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Updated: June 3, 2025
And here and there, in back canals, we come across coloured sections of old buildings, capped by true Venetian chimneys, which for a moment seem to realise our dream. A morning with Tintoretto might well be followed by a morning with Carpaccio or Bellini. But space is wanting in these pages.
But God has revealed them to us to Carpaccio, and Angelico, and Dante, and Giotto, and Filippo Lippi, and Sandro Botticelli, and me, and to every child that has been taught to know its Father in heaven, by the Spirit: because we have minded, or do mind, the things of the Spirit in some measure, and in such measure, have entered into our rest."
Not only do these bring before us the life of Venice in its manifold reality, but they illustrate the tendency of the Venetian masters to express the actual world, rather than to formulate an ideal of the fancy or to search the secrets of the soul. This realism, if the name can be applied to pictures so poetical as those of Carpaccio, is not, like the Florentine realism, hard and scientific.
Another calle, the Giustinian, a dull house with a garden and red and white striped posts, and we are at the Iron Bridge and the Campo S. Vitale, a small poor-people's church, with a Venetian-red house against it, and inside, but difficult to see, yet worth seeing, a fine picture by Carpaccio of a saint on horseback.
As we pass from picture to picture, we wish we had known this Carpaccio, for he must have been a splendid teller of stories; and how he would have made us shiver with his dragons and his basilisks, and laugh over the antics of his little boys and girls, his scarlet parrots and green lizards.
There was one beautiful woman, a red blonde in a green velvet gown, who might have ridden, as she was, out of a canvas of Titian's, if he had ever painted equestrian pictures, and who at any rate was an excellent Carpaccio.
The use of gold indeed seems a "note" of the colouring of the early Renascence; a broad band of gold wreathes the two rolls beneath and above the cornice, and lozenges of gold light up the bases of the light pillars in the colonnade above. In another picture of Carpaccio, the 'Dismissal of the Ambassadors, one sees the same principles of colouring extended to the treatment of interiors.
In Bellini, Carpaccio, Cima, and other early masters, the features, forms, and dress are mainly modern and Venetian; and Giorgione, Titian, and even the eclectic Tintoret, were more interested in the bright lights of a steel breastplate than in the shape of a limb; and preferred in their hearts a shot brocade of the sixteenth century to the finest drapery ever modelled by an ancient.
A chef d'oeuvre by the master is the Madonna of the Certosa at Pavia, now in, the National Gallery. Yet it is said to have been painted at the very period when Michael Angelo ridiculed Perugino's work as 'absurd and antiquated. Vittore Carpaccio, date and place of birth unknown, though he is said to have been a native of Istria.
From these and from a few rosy fragments on the Fondaco dei Tedeschi, the Fabbriche Nuove, and precious fading figures in a certain courtyard near San Stefano, we form some notion how Venice looked when all her palaces were painted. Pictures by Gentile Bellini, Mansueti, and Carpaccio help the fancy in this work of restoration.
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