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288 VENETIAN INDEX.
to the works of Tintoret, Paul Veronese, and John Bellini; not
of course neglecting Titian, yet remembering that Titian can be
well and thoroughly studied in almost any great European
gallery, while Tintoret and Bellini can be judged of only in
Venice, and Paul Veronese, though gloriously represented by
the two great pictures in the Louvre, and many others throughout Europe, is yet not to be fully estimated until he is seen at
play among the fantastic chequers of the Venetian ceilings.
I have supplied somewhat copious notices of the pictures of
Tintoret, because they are much injured, difficult to read, and
entirely neglected by other writers on art. I cannot express the
astonishment and indignation I felt on finding, in Kugler's
* handbook, a paltry cenacolo, painted probably in a couple of
hours for a couple of zecchins, for the monks of St. Trovaso,
quoted as characteristic of this master; just as foolish readers
quote separate stanzas of Peter Bell or the Idiot Boy, as characteristic of Wordsworth. Finally, the reader is requested to
observe, that the dates assigned to the various buildings named
in the following index, are almost without exception conjectural;
that is to say, founded exclusively on the internal evidence of
which a portion has been given in the Final Appendix. It is
likely, therefore, that here and there, in particular instances,
further inquiry may prove me to have been deceived ; but such
occasional errors are not of the smallest importance with respect
to the general conclusions of the preceding pages, which will be
found to rest on too broad a basis to be disturbed.
A
A.ccademia delle Belle Aeti. Notice above the door the
two bas-reliefs of St. Leonard and St. Christopher, chiefly
remarkable for their rude cutting* at so late a date as 1377 ;
but the niches under which they stand are unusual in their
bent gables, and in little crosses within circles which fill their
cusps. The traveller is generally too much struck by Titian's
great picture of the " Assumption," to be able to pay proper
attention to the other works in this gallery. Let him, however, ask himself candidly, how much of his admiration is
| Title | The stones of Venice - 3 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000318 |
| Type | Books/Pamphlets |
| Transcript | 288 VENETIAN INDEX. to the works of Tintoret, Paul Veronese, and John Bellini; not of course neglecting Titian, yet remembering that Titian can be well and thoroughly studied in almost any great European gallery, while Tintoret and Bellini can be judged of only in Venice, and Paul Veronese, though gloriously represented by the two great pictures in the Louvre, and many others throughout Europe, is yet not to be fully estimated until he is seen at play among the fantastic chequers of the Venetian ceilings. I have supplied somewhat copious notices of the pictures of Tintoret, because they are much injured, difficult to read, and entirely neglected by other writers on art. I cannot express the astonishment and indignation I felt on finding, in Kugler's * handbook, a paltry cenacolo, painted probably in a couple of hours for a couple of zecchins, for the monks of St. Trovaso, quoted as characteristic of this master; just as foolish readers quote separate stanzas of Peter Bell or the Idiot Boy, as characteristic of Wordsworth. Finally, the reader is requested to observe, that the dates assigned to the various buildings named in the following index, are almost without exception conjectural; that is to say, founded exclusively on the internal evidence of which a portion has been given in the Final Appendix. It is likely, therefore, that here and there, in particular instances, further inquiry may prove me to have been deceived ; but such occasional errors are not of the smallest importance with respect to the general conclusions of the preceding pages, which will be found to rest on too broad a basis to be disturbed. A A.ccademia delle Belle Aeti. Notice above the door the two bas-reliefs of St. Leonard and St. Christopher, chiefly remarkable for their rude cutting* at so late a date as 1377 ; but the niches under which they stand are unusual in their bent gables, and in little crosses within circles which fill their cusps. The traveller is generally too much struck by Titian's great picture of the " Assumption," to be able to pay proper attention to the other works in this gallery. Let him, however, ask himself candidly, how much of his admiration is |
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