FIVE

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.