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ROCCO, SCUOLA DI SAN. 335
this, that the effect aimed at is not that of a natural scene but
a perfect picture. They differ in this respect from all other
existing works; for there is not, as far as I know, any other
instance in which a great master has consented to work for
a room plunged into almost total obscurity. It is probable
that none but Tintoret would have undertaken the task, and
most fortunate that he was forced to it. For in this magnificent scene-painting we have, of course, more wonderful examples, both of his handling, and knowledge of effect, than could
ever have been exhibited in finished pictures; while the necessity of doing much with few strokes keeps his mind so completely on the stretch throughout the work (while yet the
velocity of production prevented his being wearied), that no
other series of his works exhibits powers so exalted. On the
other hand, owing to the velocity and coarseness of the painting, it is more liable to injury through drought or damp; and,
as the walls have been for years continually running down with
rain, and what little sun gets into the place contrives to fall all
day right on one or other of the pictures, they are nothing but
wrecks of what they were; and the ruins of paintings originally
coarse are not likely ever to be attractive to the public mind.
Twenty or thirty years ago they were taken down to be retouched; but the man to whom the task was committed providentially died, and only one of them was spoiled. I have
found traces of his work upon another, but not to an extent
very seriously destructive. The rest of the sixty-two, or, at
any rate, all that are in the upper room, appear entirely intact.
Although, as compared with his other works, they are all
very scenic in execution, there are great differences in their degrees of finish; and, curiously enough, some on the ceilings and
others in the darkest places in the lower room are very nearly
finished pictures, while the "Agony in the Garden," which is in
one of the best lights in the upper room, appears to have been
painted in a couple of hours with a broom for a brush.
For the traveller's greater convenience, I shall give a rude
plan of the arrangement, and list of the subjects, of each group
of pictures before examining them in detail.
| 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 | 00000365 |
| Type | Books/Pamphlets |
| Transcript | ROCCO, SCUOLA DI SAN. 335 this, that the effect aimed at is not that of a natural scene but a perfect picture. They differ in this respect from all other existing works; for there is not, as far as I know, any other instance in which a great master has consented to work for a room plunged into almost total obscurity. It is probable that none but Tintoret would have undertaken the task, and most fortunate that he was forced to it. For in this magnificent scene-painting we have, of course, more wonderful examples, both of his handling, and knowledge of effect, than could ever have been exhibited in finished pictures; while the necessity of doing much with few strokes keeps his mind so completely on the stretch throughout the work (while yet the velocity of production prevented his being wearied), that no other series of his works exhibits powers so exalted. On the other hand, owing to the velocity and coarseness of the painting, it is more liable to injury through drought or damp; and, as the walls have been for years continually running down with rain, and what little sun gets into the place contrives to fall all day right on one or other of the pictures, they are nothing but wrecks of what they were; and the ruins of paintings originally coarse are not likely ever to be attractive to the public mind. Twenty or thirty years ago they were taken down to be retouched; but the man to whom the task was committed providentially died, and only one of them was spoiled. I have found traces of his work upon another, but not to an extent very seriously destructive. The rest of the sixty-two, or, at any rate, all that are in the upper room, appear entirely intact. Although, as compared with his other works, they are all very scenic in execution, there are great differences in their degrees of finish; and, curiously enough, some on the ceilings and others in the darkest places in the lower room are very nearly finished pictures, while the "Agony in the Garden," which is in one of the best lights in the upper room, appears to have been painted in a couple of hours with a broom for a brush. For the traveller's greater convenience, I shall give a rude plan of the arrangement, and list of the subjects, of each group of pictures before examining them in detail. |
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