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Updated: June 3, 2025
Fairfax Murray, copies from Carpaccio or bits of Gothic architecture. Then, sitting in the chair in which he preached his baby-sermon, he reads aloud a few chapters of Scott or Miss Edgeworth, or, with judicious omissions, one of the older novelists; or translates, with admirable facility, a scene of Scribe or George Sand.
"But what Carpaccio knows, and what I know, also, are precisely the things which your wiseacre apothecaries, and their apprentices, and too often your wiseacre rectors and vicars, and their apprentices, tell you that you can't know, because 'eye hath not seen nor ear heard them, the things which God hath prepared for them that love him.
George as their patron saint, and when they had built a little chapel they invited Carpaccio to come and paint the walls with pictures from the life of St. George and other saints. Nothing could have suited Carpaccio better, and he began his work with great delight, for he had still his child's love of stories, and he would make them as gay and wonderful as possible. There we see St.
More remote from Bellini, yet not so far as to be entirely free from his influence in some of their more important compositions, was the school formed by LAZZARO DI BASTIANI or SEBASTIANI, of which the chief ornament was Vittore Carpaccio, and among the lesser ones Giovanni Mansueti and Benedetto Diana.
To Carpaccio we are indebted for the most vivid realization of the contemporary life of Venice; for although his subjects were nominally taken from sacred history or legend, they are treated in a thoroughly secular fashion, giving the clearest idea of the buildings, people, and costume of the Venice of his time, with the greatest variety and richest development.
His father died in 1502, and this loss was a deep grief to the artist. So little money was left for his mother and younger brother that their support came upon him. At length, in 1505, he made a journey to Venice, partly for his health, and in order to study Venetian painting. He was well received by the painters of Venice. Giovanni Bellini and Carpaccio were the leading painters of that time.
He discoursed of Cimabue, Arpino, Carpaccio, and Argostino of the gloom of Caravaggio, of the amenity of Albano, of the colors of Titian, of the frows of Rubens, and of the waggeries of Jan Steen. There was the President of the Fum-Fudge University. He was of opinion that the moon was called Bendis in Thrace, Bubastis in Egypt, Dian in Rome, and Artemis in Greece.
In my opinion this is one of his earliest essays into the region of romance, painted probably before his twenty-first year, betraying, like the little legendary pictures in the Uffizi, a strong affinity with Carpaccio. Na. nal Gallery, London
It was no caprice of a changeful taste, nor love of startling paradox, that brought him to "discover Carpaccio;" it was the logical sequence of his studies, and widening interests, and a view of art embracing far broader issues than the connoisseurship of "Modern Painters," or the didacticism of "Seven Lamps," or the historical research of "Stones of Venice."
Far away on our left, as we drove towards Padua, it rose above the little town that crawled to the foot of the castle's hill to beg protection; and it was exactly like a city painted by Mantegna or Carpaccio, Mr. Barrymore said. Up the hill ran the noblest and biggest wall that an Old Master's imagination could have conceived.
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