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334 VENETIAN INDEX.
is another grand horse on the right, however, also in full action. Two gigantic figures on foot, on the left, meant to be
nearer than the others, would, it seems to me, have injured the
picture, had they been clearly visible; but time has reduced
them to perfect subordination.
Rocco, Scuola di San, bases of, I. 291, 431; soffit ornaments of,
I. 337. An interesting building of the early Renaissance
(1517), passing into Roman Renaissance. The wreaths of leafage about its shafts are wonderfully delicate and fine, though
misplaced.
As regards the pictures which it contains, it is one of the three
most precious buildings, in Italy; buildings, I mean, consistently decorated with a series of paintings at the time of their
erection, and still exhibiting that series in its original order. I
suppose there can be little question, but that the three most
important edifices of this kind in Italy are the Sistine Chapel,
the Campo Santo of Pisa, and the Scuola di San Rocco at
Venice: the first is painted by Michael Angelo; the second by
Orcagna, Benozzo Gozzoli, Pietro Laurati, and several other
men whose works are as rare as they are precious; and the
third by Tintoret.
Whatever the traveller may miss in Venice, he should therefore give unembarrassed attention and unbroken time to the
Scuola di San Rocco; and I shall, accordingly, number the pictures, and note in them, one by one, what seemed to me most
worthy of" observation.
There are sixty-two in all, but eight of these are merely of
children or children's heads, and two of unimportant figures.
The number of valuable pictures is fifty-two; arranged on the
walls and ceilings of three rooms, so badly lighted, in consequence of the admirable arrangements of the Renaissance architect, that it is only in the early morning that some of the pictures
can be seen at all, nor can they ever be seen but imperfectly.
They were all painted, however, for their places in the dark, and,
as compared with Tintoret's other works, are therefore, for the
most part, nothing more than vast sketches, made to produce,
under a certain degree of shadow, the effect of finished pictures. Their treatment is thus to be considered as a kind of
scene-painting; differing from ordinary scene-painting only in
| 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 | 00000364 |
| Type | Books/Pamphlets |
| Transcript | 334 VENETIAN INDEX. is another grand horse on the right, however, also in full action. Two gigantic figures on foot, on the left, meant to be nearer than the others, would, it seems to me, have injured the picture, had they been clearly visible; but time has reduced them to perfect subordination. Rocco, Scuola di San, bases of, I. 291, 431; soffit ornaments of, I. 337. An interesting building of the early Renaissance (1517), passing into Roman Renaissance. The wreaths of leafage about its shafts are wonderfully delicate and fine, though misplaced. As regards the pictures which it contains, it is one of the three most precious buildings, in Italy; buildings, I mean, consistently decorated with a series of paintings at the time of their erection, and still exhibiting that series in its original order. I suppose there can be little question, but that the three most important edifices of this kind in Italy are the Sistine Chapel, the Campo Santo of Pisa, and the Scuola di San Rocco at Venice: the first is painted by Michael Angelo; the second by Orcagna, Benozzo Gozzoli, Pietro Laurati, and several other men whose works are as rare as they are precious; and the third by Tintoret. Whatever the traveller may miss in Venice, he should therefore give unembarrassed attention and unbroken time to the Scuola di San Rocco; and I shall, accordingly, number the pictures, and note in them, one by one, what seemed to me most worthy of" observation. There are sixty-two in all, but eight of these are merely of children or children's heads, and two of unimportant figures. The number of valuable pictures is fifty-two; arranged on the walls and ceilings of three rooms, so badly lighted, in consequence of the admirable arrangements of the Renaissance architect, that it is only in the early morning that some of the pictures can be seen at all, nor can they ever be seen but imperfectly. They were all painted, however, for their places in the dark, and, as compared with Tintoret's other works, are therefore, for the most part, nothing more than vast sketches, made to produce, under a certain degree of shadow, the effect of finished pictures. Their treatment is thus to be considered as a kind of scene-painting; differing from ordinary scene-painting only in |
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