_The Accademia_
After the fall of the Venetian Republic the French government
expropriated a group of buildings belonging to the church, monastery and
guild of S. Maria della Carità, and there housed the collection of
paintings selected from the public offices, the suppressed religious
orders, guilds and churches of Venice, by their commissioner, Peter
Edwards, who had formerly been chief picture restorer to the Republic.
Some conception may be formed, after visiting the Ducal Palace and the
magnificent collection treasured in these rooms, of the enormous wealth
of paintings existing in the city in the latter half of the eighteenth
century; for the commission then appointed to overhaul the artistic
possessions of the government decided to restore only the best and
allowed the remainder to rot. The Guild of Our Lady of Charity, the
earliest of the six greater _Scuole_[96] of Venice, was founded in 1260
to ransom Christian captives from the Moors and other pirates. Over the
portal of the outer cloister are three early reliefs in stone, St
Leonard, patron of captives and slaves; the Virgin and Child with
kneeling guildsmen; and St Christopher. In the inner court, entered from
the corridor of the Istituto delle Belle Arti, may be seen Palladio’s
unfinished cloisters, one of the most beautiful examples of the use of
brick in N. Italy. Of the old rooms of the guild two only remain, Room
XX., the former Guest Chamber, and Room I. Both have magnificent
fifteenth-century ceilings; that of the latter is by Giampietro of
Vicenza, a famous wood-carver whose figures of eight-winged cherubs have
been ingeniously but erroneously interpreted as a rebus on the name of a
supposed brother, Cherubino Aliotto (eight-winged), who was believed to
have paid for the decoration of the ceiling.
We enter Room I., which is filled with admirable examples of the work of
the earliest Venetian masters, Jacobello del Fiore, Giambono, Lorenzo
Veneziano, Simone da Cusighe, Andrea and Quirizio da Murano, all
dominated by Byzantine models, and giving small promise of the future
glories of the Vivarini and Bellini schools.
Before entering Room II. the eye will be arrested by Titian’s famous
Assumption, No. 40. A nearer view of this grandiose painting will serve
to impress the beholder with the animation and force of the master’s new
style and the subtle artifice by which he attracts the eye of the
spectator to the ascending Virgin, to whom the whole composition yearns.
This great altar-piece created a vast sensation when exposed at the
Frari, pregnant as it was with the future development of the grand
school of Venetian painting:--its masterly group of a large and
complicated subject, its breadth of treatment and habit of massing the
warmer and mellower colours of the palette on the canvas. It must be
remembered, however, that the features of the Virgin and the picture
generally have been coarsened by restoration, for, unhappily, most of
the old paintings which have come down to us have been restored more
than once, more than twice, more than thrice, and the traveller will
need to make allowances for the consequent debasement of the original
creation in this and many other works by the old masters. In this room
of masterpieces we are enabled, by the juxtaposition of three
altar-pieces (38, by Giov. Bellini; 36, by Cima; 37, by Veronese) to
compare the treatment of the same subject, the Virgin and Child and
Saints, by three great masters. 41, The Death of Abel, by Tintoretto, is
an admired work, powerful but sombre. It is considered by Ruskin to be
one of the most wonderful works in the gallery and superior in many
respects to 42, The Miracle of St Mark, the most popular of the master’s
paintings (p. 209). A Christian slave is tortured and ordered to be
executed for his devotion to St Mark, who descends from heaven like
lightning to rescue him. The executioner exhibits the broken hammer. A
work of amazing science and originality which so perplexed the members
of the guild[97] for whom it was executed and gave rise to so many
discussions, that the impatient artist fetched it away and kept it in
his atelier until it was better appreciated. 43, Adam and Eve, is an
early work by the master. 44, Carpaccio, Presentation in the Temple, is,
in Ruskin’s estimation, the best picture in the Accademia. The painter
wrought the work in emulation of his master’s altar-piece (No. 38). All
the Bellini features are here--the mosaic half dome, the Renaissance
decoration, the sweet boy musicians with instruments almost too big for
them to handle. The two paintings adorned the same church.
We pass Room III., which contains a miscellaneous collection of
paintings of various Italian schools, and Room IV. (drawings by Italian
masters), and reach Room V., where the dominant genius of the Bellini is
manifested in the works of their contemporaries with which the room is
hung. It contains, 69, The Agony in the Garden, the finest of Basaiti’s
paintings in Venice, and some excellent examples of Bissolo’s warm
colour and dignified figures. 76, The Supper at Emmaus, is a remarkable
and unique work by Marco Marziale. Two powerfully wrought figures seated
at the table betray the alien influence of Dürer over this painter. 82,
The Virgin and Child enthroned between SS. Jerome, Benedict, Mary
Magdalene and Giustina, is Benedetto Diana’s last work. We pass to one
of Bissolo’s best productions, 79, Christ presenting the Crown of Thorns
to St Catherine of Siena, and showing the crown of gold, her portion in
heaven. Near 97, a typical plague picture by Mansueti, are two fine
paintings by Lazzaro Sebastiani. 104, St Anthony of Padua enshrined in a
tree, beneath which are St Bonaventura and another Franciscan saint, has
much puzzled the critics. According to tradition St Anthony composed his
last sermons while sitting on the branches of a tree. It is, moreover,
an old custom to place shrines, with figures of saints, in the trees by
the wayside in Italy. We have seen many such in the hill country of
Venetia.
We enter Room VI., which contains a collection of Dutch pictures of no
great merit, and cross to Room VII., devoted mainly to the Friulian
painters. The chief attraction of this room is, however, 147, a
magnificent Sacra Conversazione by Palma Vecchio. It is a late work by
the master, and was probably left unfinished at his death.
At the farther end is the entrance to Room VIII., hung with Flemish
paintings. Turning L. we ascend the steps which lead from Room V. to
Room IX., which glows with the compositions of the sixteenth-century
masters Veronese and Tintoretto. 203 is The Supper in the House of Levi
(p. 211). Under a spacious Corinthian portico Christ is seated between
St John and St Peter. The whole scene is dominated by the princely
magnificence of the repast. The details objected to by the Inquisitor
are untouched; Peter is still carving the lamb, and between two columns
on the L. is the fellow picking his teeth with a fork. Four scenes from
the story of S. Cristina, and the Virgin of the Rosary are
characteristic paintings by the same master. 210, The Virgin and Child
with SS. Mark, Sebastian and Theodore, and three officers of the
Treasury, followed by their servants, was one of Ruskin’s favourite
Tintorettos. 213, The Crucifixion, by Tintoretto, is a sombre dramatic
representation of the scene envisaged in his most naturalistic manner,
another of Ruskin’s favourites; he believed that neither the Miracle of
St Mark nor the great Crucifixion in S. Rocco cost the artist more pains
than this comparatively small work. 214, by Il Moro, is an interesting
picture from the Admiralty; it is divided into two parts, (1) St Mark
and three functionaries who are recruiting for the navy; (2) view of the
Molo or chief quay of Venice, the Piazzetta and the Ducal Palace;
gondolas and galleys are seen on the canal. 217, Tintoretto’s Descent
from the Cross, is another fine composition, almost Spanish in its
gloom. Numerous portraits on the end walls are by the same master. R. of
the door is an interesting picture, 243, Virgin and Child and four
magistrates of the Salt Office in adoration. It was the custom of the
chief civil servants of the Republic to leave as a souvenir of their
term of office a picture of their patron saint with their escutcheon and
initials painted on it. Most of the Bonifazios in Room X. are such, and
came from various public offices; Tintoretto, in this picture, was the
first to represent actual portraits. 255, a Crucifixion by Veronese, is
painted in the frankly naturalistic style of the later school of Venice.
260, an Annunciation, is in the master’s most spacious and stately
manner.
[Illustration: ACCADEMIA--THE RICH MAN’S FEAST
BY BONIFAZIO]
Room X. is largely held by the creations of Bonifazio and his pupils.
281, The Adoration of the Magi, is a beautiful work, painted with great
care, by the master, for the Ten. On the opposite wall, 319, The
Slaughter of the Innocents is the companion picture. Bonifazio’s
receipt, dated 1545, for ten ducats on account of these two pictures
still exists among the archives of the Ten. They were hung in their
Financial Secretary’s office in the Palazzo dei Camerlenghi. 291, The
Rich Man’s Feast (p. 207). For depth of feeling, sumptuous colour,
variety and strength of characterisation, one of the most noteworthy
creations of Venetian art. Dives[98] is seated in a Venetian
country-house at table between two courtesans, one of whom he clasps by
the hand. She, with a far-away look, turns aside listening to a woman
playing on the lute, accompanied by a man with the bass viol. All the
accessories of a rich man’s establishment are present. Hawks are being
trained, horses exercised. To the R., Lazarus is seen, a dog licking his
sores, and in the background lurid flames forbode impending doom. 284,
Christ Enthroned, is a richly coloured picture formerly placed in the
chief office of the Customs. On the top line are twelve groups of
saints,[99] painted in the Bonifazio atelier, and formerly assigned to
Bonifazio III. 318, St Mark, skied among them, is however a finer work,
probably by the master’s hand. On the screen are The Judgment of
Solomon, another masterly composition, painted in 1533 for the Salt
Office, in the Palazzo dei Camerlenghi, and some portraits by Pordenone.
400, a Deposition, is Titian’s last work, a pathetic canvas. An
inscription tells that what Titian left unfinished, Palma Giovane
completed, and dedicated to God. The Virgin bears the dead Saviour on
her knees. To the R. kneels St Joseph of Arimathea; to the L., in an
attitude of poignant grief, is St Mary Magdalen. 320, Paris Bordone:
scene from the legend of St Mark and the Fisherman (p. 121). The Doge,
Bartolomeo Gradenigo, is represented enthroned in the midst of the
Council, bending forward to receive the ring. 316 is Pordenone’s
masterpiece. The patriarch, S. Lorenzo Giustiniani, with Dantesque
features, stands under a Renaissance chapel. Before him kneels S.
Francis, behind whom is St Augustine and an acolyte. R., S. John the
Baptist, with the muscular development of an athlete, behind whom is St
Bernardine of Siena and a kneeling monk.
We turn by the Loggia Palladiana, hung with late Dutch and Flemish
paintings, copies and school pictures of minor interest, and enter Room
XI. on the R., which is given to some characteristic landscapes, scenes
of peasant life and portraits by the Bassani. Rooms XII. and XIII.
display work by artists of the seventeenth and eighteenth centuries,
including some interesting genre pictures by Pietro Longhi. Room XIV.
contains some Tiepolos, among them a fine ceiling painting, No. 462, the
Invention of the Cross, three small Guardis, 704, 705, 706, two
Canalettos, 463 and 494, and other works of minor interest. In Corridor
I.[100] is the much debated, No. 516, The Tempest calmed by SS. Mark,
George and Nicholas, illustrating the story of the Fisherman and St
Mark.
We now turn to Room XV., where are exhibited the paintings illustrating
the miracles of the Holy Cross which Gentile Bellini and his pupils were
commissioned to execute for the decoration of the Hall of the Guild of
S. Giovanni Evangelista about 1490. The room is specially constructed to
display these important pictures to the best advantage. 561 by Lazzaro
Sebastiani. A crusader, Filippo de’ Massari, on his return from
Jerusalem offers a fragment of the Holy Cross to the brethren of the
Guild. 562 by Mansueti. The daughter of one Benvenuto da S. Polo is
healed on touching three candles sanctified by contact with the relic.
The scene is the interior of an old Venetian palace with costumes of the
period. 563 by Gentile Bellini. Pietro de’ Ludovici, sick of a fever, is
healed by means of a candle as in the former miracle. We are here in the
chapel of the guild with the brethren in their black and crimson robes
in the foreground. 564 by Mansueti. The relic is brought over the wooden
bridge opposite St Lio to accompany the remains of a brother who during
his life had scoffed at its power. The procession which is to accompany
the body to its last resting-place is thrown into confusion by the Cross
containing the relic refusing to advance into the church where the body
lies. The scene is most animated. Spectators look from the windows, from
the housetops and from the streets. The gondola of the period is
represented. The artist himself stands at the foot of the bridge to the
left, holding a paper inscribed with his name, Giovanni Mansueti the
Venetian, disciple of Bellini. 565, attributed to Benedetto Diana, is
said to portray the healing by the relic of a child fallen from the top
of the stairs. Neither the quality of the work nor the subject seems
convincing. The woman seems to have slipped on the pavement with her
child. If genuine it can be no more than a fragment of a larger
composition referred to by the older writers as containing elaborate
architectural details and groups of people similar to the other
paintings of this series. 566 by Carpaccio. Casting out of a devil by
the Patriarch Francesco Querini. The Grand Canal is crowded with
gondolas. The old wooden Rialto drawbridge with its bascules and levers
spans the canal. Above, L., the patriarch is seen in a loggia of his
palace at S. Silvestre casting forth the evil spirit by holding out the
relic. A most interesting presentation of old Venetian architecture. Two
youths in the foreground, with their backs to the spectator, one of whom
has a mermaid embroidered on his hood, are in Calza costume. 567 by
Gentile Bellini, Procession in the Piazza. A merchant of Brescia whose
son lay dying made a vow to the relic as the procession passed and his
son was saved. In the ducal procession to the R. the Doge is seen under
the State umbrella with the Procurators of St Mark, chamberlains and
senators and trumpeters. This is one of the most precious pictorial
documents for the aspect of the Piazza in 1496. The thirteenth-century
mosaics of St Mark’s are in their place; the Procuratie Vecchie are
there but no Clock Tower; houses abut on the Campanile. The Porta della
Carta and the façade of St Mark’s are richly gilded. According to
Vasari, Gentile surpassed himself in the next painting (568), which
firmly established his reputation. During a procession to the church of
St Lorenzo the reliquary falls from a bridge into the canal. Several
persons plunge in to save it. To none but the warden of the guild,
Andrea Vendramin, was it vouchsafed to recover the shrine. A vivid
representation of a piece of old Venice. At the head of the Venetian
ladies, kneeling to the L., is Catherine Cornaro, Queen of Cyprus,
wearing her crown. This picture, and No. 567, the artist tells us, were
painted in pious affection for the Holy Cross. 570, a faded work by the
same artist, S. Lorenzo Giustiniani, with two kneeling canons and angels
bearing his crook and mitre. In the apse are two important works painted
by Mansueti for the Guild of St Mark. 569, St Mark heals the cobbler
Anianus, wounded by his awl, a favourite legend; and 571, St Mark
preaching at Alexandria.
Room XVI. contains Carpaccio’s St Ursula series, painted 1490-95, for
the Guild of St Ursula. The legend, familiar to those who have studied
the paintings of Carpaccio’s contemporary, Memling, on the shrine of St
Ursula at Bruges, may be briefly summarised. Maurus, the Christian king
of Brittany, had a daughter named Ursula (Little Bear), because she came
into the world wrapt in a hairy mantle. The pagan king of England,
Agrippinus, hearing of her wisdom, virtue and beauty, sent ambassadors
to ask the maiden’s hand for his son Conon. King Maurus, knowing his
daughter’s vow of perpetual chastity and yet fearing to anger a powerful
neighbour by refusal, was in great distress. Just before dawn[101] of
the next day, while Ursula lay in her chamber, the angel of the Lord
appeared to her in a dream and bade her go to her father, and wisdom
would be given her to counsel him aright. When day was fully come she
went to his chamber and enumerated to the anxious king the conditions on
which the suit would be accepted: For companions she required ten
virgins of noblest blood, each with one thousand virgin attendants,
herself another thousand virgins; they must be allowed to make a
pilgrimage to Rome; the prince and his court to be baptised.
The envoys returned to England bearing such reports of the princess’s
beauty that Conon was fired with a desire to marry her, and the
conditions were granted. Ursula and her maidens, Conon and his suite,
set sail in eleven ships for Rome. Being arrived, the Pope and his
clergy came forth to bless them. When they had performed their vows the
pilgrims returned accompanied by the Pope and reach Cologne, then
besieged by the Huns, who straightway massacred the pilgrims, the Pope
and his clergy--all except Ursula, whose beauty destined her to be the
bride of the king of the Huns. But she, defying his power, aroused his
fury; he ordered her to be put to death.
The artist has illustrated this story in his most charming and dramatic
manner, though, as the dates prove, no consistent plan of the series was
drawn up. The most popular of the paintings is No. 578. Ursula is
sleeping in her chamber and an angel, bearing in his right hand a
palm-branch, the sign of martyrdom, appears to her in a vision. The
early light of dawn streams through the open door. On the tassel of her
pillow is inscribed, _Infantia_. Every detail in this virgin sanctuary,
the little crown at the foot of the bed, the clogs placed side by side,
the tidy over her head, the shrine and receptacle for holy water against
the wall, betokens maidenly care and piety. The charm of these pictures
is perennial. Zanetti[102] used to conceal himself in the hall where
they were placed to watch the effect they produced on the ordinary
spectator.
Room XVII. is chiefly taken up with pictures by the Vivarini and by
Cima. 618 and 619, The Baptist and St Matthew, and 593, St Clare, are
all fine examples of Alvise Vivarini’s work; the last is one of his
greatest achievements, a living portrait, full of character. 588,
Mantegna’s St George and the Dragon, is a precious possession, one of
the great Paduan master’s most careful works, painted about 1460. 584
and 585, SS. Mary Magdalen and Barbara, are late works (1490) by
Bartolomeo Vivarini. 589, Christ bound to the Column, and 590, The
Virgin in Meditation, have been ascribed to Antonello da Messina, but
their genuineness is doubtful. Mr Berenson admits the former in his
index to the works of the Venetian painters; the official catalogue
attributes it to Pietro da Messina, and 590 to an unknown copyist
working from an original at Munich. We now come to one of the most
delightful and graceful compositions in this room, 600, a Marriage of St
Catherine, by the Lombard master Boccaccino: before the Virgin and Child
kneel St Peter and the Baptist; to the L. St Catherine holds forth her
hand to receive the ring; to the R. stands the beautiful figure of St
Rose; to the R. of the charming landscape background are portrayed the
Wise Men and the Flight into Egypt. Then follow some guild pictures by
Cima. 604, the last of the master’s work in this room, is an early
painting of much beauty, The Deposition with the Marys and Nicodemus.
Room XVIII., at the farther end, is the new Bellini room in which are
collected the Bellinis formerly hung in XVII. This little treasury
includes, 582, a unique example of Jacopo’s work, The Virgin and Child.
596, Giovanni’s famous Virgin of the Trees, has recently been peeled and
some strata of repainting removed; it is dated 1487, but this date has
been questioned by Morelli and other critics who believe it to be a
maturer work painted about 1504. 610, The Virgin and Child between SS.
George and Paul, is another popular work by the master; both are
admirable for warmth of colour, and dignity and beauty of form. 613, The
Virgin and Child between SS. Catherine and Mary Magdalen, is one of the
most characteristic of Giovanni’s productions; less virile perhaps than
610, but rich and warm in colour and gentle in feeling. We now turn to
595, a remarkable series of panels painted for a _cassone_ or wedding
chest; charming allegories on which the painter has lavished all his
skill. Their interpretation still awaits an Œdipus, but the
following suggestions by Ruskin will help the visitor: 1, Fortitude
quitting the effeminate Bacchus; 2, Domestic Love,--the world in Venus’
hand becoming the colour of heaven; 3, Fortune as Opportunity
distinguished from the greater and sacred Fortune appointed by Heaven;
4, Truth; 5, Lust.[103]
Room XIX. contains a small collection of Muranese and Paduan school
paintings, and others of no great importance. We descend to Room XX.,
originally the guest-chamber of the brotherhood. The carved and gilded
ceiling, representing Christ in the act of blessing, and the four
Evangelists, each in his study, is one of the most beautiful schemes of
decoration in Venice. It was here that Titian, between 1534 and 1538,
painted the Presentation, now restored to its original place. The
high-priest stands before the temple at the top of a grand staircase to
receive the little maid who seems somewhat too conscious of her pretty
blue frock. A group of richly attired Venetian ladies and gentlemen look
on. At the foot of the stairway sits an old, coarse-featured peasant
woman with a basket of eggs; the mountains of Cadore are in the
background. According to Ruskin, the most stupid and uninteresting work
ever painted by the artist. 625, Giov. d’Alemano and Ant. da Murano,
Virgin and Child enthroned, and four Latin fathers of the Church, was
also executed for the very wall space it now covers. It is obviously
much repainted. On a screen is 245, a portrait of Jacopo Soranzo by
Titian. Above, on a swing panel, is 316, St John the Baptist, painted
when the master had passed his eightieth year.