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Rushing to see the Candaules and Gyges fresco, Dr. Brightman provides ongoing commentary: These tapestries must be Florentine — look, The Drunkenness of Lot. The daughter on the left greatly resembles a pupil of mine, but we must not tarry, … Continue reading →

Referring to art works in the Bragadin Palazzo, Dr. Brightman says. “These Luca Giordano will keep them most of them quiet for the time being.” [TK 80] Jenkins adds, “Gwinett, preferring to go over the Palazzo at his own speed, … Continue reading →

  Continuing her reflections on Tiepolo’s Candaules and Gyges, Dr. Brightman muses, “I wonder whether the model was the painter’s wife . . . If so, she was Guardi’s sister.  Gyges looks rather like the soldier in The Agony in … Continue reading →

Upon their discovery of Tiepolo’s Candaules and Gyges ceiling, Dr. Brightman begins to lecture Nick:  “As Russell Gwinnett said, one is a little reminded of Iphigenia in the Villa Valmarana, or the Mars and Venus there.  The usual consummate skill … Continue reading →

We have anticipated seeing Candaules and Gyges. Earlier in TK, Nick discussed the day’s extra-curricular activities with Russell Gwinnett and Dr. Emily Brightman.  We learned that the Venitian palazzo of the socialite Jacky Bragadin, distant descendant of Marcantonio Bragadin, the patron of … Continue reading →

Jenkins recalls being 22 or 23 years old (i.e., in about 1927 or 28) when he first met Glober, who at that time wanted to buy an Augustus John drawing. [TK 72/66 ]. Jenkins arranged for him to meet Mopsy Pontner, … Continue reading →

Louis Glober first meets Jenkins in his publishing office, which Jenkins describes as having “walls grimly lined with file copies,” “almost as comfortless as the waiting room,” and marked by “frugality of surroundings. ” [Glober] sat down in the collapsed … Continue reading →

  Gwinnett tells Jenkins that Louis Glober is staying at the Bragadin Palazzo, which prompts Jenkins to recall meeting Glober in London in the late 1920s. Glober visited Duckworth’s to discuss a project with Daniel Tokenhouse. “The suggestion was to produce … Continue reading →

In Venice, Jenkins reminisces about being there as a boy with his parents. This leads to an anecdote about his father’s two volume set of Pennell’s Life of Whistler, “a painter he admired,” which he bought in Paris because the French edition had … Continue reading →

Jenkins recalls his father’s aesthetic tastes: “He never stood in front of the Mona Lisa without remarking that, in the eyes of trivial people, the chief interest of Leonardo’s masterpiece was to have once been stolen from the Louvre.” [TK … Continue reading →