end notes
Carpaccio's Miracle at the rialto
To return to your place in the text, simply press your Back button
[1] For the linking of his name with the modern culinary dish known as carpaccio, see our article Carpaccio’s Double Enigma
[2] Save Venice blog, https://www.savevenice.org/project/reliquary-of-the-true-cross
[3] There were a number of similar Brotherhoods in Venice at this time, and they commonly commissioned artists in this way: John T. Paoletti and Gary M. Radke, Art in Renaissance Italy, Pearson Education. London, 2002 at 270-79
[4] Save Venice blog, https://www.savevenice.org/project/gentile-bellinis-miracle-of-the-relic-of-the-true-cross-at-the-bridge-of-san-lorenzo
[5] Possibly the colour is affected by discolouration: a thorough conservation is now being carried out: Save Venice blog, https://www.savevenice.org/project/miracle-of-the-reliquary-of-the-cross-at-the-rialto-bridge
[6] Venice was governed from the separate district of San Marco, with the Doge’s palace on St Mark’s Square
[7] Bishop Francesco Querini
[8] Save Venice blog: https://www.savevenice.org/project/miracle-of-the-reliquary-of-the-cross-at-the-rialto-bridge
[9] The bridge was actually rotting at this time, and later collapsed: Rose-Marie and Rainer Hagen, “The Merchants of Venice”, in What Great Paintings Say, Vol 1, Taschen, Koln at 102. The current version dates from 1591
[10] Matteo Casini, “The Company of the Hose: Youth and Courtly Culture in Europe, Italy and Venice’, Renaissance Studies, Republic of Venice, Studi Veneziani, LX11-LXIV (2011)
[11] Save Venice blog: https://www.savevenice.org/project/miracle-of-the-reliquary-of-the-cross-at-the-rialto-bridge
[12] Antica Locanda Sturion https://www.locandasturion.com/
[13] Hagen, op cit at 100
[14] Dark-skinned gondoliers also appear in Carpaccio’s Hunting on the Lagoon: see our article Carpaccio’s Double Enigma
[15] Kate Lowe, “Visible Lives: Black Gondoliers and Other Black Africans in Renaissance Venice.” Renaissance Quarterly, 66, 2, 2013, at 429 onwards
[16] Hagen, op cit at 103
[17] Lowe, op cit at 415 onwards
[18] Lowe, op cit at 421
[19] Lowe, op cit at 437
[20] Lowe, op cit at 421; Hagen, op cit at 103
[21] Augusto Gentile, “Painting in Venice”, in Venice: Art and Architecture (ed: Giandomenico Romanelli), Könemann, Cologne, 1997 at 275-6
[22] Patricia Fortini Brown, “An Incunabulum of the Miracles of the True Cross of the Scuola Grande di San Giovanni Evangelista” https://www.academia.edu/1069590/An_Incunabulum_of_the_Miracles_of_the_True_Cross_of_the_Scuola_Grande_di_San_Giovanni_Evangelista (1982)
[23] Jan Morris, “Carnival of the Animals”, The American Scholar, Autumn 2014 https://theamericanscholar.org/carnival-of-the-animals/
[24] Patricia Fortini Brown, Venetian Narrative Painting in the Age of Carpaccio, New Haven, 1990 at 79
[25] ET Cook and Alexander Wedderburn, The Complete Works of John Ruskin, George Allen, London 1906 at 859
© Philip McCouat 2022
Return to HOME
[1] For the linking of his name with the modern culinary dish known as carpaccio, see our article Carpaccio’s Double Enigma
[2] Save Venice blog, https://www.savevenice.org/project/reliquary-of-the-true-cross
[3] There were a number of similar Brotherhoods in Venice at this time, and they commonly commissioned artists in this way: John T. Paoletti and Gary M. Radke, Art in Renaissance Italy, Pearson Education. London, 2002 at 270-79
[4] Save Venice blog, https://www.savevenice.org/project/gentile-bellinis-miracle-of-the-relic-of-the-true-cross-at-the-bridge-of-san-lorenzo
[5] Possibly the colour is affected by discolouration: a thorough conservation is now being carried out: Save Venice blog, https://www.savevenice.org/project/miracle-of-the-reliquary-of-the-cross-at-the-rialto-bridge
[6] Venice was governed from the separate district of San Marco, with the Doge’s palace on St Mark’s Square
[7] Bishop Francesco Querini
[8] Save Venice blog: https://www.savevenice.org/project/miracle-of-the-reliquary-of-the-cross-at-the-rialto-bridge
[9] The bridge was actually rotting at this time, and later collapsed: Rose-Marie and Rainer Hagen, “The Merchants of Venice”, in What Great Paintings Say, Vol 1, Taschen, Koln at 102. The current version dates from 1591
[10] Matteo Casini, “The Company of the Hose: Youth and Courtly Culture in Europe, Italy and Venice’, Renaissance Studies, Republic of Venice, Studi Veneziani, LX11-LXIV (2011)
[11] Save Venice blog: https://www.savevenice.org/project/miracle-of-the-reliquary-of-the-cross-at-the-rialto-bridge
[12] Antica Locanda Sturion https://www.locandasturion.com/
[13] Hagen, op cit at 100
[14] Dark-skinned gondoliers also appear in Carpaccio’s Hunting on the Lagoon: see our article Carpaccio’s Double Enigma
[15] Kate Lowe, “Visible Lives: Black Gondoliers and Other Black Africans in Renaissance Venice.” Renaissance Quarterly, 66, 2, 2013, at 429 onwards
[16] Hagen, op cit at 103
[17] Lowe, op cit at 415 onwards
[18] Lowe, op cit at 421
[19] Lowe, op cit at 437
[20] Lowe, op cit at 421; Hagen, op cit at 103
[21] Augusto Gentile, “Painting in Venice”, in Venice: Art and Architecture (ed: Giandomenico Romanelli), Könemann, Cologne, 1997 at 275-6
[22] Patricia Fortini Brown, “An Incunabulum of the Miracles of the True Cross of the Scuola Grande di San Giovanni Evangelista” https://www.academia.edu/1069590/An_Incunabulum_of_the_Miracles_of_the_True_Cross_of_the_Scuola_Grande_di_San_Giovanni_Evangelista (1982)
[23] Jan Morris, “Carnival of the Animals”, The American Scholar, Autumn 2014 https://theamericanscholar.org/carnival-of-the-animals/
[24] Patricia Fortini Brown, Venetian Narrative Painting in the Age of Carpaccio, New Haven, 1990 at 79
[25] ET Cook and Alexander Wedderburn, The Complete Works of John Ruskin, George Allen, London 1906 at 859
© Philip McCouat 2022
Return to HOME