The Pontiff and a group of priests are above the child at the top of the steps. She raises her hand towards them. Below are her father and mother, and near the steps the famous old countrywoman, with her basket of eggs. There are also men and women of quite another class, dressed in long garments, who make a sort of passing procession. It is as if one were in the midst of a city where people of various classes are occupied with their personal affairs,—a city in the midst of a noble landscape, which is glowing with sunlight,—a city, too, on which its people have bestowed the riches of art, and everything that money can produce to make life luxurious and attractive. It is no wonder that Titian lived without a rival; that his works were sought by emperors and kings, and that in his power of portraiture he has not been surpassed.
"The Supper in the House of Levi" was painted by Paul Veronese for the Refectory of SS. Giovanni and Paolo, in 1572; and a year later the artist was summoned before the Sacred Tribunal to answer to the charge of irreverence, based upon his having painted "dwarfs, buffoons, drunkards, Germans, and similar indecencies" at supper with Our Lord. Veronese defended himself on the ground that Michael Angelo, "in the Papal Chapel at Rome, painted Our Lord Jesus Christ, His Mother, Saint John, and Saint Peter, and all the court of heaven, from the Virgin Mary downwards, naked, and in various attitudes, with little reverence." Veronese was dismissed with a command to correct his picture within three months; but more than three hundred years have passed, and it remains untouched.
The suppers of Christ and his disciples and friends were so often painted by Veronese, that he could scarcely vary them very much. That in the house of Levi is subject to criticism on account of the prominence given to the architecture, which is of too florid a type to please a severe taste, although it may correspond with the disorder and movement of the peculiar figures of the composition to which the Sacred Tribunal objected.
Rich in masterpieces as the Ducal Palace and the Academy are, one must still go elsewhere for some of the grandest works of the Venetian school. For example, the Santa Barbara of Palma Vecchio is in the Church of S. Maria Formosa, which I always remember was built in 1492, that important year in which our part of the world may be said to have been born. This church is very near the Piazza; and the walk from the Academy, where one so often is, after crossing the bridge, leads through a maze of calli in the very heart of the city.
Santa Barbara was the patroness of soldiers, and this picture was painted for the Bombardieri. She makes the centre of an altarpiece, having two male saints on each side, and a Pietà above. The whole work is excellent, and were the central figure not seen, the Virgin above would attract much attention; but the Saint Barbara fills the place.
She stands there in full majesty, a beautiful young girl, proud in her bearing, but full of human attraction. She is not saint-like, and wears her crown with no humility, and holds her palm as it might be a sceptre. Her rich brown robe, carelessly held about her waist by a knotted ribbon, is in exquisite contrast with her crimson mantle. A white veil is twisted in her golden crown, falls on one side, and crosses her breast; while her magnificent hair falls in wavy tresses on each side her throat, and rests on her bosom. Cannon are at her feet, and her tower is seen behind her. It is a splendid, lovable woman who is here portrayed in a marvellous manner.
Charles Blanc tells us that when he first entered this church with his friend, Mass was being said before the altar of Santa Barbara; but in spite of the ceremony and the place they were both surprised into cries of admiration as they saw the picture. Naturally the priests and worshippers were scandalized, and our author was publicly reproved.
Tradition teaches us that this Barbara was a portrait of Palma's daughter, Violante, who was passionately loved by Titian. So good an authority as Blanc tells us that "it is certain" that Palma's daughter was the mistress of Titian late in his life. Both these masters made several portraits of her, introducing her into a variety of scenes. One knows her by her limpid, wide-open eyes, her voluptuous mouth and peculiar nose. She is often represented in dishabille, with her large shoulders and beautiful bosom half bare. When attired, she is much decorated, with puffs and slashes in her gowns, with bows of ribbon, and numerous chains and other ornaments.
Just at the left of the western front of Santa Maria Formosa is the entrance to the Ponte del Paradiso, with its exquisite Gothic archway.—one of the most charming bits of old architecture in Venice.
A very short walk takes one to the Campo of SS. Giovanni and Paola, on which are situated the grand Dominican church of the same name; the Scuola of San Marco, now a hospital; and the chapel of Santa Maria della Pace, in which the Falieri were buried, and where, in 1815, the skeleton of the unhappy Doge was found with the head between the knees.