Venice the Magnificent is never very far removed from the pictures of
Vittore Carpaccio (kahr-pah´-cho). It doesn't matter whether he is
painting the story of Saint Ursula at Cologne or a scene from Holy
Writ, Cologne is given a very Venetian look, and the Madonna or the
Saints are in Venetian costumes and brocades.
This oriental love for splendor in dress has led some writers to
believe that Carpaccio must have accompanied his master Gentile Bellini
to Constantinople. When the sultan desired that Venice send one of her
foremost artists to paint his portrait, the commission was given to
Gentile Bellini. He may have taken Carpaccio with him. The portrait
Bellini painted exists today in the Layard collection, recently
bequeathed to the National Gallery, London.
Although Carpaccio painted many religious pictures, he succeeded best
when there was some story to be told. He gave to his pictures the
charming simplicity that is the first essential of a good story-teller.
Nor was he without a sense of humor. In one of his pictures telling
the story of the life of Saint Jerome he shows the lion walking up to
Jerome and holding out his paw in order that the troublesome thorn
might be removed, while the terrified brothers of the saint are seen
flying in all directions.
One of the Venetian nobles gave Carpaccio a commission to paint the
portrait of a poet connected with his household. At least one of these
rhymesters was to be found in the train of most of the nobles in those
times. The poet was so elated that he burst forth into verse, giving
Carpaccio directions to paint him with a wreath of laurel. Carpaccio
painted the portrait; but, possibly at a hint from the nobleman, he
substituted for the crown of laurel one of grape leaves. The poet
retaliated by reviling Carpaccio in a lampoon full of abuse.
We do not know exactly when Carpaccio was born, though it is generally
believed to have been in 1450, in Istria, nor just when he died. Only
at Venice can an adequate conception of his work be formed. He seems
never to have journeyed far from that island city.
Carpaccio's love for splendor found plenty of employment among
the beauty-loving Venetians. Venice was beyond the reach of papal
dictation, and religion came to be considered by them more as an
opportunity for display than as a rule of conduct. Its tragic phases
were not at all popular. The Crucifixion was not often painted; but the
Presentation in the Temple and the Feast in the House of Simon, with
their display of fine costumes, were painted again and again.
When Ruskin first went to Venice, Carpaccio's work was not at all
appreciated; but, thanks to his lead in admiring its charming
qualities, today Carpaccio is loved by many.
[Illustration: THE ASSUMPTION (DETAIL OF ST. MICHAEL), BY PERUGINO]
_Perugino_