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Updated: June 13, 2025
But if you love me you must renounce your sex, lose even the remembrance of it, and leave immediately for Bologna, dressed as a boy, and under the name of Bellino.
As soon as we were in our row boat, Bellino, who had recovered from his fright, told me that I had just made him acquainted with a phenomenon, the reality of which he could not admit, and which gave him a very strange idea of my nature; that, as far as the Greek girl was concerned, he could not make her out, unless I should assure him that every woman in her country was like her.
The father of the boy, who was poor and had a large family, seeing himself near death, had thought of having his unfortunate son maimed so that he should become the support of his brothers with his voice. The name of the boy was Bellino; the good woman whom you have just seen in Ancona was his mother, and everybody believes that she is mine.
And youth runs away from old age, because it is its most cruel enemy. An interval of repose became necessary, in consequence of the activity of our enjoyment. Our senses were not tired out, but they required the rest which renews their sensitiveness and restores the buoyancy necessary to active service. Bellino was the first to break our silence. "Dearest," she said, "are you satisfied now?
He gave us white truffles, several sorts of shell-fish, the best fish of the Adriatic, dry champagne, peralta, sherry and pedroximenes wines. After that supper worthy of Lucullus, Bellino sang with a voice of such beauty that it deprived us of the small amount of reason left in us by the excellent wine.
For the future think only of your love for me, but love me exclusively. From this moment I am no longer Bellino. Let us go to Venice, where my talent will keep us both comfortably; if you wish to go anywhere else, let us go where you please." "I must go to Constantinople." "Then let us proceed to Constantinople.
Though he has arrived at the extreme limit of his splendid career, old Gian Bellino, who has just given new proof of his still transcendent power in the great altar-piece of S. Giovanni Crisostomo , which is in some respects the finest of all his works, declines to sit still under the encroachments of his dangerous competitor, younger than himself by half a century.
"In Rome, my good woman," I said, "the false Bellino would have been found out, and Therese would have been consigned to a miserable convent for which she was never made." Notwithstanding the danger of my position, I spent the whole of the day alone with my beloved mistress, and it seemed that every moment gave her fresh beauties and increased my love.
I divided them between Bellino, Cecilia and Marina, and begged the two young girls to leave me alone with their brother. "Bellino, I am certain that your natural conformation is different from mine; my dear, you are a girl." "I am a man, but a castrato; I have been examined." "Allow me to examine you likewise, and I will give you a doubloon."
It is by no means certain, all the same, that this question of influence imparted and submitted to can with advantage be argued with such absoluteness of statement as has been the rule up to the present time, both on the one side and the other. It should be remembered that we are dealing with three young painters of about the same age, working in the same art-centre, perhaps, even, for a time in the same studio issuing, at any rate, all three from the flank of Giovanni Bellini. In a situation like this, it is not only the preponderance of age two or three years at the most, one way or the other that is to be taken into account, but the preponderance of genius and the magic gift of influence. It is easy to understand how the complete renewal, brought about by Giorgione on the basis of Bellini's teaching and example, operated to revolutionise the art of his own generation. He threw open to art the gates of life in its mysterious complexity, in its fulness of sensuous yearning commingled with spiritual aspiration. Irresistible was the fascination exercised both by his art and his personality over his youthful contemporaries; more and more did the circle of his influence widen, until it might almost be said that the veteran Gian Bellino himself was brought within it. With Barbarelli, at any rate, there could be no question of light received back from painters of his own generation in exchange for that diffused around him; but with Titian and Palma the case was different. The germs of the Giorgionesque fell here in each case upon a fruitful soil, and in each case produced a vigorous plant of the same family, yet with all its Giorgionesque colour of a quite distinctive loveliness. Titian, we shall see, carried the style to its highest point of material development, and made of it in many ways a new thing. Palma, with all his love of beauty in colour and form, in nature as in man, had a less finely attuned artistic temperament than Giorgione, Titian, or Lotto. Morelli has called attention to that element of downright energy in his mountain nature which in a way counteracts the marked sensuousness of his art, save when he interprets the charms of the full-blown Venetian woman. The great Milanese critic attributes this to the Bergamasque origin of the artist, showing itself beneath Venetian training. Is it not possible that a little of this frank unquestioning sensuousness on the one hand, of this terre
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