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It must be admitted that for sheer theatricalism that gentleman beat any composer who preceded him. Bellini's, Auber's and Spontini's scores are thin compared with his; even Auber's grandest ensembles lack his sham magnificence. Wagner's artistic conscience had not ripened to the point at which conscience is an absolute, unfailing, unerring touchstone.
I feel bound to confess that he possessed 'a good deal of melody'; but this, he added, did not seem sufficient to inspire the singers with the requisite enthusiasm. His experience was that Schroder-Devrient, in his Adele de Foix, would render very indifferently the same final passage with which, in Bellini's Romeo and Juliet, she would put the audience into an ecstasy.
The National Gallery is rich indeed in Bellini's work. We have no fewer than ten pictures that are certainly his, and others that might be; and practically the whole range of his gifts is illustrated among them.
Later we shall see a picture by Michelangelo which has been accused of blending Christianity and paganism; but Bellini's sole purpose was to do this. We have children from a Bacchic vase and the crowned Virgin; two naked saints and a Venetian lady; and a centaur watching a hermit. The foreground is a mosaic terrace; the background is rocks and water.
The Bellinis could be hung in Rooms I and VI without violence; the Giorgiones and Titians and Tintorettos would conflict. Bellini's simplicity allies him to Giotto traditions; but there was no simplicity about Giorgione, Titian, and Tintoretto. They were sophisticated, and the two last were also the painters of a wealthy and commanding Republic.
The text of Bellini's "Nachtwandlerin" could hardly be called literature, nor Theodor Mundt's fabulous novel, "Lebensmagie, Wirklichkeit und Traum." The latter I will mention later in the text. Only in "Maria" and in "Aebelö" however do these themes play an important part, while in the other works mentioned they serve properly only as adornment and episodic ornament.
The Founder of a New School of Singing. Pasta creates the Leading Rôles in Bellini's "Sonnambula" and "Norma" and Donizetti's "Anna Bolena." Decadence and Retirement.
Giovanni Bellini's greatest work, now at St Salvatore, is Christ at Emmaus, with Venetian senators and a Turkish dragoman introduced as spectators of the risen Lord.
H. E. Huntington's Vermeer, as well as the supreme Marquand example of that master; more than the regular wealth of Rembrandts, Manet's "Still Life," Gauguin's "Women by the River," El Greco's "View of Toledo," Franz Hals' big jovial Dutchman from Mr. Harry Goldman's walls, and Bellini's "Bacchanale" to say nothing of the lace in galleries 18 and 19, Mr.
Yet when I look at those works which we all hold to be the crowning glories of the world as, for example, the Iliad, the Odyssey, Hamlet, the Messiah, Rembrandt's portraits, or Holbein's, or Giovanni Bellini's, the connection between them and use is, to say the least of it, far from obvious.
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