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For Tiepolo at his best the Labia Palace must be visited, and Longhi is more numerously represented at the Museo Civico than here. Both Canaletto and Guardi can be better studied in London, at the National Gallery and the Wallace Collection. There are indeed no works by either man to compare with the best of ours.
You may see in the old pictures of Pietro Longhi and his school, how at the aristocratic and fashionable convent of San Zaccaria, the lady nuns received their friends and acquaintances of this world in the anteroom, where the dames and their cavaliers flirted and drank coffee, and the gentlemen coquetted with the brides of heaven through their grated windows.
Ricci tells us, are altogether restorations. For the rest, these mosaics have suffered much, both from restoration, properly so called, and from painting. The pavement is old and beautiful, as I think are the walls, but the frescoes, once by Luca Longhi, are most unworthy and out of place.
Among other productions of Longhi are two sufficiently graceful little pictures which the reverend Don Antonio da Pisa, then abbot of the monastery, caused him to paint no long time since for the monks of Classe; many other works have also been executed by this painter.
This collection of great men makes no effort to be complete, but it is rather surprising not to find such very loyal sons of Venice as Canaletto, Guardi and Longhi among the artists, and Giorgione is of course a grievous omission.
It is certain that Luca Longhi, being studious, diligent, and of admirable judgment as he is, would have become an excellent master had he not always confined himself to Ravenna where he still remains with his family; his works are accomplished with much patience and study; and of this I can bear testimony since I know the progress which he made during the time of my stay in Ravenna both in the practise and comprehension of art.
The breeze swept over the cluster of Tuscan jasmine and the tall, snowy phlox nodding in the green vase on the table, and shook the muslin curtains till light and shadow chased each other like waves over the noble Longhi engraving of Raphael's "Vision of Ezekiel," which hung just above the piano.
The "Madonna Immaculata" is in the Gymnasial Kirche, Meran, and a "Mater Dolorosa" in the Klosterkirche, Bruck a. d. Meer. Daughter of Luca Longhi. She was an excellent artist and her works were sought for good collections. A portrait by her is in the Castellani Collection, dated 1589; "St. Monica," "Judith," and the "Healing of St.
Room after room opened before her bare, save for a few worm-eaten chairs, a fragment of tapestry on the wall, or some tattered portraits in the Longhi manner, indifferent to begin with, and long since ruined by neglect.
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