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ROCCO, SCUOLA DI SAN. 337
the distant expression of the face. One of the evident pieces
of repainting is the scarlet of the Madonna's lap, which is
heavy and lifeless. A far more injurious one is the strip of sky
seen through the doorway by which the angel enters, which has
originally been of the deep golden color of the distance on the
left, and which the blundering restorer has daubed over with
whitish blue, so that it looks like a bit of the wall; luckily
he has not touched the outlines of the angel's black wings, on
which the whole expression of the picture depends. This
angel and the group of small cherubs above form a great swinging chain, of which the dove representing the Holy Spirit
forms the bend. The angels in their flight seem to be attached to this as the train of fire is to a rocket; all of them appear-
ing to have swooped down with the swiftness of a falling star.
2. Adoration of the Magi. The most finished picture in the
Scuola, except the " Crucifixion," and perhaps the most delightful of the whole. It unites every source of pleasure that a
picture can possess: the highest elevation of principal subject,
mixed with the lowest detail of picturesque incident; the dignity of the highest ranks of men, opposed to the simplicity of
the lowest; the quietness and serenity of an incident in cottage life, contrasted with the turbulence of troops of horsemen
and the spiritual power of angels. The placing of the two
doves as principal points of light in the front of the picture,
in order to remind the spectator of the poverty of the mother
whose child is receiving the offerings and adoration of three
monarchs, is one of Tintoret's master touches ; the whole
scene, indeed, is conceived in his happiest manner. Nothing
can be at once more humble or more dignified than the bearing
of the kings ; and there is a sweet reality given to the whole
incident by the Madonna's stooping forward and lifting her
hand in admiration of the vase of gold which has been set
before the Christ, though she does so with such gentleness and
quietness that her dignity is not in the least injured by the
simplicity of the action. As if to illustrate the means by which
the Wise men were brought from the East, the whole picture
is nothing but a large star, of which Christ is the centre ; all
the figures, even the timbers of the roof, radiate from the small
bright figure on which the countenances of the flying angels
| 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 | 00000367 |
| Type | Books/Pamphlets |
| Transcript | ROCCO, SCUOLA DI SAN. 337 the distant expression of the face. One of the evident pieces of repainting is the scarlet of the Madonna's lap, which is heavy and lifeless. A far more injurious one is the strip of sky seen through the doorway by which the angel enters, which has originally been of the deep golden color of the distance on the left, and which the blundering restorer has daubed over with whitish blue, so that it looks like a bit of the wall; luckily he has not touched the outlines of the angel's black wings, on which the whole expression of the picture depends. This angel and the group of small cherubs above form a great swinging chain, of which the dove representing the Holy Spirit forms the bend. The angels in their flight seem to be attached to this as the train of fire is to a rocket; all of them appear- ing to have swooped down with the swiftness of a falling star. 2. Adoration of the Magi. The most finished picture in the Scuola, except the " Crucifixion," and perhaps the most delightful of the whole. It unites every source of pleasure that a picture can possess: the highest elevation of principal subject, mixed with the lowest detail of picturesque incident; the dignity of the highest ranks of men, opposed to the simplicity of the lowest; the quietness and serenity of an incident in cottage life, contrasted with the turbulence of troops of horsemen and the spiritual power of angels. The placing of the two doves as principal points of light in the front of the picture, in order to remind the spectator of the poverty of the mother whose child is receiving the offerings and adoration of three monarchs, is one of Tintoret's master touches ; the whole scene, indeed, is conceived in his happiest manner. Nothing can be at once more humble or more dignified than the bearing of the kings ; and there is a sweet reality given to the whole incident by the Madonna's stooping forward and lifting her hand in admiration of the vase of gold which has been set before the Christ, though she does so with such gentleness and quietness that her dignity is not in the least injured by the simplicity of the action. As if to illustrate the means by which the Wise men were brought from the East, the whole picture is nothing but a large star, of which Christ is the centre ; all the figures, even the timbers of the roof, radiate from the small bright figure on which the countenances of the flying angels |
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