Antiques Digest Browse Auctions Appraisal Home

Venice - St. Mark's - The Baptistery
Which is entered by a door in the Right Aisle, not far from the St. Clement entrance. You pay on leaving (see below). At least one whole morning—a sunny one if possible—should be devoted to examining this chapel and the Cappella Zen.
Venice - St. Mark's - Cappella Zen
This beautiful little chapel, otherwise known as that of the Madonna della Scarpa, Our Lady of the Slipper, (so called from her having given her bronze slipper to a poor votary, on which it was miraculously turned into gold,) contains a series of very early mosaics, (12th century.)
Venice - St. Mark's - Main Church Again
Now, enter the north transept. Walk along its west or L. hand Aisle till you reach a little chapel at the extreme end, closed by a low marble screen and an iron gate. This is the Cappella dei Mascoli, so called because it was the meeting-place of a Guild composed of men alone.
Venice - St. Mark's - Dominant Ideas
You are by this time, I trust, in a position to understand the leading religious ideas which govern the arrangement of the decoration in St. Mark's. The Vestibule, or Atrium, theoretically supposed to be intended for the use of those who have not yet entered the church, (i.e., the unbaptised and enquirers or catechumens,) is decorated with very ancient mosaics (Byzantine in type) representing the chief facts of the Old Testament history.
Gothic Venice: The Doge's Palace
THE nucleus of the first Venice, before it was made the seat of government of the Republic, is said to have been the little district about the great bridge over the Grand Canal, which still retains the name of Rialto. But as soon as the island group of Rivo Alto became the capital of the Republic of the Venetians, a Palace for the Dux or Doge was erected near the open mouth.
Renaissance Venice - The Piazza And Piazzetta
We have already obtained some introduction to L Renaissance Venice in our examination of the Doge's Palace, where we have seen the transitional Gothic stage in the Porta della Carta, and much developed Renaissance work in the great court-yard.
Venice - The Four Great Plague-churches
VENICE, during the Middle Ages, was much exposed to the chance of plague, owing to its constant commercial intercourse with the crowded and pestilence - stricken towns of the Levant. When an epidemic occurs in modern times, we improve the main drainage and the sanitary conditions ; the Middle Ages, under similar circumstances, regarding the disease as a divine punishment, vowed and built a new church.
Venice - The Academy
THE great collection of Venetian pictures, the most important object to be seen in Venice, after St. Mark's and the Doge's Palace, is housed (since the French Revolution) in a building now known as the Accademia delle Belle Arti.
Venice - The Academy - Hall Of The Ancient Masters
Hall Of The Ancient Masters contains the earliest work of the Venetian Painters. The splendid apartment also retains its original decoration as the Hall of the Scuola.
Venice - The Academy - Hall Of The Presentation
This fine hall was originally the Albergo, (guest-chamber or public reception room,) of the Fraternity. It still retains its magnificent decorations, and the pictures it contains were originally painted for the very places they now occupy. The gorgeous carved and gilded wooden roof represents Christ in Benediction, surrounded by the four Apostles with their symbols.
Venice - The Academy - Hall Of Giovanni Bellini.
This room contains much of the finest work of Giovanni Bellini, the first and noblest of the great Renaissance painters of Venice, as well as examples of his pupils or school. Bellini lived from 1427 till 1516, and was brother-in-law of Mantegna.
Venice - The Academy - Hall Of The Vivarini.
Unknown Paduan, with characteristic Paduan architectural detail, showing the classical influence of the school of Squarcione. In the centre, full-length Madonna, enthroned, with clothed Infant, surrounded by little angels singing and playing musical instruments in the manner common at Venice and Padua.
Venice - The Academy - Hall Of St. Ursula.
This room (part of the old church of the Carità) contains a series of paintings from the life of St. Ursula, all by Vittore Carpaccio, probably a pupil of the Bellini, who painted between 1490 and 1522.
Venice - The Academy - Hall Of The Holy Cross
The Scuola di San Giovanni Evangelista at Venice, (a local religious guild, a little behind the Frari,) possessed as its chief treasure a fragment of the True Cross. This most precious object was carried in procession through the streets on certain festa days, and became the centre of an important cult in early Renaissance Venice.
Venice - The Academy - Hall Of The Assumption
This hall contains what are considered by the authorities to be the chief masterpieces of the collection, arranged without reference to chronological order. It therefore comprises several works of various ages. Before entering the room, sit on the last seat in Room I., facing Titian's Assumption, No. 40, (within,) the effect of which is better seen from various parts of this room than from the further hall which actually contains it.
Venice - The Academy - Hall Of The Various Italian Schools:
The pictures in this room are not exclusively Venetian, and have as a rule little bearing on Venetian art ; I will therefore pass most of them over rapidly.
Venice - The Academy - Hall Of The Scholars Of Bellini.
This room contains admirable works of the Early High Renaissance, all by scholars of Bellini or their contemporaries. They should be closely studied as giving an admirable idea of Venetian painting at the beginning of the 16th century, just before and during the prime of Titian. R. of the door as you enter,108. Marco Basaiti.
Venice - The Academy - Hall Of Callot.
Landscapes, etc., mainly Dutch, and requiring no explanation. ROOM VI. Hall of the Painters of Friuli. Friuli is a poor mountain district north of Venice ; it produced a group of peculiar followers of Bellini, noticeable for their dry formal drawing.
Venice - The Academy - Hall Of Paolo Veronese.
This room contains several later works of the Venetian High Renaissance, mostly large and gorgeous canvases, which reflect the magnificence of 16th-century Venice.
Venice - The Academy - Hall Of Bonifazio.
This room is filled with the masterpieces of the latest age of art in Venice before the decadence. It contains an immense number of works of great artistic value, (now less admired than of old—and justly,) to relatively few of which, however, I can call attention, and that more from the point of view of explanation than of criticism.
Venice - The Doge's Palace
IN 1419, Gentile da Fabriano and Vittore Pisano, two of the greatest artists of their age, were invited to Venice by the signory in order to decorate the interior of the Doge's Palace, at an age when native artistic talent was still deficient in the lagoons.
Venice - The Grand Canal
THE Grand Canal, (or Canalazzo) the street of the nobles, is originally one of the many navigable channels by whose aid the waters of the tortuous rivers which have formed the lagoon find their way through the mud-banks, past the mouths of the Lido, to the open sea.
Venice - The Friars' Churches
IN almost every great Italian town, there exist to this day two immense churches, usually dating back to the 13th century, and belonging respectively to the Dominicans and the Franciscans, the popular preaching orders of the middle ages. At Florence, these two churches are Santa Maria Novella and Santa Croce ; at Venice, they are SS. GioVanni e Paolo, and the Frari.
Venice - The Frari
The Franciscans or Frati Minori di San Francesco were settled at Venice as early as 1227. In 1250, having by that time begged sufficient funds, they began the erection of their great church, adjoining their friary. It was completed about 1338, (by Fra Pacifico,) and dedicated to Our Lady, under the title of Santa Maria Gloriosa dei Frari.
Venice - Minor Sights
THE objects already enumerated in this volume compose, it seems to me, the group of sights best worth seeing at Venice. But in saying this I do not wish to be dogmatic : I merely desire to advise the reader to the best of my ability.
Origins Of Paris - The Ile De La Cite
PARIS is not, like Rome, London, Lyons, an inevitable city. It does not owe its distinctive place, like New York, Chicago, San Francisco, Melbourne, to natural position alone. Rather does it resemble Madrid or Berlin in being in great part of artificial administrative origin.
Paris - The Palais De Justice And The Sainte Chapelle
GO along the Rue de Rivoli as far as the Square of the Tour St. Jacques. If driving, alight here. Turn down the Place du Châtelet to your right. In front is the pretty modern fountain of the Châtelet ; on the right, the Théâtre du Châtelet ; on the left, the Opéra Comique.
Notre Dame
IN very early times, under the Frankish monarchs, the principal church of Paris was dedicated to St. Stephen, the Protomartyr. It stood on part of the site now covered by Notre Dame, and was always enumerated first among the churches of the city.
Paris - The Roman Palace And The Musée De Cluny.
THE earliest overflow of Paris was from the Ile de la Cité to the left or south bank (Rive Gauche). The reason for this overflow is clear. The city was situated on a small island, near the head of navigation ; it guarded the passage of the Seine by the double bridge.
Paris - The Hill Of Ste. Genevieve
HIGH places are always the first cemeteries and holy sites, — as at Montmartre and elsewhere. But the nearest rising ground to Old Paris is the slight elevation just south of Cluny, now crowned by the colossal dome of the Panthéon.
[Page: 501  |  502  |  503  |  504  |  505  |  506  |  507  |  508  |  509  |  510  | 
511  |  512  |  513  |  514  |  515  |  516  |  517  |  518  |  519  |  520  | 
521  |  522  |  523  |  524  |  525  |  526  |  527  |  528  |  529  |  530  | 
531  |  532  |  533  |  534  |  535  |  536  |  537  |  538  |  539  |  540  | 
541  |  542  |  543  |  544  |  545  |  546  |  547  |  548  |  549  |  550  | 
More Pages ]


Please contact us at info@oldandsold.com