【Paintings in Proust】 The Patriarch of Grado Exorcising a Demoniac, Vittore Carpaccio, 1494 (p.276)

普魯斯特在這一段特別提到了阿爾貝蒂娜身披福迪尼設計的斗篷，而斗篷的式樣則是取材自卡帕契奧的這幅畫。
話說福迪尼 (Mariano Fortuny)，他是西班牙人，但長期在威尼斯生活，可說是當時的知名設計師，普魯斯特在小說中多次提到他的名字，相當推崇他所設計的服裝作品，可參考以下摘要：
福迪尼設計的裙衣，我見德·蓋爾芒特夫人穿過一次。埃爾斯蒂爾跟我們談起過，卡帕契奧和提香時代的人衣著是如何精美絕倫，那時他就曾向我們預告，有一種款式不久就將問世，他指的就是這種裙衣。這種裙衣從灰燼中獲得新生，卓越多姿；猶如聖－馬可教堂的拱門上寫著的一樣，猶如拜占庭式的大理石和碧玉柱頭上刻著的、那同時象徵著死亡和復活的壺罐汲水鳥所宣佈的一樣，一切都將捲土重來。……這種裙衣很像塞爾、巴克斯特和伯怒瓦所繪製的佈景；時下他們在俄羅斯芭蕾中，借助富有個性和特性的藝術作品，來展現最令人喜愛的各時代藝術風姿。福迪尼的裙衣就是如此，它忠實於古風古貌，但又富有堅定的個性；它宛如佈景，但又比佈景更富有表現力，因為佈景畢竟還需要依靠現象；威尼斯女子穿著福迪尼裙衣，威尼斯的東方氣息頓然而生，它勝於聖－馬可教堂內聖人遺骸盒中的聖骨，能顯示太陽的異彩及其頭帕似的光暈，能給威尼斯增添光怪陸離、神秘閃爍的色韻。 (追憶似水年華 V 女囚 聯經版 1992)




【TEXT】
...Finally, before leaving the picture, my eyes came back to the shore, swarming with the everyday Venetian life of the period. I looked a the barber wiping his razor, at the negro humping his barrel, at the Muslims conversing, at the noblemen in wide-sleeved brocade and damask robes and hats of cerise velvet, and suddenly I felt a slight gnawing at my heart. On the back of one of the Compagni della calza identifiable from the emblem, embroidered in gold and pearls on their sleeves or their collars, of the merry confraternity to which they were affiliated, I had just recognized the cloak which Albertine had put on to come with me to Versailles in an open carriage on the evening when I so little suspected that scarcely fifteen hours separated me from the moment of her departure from my house. Always ready for anything, when I had asked her to come out with me on that melancholy occasion which she was to describe in her last letter as ‘a double twilight since night was falling and we were about to part,’ she had flung over her shoulders a Fortuny cloak which she had taken away with her next day and which I had never thought of since. It was from this Carpaccio picture that that inspired son of Venice had taken it, it was from the shoulders of this Compagni della Calza that he had removed it in order to drape it over the shoulders of so many Parisian women who were certainly unaware, as I had been until then, that the model for it existed in a group of noblemen in the foreground of the Patriarch of Grado in a room in the Accademia in Venice. I had recognized it down to the last detail, and, that forgotten cloak having restored to me as I looked at it the eyes and the heart of him who had set out that evening with Albertine for Versailles, I was overcome for a few moments by a vague and soon dissipated feeling of desire and melancholy. (The Fugitive)

最後，在離開那幅畫之前，我的目光又回到河岸，這裡密密麻麻地呈現出當時威尼斯的生活場景。我看到理髮師在擦拭剃鬚刀，黑人扛著木桶，伊斯蘭教徒在聊天，還有穿棉緞寬大長袍，頭戴櫻桃紅絲絨窄邊軟帽的威尼斯貴族老爺。突然我的心好像被蜇了一下。我認出，一個編織行會會員 （可以從他們的領口和袖口上用珍珠和金線綉成的他們所屬的這個快樂行會的會徽識別出來） 身上披的斗篷就是阿爾貝蒂娜和我乘敞篷車去凡爾賽那天穿的那種斗篷，那天晚上我無論如何沒想到僅僅十五個小時以後阿爾貝蒂娜將離開我家。那個淒涼的日子，她在最後一封信裡把它稱為「格外晦暗的日子，因為當時已暮色蒼茫，而我們又即將離別」，當我叫她出發時，隨時準備應付各種情況的她，披上了一件福迪尼設計的斗篷，第二天就帶著這件斗篷走了，自那以後我在回憶中再也沒看到過這件斗篷。然而福迪尼，威尼斯的天才兒子，正是從卡帕契奧的這幅畫裡吸取了斗篷的式樣，把它從編織行會會員的肩上取下來披到了眾多巴黎女子的肩上，當然她們像我在此以前一樣不知道這種斗篷的式樣古已有之，人們能在威尼斯藝術學院的一間大廳裡，在那幅題為《慈悲族長》的畫上，在處於畫的近景的一群貴族老爺們身上看到它的原型。我認出了所有這一切，而且那件被忘卻的斗篷為了讓我更好地審視它，把那晚和阿爾貝蒂娜出發去凡爾賽的人的眼睛和心靈還給了我，於是在片刻間，我感到一種無法表述的欲望和憂傷湧上心頭，但很快就消散了。
(p.244~245 追憶似水年華 VI 女逃亡者 聯經版 1992)