dovanino._

Florence. Uffizi: Lucretia.
London. Cornelia and her Children.
Paris. Venus and Cupid.
Rome. Villa Borghese: Toilet of Minerva.
Venice. Academy: The Marriage of Cana; Madonna in Glory; Vanity,
Orpheus, and Eurydice; Rape of Proserpine; Virgin in Glory.
Verona. Man and Woman playing Chess; Triumph of Bacchus.
Vienna. Woman taken in Adultery; Holy Family.

_Pietro Liberi._

Venice. Ducal Palace: Battle of the Dardanelles.

_Andrea Vicentino._

Venice. Museo Civico: The Marriage of a Dogaressa.

_G. A. Fumiani._

Venice. San Pantaleone: Ceiling.
Church of the Carita: Christ disputing with the Doctors.

_A. Balestra._

Verona. S. Tomaso: Annunciation.

_G. Lazzarini._

Venice. S. Pietro in Castello.
The Charity of S. Lorenzo Giustiniani.

_Sebastiano Ricci._

Venice. S. Rocco: The Glorification of the Cross.
Gesuati: Pope Pius V. and Saints.
London. Royal Hospital, Chelsea: Half-dome.

_G. B. Pittoni._

Vicenza. The Bath of Diana.

_G. B. Piazetta._

Venice. Chiesa della Fava: Madonna and S. Philip Neri.
Academy: Crucifixion; The Fortune-Teller.

_Rosalba Carriera._

Venice. Academy: pastels.
Dresden. Pastels.

CHAPTER XXIX

TIEPOLO

We have already noted that to establish the significance of any period
in art, it is necessary that the tendencies should unite and combine in
some culminating spirits who rise triumphant over their contemporaries
and soar above the age in which they live. Such a genius stands out
above the eighteenth century crowd, and is not only of his century, but
of every time. For two hundred years Tiepolo has been stigmatised as
extravagant, mannered, as just equal to painting cupids, nymphs, and
parroquets. In the last century he experienced the effect of the
profound discredit into which the whole of eighteenth-century art had
fallen. In France, David had obliterated Watteau; and the reputation
of Pompeo Battoni, a sort of Italian David, effaced Tiepolo and his
contemporaries. When the delegates of the French Republic inspected
Italian churches and palaces, and decided what works of art should be
sent to the Louvre, they singled out the Bolognese, the Guercinos and
Guidos, the Carracci, even Pompeo Battoni and other such forgotten
masters, a Gatti, a Nevelone, a Badalocchio; but to the lasting regret
of their des