New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-03-24
TIE YALE Art LECTURES.

TIE School or yENICi-ITs HISTORY AND CnARAC-
TEEIsTICs-THE BROTHERS BELLINI-TiIIAN.
(FRoM A SPECIAL CORRESPONDENT or TIRE TsigUNRJ
kEw-UAvEY, March 2o-Prof. Eaton began his
tenth lecture the Venetian school Of painting By
saving that the peculiar cxcelcnces of this school
were incapable OF reproduction on a SCREEN Unllk9
the Florentine and Roman schools, in which form
and composition pTcdOmlnate the Venetian paint
ing subordinated everything TO color. Any cnfra'-
ing or photograph fails, therefore, in double sense
TO reproduce the originals.
The Fourteenth, Fifteenth and Sixteenth Centuries
are the most glorious periods OF Tie long aud suiondd
career Of the Venetian state During this epcch Tue
citizens rich. peona uxuriosa, patriotic enef
getc. aud Venetian Art, in its full maturity, as Gof
gione Titan and Veronesc illustrated It, waa rep eseh
alive OF tho people 1t nos strong Ike the art OF
Raphael, or heroic aId g:ltsCstsgbe1 lie tAat o.
Il chael Aaglo nut tontened .sef Hith pointing out
the sources ald increasn; the equipments OF venetian
i;e The school ito in the fsIoas school estao-
lished at pad1a "nurycry OF art" by S1larc.OBe
about the middle Of the Fifteenth Century. squarcone
OF wealth. rcircd taste anu liberal cult1re
He brought from Greece sEp-load5 Of ancient statues
bas re,s arbosques aui architectural ana seuPturl
fragments. According to lis b;o%rapicrs ne WAS III.
prince Of critics and the best OF teachers Among Ito
pupils were Andrea Man;ogna and Giacono Bsl4ui Ae
father OF GOutc and Giovanni Brliiai tie two artlrs
WHO developed TIC TesyUIce5 Of Ntset'aH painn. snt
made tie way straight ior IL Attest master5 q sue
eesslon 81 rcscoes Dy ihcss pupils u Squarcoao
here represented by tho lecturer 10 show Venetian art
IN infancy and growing youlD Tieso early attempts
exhibit traces Of Byz. ii ,ence' and fun of
technical faults. The rules OF perspective and tho lea.
cons of nature not az yet understood.
The Belu father and th3 truc founders Of
the Venetian school The elder Belini inculcatcd 0n
his children gentler style than that OF squarcione
teaching them not 10 pay much attention classic
types but to open their mads ana beare TO NE impress
slons OF nature or tho sons. Giovanni was much the
moro eminent artist. Gcltilo's paiatcg Is note
worthy however, as showing mastery OF the science
OF perspective aud the orderly treatment OF LARGE COM
positions. To artist is modern painting more In
JebieI than to Gioyanui Btlini. About the time the
br,thcrs had established themselves IN Venice tho use
OF oil was introduced from Fl4nders Giovanni who
had already xporncned IN varioGs vehicles. devoted
himself With enthusasm 10 the new method. His
works taken In chronological order, show the difficult
ties he met and in The uso Of various vehicles
and tho progress lie made in the uso ot OIL TAey are
also all of lessons in reference 10 what may bs called
the material OF painting such a. the proper
preparation Of the canvas the selection Of the coiers
for the background The due amount OF oil TO be used
with pigment the clcmci action and reaction OF pig
mems and vehicles; the sppcrimposiuon of color Oh
color the transsioD Of tones, glazing, stpping,
Giovanni was employed ia various ways; by the
State in decorating the palace OF the DJge 10y private
individuals In Oraa!nentinS Their homes, and by the
Church in painting madnnnas and saints. All Of his
lnctures snow awKwHrdness and restraint III no
master OF anatomy, his drawing llcSed freedom. AMI
his larger WORKS show knowledge OF the which
should govern IN composition. The liberalization OF
Venetian painting was accomplished by GcTslone. Clio
yannr pupil From the tine OF GiOrgiOnc iii The death
V, in 1855 period of Oyor 100 years Venetian
painting l0Urisned with no abatement from It's fullest
excellence. No school OF painting has shown such
vitality, aud after its glOy II
another century to produce works OF satisfactory
merit.
In Cio-gone's &" Jacob Meeting with Rehecca" one OF
the gems Of The Dresden Gallery We the emancipa
ton OF the school from casscay and tradition. The
artist is allowed every privilege and power. The
lofty intellectual Or spiritual emiDence, but to be
oyed thoroughly and heartily. Ii they ineulcate
Ia the Intention OF tue artist He would have
oice with him. and learn from him the o beauty
Titan was representative Venetian-a grand, heroic
character embOdyIng all that was superb In Venetian
life His works bear an impress OF magnifceuce Ii il
hardly necessary his Diographers 10 tell that he
was clothed in lno garments, Jared sumptuously,
and Em9crors,, His pictures tell US more, or
Venice than her hist0rans; OF the grandeur
and Opulence OF her citizens, OF the fullDess
and energy with Which they lived, loved, worshiped,
and euffeed He not precocious genius, but lived
10 tho advanced age OF 20 and worked assduOusy till
the years OF his e One OF his earlier pictures is
Tribute Money renarkaDe Tor Us contrasts OF head
ttitude and hand between the Savior and the Pharsee
OF his larger compositions, the earliest In date Is per
haps the presentation OF the Virgin" now d the
Academy OF Arts Venice. The figures OF the little
TIE market woman beneath the steps remarkable.
The Assumption. wonderful for the beauty the Virgin
rather than Tor excellence III composition L. esteemed
by many the grandest work OF the master This paint
ing however, suggests unfayorab!e comparison with
similar efforts BY Florentine ana Roman painters Not
dramatic and scrptural, but neurological and
genius and thither he directed It,
-