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Updated: June 16, 2025
Such is the figure which we may imagine making its way among the crowd in Gentile Bellini's Procession of the "True Cross" before St. Mark's, with eyes all wonder and lips often consciously imprisoning the German tongue, which cannot make itself understood. How comes he so finely dressed, the son of the modest Nuremberg goldsmith?
As a matter of fact, Titian was too wonderful for Bellini ever to do much for; and since he could not get on with him, he went to another master Gentile Bellini's brother, Giovanni.
It is difficult, indeed, to imagine that this masterpiece so eminently a work of the Cinquecento, and one, too, in which the master of Cadore rose superior to all influences, even to that of Giorgione could have been painted in 1508, that is some two years before Bellini's Baptism of Christ in S. Corona, and in all probability before the Three Philosophers of Giorgione himself.
I can see nothing in it beyond the power of a very ordinary painter, and nothing that a painter of more than very ordinary power would be satisfied with. When I look at the head of Bellini's Doge, Loredano Loredani, I can see defects, as every one can see defects in every picture, but the more I see it the more I marvel at it, and the more profoundly I respect the painter.
The Christ among the Doctors, dated 1506, and now in the Barberini Palace at Rome, might seem to have been painted chiefly to justify Giovanni Bellini's astonishment at the calligraphical painting of hair. It is one of those pictures of which a literary description would please more than the work itself.
Do you know the eyes of Bellini's "Agony in a Garden"? Can you hear for yourself the note that must have been Cassandra's when she shouted out her forebodings? There were these now in the glance and voice of Mrs. Lipkind as she drew back from him, her face actually seeming to shrivel. "No, Sammy! No! No! No!" "Ma please " "You wouldn't! You couldn't! No, Sammy my son!"
The fifth Allegory, representing a sphinx or chimaera now framed with the rest as the centre of an ensemble is from another and far inferior hand, and, moreover, of different dimensions. In Bellini's share in the landscape there is not a little to remind the beholder of the Death of St.
Literature may be useful from its lowest forms to nearly its highest, but the highest cannot be put in harness to any but spiritual uses; and the fact remains that the "Hallelujah Chorus," the speech of Hamlet to the players, Bellini's "Doge" have their only uses in a spiritual world whereto the word "uses" is as alien as bodily flesh is to a choir of angels.
Then there were the theatres, to which her father often took her, and where, with delighted, wondering eyes, she made acquaintance with most of the best operas and learnt to sing half Bellini's and Weber's music in her clear little voice.
Thus I managed to furnish with the utmost completeness the specially strong orchestral accompaniment demanded by the score of Bellini's Norma, and was able to dispose of a body of male voices for the impressive unison portion of the male chorus in the introduction of that work such as even the greatest theatres could rarely command.
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