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Others are Carlo Zeno, the soldier; Goldoni, the dramatist; Paolo Sarpi, the monkish diplomatist; Galileo Galilei, the astronomer and mathematician; the two Cabots, the explorers, and Marco Polo, their predecessor; Niccolò Tommaseo, the patriot and associate of Daniele Manin, looking very like a blend of Walt Whitman and Tennyson; Dante; a small selection of Doges, of whom the great Andrea Dandolo is the most striking; Tintoretto, Giovanni Bellini, Titian, and Paul Veronese; Tiepolo, a big-faced man in a wig whom the inscription credits with having "renewed the glory" of the two last named; Canova, the sculptor; Daniele Manin, rather like John Bright; Lazzaro Mocenigo, commander in chief of the Venetian forces, rather like Buffalo Bill; and flanking the entrance to the palace Vittorio Pisani and Carlo Zeno, the two patriots and warriors who together saved the Republic in the Chioggian war with the Genoese in the fourteenth century.
But it was a mind singularly inventive of penance that led the dying saint to charge poor Daniele to bear the corpse on his back a long way over the mountains, merely because, he said, it would be a difficult thing to do.
Not only did Daniele da Volterra, an execrable colourist, dab vividly tinted patches upon the modulated harmonies of flesh-tones painted by the master; but the whole surface has sunk into a bluish fog, deepening to something like lamp-black around the altar.
EVENTS IN ITALY. The revolt in Vienna and in Hungary in 1848 furnished the long-coveted occasion for the Italians to attack the hated Austrian rule. Lombardy flew to arms, and expelled the Austrian troops. The Venetians set up a provisional government under Daniele Manin, their leader in the insurrection. The king of Sardinia declared war against Austria.
"But, 'Maso," put in Daniele Bruno, in the manner of one who was a little sceptical, "I have often seen the pavilion of the Inglese, and this is as much like that which all their frigates and corvettes wear, as one of our feluccas is like another. The flag, at least, is right."
Mengs is an example of this observation. The four most celebrated pictures in Rome, are The Transfiguration by Raffaelle, St. Jerome by Domenichino, The Descent from the Cross by Daniele da Volterra, and The Romualdo by Andrea Sacchi. It is a singular fact that the four most distinguished painters of the 17th century were named Charles, viz.: le Brun, Cignani, Maratta, and Loti, or Loth.
On the 9th of September 1564 he wrote to Lionardo: "Your two heads of that sainted man are coming to a good result, and I am sure you will be satisfied with them." It appears, then, that Lionardo had ordered two copies from Daniele.
I keep it here in Rome, and now present it to your Excellency." Antonio then, in all probability, obtained one of the Daniele da Volterra bronzes; for it is wholly incredible that what he writes about its having been made by Michelangelo should be the truth. Had Michelangelo really modelled his own portrait and cast it in bronze, we must have heard of this from other sources.
Rival cathedrals The lure of S. Mark's The façade at night The Doge's device S. Mark's body A successful theft Miracle pictures Mosaic patterns The central door Two problems The north wall The fall of Venice Napoleon The Austrian occupation Daniele Manin Victor Emmanuel An artist's model The south wall The Pietra del Bando The pillars from Acre. Of S. Mark's what is one to say?
Lionardo Buonarroti showed at once a great anxiety to obtain his uncle's bust from Daniele da Volterra. Possibly he ordered it while resident in Rome, engaged in winding up Michelangelo's affairs.
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