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Carpaccio's influence is also apparent, as we have already noticed, and through this channel Giorgione's art connects with the more archaic style of Gentile Bellini, Giovanni's elder brother. Thus in him are united the quattrocentist tradition and the fresher ideals of the cinquecento, which found earliest expression in Giambellini's Allegories of about 1486-90.

In the office of the salt-works is a picture by Carpaccio's son Benedetto, signed and dated 1541, which came from S. Lucia di Val di Fasano. It shows the Virgin seated with the Child in a little shirt, in the act of blessing. On the left is S. Lucy, on the right S. George standing, with their heads on the same level as the Virgin, and therefore on a smaller scale.

Let me only dare to add that it is quite possible to extract enormous pleasure from the study of Carpaccio's works without agreeing with any of the foregoing criticism.

An English spinster retailing paradoxes culled to-day from Ruskin's handbooks; an American citizen describing his jaunt in a gondóla from the railway station; a German shopkeeper descanting in one breath on Baur's Bock and the beauties of the Marcusplatz; an intelligent æsthete bent on working into clearness his own views of Carpaccio's genius: all these in turn, or all together, must be suffered gladly through well-nigh two long hours.

Miss Barnett, who disputed the office of mentor with Vyvian, whom she jealously disliked, broke in, in her cheery chirp, "I don't agree with you, Mr. Vyvian. I consider it a very fine example of Carpaccio's later style; I think you will find that some good critics are with me." She addressed Peter, ignoring the intervening solidity of Mrs. Johnson. "Do you support me, Mr. Margerison?"

During those old nights I heard far more of the few little inches of Whistler's etchings and of Whistler's pastels than of the great expanse of Tintoretto's Paradise or of Carpaccio's decorations in the little church of San Giorgio degli Schiavoni.

The market was crowded with a throng of holiday-makers, a garden of bright colours and from the balconies above richly dressed ladies looked down, themselves a pageant of beauty, with their wonderful golden hair and gleaming jewels, while green and crimson parrots, fastened by golden chains to the marble balustrades, screamed and flapped their wings, and delighted Carpaccio's keen eyes with their vivid beauty.

Historians of art like Crowe and Cavalcaselle had indeed examined Carpaccio's works and investigated his life, along with the lives and works of many another obscure master: artists like Hook and Burne-Jones had admired his pictures; Ruskin had mentioned his backgrounds twice or thrice in "Stones of Venice."

"I have brought you here," said he one morning, as they left their gondolas at the steps of the Academy, "for the special study of Carpaccio's and the Bellinis' works.

It was he who painted one of the two lions that we saw in the museum of the Doges' Palace, the other and better being Carpaccio's. To him also is given, by some critics, the equestrian S. Chrysogonus, in S. Trovaso. His Accademia picture, on the end wall, is strictly local, representing Justice with her lion and S. Michael and S. Gabriel attending.