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Updated: June 24, 2025
The school is here represented by a most valuable collection from Bartolomeo Vivarini, No. 1607, to Guardi. 1158, Giovanni Bellini, Virgin and Saints; and 1158A, a Man's Portrait, are however dubious attributions. 1156, Two Portraits; and 1157, a Venetian Envoy at Cairo, are Gentile school works. 1134, by Antonello da Messina, A Condottiere, is an amazingly vivid and powerful portrait.
On the stairs are historical Venetian scenes of fires, fights, and ceremonials which we shall find in more abundance at the Querini Stampalia. The top floor is given to Canova, Canaletto, Guardi, and Tiepolo, and is very rich in their drawings and studies. In Canova I find it impossible to be much interested, but the pencil work of the others is often exquisite.
He also executed a portrait, at the time of the siege of Florence, of Francesco Guardi in the habit of a soldier, which was a very beautiful work; and on the cover of this picture Bronzino afterwards painted Pygmalion praying to Venus that his statue, receiving breath, might spring to life and become as, according to the fables of the poets, it did flesh and blood.
These liveries at first produced a great sensation in Rome, not only amongst the hierarchy, who were jealous of the profanation, but with the populace, both within and without the walls: from the prince to the peasant, every body had something to say about them. As they paced along the streets the men stared in silent admiration, while the women clapped their hands and cried, "Guardi! Guardi!"
"Guardi! Guardi!" And here a distant shout, fleeter in its journey than the fleetest of the horses that it sped onwards, reaches our ears; another moment brings the two foremost to the last leap, the blue hesitates the red springs into the air, drops d'aplomb, then on again swifter than before. The blue sticks close to him, is near, nearer still; comes up
Paradise is a fact, we may fancy Tintoretto reasoned; and it is easier to fill a quarter of an acre of canvas with a picture of Paradise than with any other subject, because the figures can be arranged in concentric tiers round Christ and Madonna in glory. There is a little sketch by Guardi representing a masked ball in the Council Chamber where the "Paradise" of Tintoretto fills a wall.
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