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Updated: August 16, 2024
Indeed, signorina, I am a sort of guardian of your voice. It is not gold of the Tedeschi I get from the Signor Antonio Pericles." At the mention of this name, Agostino and Vittoria laughed out. "You are in the pay of the Signor Antonio-Pericles," said Agostino. "Without being in our pay, you have done us the service to come up here among us! Bravo!
Old Gian Bellino himself had not entered upon that ultimate phase of his art which dates from the great S. Zaccaria altar-piece finished in 1505. It is impossible on the present occasion to give any detailed account of the fresco decorations painted by Giorgione and Titian on the facades of the new Fondaco de' Tedeschi, erected to replace that burnt down on the 28th of January 1505.
'Wait till you comprehend women philosophically. All's trouble with them till then. At La Scala tonight, my sons! We have rehearsed the fiasco; the Tedeschi perform it. Off with you, that I may go out alone! He seemed to think it an indubitable matter that he would find Vittoria and bend her will.
The Signor Antonio-Pericles watches you, and he is a friend of the Government, and the Government is snoring for you to think it asleep. The Signor Antonio-Pericles pacifies the Tedeschi, but he will know all that you are doing, and how easy it will be, and how simple, for you to let me know what you think he ought to know, and just enough to keep him comfortable!
Dürer took a common brush, and painted a long tress of fine hair: Bellini declared that had he not seen this done he could not have believed it. While in Venice Dürer received an order to paint a picture for the Fondaco de' Tedeschi, or German Exchange. It is believed that this work was the famous "Feast of Rose Garlands," now in the Monastery at Strahow, in Bohemia.
At first it was hard sledding, but in time they got a good job, namely to decorate the walls of a public building in Venice which was used by foreign merchants for the transaction of their business, a sort of "exchange," as we understand it. This was the Fondaco de' Tedeschi, and it had two great halls, eighty rooms, and twenty-six warehouses.
So stimulating was Giorgione's genius to Titian, who was his companion in Bellini's studio, that there are certain pictures which the critics divide impartially between the two, chief among them the "Concert" at the Pitti; while together they decorated the Fondaco dei Tedeschi on the Grand Canal. It is assumed that Titian finished certain of Giorgione's works when he died in 1510.
She was answering with an affirmative, when Agostino broke in, "Camilla! And honour to whom honour is due! Let Caesar claim the writing of the libretto, if it be Caesar's! It has passed the censorship, signed Agostino Balderini a disaffected person out of Piedmont, rendered tame and fangless by a rigorous imprisonment. The sources of the tale, O ye grave Signori Tedeschi?
In 1512 he obtained a sinecure in the Fondaco dei Tedeschi and was appointed a State artist, his first task being the completion of certain pictures left unfinished by his predecessor Giovanni Bellini, and in 1516 he was put in possession of a patent granting him a painting monopoly, with a salary of 120 crowns and 80 crowns in addition for the portrait of each successive Doge.
In either case there is no doubt that Giorgione's influence was very powerful. On Titian's death in 1576 he was thought to be ninety-nine. One of Titian's earliest known works is the visitation of S. Mary and S. Elizabeth, in the Accademia. In 1507 he helped Giorgione with the Fondaco dei Tedeschi frescoes. In 1511 he went to Padua.
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