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Updated: June 3, 2025
Its complete intention is now, however, only to be seen in the pictures of Gentile Bellini and Vittor Carpaccio; for, like most of the rest of the mouldings of Venetian buildings, it was always either gilded or painted often both, gold being laid on the faces of the dentils, and their recesses colored alternately red and blue.
They did not reach their end by anatomy, analysis, and reconstruction. They undertook to paint just what they felt and saw. Very instructive are the wall-pictures of this period, painted not in fresco but on canvas by Carpaccio and Gentile Bellini, for the decoration of the Scuole of S. Ursula and S. Croce.
The Tintoret had the mightier temperament, but Carpaccio, who had the advantage of more newness and more responsibility, sailed nearer to perfection. Here and there he quite touches it, as in the enchanting picture, at the Academy, of St. Ursula asleep in her little white bed, in her high clean room, where the angel visits her at dawn; or in the noble St.
They were like the little monks who run from St. Jerome's lion in the picture by Carpaccio. Then one zealot rushed forward and smote the old man heavily upon the mouth....
Jerome in his study at S. Giorgio Schiavoni. This latter work is a pearl of sentiment, and I may add without being fantastic a ruby of colour. It unites the most masterly finish with a kind of universal largeness of feeling, and he who has it well in his memory will never hear the name of Carpaccio without a throb of almost personal affection.
The little side-streets of Venice, cut up by canals, seem like a veritable maze to those who do not know the city, but Carpaccio could quickly thread his way from bridge to bridge, and by many a short cut arrive at last at the great central water street of Venice, the Grand Canal.
Giovanni Bellini, Carpaccio and Mantegna were succeeded by Titian, Giorgione, and Tintoretto; Perugino was succeeded by Raphael.
His object is not only to represent single events, but a complete scene, and while we observe this characteristic in one or two pictures by the Bellini, Carpaccio not only shows it much oftener, but carries it to a much fuller development possibly influenced by the Netherlandish masters.
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.
But being a man of fine imagination and most delicate sense of form, he does not, like Angelico or Benozzo or Carpaccio, merely stick pretty things about; he works them all into his strange arabesque, half intellectual, half physical.
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