show one another specimens of their skill. Albrecht frankly admired and made much of all Bellini's works.
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