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Updated: May 22, 2025
The old man turned to the Italians, and said in a loud voice: "Friends and brothers! The barracks of San Francisco, San Vittore and the military hospital are in our possession. Radetzky's palace has been stormed, and the marshal's baton has fallen into the hands of the conquerors. Forward, with God! We two, an old man and a weak child, will show you the way!"
It is, moreover, a significant fact that while the men who, half a century or so later, made fine, characterless die-stamped medals in imitation of the antique, Caradossi and Benvenuto for instance, were goldsmiths and sculptors, workers with the chisel, artists seeking essentially for abstract elegance of line; the two greatest medallists of the early Renaissance, Vittore Pisano and Matteo di Pasti, were both of them painters; and painters of the Northern Italian school, to whom colour and texture were all important, and linear form a matter of indifference.
I believe we're going on to see her fountain, aren't we, Vittore? She made it with her tears when Pluto carried her off." The object of the expedition was indeed to see Proserpine's fountain, a clear spring out of which flowed a small river. After walking another mile across the meadows, the party came to this river, where they were able to engage boats to row them up to the fount.
The lovely public gardens, the shops, the market, the university where Ernesto, Vittore, and Douglas were studying, the museum, and various beautiful spots in the neighborhood of the city were all visited during the Ingletons' brief stay at Palermo, and they celebrated the last evening by a visit to the theater, where, if they could not understand the words of the play, the dramatic foreign acting spoke for itself.
No one else learned so quickly or copied the master's work so faithfully, and when in time he became himself a famous painter, his work showed to the end traces of the master's influence. He must have been a curious boy, this Vittore Carpaccio, for although we know but little of his life, his pictures tell us many a tale about him.
Another painter of the earlier half of the fourteenth century may be mentioned here, though as he was more famous as a medallist his influence on the main course of painting is not observable. VITTORE PISANO, called PISANELLO, was born in Verona before 1400, and died in 1455.
The interior of the church, considered the finest of the period in Istria, was recast in 1741 by the Venetian engineer Giorgio Massari. Under the last arch of the nave to the right is a picture by Vittore Carpaccio, signed and dated 1516 a Madonna and Child enthroned upon a damask-hung seat raised on five steps, which are covered with an Oriental carpet. Upon the steps saints are ranged, SS. Jerome, Roch, and an old man to the left perhaps Zacchariah or Joseph; SS. Sebastian, George, and a bishop to the right probably S. Louis of Toulouse: at the bottom a little lute-playing angel sits, flanked by two amorini on a lower level with white drapery. The Virgin is seated in an arched vestibule with a flat ceiling through which the sky and trees are seen. It was restored in 1829. Another picture from S. Nicolò near the port shows the Virgin with SS. Nicholas of Bari and John the Baptist. The organ wings were painted by Vittore's son Benedetto in 1538, and two other pictures of his are affixed to the west wall. The subjects are the Slaughter of the Innocents and the Presentation in the Temple. Other pictures by him are a Coronation of the Virgin, in the communal palace, signed and dated 1537, his earliest known picture; the Virgin between SS. James and Bartholomew, 1538; and the town damaged by a sea-storm. In Santa Anna is a picture of the Name of Jesus adored by SS. Paul, John the Baptist, Francis, and Bernardino, and surrounded by cherubs' heads. In the communal palace an indifferent picture of the entrance of a podest
Sailing at last for Marseilles, they buried them there in the Badia di S. Vittore, later bringing the monks to Pisa. Now, while the glory of Pisa shone thus upon the waters far away, the Lucchesi thought to seize Pisa herself, deprived of her manhood.
It appeared that some suspicion had previously attached itself to Vittore Santado, and that the eyes of the police had been on him for some time.
Like most of the other great painters, Giovanni Bellini had many pupils working under him boys who helped their master, and learned their lessons by watching him work. Among these pupils was a boy called Vittore Carpaccio, a sharp, clever lad, with keen bright eyes which noticed everything.
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