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Updated: June 3, 2025
Jerome, painted some thirty years later by Carpaccio, in the Church of the Slavonians, contains not only various convenient and ornamental articles of furniture, but a collection of nick-nacks, among which some antique bronzes are conspicuous. The charm in all this is not so much that of the actual objects themselves; it is that of their having delighted those people's minds.
As a matter of fact, I find myself when in the Uffizi continually drawn to revisit these walls. The chief treasures are the Titians, the Giorgiones, the Mantegnas, the Carpaccio, and the Bellini allegory. These alone would make the Uffizi a Mecca of connoisseurs.
Somehow or other his fine, straight yellow hair retained its backward sweep with no impairment by reason of turnings and tossings; his clear profile continued to keep itself disengaged from any depression in the pillows; his slender hands were laid in quiet symmetry over the wide edge of the down-turned coverlet. A decorous, unperturbed young old-master ... Van Eyck ... Carpaccio....
In the olden days, when Venice was at the height of her glory, splendid fetes were given in the city, and the gorgeous shows were a wonder to behold. Early in the morning of these festa days, Carpaccio would steal away in the dim light from the studio, before the others were astir. Work was left behind, for who could work indoors on days like these? There was a holiday feeling in the very air.
Indeed art has never been great when it was not providing an iconography for a live religion. And it has never been quite contemptible except when imitating the iconography after the religion had become a superstition. Italian painting from Giotto to Carpaccio is all religious painting; and it moves us deeply and has real greatness.
And she had waited, applying herself to watching the administration of her possessions like the severest of intendants, depriving herself, stopping up gaps with unhoped-for profits. In 1875, she sold to the National Gallery a suite of four panels by Carpaccio, found in one of her country houses, for one hundred and twenty thousand francs.
"A company of knights in armour nice and shining," "three comely ladies in a green meadow," and so forth of the professional Italian story-teller the same Carpaccio, who was also, and much more than the more solemn Giovanni Bellini, the first Venetian to handle oil paints like Titian and Giorgione, painted the fairy tale of St.
The lion of the church is, however, the fine Carpaccio in the chapel to the left at the bottom of the nave, dated 1518, and signed "Victoris Charpatii Veneti opus," considered by some his best work. It represents the Virgin seated, and holding the Child to her breast.
"This, then, is the truth which Carpaccio knows, and would teach: That the world is divided into two groups of men; the first, those whose God is their God, and whose glory is their glory, who mind heavenly things; and the second, men whose God is their belly, and whose glory is in their shame, who mind earthly things.
Surely they did. The old man simply washes in the backgrounds and the boys do the work. About all old Gian does is to sign the picture, sell it and pocket the proceeds. Carpaccio helps him, too Carpaccio, who painted the loveliest little angel sitting crosslegged playing the biggest mandolin you ever saw in your life.
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