File:A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century (1871) (14762852962).jpg

Identifier: historyofpaintin01crow (find matches)
Title: A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century
Year: 1871 (1870s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting Painting, Gothic Painting, Renaissance
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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George baptizes; in thecentre, kneeling acolytes; to theleft people playing instruments;inscribed: Victor Carpa ....MDVm. 5 Venice, San Giorgio de Schia-voni, canvas, with a scrip un-folded on the foreground, but noinscription. Repulsive are the de-tails of a half-devoured corpses, anarm, a hand, skulls, snakes, frogs,and lizards; but S George sitsvery firmly in saddle. The dis-tance is a fine one of lake andmountains. ^ Venice, San Giorgio de Schia-voni, canvas. The principal groupof S George sword in hand overthe dragon is flanked by othersof spectators looking on or play-ing instruments, in eastern cos-tume. This is larger than the re-maining compositions and fairlypreserved. The original drawingis at the Uffizi in Florence. Venice Acad. No. 375. Thisis in the usual form, the Virginbeing at a desk in a portico; can-vas, inscribed: In tempo de Zuande Nicolo zimador e soi compagniMCCCCCIIII. del mese d April.Small piece of a dull tone, muchdamaged by restoring. North Italy. Vol I. I.
Text Appearing After Image:
THE PRESENTATION IN i HE 1 EMPTE : an altarpiece by Vittore Can:>accio,in the Academy of Venice. Chap. IX. CAEPACCIO. 207 Aquinas/^ of 1507 in the museum of Stuttgardt;^ and theburial of the Virgin of 1508, in the gallery of Ferrara,^showing that the artist was less fitted to deal with calmreligious episodes than with incidents of legendary history.Yet the time was approaching when Carpaccio was toput forth his strength in order that he might not beeclipsed by earlier creations of Bellini. He was still onfriendly terms with this painter, who had chosen him in1508 to value the frescos of Giorgione at the Fondacode Tedeschi, and no competition had ever taken placebetween them; but Carpaccio was now called upon toexecute a presentation in the temple at San Giobbe,where one of Bellinis famed altarpieces stood, and itbehoved him to concentrate his power and show of whatstuff he was made. His effort was great and his successhonourable, and a glance at the illustration in this pagewill sh

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