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Updated: June 29, 2025
The next, the Sala Grimani, has rival lions of S. Mark by Jacobello del Fiore, an early Venetian painter, in 1415, and Carpaccio a century later. Jacopo's lion has a very human face; Carpaccio's picture is finer and is also interesting for its architectural details. The next room, the Sala Erizzo, has a very splendid ceiling.
There are sights too: Carpaccio's very last picture, painted in 1520, in S. Domenico; a Corso Vittorio Emmanuele; a cathedral; a Giardino Pubblico; and an attractive stone parapet with a famous Madonna on it revered by fishermen and sailors.
The story of her life and death became an example, the conception of her character, as read in Carpaccio's picture, became a standard for his own life and action in many a time of distress and discouragement. The thought of "What would St.
Carpaccio's pictures floated before him, and Tintoretto's record of dead generations; and then, by the link of size, those even vaster paintings in gouache of Vermayen in Vienna: old land-fights with crossbow, spear, and arquebus, old sea-fights with inter-grappling galleys. He thought of galley-slaves chained to their oar the sweat, the blood that had stained history.
The very weakness of the picture engages and convinces. The Holy Cross Gentile Bellini's Venice The empty windows Carpaccio's Venice The story of S. Ursula Gay pageantry A famous bedroom Carpaccio's life Ruskin's eulogy. In Room XV are the Santa Croce miracles. The Holy Cross was brought by Filippo da Massaro and presented to the Scuola di S. Giovanni Evangelista.
The most beautiful of these angiolini, with long flakes of flaxen hair falling from their foreheads, are in a Sacra Conversazione of Carpaccio's in the Academy. Gian Bellini's, in many similar pictures, are of the same delicacy. What follows above about Giorgione is advanced with diffidence, since the name of no other great painter has been so freely used to cover the works of his inferiors.
These visions come to one, and one can neither hold them nor brush them aside. Memories of Carpaccio, the magnificent, the delightful it's not for want of such visitations, but only for want of space, that I haven't said of him what I would. There is little enough need of it for Carpaccio's sake, his fame being brighter to-day thanks to the generous lamp Mr.
The bridge of the Rialto, which throws its white span across the centre of the canal, was Carpaccio's favourite perch, for from here he could see the markets and the long row of marble palaces on either side. From every window hung gay-coloured tapestry, Turkey carpets, silken draperies, and delicate-tinted stuffs covered with Eastern embroideries.
She wore a crown of pearls and brilliants on her head, and her hair, mixed with long threads of gold, fell loose about her shoulders, as you may see it in Carpaccio's pictures of the Espousals of St. Ursula. Her ear-rings were pendants of three pearls set in gold; her neck and throat were bare but for a collar of lace and gems, from which slid a fine jeweled chain into her bosom.
The ancient baptistery stood opposite the cathedral, if one may trust the views in Carpaccio's picture, and in one by Domenico Tintoretto in the town-hall. The modern one is on the slope of the hill, just below the campanile. It contains an early rectangular font.
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