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ROCCO, SCUOLA DI SAN. 349
tree bears such leaves I know not, each of them being about
the size of a man's hand. If there be any which bear such
foliage, their olives must be the she of cocoa-nuts. This,
however, is true only of the underwood, which is, perhaps,
not meant for olive. There are some taller trees at the top of
the picture, whose leaves are of a more natural size. On
closely examining the figures of the troops on the left, I find
that the distant ones are concealed, all but the limbs, by a sort
of arch of dark color, which is now so injured, that I cannot
tell whether it was foliage or ground: I suppose it to have
been a mass of close foliage, through which the troop is breaking its way; Judas rather showing them the path, than actually pointing to Christ, as it is written, "Judas, who betrayed
him, knew the place." St. Peter, as the most zealous of the
three disciples, the only one who was to endeavor to defend
his Master, is represented as awakening and turning his head
toward the troop, while James and John are buried in profound slumber, laid in magnificent languor among the leaves.
The picture is singularly impressive, when seen far enough off,
as an image of thick forest gloom amidst the rich and tender
foliage of the South; the leaves, however, tossing as in disturbed night air, and the flickering of the torches, and of the
branches, contrasted with the steady flame which from the
Angel's presence is spread over the robes of the disciples.
The strangest feature in the whole is that the Christ also is
represented as sleeping. The angel seems to appear to him
in a dream.
14. The Last Supper. A most unsatisfactory picture; I
think about the worst I know of Tintoret's, where there is no
appearance of retouching. He always makes the disciples in
this scene too vulgar; they are here not only vulgar, but
diminutive, and Christ is at the end of the table, the smallest
figure of them all. The principal figures are two mendicants
sitting on steps in front; a kind of supporters, but I suppose
intended to be waiting for the fragments; a dog, in still more
earnest expectation, is watching the movements of the disciples, who are talking together, Judas having just gone out.
Christ is represented as giving what one at first supposes is the
sop to Judas, but as the disciple who received it has a glory,
| 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 | 00000379 |
| Type | Books/Pamphlets |
| Transcript | ROCCO, SCUOLA DI SAN. 349 tree bears such leaves I know not, each of them being about the size of a man's hand. If there be any which bear such foliage, their olives must be the she of cocoa-nuts. This, however, is true only of the underwood, which is, perhaps, not meant for olive. There are some taller trees at the top of the picture, whose leaves are of a more natural size. On closely examining the figures of the troops on the left, I find that the distant ones are concealed, all but the limbs, by a sort of arch of dark color, which is now so injured, that I cannot tell whether it was foliage or ground: I suppose it to have been a mass of close foliage, through which the troop is breaking its way; Judas rather showing them the path, than actually pointing to Christ, as it is written, "Judas, who betrayed him, knew the place." St. Peter, as the most zealous of the three disciples, the only one who was to endeavor to defend his Master, is represented as awakening and turning his head toward the troop, while James and John are buried in profound slumber, laid in magnificent languor among the leaves. The picture is singularly impressive, when seen far enough off, as an image of thick forest gloom amidst the rich and tender foliage of the South; the leaves, however, tossing as in disturbed night air, and the flickering of the torches, and of the branches, contrasted with the steady flame which from the Angel's presence is spread over the robes of the disciples. The strangest feature in the whole is that the Christ also is represented as sleeping. The angel seems to appear to him in a dream. 14. The Last Supper. A most unsatisfactory picture; I think about the worst I know of Tintoret's, where there is no appearance of retouching. He always makes the disciples in this scene too vulgar; they are here not only vulgar, but diminutive, and Christ is at the end of the table, the smallest figure of them all. The principal figures are two mendicants sitting on steps in front; a kind of supporters, but I suppose intended to be waiting for the fragments; a dog, in still more earnest expectation, is watching the movements of the disciples, who are talking together, Judas having just gone out. Christ is represented as giving what one at first supposes is the sop to Judas, but as the disciple who received it has a glory, |
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