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VII. Alpenrosen and Goat's-Milk | Henry van Dyke | |
Section I. |
Page 2 of 3 |
At Longarone we breakfasted for the second time, and entered the narrow gorge of the Piave. The road was cut out of the face of the rock. Below us the long lumber-rafts went shooting down the swift river. Above, on the right, were the jagged crests of Monte Furlon and Premaggiore, which seemed to us very wonderful, because we had not yet learned how jagged the Dolomites can be. At Perarolo, where the Boite joins the Piave, there is a lump of a mountain in the angle between the rivers, and around this we crawled in long curves until we had risen a thousand feet, and arrived at the same Hotel Venezia, where we were to dine. While dinner was preparing, the Deacon and I walked up to Pieve di Cadore, the birthplace of Titian. The house in which the great painter first saw the colours of the world is still standing, and tradition points out the very room in which he began to paint. I am not one of those who would inquire too closely into such a legend as this. The cottage may have been rebuilt a dozen times since Titian's day; not a scrap of the original stone or plaster may remain; but beyond a doubt the view that we saw from the window is the same that Titian saw. Now, for the first time, I could understand and appreciate the landscape-backgrounds of his pictures. The compact masses of mountains, the bold, sharp forms, the hanging rocks of cold gray emerging from green slopes, the intense blue aerial distances--these all had seemed to be unreal and imaginary--compositions of the studio. But now I knew that, whether Titian painted out-of-doors, like our modern impressionists, or not, he certainly painted what he had seen, and painted it as it is. |
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Little Rivers Henry van Dyke |
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