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Updated: June 24, 2025
In addition to this, a matter which many great composers ignore, Bellini had extraordinary skill in writing music for the voice, not that which merely gave opportunity for executive trickery and embellishment, but the genuine accents of passion, pathos, and tenderness, in forms best adapted to be easily and effectively delivered.
In 1507 Titian was thirty years old, not eighteen, so that both statements cannot be correct. Now it is highly improbable that Titian had already discarded the manner of Bellini as early as 1495, at the age of eighteen, and had so identified himself with Giorgione that their work was indistinguishable.
All the more surprising is it that it receives no mention from Vasari, who merely states that the master worked at Castelfranco. Statius: Theb. iv. 730 ff. See p. 135. Aen. viii. 306-348. Fry: Giovanni Bellini, p. 39. ii. 214.
A few yards after leaving the campo we come on the right to the little church of S. Giovanni Crisostomo where there are two unusually delightful pictures: a Sebastiano del Piombo and a Bellini, with a keen little sacristan who enjoys displaying their beauties and places you in the best light. The Bellini is his last signed work, and was painted when the old man was in his eighty-fifth year.
When a young man Titian spent some time in Ferrara; there he painted his 'Bacchus and Ariadne, and a portrait of Lucrezia Borgia. In 1512, when Titian was thirty-five years of age, he was commissioned by the Venetians to continue the works in the great council-hall, which the advanced age of Gian Bellini kept him from finishing.
The Sultan looked at it, and cutting heads off being a large part of his business, he saw that Bellini had not scientifically painted it, and in order to show him the true way to conduct such matters, he sent for a slave and ordered his head chopped off in Bellini's presence.
People go into the Chapel of the Rosary here to see the painting of Titian, representing The Death of Peter Martyr. Behind it stands a painting of equal size by John Bellini, the Madonna, Child, and Saints, of course, and it is curious to study in the two pictures those points in which Titian excelled and fell short of his master.
This is that in those painted poesie of the earlier Venetian art of which the germs are to be found in Giovanni Bellini and Cima, but the flower is identified with Giorgione, Titian surrendered himself to the overmastering influence of the latter with less reservation of his own individuality than in his sacred works.
There is that Pascale Salvini. He has a rival studio, and when that Genoese, Cristoforo Colombo, was here and made his stopping-place at Bellini's studio, Pascale told every one that Colombo was a lunatic and Bellini another, for encouraging him to show his foolish maps and charts.
At the end of the Merceria is S. Salvatore, a big quiet church in the Renaissance style, containing the ashes of S. Theodore, the tombs of various Doges, and a good Bellini: a warm, rich, and very human scene of a wayside inn at Emmaus and Christ appearing there.
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