Chapter 33

FRANCESCO GUARDI

An entry in Gradenigo's diary of 1764, preserved in the Museo Correr, speaks of "Francesco Guardi, painter of the quarter of SS. Apostoli, along the Fondamenta Nuove, a good pupil of the famous Canaletto, having by the aid of the camera ottica, most successfully painted two canvases (not small) by the order of a stranger (an Englishman), with views of the Piazza San Marco, towards the Church and the Clock Tower, and of the Bridge of the Rialto and buildings towards the Cannaregio, and have to-day examined them under the colonnades of the Procurazie and met with universal applause."

Francesco Guardi was a son of the Austrian Tyrol, and his mountain ancestry may account, as in the case of Titian, for the freshness and vigour of his art. Both his father, who settled in Venice, and his brother were painters. His son became one in due time, and the profession being followed by four members of the family accounts for the indifferent works often attributed to Guardi.

His indebtedness to Canale is universally acknowledged, and perhaps it is true that he never attains to the monumental quality, the traditional dignity which marks Canale out as a great master, but he differs from Canale in temperament, style, and technique. Canale is a much more exact and serious student of architectural detail; Guardi, with greater visible vigour, obliterates detail, and has no hesitation in drawing in buildings which do not really appear. In his oval painting of the Ducal Palace (Wallace Collection) he makes it much loftier and more spacious than it really is. In his "Piazzetta" he puts in a corner of the Loggia where it would not actually be seen. In the "Fair in Piazza S. Marco" the arch from under which the Fair appears is gigantic, and he foreshortens the wing of the royal palace. He curtails the length of the columns in the piazza and so avoids monotony of effect, and he often alters the height of the campaniles he uses, making them tall and slender or short and broad, as his picture requires. At one time he produced some colossal pictures, in several of which Mr. Simonson, who has written an admirable life of the painter, believes that the hand of Canale is perceptible in collaboration; but it was not his natural element, and he often became heavy in colour and handling. In 1782 he undertook a commission from Pietro Edwards, who was a noted connoisseur and inspector of State pictures, and had been appointed superintendent in 1778 of an official studio for the restoration of old masters.

Edwards had important dealings with Guardi, who was directed to paint four leading incidents in the rejoicings in honour of the visit of Pius IV. to Venice. The Venetians themselves had become indifferent patrons of art, but Venice attracted great numbers of foreign visitors, and before the second half of the eighteenth century the export of old masters had already become an established trade. There is no sign, however, that Joseph Smith, who retained his consulship till 1760, extended any patronage to Guardi, though he enriched George III.'s collection with works of the chief contemporary artists of Venice. It is probable that Guardi had been warned against him by Canale and profited by the latter's experience.

We can divide his work into three categories. 1. Views of Venice. 2. Public ceremonies. 3. Landscapes. Gradenigo mentions casually that he used the camera ottica, but though we may consider it probable, we cannot trace the use of it in his works. He is not only a painter of architecture, but pays great attention to light and atmosphere, and aims at subtle effects; a transparent haze floats over the lagoons, or the sun pierces though the morning mists. His four large pendants in the Wallace Collection show his happiest efforts; light glances off the water and is reflected on the shadowed walls. His views round the Salute bring vividly before us those delicious morning hours in Venice when the green tide has just raced up the Grand Canal, when a fresh wind is lifting and curling all the loose sails and fluttering pennons, and when the gondoliers are straining at the oars, as their light craft is caught and blown from side to side upon the rippling water. The sky occupies much of his space, he makes searching studies of it, and his favourite effect is a flash of light shooting across a piled-up mass of clouds. The line of the horizon is low, and he exhibits great mastery in painting the wide lagoons, but he also paints rough seas, and is one of the few masters of his day--perhaps the only one--who succeeds in representing a storm at sea.

Often as he paints the same subjects he never becomes mechanical or photographic. We may sometimes tire of the monotony of Canale's unerring perspective and accurate buildings, but Guardi always finds some new rendering, some fresh point of interest. Sometimes he gives us a summer day, when Venice stands out in light, her white palaces reflected in the sun-illumined water; sometimes he is arrested by old churches bathed in shadow and fusing into the rich, dark tones of twilight. His boats and figures are introduced with great spirit and _brio_, and are alive with that handling which a French critic has described as his _griffe endiablée_.

His masterly and spirited painting of crowds enables him to reproduce for us all those public ceremonies which Venice retained as long as the Republic lasted: yearly pilgrimages of the Doge to Venetian churches, to the Salute to commemorate the cessation of the plague, to San Zaccaria on Easter Day, the solemn procession on Corpus Christi Day, receptions of ambassadors, and, most gorgeous of all, the Feast of the Wedding of the Adriatic. He has faithfully preserved the ancient ceremonial which accompanied State festivities. In the "Fête du Jeudi Gras" (Louvre) he illustrates the acrobatic feats which were performed before Doge Mocenigo. A huge Temple of Victory is erected on the Piazzetta, and gondoliers are seen climbing on each other's shoulders and dancing upon ropes. His motley crowds show that the whole population, patricians as well as people, took part in the feasts. He has also left many striking interiors: among others, that of the Sala del Gran Consiglio, where sometimes as many as a thousand persons were assembled, the "Reception of the Doge and Senate by Pius IV." (which formed one of the series ordered by Pietro Edwards), or the fine "Interior of a Theatre," exhibited at the Burlington Fine Arts in 1911, belonging to a series of which another is at Munich.

In his landscapes Guardi does not pay very faithful attention to nature. The landscape painters of the eighteenth century, as Mr. Simonson points out, were not animated by any very genuine impulse to study nature minutely. It was the picturesque element which appealed to them, and they were chiefly concerned to reproduce romantic features, grouped according to fancy. Guardi composes half fantastic scenes, introducing classic remains, triumphal arches, airy Palladian monuments. His _capricci_ include compositions in which Roman ruins, overgrown with foliage, occupy the foreground of a painting of Venetian palaces, but in which the combination is carried out with so much sparkle and nervous life and such charm of style, that it is attractive and piquant rather than grotesque.

England is richest in Guardis, of any country, but France in one respect is better off, in possessing no less than eleven fine paintings of public ceremonials. Guardi may be considered the originator of small sketches, and perhaps the precursor of those glib little views which are handed about the Piazza at the present day. His drawings are fairly numerous, and are remarkably delicate and incisive in touch. A large collection which he left to his son is now in the Museo Correr. In his later years he was reduced to poverty and used to exhibit sketches in the Piazza, parting with them for a few ducats, and in this way flooding Venice with small landscapes. The exact spot occupied by his _bottega_ is said to be at the corner of the Palazzo Reale, opposite the Clock Tower. The house in which he died still exists in the Campiello della Madonna, No. 5433, Parrocchia S. Canziano, and has a shrine dedicated to the Madonna attached to it. When quite an old man, Guardi paid a visit to the home of his ancestors, at Mastellano in the Austrian Tyrol, and made a drawing of Castello Corvello on the route. To this day his name is remembered with pride in his Tyrolean valley.

SOME WORKS OF GUARDI

Bergamo. Lochis: Landscapes. Berlin. Grand Canal; Lagoon; Cemetery Island. London. Views in Venice. Milan. Museo Civico: Landscapes. Poldi-Pezzoli: Piazzetta; Dogana; Landscapes. Oxford. Taylorian Museum: Views in Venice. Padua. Views in Venice. Paris. Procession of the Doge to S. Zaccaria; Embarkment in Bucentaur; Festival at Salute; "Jeudi Gras" in Venice; Corpus Christi; Sala di Collegio; Coronation of Doge. Turin. Cottage; Staircase; Bridge over Canal. Venice. Museo Correr: The Ridotto; Parlour of Convent. Verona. Landscapes. Wallace Collection. The Rialto; San Giorgio Maggiore (two); S. Maria della Salute; Archway in Venice; Vaulted Arcades; The Dogana.

BIBLIOGRAPHY

It is an advantage to the student of Italian art to be able to read French, German, and Italian, for though translations appear of the most important works, there are many interesting articles and monographs of minor artists which are otherwise inaccessible.

Vasari, not always trustworthy, either in dates, facts, or opinions, yet delightfully human in his histories, is indispensable, and new editions and translations are constantly issued. Sansoni's edition (Florence), with Milanesi's notes, is the most authoritative; and for translations, those of Mrs. Foster (Messrs. Blashfield and Hopkins), and a new edition in the Temple classics (Dent, 8 vols., 2s. each vol.).

Ridolfi, the principal contemporary authority on Venetian artists, who published his _Maraviglie dell' arte_ nine years after Domenico Tintoretto's death, is only to be read in Italian, though the anecdotes with which his work abounds are made use of by every writer.

Crowe and Cavalcaselle's _Painting in North Italy_ (Murray) is a storehouse of painstaking, minute, and, on the whole, marvellously correct information and sound opinion. It supplies a foundation, fills gaps, and supplements individual biographies as no other book does. For the early painters, down to the time of the Bellini, _I Origini dei pittori veneziani_, by Professor Leonello Venturi, Venice, 1907, is a large book, written with mastery and insight, and well illustrated; _La Storia della pittura veneziana_ is another careful work, which deals very minutely with the early school of mosaics.

In studying the Bellini, the late Mr. S. A. Strong has _The Brothers Bellini_ (Bell's Great Masters), and the reader should not fail to read Mr. Roger Fry's _Bellini_ (Artist's Library), a scholarly monograph, short but reliable, and full of suggestion and appreciation, though written in a cool, critical spirit. Dr. Hills has dealt ably with _Pisanello_ (Duckworth).

Molmenti and Ludwig in their monumental work _Vittore Carpaccio_, translated by Mr. R. H. Cust (Murray, 1907), and Paul Kristeller in the equally important _Mantegna_, translated by Mr. S. A. Strong (Longmans, 1901), seem to have exhausted all that there is to be said for the moment concerning these two painters.

It is almost superfluous to mention Mr. Berenson's two well-known volumes, _The Venetian Painters of the Renaissance_, and the _North Italian Painters of the Renaissance_ (Putnam). They are brilliant essays which supplement every other work, overflowing with suggestive and critical matter, supplying original thoughts, and summing up in a few pregnant words the main features and the tendencies of the succeeding stages.

In studying Giorgione, we cannot dispense with Pater's essay, included in _The Renaissance_. The author is not always well informed as to facts--he wrote in the early days of criticism--but he is rich in idea and feeling. Mr. Herbert Cook's _Life of Giorgione_ (Bell's Great Masters) is full and interesting. Some authorities question his attributions as being too numerous, but whether we regard them as authentic works of the master or as belonging to his school, the illustrations he gives add materially to our knowledge of the Giorgionesque.

When we come to Titian we are well off. Crowe and Cavalcaselle's _Life of Titian_ (Murray, out of print), in two large volumes, is well written and full of good material, from which subsequent writers have borrowed. An excellent Life, full of penetrating criticism, by Mr. C. Ricketts, was lately brought out by Methuen (Classics of Art), complete with illustrations, and including a minute analysis of Titian's technique. Sir Claude Phillips's Monograph on Titian will appeal to every thoughtful lover of the painter's genius, and Dr. Gronau has written a good and scholarly Life (Duckworth).

Mr. Berenson's _Lorenzo Lotto_ must be read for its interest and learning, given with all the author's charm and lucidity. It includes an essay on Alvise Vivarini.

My own _Tintoretto_ (Methuen, Classics of Art) gives a full account of the man and his work, and especially deals exhaustively with the scheme and details of the Scuola di San Rocco. Professor Thode has written a detailed and profusely illustrated Life of Tintoretto in the Knackfuss Series, and the Paradiso has been treated at length and illustrated in great detail in a very scholarly _édition de luxe_ by Mr. F. O. Osmaston. It is the fashion to discard Ruskin, but though we may allow that his judgments are exaggerated, that he reads more into a picture than the artist intended, and that he is too fond of preaching sermons, there are few critics who have so many ideas to give us, or who are so informed with a deep love of art, and both _Modern Painters_ and the _Stones of Venice_ should be read.

M. Charles Yriarte has written a Life of Paolo Veronese, which is full of charm and knowledge. It is interesting to take a copy of Boschini's _Della pittura veneziana_, 1797, when visiting the galleries, the palaces, and the churches of Venice. His lists of the pictures, as they were known in his day, often open our eyes to doubtful attributions. Second-hand copies of Boschini are not difficult to pick up. When the later-century artists are reached, a good sketch of the Venice of their period is supplied by Philippe Monnier's delightful _Venice in the Eighteenth Century_ (Chatto and Windus), which also has a good chapter on the lesser Venetian masters. The best Life of Tiepolo is in Italian, by Professor Pompeo Molmenti. The smaller masters have to be hunted for in many scattered essays; a knowledge of Goldoni adds point to Longhi's pictures. Canaletto and his nephew, Belotto, have been treated by M. Uzanne, _Les Deux Canaletto_; and Mr. Simonson has written an important and charming volume on Francesco Guardi (Methuen, 1904), with beautiful reproductions of his works. Among other books which give special information are Morelli's two volumes, _Italian Painters in Borghese and Doria Pamphili_, and _In Dresden and Munich Galleries_, translated by Miss Jocelyn ffoulkes (Murray); and Dr. J. P. Richter's magnificent catalogue of the Mond Collection--which, though published at fifteen guineas, can be seen in the great art libraries--has some valuable chapters on the Venetian masters.

INDEX

Academy, Florence, 28 Venice, 13, 16, 19, 32, 36, 38, 40, 43, 47, 52, 57, 67, 80, 102, 116, 117, 171, 183, 196, 202, 205, 206, 210, 211, 217, 219, 226, 227, 242, 262, 267, 271, 277, 281, 286, 295, 296, 308, 313, 320 Adoration of Magi, 28, 31, 116, 131, 197, 205, 287 Adoration of Shepherds, 116, 196, 222, 273, 275 Agnolo Gaddi, 15 Alemagna, Giovanni, 29-32, 36, 37, 58 Altichiero, 24, 25 Alvise Vivarini, 58-63, 65, 66, 69, 79, 104, 105, 112, 187, 190, 223, 330 Amalteo, Pomponio, 219 Amigoni, 292 Anconæ, 12, 17, 18, 24, 36, 45, 59, 60, 187 Angelico, Fra, 48 Annunciation, 16, 26, 45, 178, 183, 258, 286 Antonello da Messina, 50, 51, 59, 62, 66 Antonio da Murano, 29, 31, 32, 36, 37, 58 Antonio Negroponte, 37, 44 Antonio Veneziano, 15 Aretino, 163, 166, 167, 172-174, 182, 192, 201, 234, 236, 240 Ascension, 41 Augsburg, 176, 266, 276

Badile, 229 Balestra, 287 Baptism of Christ, 41, 98, 255 Bartolommeo Vivarini, 32, 36, 37, 38, 48, 58, 59, 64, 189, 223, 225 Basaiti, Marco, 104, 111-116 Bassano, 10, 247, 269-276, 282 Bastiani, Lazzaro, 70, 73, 79 Battoni, Pompeo, 297, 298 Bellini, Gentile, 48-57, 68, 70, 81, 83, 89, 90, 99, 101, 103, 146 Bellini, Giovanni, 10, 43, 48, 55, 61, 62, 63, 69, 78, 81, 82, 84-89, 90, 92, 94-101, 103, 104, 107, 109, 112-114, 122, 123, 127, 129, 130, 134, 140, 146, 147, 152, 155, 158, 159, 179, 186, 187, 223, 225, 318, 329, 330 Bellini, Jacopo, 27, 28, 39-43, 58, 81-84, 86 Belotto, 315, 319-331 Bembo, Cardinal, 97, 111, 174, 240 Benson, Mr., 47, 80, 116, 117, 143 Berenson, Mr., 156, 187, 195, 210, 221, 229, 243, 307, 330 Bergamo, 101, 114, 116, 117, 141, 143, 185, 188, 190, 196, 211, 219, 226, 227, 276, 308, 313, 328 Berlin, 19, 32, 35, 47, 57, 66, 80, 101, 115-117, 139, 182, 196, 211, 223, 226, 227, 266, 308, 328 Bissolo, 104, 114, 115, 117 Blanc, M. Charles, 240, 288, 298 Bologna, 36, 38, 60, 167, 288, 309 Bonifazio, 203-206, 210, 243, 245, 250, 270, 281, 310 Bonsignori, 224, 275 Bordone, Paris, 203, 206, 208-211, 219, 231, 290 Borghese, Villa, 154, 188, 194, 197, 331 Boschini, 104, 282, 287, 331 Boston, 139 Botticelli, 127, 159 Brera, 47, 57, 101, 115, 117, 143, 194, 205, 209, 211, 251, 304 Brescia, 182, 196, 219, 220, 222, 226, 227 Bridgewater House, 182, 211 British Museum, 41, 263 Broker's patent, 130, 169, 248 Brusasorci, 229 Buonconsiglio, 223, 224 Burckhardt, 298 _Burlington Magazine_, 18 Byzantine art, 11, 13, 21

Calderari, 219 Carlevaris, Luca, 292, 315 Caliari, Carlotto, 282 Caliari, Paolo. _See_ Veronese Campagnola, Domenico, 151 Canal, Fabio, 307 Canale, Gian Antonio, 292, 298, 314-320, 322, 331 Canaletto. _See_ Canale Caravaggio, 288 Cariani, 141-143, 204 Carpaccio, 68, 70, 71, 73, 74, 76, 79, 80, 103, 122, 123, 146, 191 Carracci, 88, 288, 298 Carriera. _See_ Rosalba Carriera Castagno, Andrea del, 27, 48 Castello, Milan, 51 Catena, Vincenzo, 104, 108-111, 114, 202, 206 Cathedrals, Ascoli, 47 Bassano, 270, 276 Conegliano, 115 Cremona, 215, 220, 226 Murano, 109 Spilimbergo, 226 Treviso, 183, 211, 215, 226 Verona, 183, 227 Celesti, 287 Chelsea Hospital, 289 Churches-- Bergamo. S. Alessandro, 117, 196 S. Bartolommeo, 188 S. Bernardino, 190 S. Spirito, 114, 117, 196 Brescia. S. Clemente, 227 SS. Nazaro e Celso, 182 Castelfranco. S. Liberale, 132 S. Daniele. S. Antonino, 212, 214, 226 Padua. Eremitani, 48, 83, 224 Il Santo, 25, 227 S. Giustina, 220, 242 S. Maria in Vanzo, 276 S. Zeno, 48 Pesaro. S. Francesco, 102 Piacenza. Madonna di Campagna, 216 Ravenna. S. Domenico, 117 Rome. S. Maria del Popolo, 200 S. Pietro in Montorio, 200, 202 Venice. S. Alvise, 304 SS. Apostoli, 307, 308 S. Barnabà, 242 Carmine, 107, 116, 197 S. Cassiano, 267 SS. Ermagora and Fortunato, 245 S. Fava, 288, 308 S. Francesco della Vigna, 37, 38, 242 Gesuati, 296 S. Giacomo dell' Orio, 197, 277 S. Giobbe, 67, 78, 92, 95, 113 S. Giorgio Maggiore, 259, 263, 267 S. Giovanni in Bragora, 17, 38, 64, 67, 98, 106, 116, 211 S. Giovanni Crisostomo, 98, 102 S. Giovanni Elemosinario, 168, 287 SS. Giovanni and Paolo, 53, 101, 116 S. Maria Formosa, 31, 38, 196 S. Maria dei Frari, 38, 65, 67, 92, 93, 102, 112, 157, 161, 180, 183, 219, 275, 307 S. Maria Mater Domini, 109, 116, 267 S. Maria dei Miracoli, 20 S. Maria dell' Orto, 102, 106, 116, 249, 267 S. Maria della Salute, 173, 262, 267, 317, 324, 325 S. Mark's, 14, 19, 27, 49, 53, 247, 287 S. Pantaleone, 30, 285, 287 Pietà, 221, 227, 308 S. Pietro in Castello, 287, 296 S. Pietro in Murano, 92, 93 S. Polo, 259, 267 Redentore, 63, 64, 67, 117 S. Rocco, 267, 296 S. Salvatore, 178, 183 Scalzi, 308 S. Sebastiano, 230, 236, 241, 242 S. Spirito, 173 S. Stefano, 260, 267 S. Trovaso, 16, 116, 267 S. Vitale, 79, 80 S. Zaccaria, 17, 97, 112, 134, 325 Verona. S. Anastasia, 24, 25, 28, 31, 41 S. Antonio, 24, 28 S. Fermo, 26, 28 S. Tomaso, 296 Vicenza. S. Corona, 98, 102, 227 Monte Berico, 105, 223, 224, 227, 242 Cima da Conegliano, 66, 98, 99, 103-108, 123, 322 Colombini, 319 Confraternity, Carità, 171 S. Mark, 69, 206, 245 Contarini, Giovanni, 287 Cook, Sir F., 183 Cook, Mr. Herbert, 330 Correggio, 189, 300 Correr Museum (Museo Civico), 19, 79, 84, 87, 102, 117, 287, 311, 313, 326 Crivelli, Carlo, 38, 44-47, 189 Crowe and Cavalcaselle, 215, 329, 330 Crucifixion, 25, 41, 84, 255, 256, 262

Dante, 264 David, 297, 313 Doges-- Barbarigo, 93 Dandolo, 11 Giustiniani, 49 Gradenigo, 206 Grimani, 170 Loredano, 100, 109 Mocenigo, 325 Donatello, 34, 82, 87 Doria Gallery, 194, 331 Dresden, 139, 182, 196, 210, 211, 242, 266, 276, 294, 296, 320 Dürer, Albert, 59, 99, 150

Edwards, Pietro, 323, 325 Este, 305 Este, Isabela d', 96, 97, 159, 229

Fabriano, Gentile da, 19, 21, 25, 27, 28, 30, 31, 33, 39, 42, 62 Florence, 4, 9, 21, 22, 28, 101, 117, 122, 123, 139, 182, 197, 202, 211, 242, 266 Florentine, 3, 5, 7, 35, 121, 122, 125, 135, 153, 199, 200, 251 Florigerio, 217 Fondaco dei Tedeschi, 129, 130, 147 Fragonard, 33 Fry, Mr. Roger, 85, 89, 330 Fumiani, Gianbattista, 285, 286

Gaston de Foix, 222 Giambono, Michele, 17, 18, 27 Giordano, Luca, 285 Giorgione, 10, 65, 97, 113, 125, 126-135, 137, 139-142, 147-149, 152-155, 166, 177, 179, 184-187, 193, 206, 210, 213, 214, 216, 219, 222, 310, 330 Giotto, 4, 11, 15, 24, 33, 86 Goldoni, Carlo, 312, 331 Goncourt, de, 313 Guardi, Francesco, 298, 321-324, 326, 328, 331 Guariento, 15, 17, 62, 122 Guercino, 297 Guido, 297 Guilds, 12, 16, 22, 23, 29, 39, 75, 198, 251 Guillaume de Guilleville, 94

Hampton Court, 143, 210, 211, 219, 266, 289, 320 Hazlitt, 6, 8 Hogarth, 289, 312

Jacobello del Fiore, 16, 19, 27, 164 Jacopo Bellini. _See_ Bellini

Kristeller, M. Paul, 330

Lancret, 311 Last Judgment, 238 Last Supper, 237, 208, 259 Layard, Lady, 50, 57, 80, 116 Lazzarini, Gregorio, 286, 287, 296, 300 Leonardo, 122, 127, 136, 140, 159, 162 Liberi, Pietro, 285, 287, 295 Licinio, Bernardino, 218 Licinio, G. A. _See_ Pordenone Lippo, Fra, 48 London (National Gallery), 47, 57, 66, 100, 101, 115-117, 133, 141, 143, 156, 159, 182, 197, 201, 202, 208, 211, 218, 221, 222, 226, 227, 242, 261, 266, 276, 308, 313, 320, 328 Longhi, Pietro, 288, 298, 309-313 Lorenzo di San Severino, 46 Lorenzo Veneziano, 16, 17, 19 Loreto, 193, 197 Lotto, Lorenzo, 172, 186, 187-196, 204, 222, 224, 275, 330 Louvre, 40, 41, 43, 50, 57, 66, 115-117, 143, 161, 165, 177, 178, 182, 196, 202, 211, 233, 235, 242, 266, 277, 297, 308, 320, 328 Luciani. _See_ Sebastian del Piombo Ludwig, Professor, 94, 203, 330

Madrid, 139, 150, 182, 264, 266, 302, 304 Mansueti, Giovanni, 56, 79 Mantegna, 39, 42, 49, 58, 59, 77, 84, 96, 159, 215, 223, 224, 300, 318, 330 Marieschi, 319 Martino da Udine. _See_ Pellegrino Maser, Villa, 231, 242 Masolino, 41 Mengs, Raphael, 302 Michelangelo, 110, 121, 122, 137, 164, 174, 199, 200-202, 244, 249, 300 Milan, Ambrosiana, 66, 116, 275, 276 Brera. _See_ Brera Mocetto, Girolamo, 225 Molmenti, Professor, 330, 331 Mond Collection, 18, 20, 47, 49, 101 Monnier, Philippe, 306, 331 Montagna, Bartolommeo, 105, 114, 222-224, 270 Morelli, 177, 203, 331 Moretto, 221, 222 Morto da Feltre, 130, 214 Munich, 116, 183 Murano, 29, 102, 116, 217, 226 Museo Civico. _See_ Correr

Naples, 50, 57, 66, 102, 183 National Gallery. _See_ London Niccolo di Pietro, 16, 17, 20 Niccolo Semitocolo, 16, 17, 19

Osmaston, Mr. F. O., 331

Padovanino, Il, 286, 196 Padua, 19, 28, 34-37, 49, 59, 82, 86, 87, 116, 151, 155, 183, 223, 226, 227, 242, 272, 276 Palaces-- Milan. Archinto, 301, 308 Clerici, 301 Dugnani, 301, 304 Rome. Colonna, 196 Strà. Pisani, 302 Venice. Ducal, 15, 87, 90, 102, 109, 114-117, 170, 183, 211, 235, 236, 242, 260, 265, 267, 269, 272, 277, 281, 295, 308, 316 Giovanelli, 136 Labia, 304, 308 Rezzonico, 308 Verona. Canossa, 302 Würzburg, 301, 308 Palma Giovine, 285, 287, 295 Palma Vecchio, 141, 184-188, 196, 203, 204, 214, 219, 231, 244 Paolo da Venezia, 14 Paris. _See_ Louvre Parma, 115 Pellegrino, 213, 214, 219, 226 Pennacchi, 104, 214 Perugino, 133, 134, 202 Pesaro, 90, 94, 102 Pesellino, 48 Piacenza, 216, 226 Piero di Cosimo, 135 Pietà, 86, 87, 179, 199, 223, 224 Pintoricchio, 74, 135 Pisanello (Pisano), 21, 22, 24-28, 31, 33, 34, 37, 39-42, 62, 224, 330 Pordenone, 169, 170, 202, 204, 214-221, 226 Previtali, 104, 114, 115

Quirizio da Murano, 37

Raphael, 140, 161, 174, 200, 213, 221, 234 Ravenna, 117, 132 Rembrandt, 285 Ricci, Battista, 288, 300 Ricci, Marco, 315 Ricci, Sebastiano, 148, 288, 292, 296, 315 Richter, Dr. J. P., 331 Ricketts, Mr. C., 330 Ridolfi, 108, 229, 234, 247, 282, 287, 329 Rimini, 87, 89, 102 Robusti, Domenico, 246, 282 Robusti, Jacopo. _See_ Tintoretto Robusti, Marietta, 246 Romanino, 219-221 Rome, 143, 183, 188, 196, 197, 202, 211, 227, 267, 277, 314, 319 Rondinelli, 104, 114, 117 Rosalba Carriera, 288, 292-294, 296 Rubens, 160, 165, 170, 285 Ruskin, 264, 331

Sansovino, 92, 167, 174, 192 Santa Croce, Girolamo da, 56 Sarto, Andrea del, 137, 140 Savoldo, 66, 222 Sebastian del Piombo, 140, 198, 199-202, 228 Siena, 4, 11, 12 Signorelli, 121 Simonson, Mr., 322, 326, 331 Smith, Joseph, 315, 323 Speranza, 223 Spilimbergo, 216, 226 Strong, Mr. S. A., 329, 330

Taylor, Miss Cameron, 94 Tiepolo, Domenico, 307 Tiepolo, G. B., 10, 297-307, 309, 312, 314, 315, 317, 318, 331 Tintoretto, 10, 15, 25, 173, 179, 181, 210, 231, 234, 243, 245-251, 253-256, 258-267, 269, 273, 276, 281, 282, 285, 300, 317, 330, 331 Titian, 65, 106, 130, 135, 137, 143, 144-160, 162-178, 180, 181, 183, 184, 186, 187, 191-193, 201, 204, 205, 210, 215, 217, 220, 221, 224, 231, 236, 239, 243-245, 250, 256, 265, 273-275, 281, 290, 318, 321, 330 Torbido, Francesco, 225 Treviso, 108, 183, 186, 202, 211, 215, 226, 239

Uccello, Paolo, 26, 42, 48 Urbino, 163, 168, 174 Uzanne, M. O., 331

Valmarana, Villa, 303 Varotari. _See_ Padovanino Vasari, 15, 89, 130, 148, 169, 170, 174, 178, 199, 209, 219, 225, 247, 329 Vecellio. _See_ Titian Vecellio, Marco, 171 Vecellio, Orazio, 164, 174 Vecellio, Pomponio, 166 Velasquez, 285 Venice. _See_ Academy Venturi, Professor Antonio, 40 Venturi, Professor Leonello, vi, 38, 329 Verona, 22, 24, 25, 28, 183, 227, 229, 242, 302, 315, 328 Veronese, Paolo, 221, 228, 230-242, 247, 253, 269, 281, 283, 310, 331 Vicentino, 287 Vicenza, 57, 102, 185, 227, 242-277, 296, 303, 307 Vienna, 67, 80, 110, 116, 117, 131, 143, 149, 183, 196, 197, 211, 242, 268, 277, 320 Visentini, 319 Viterbo, 202 Vivarini. _See_ Alvise Vivarini. _See_ Bartolommeo

Wallace Collection, 183, 320, 328 Walpole, Horace, 292, 294, 319 Watteau, 297, 311, 312 Wickhoff, Dr., 154 Windsor, 47, 320

Yriarte, M. Charles, 229, 331

Zanetti, 129, 148, 246, 269, 282, 283, 301 Zelotti, 230 Zoppo, Marco, 44 Zucchero, Federigo, 236