首页 / 官方藏书 / Renaissance in Italy, Volume 3 (of 7) / The Fine Arts / Painting bloomed late in Venice—Conditions offered by Venice to Art—Shelley and Pietro Aretino—Political circumstances of Venice—Comparison with Florence—The Ducal Palace—Art regarded as an adjunct to State Pageantry—Myth of Venezia—Heroic Deeds of Venice—Tintoretto's Paradise and Guardi's Picture of a Ball—Early Venetian Masters of Murano—Gian Bellini—Carpaccio's little Angels—The Madonna of S. Zaccaria—Giorgione—Allegory, Idyll, Expression of Emotion—The Monk at the Clavichord—Titian, Tintoret, and Veronese—Tintoretto's attempt to dramatise Venetian Art—Veronese's Mundane Splendour—Titian's Sophoclean Harmony—Their Schools—Further Characteristics of Veronese—of Tintoretto—His Imaginative Energy—Predominant Poetry—Titian's Perfection of Balance—Assumption of Madonna—Spirit common to the Great Venetians.

Painting bloomed late in Venice—Conditions offered by Venice to Art—Shelley and Pietro Aretino—Political circumstances of Venice—Comparison with Florence—The Ducal Palace—Art regarded as an adjunct to State Pageantry—Myth of Venezia—Heroic Deeds of Venice—Tintoretto's Paradise and Guardi's Picture of a Ball—Early Venetian Masters of Murano—Gian Bellini—Carpaccio's little Angels—The Madonna of S. Zaccaria—Giorgione—Allegory, Idyll, Expression of Emotion—The Monk at the Clavichord—Titian, Tintoret, and Veronese—Tintoretto's attempt to dramatise Venetian Art—Veronese's Mundane Splendour—Titian's Sophoclean Harmony—Their Schools—Further Characteristics of Veronese—of Tintoretto—His Imaginative Energy—Predominant Poetry—Titian's Perfection of Balance—Assumption of Madonna—Spirit common to the Great Venetians.

Renaissance in Italy, Volume 3 (of 7) / The Fine Arts · John Addington Symonds · 第 12 / 19 章