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Updated: June 3, 2025
Not all of them are like the infant angels of Bellini or Filippino Lippi or Carpaccio; some indeed are strident, pert, without charm or candour, not doves but little jays; but for the loveliness of those who have smiled upon me, whether rich or poor, whether wild or tended flowers, I shall ever hold the whole company dear.
It is a charming dream the young Duerer, just of age, trudging from town to town, designing wood-blocks for a printer here, questioning the brothers of the "admirable Martin" there, or again painting a sign in yet another place, such as Holbein painted for the schoolmaster at Basle; and at last arriving in Venice Venice untouched as yet by the conflicting ideals that were even then being brought to birth anew: Mediaeval Venice, such as we see her in the pictures of Gentile Bellini and Carpaccio.
This last brings Carpaccio into closer comparison with the later Venetian painters, being in the nature of a Santa Conversazione, where the holy personages are grouped in some definite relation to each other, and not independent figures. The beautiful Portrait of a Poet in the National Gallery has been attributed both to Giorgione and to Titian.
An Entombment in the Church of S. Antonino at Venice is reminiscent of Giovanni Bellini at his best. In 1508, the name of VITTORE CARPACCIO occurs with that of Bastiani in connection with the frescoes of Giorgione upon the façade of the Fondaco de Tedeschi, about which there was a dispute.
Cordula hid in a ship, but the next day suffered death by her own free will and earned a martyr's crown. All this happened in the year A.D. 238. Carpaccio, it will be quickly seen, disregards certain details of this version. For example, he makes Ursula's father a King of the Moors, although there is nothing Moorish about either that monarch, his daughter, or his city.
He is to be seen in pictures again and again in Venetian churches, but these three scenes by Carpaccio are the finest. The Saint was a Cappadocian gentleman and the dragon ranged and terrorized the Libyan desert. Every day the people of the city which the dragon most affected bribed him away with two sheep. When the sheep gave out a man was substituted.
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.
Carpaccio had felt the flood of Venetian color, and here we see the beginnings of that wonderful richness found in works by the later Venetian masters. He was a born story-teller, and delighted especially in tales of a legendary, poetic character. His works possess a peculiar fascinating quaintness.
At the time when Carpaccio and Gentile Bellini were painting those handsome youths in tight jackets, parti-coloured hose, and little round caps placed awry upon their shocks of well-combed hair, there lived in Venice two noblemen, Messer Pietro and Messer Paolo, whose palaces fronted each other on the Grand Canal.
Carpaccio has so enjoyed the pageantry and detail, even to frescoes on the house, crowded bridges, and so forth, that his duty as a story-teller has suffered. He bids his father farewell. Nothing could be more fascinating than the mountain town and its battlements, and every inch of the picture is amusing and alive. Crowds of gay people assemble and a ship has run on the rocks.
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