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John adores with folded hands, and St. Catherine sits by in tender contemplation. The Virgin holds a white rabbit, towards which the infant Christ, in the arms of St. Catherine, eagerly stretches his hand. In a picture by Paris Bordone it is carried, I think, too far. The Virgin reclines under a tree with a book in her hand; opposite to her sits St. Joseph holding an apple; between them, St.
He dealt frequently in mythological or poetic subjects. There is an example of the first in the National Gallery. He was great in single female subjects and women's portraits. There is a portrait by Bordone of a lovely woman of nineteen belonging to the Brignole family, in the National Gallery. He had often fine landscape and grand architecture in his pictures.
The other picture included by Mr. Berenson in his list is the large canvas in the Venice Academy, with "The Storm calmed by S. Mark." According to this critic it is a late work, finished, in small part, by Paris Bordone. In my opinion, it would be far wiser to withhold definite judgment in a case where a picture has been so entirely repainted. Certainly, in its present state, it is impossible to recognise Giorgione's touch, whilst the glaring red tones of the flesh and the general smeariness of the whole render all enjoyment out of question. I am willing to admit that the conception may have been Giorgione's, although even then it would stand alone as evidence of an imagination almost Michelangelesque in its terribilit
Cima, Cariani, Paris Bordone, and last, but not least, the great Titian, lent their gifts to the subject, so that we have abundant evidence of the Venetian love of natural scenery. The subject is found among the woodcuts of Albert Dürer, but I have never seen it in any German painting.
In Raphael's lifetime his principal scholar was accustomed to work on the master's pictures, and on his death Giulio, together with another pupil, Gianfrancesco Penni, were left executors of Raphael's will and heirs of his designs. Paris Bordone was born at Treviso in 1500 and died in 1570.
Prepared then by prayer and meditation, I made solemn and punctilious visits to what I must call the holy places of Aurelia's nation: the Madonna del Bordone, the Madonna delle Grazie, and the Madonna called of Provenzano. Before each of these ladies mournful, helpful, heaven-conversing deities I prayed devoutly, on my knees.
Internal evidence is indeed conclusive in this case that the picture must be assigned to a date when Bordone was but a child of tender years. Here Titian is found treating this great scene in the life of Christ more in the style of a Giorgionesque pastoral than in the solemn hieratic fashion adopted by his great predecessors and contemporaries.
A high voice on the outskirts: I'm going to get one for forty dollars. Another voice: Well, I'm not going to pay more than fifty for mine. A straggler: Eliza, look at those people. Oh, you missed it! Chorus: Yes, that's Paris Bordone. Which one is that? He has magnificent color. The guide: The thing you want to look at is the five figures in front. A voice: Oh, that's beautiful. I love that.
Round these great men are grouped a host of secondary but distinguished painters Palma with his golden-haired large-bosomed sirens; idyllic Bonifazio; dramatic Pordenone, whose frescoes are all motion and excitement; Paris Bordone, who mingled on his canvas cream and mulberry juice and sunbeams; the Robusti, the Caliari, the Bassani, and others whom it would be tedious to mention.
The second story, which existed as a kind of tower above each end of the façade, was thrown down by the great earthquake, and never rebuilt. The loggia has stone benches against the walls, one to the left, and two, one above the other, to the right, which were the seats for senators on great fête days. In 1462 there was another fire, so that only fragments of Onofrio's work remain the hall on the ground floor with the seventeenth-century wooden ceiling, several of the caps of the loggia, and the courtyard within, the great door and the windows of the first floor. This is all that appears to have been preserved. The great council then called in Michelozzo the Florentine and George of Sebenico. The former was at Ragusa in 1463, looking after the building of the walls of the city; and on February 11, 1464, it was ordered "that the palace be rebuilt" after his designs; but, in the following June, George of Sebenico was appointed, working, no doubt, on the general lines laid down by Michelozzo. The great hall was burnt during the French siege, and very little remains inside worthy of note. There are two tolerable pictures, one an early copy of the Paris Bordone in the National Gallery, the Venus and Adonis, and the other, a Baptism of Christ, in the manner of Paduan work of the fifteenth century. Both have been restored. The courtyard has an arcade of round arches, resting on cylindrical columns with Renaissance caps, and an upper arcade resting on twin columns and piers, two arches to each bay, both stories being vaulted with sustaining arches, but without ribs. The loggia in front has ribs and bosses at the intersections. A small staircase to the right contains other remains of Onofrio's building a bracket, on which is carved a figure of Justice holding a label, and with a mutilated lion on each side of her; opposite to it is a capital, on which is carved the Rector administering justice; neither of them in their original place. The main doorway is pointed with a richly carved moulding and caps, which belong to Onofrio's work; above it is S. Biagio in a Renaissance niche, and between the caps and the arch a shallow frieze is interposed, on which are carved little figures engaged in combats, a love scene, and Cupids with an organ and trumpets. The corbels from which the vaults spring are carved, the subjects being two groups of boys playing, a man fighting a dragon or basilisk with club and little target, a struggle between a girl and a bear, &c. The doors at the end, the Porta della Carit
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