At half-past nine I set out on my wanderings with the children, returning at six. First the Museum: a profoundly moving Christ upon the Cross by Jacopo Bellini,[1] a portrait by Masaccio,[2] and a Holy Family by Giovanni Bellini.[3] Then the Campo Santo, without interest for me, thereafter San Fermo, which I saw again with delight, followed by breakfast with the children in the Piazza dei Signori.
I then inquire after R. and learn that Countess Pianell,[4] wife of the Commandant, has called upon us and wishes to have us with her for the evening; pay a visit in order to excuse ourselves. Thereafter San Bernardino; little pleasure in Sanmicheli’s chapel, or indeed in that imitation of the Roman Renaissance generally. San Zeno once more; Sunday school—the children screaming as though possessed. The Cathedral, San Giorgio once again, and up the staircase of the Palazzo Maffei. The children lively and in excellent spirits. R., unfortunately, unwell. I remain with him in the evening.
[1] Jacopo Bellini (1400–1470), Venetian painter; his major works include a “Crucifixion” in Verona.
[2] Masaccio: for Tommaso di Giovanni di Simone Guidi (1401–1428), Italian painter; frescoes in Florence; monumental style that helped launch the Renaissance.
[3] Giovanni Bellini (1430–1516), son of Jacopo Bellini, ushered in the heyday of classical Venetian painting.
[4] Countess Pianell: possibly a misspelling of Pinelli? Poet and musician; an Ada Pinelli appears in the list of correspondents.
Revised English translation by Jo Cousins [© Jo Cousins | WAGNER Salon]