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Updated: May 3, 2025


A week was spent in Venice, floating about all day from one delightful old church to another, or paying visits to Titians and Tintorettos; buying little turtles, photographs, or Venetian glass; eating candied fruit and seeing the doves fed in the square of San Marco; visiting shops full of dusty antiquities, or searching the stalls on the Rialto for Moor's-head rings; being rowed to the Lido by Giacomo in a red sash; and lulled to sleep at night by the songs of a chorus that floated under the windows in the moonlight.

Standing before this Giorgione, as before the Tintorettos here and over the way, one again wishes, as so often in Venice, that some American millionaire, in love with this lovely city and in doubt as to how to apply his superfluity of cash, would offer to clean the pictures in the churches. What glorious hues would then come to light!

The Palace is open on fixed days and shown by a demure flunkey in an English bowler hat, but it should be the last place to be visited by the sightseer. Its only real treasures the Tintorettos illustrating the life of S. Mark were not visible on the only occasion on which I ventured in.

The important rooms Venetian art in London The ceiling of the thousand wings Some early painters Titian's "Assumption" Tintoretto's "Miracle of S. Mark" A triumph of novelty The Campanile miracle Altar-pieces Paul Veronese Leonardo drawings Indifferent works Jesus in the house of Levi A painter on his trial Other Tintorettos Another miracle of S. Mark Titian's last painting.

No other sacristan ever suggested that the whole church was not equally free or resented any unaccompanied exploration. The Tintorettos belong to his most spacious and dramatic style. One, "The Last Supper," is a busy scene of conviviality. The company is all at one side of the table and the two ends, except the wretched foredoomed Judas. There is plenty to eat.

There were Raphael's Madonna of the Agnus Dei, Andrea del Sarto's Portrait of Lucrezia Fede, Titian's Salome, Botticelli's Madonna and Angels and numbers of Tintorettos, Carpaccios, Rembrandts, Velasquez. "What fine copies!" said Beautrelet, approvingly. Lupin looked at him with an air of stupefaction: "What! Copies! You must be mad!

He was to make himself agreeable to the King, and to one greater than the King the man behind the throne the Duke of Lerma; and to several fair ladies as well. The pictures were copies of the masters "Titians," "Raphaellos," "Tintorettos" and "Leonardos." They were copied with great fidelity, even to the signature and private marks of the original artist.

Were it not for the Accademia's Tintorettos, Carpaccios and Bellinis, our own Venetian collection in Trafalgar Square would be much more interesting; and even as it is we have in "The Origin of the Milky Way" a Tintoretto more fascinating than any here; in "Bacchus and Ariadne" a more brilliant Titian than any here; some Bellinis, such as "The Agony in the Garden," the portrait of Loredano, and "The Death of S. Peter Martyr," that challenge his best here; two Giorgiones and several pictures notably of his school that cannot be matched here; the finest Catena that exists; a more charming Basaiti than any here; a better Antonello da Messina; and, according to some judges, the best Paul Veronese in the world: "The House of Darius"; while when it comes to Carlo Crivelli, he does not exist here at all.

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