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350 VENETIAN INDEX.
and there are only eleven at table, it is evidently the Sacramental bread. The room in which they are assembled is a
sort of large kitchen, and the host is seen employed at a
dresser in the background. This picture has not only been
originally poor, but is one of those exposed all day to the sun,
and is dried into mere dusty canvas: where there was once
blue, there is now nothing.
15. Saint Rocco in Glory. One of the worst order of Tintorets, with apparent smoothness and finish, yet languidly
painted, as if in illness or fatigue; very dark and heavy in
tone also; its figures, for the most part, of an awkward middle
size, about five feet high, and very uninteresting. St. Rocco
ascends to heaven, looking down upon a crowd of poor and
sick persons who are blessing and adoring him. One of these,
kneeling at the bottom, is very nearly a repetition, though a
careless and indolent one, of that of St. Stephen, in St.
Giorgio Maggiore, and of the central figure in the "Paradise"
of the Ducal Palace. It is a kind of lay figure, of which he
seems to have been fond; its clasped hands are here shockingly
painted—I should think unfinished. It forms the only important light at the bottom, relieved on a dark ground; at the
top of the picture, the figure of St. Rocco is seen in shadow
against the light of the sky, and all the rest is in confused
shadow. The commonplaceness of this composition is curiously
connected with the languor of thought and touch throughout
the work.
16. Miracle of the Loaves. Hardly anything but a fine
piece of landscape is here left; it is more exposed to the sun
than any other picture in the room, and its draperies having
been, in great part, painted in blue, are now mere patches of
the color of starch; the scene is also very imperfectly conceived. The twenty-one figures, including Christ and his
Disciples, very ill represent a crowd of seven thousand; still
less is the marvel of the miracle expressed by perfect ease and
rest of the reclining figures in the foreground, who do not
so much as look surprised; considered merely as reclining
figures, and as pieces of effect in half light, they have once
been fine. The landscape, which represents the slope of a
woody hill, has a very grand and far-away look. Behind it is a
| 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 | 00000380 |
| Type | Books/Pamphlets |
| Transcript | 350 VENETIAN INDEX. and there are only eleven at table, it is evidently the Sacramental bread. The room in which they are assembled is a sort of large kitchen, and the host is seen employed at a dresser in the background. This picture has not only been originally poor, but is one of those exposed all day to the sun, and is dried into mere dusty canvas: where there was once blue, there is now nothing. 15. Saint Rocco in Glory. One of the worst order of Tintorets, with apparent smoothness and finish, yet languidly painted, as if in illness or fatigue; very dark and heavy in tone also; its figures, for the most part, of an awkward middle size, about five feet high, and very uninteresting. St. Rocco ascends to heaven, looking down upon a crowd of poor and sick persons who are blessing and adoring him. One of these, kneeling at the bottom, is very nearly a repetition, though a careless and indolent one, of that of St. Stephen, in St. Giorgio Maggiore, and of the central figure in the "Paradise" of the Ducal Palace. It is a kind of lay figure, of which he seems to have been fond; its clasped hands are here shockingly painted—I should think unfinished. It forms the only important light at the bottom, relieved on a dark ground; at the top of the picture, the figure of St. Rocco is seen in shadow against the light of the sky, and all the rest is in confused shadow. The commonplaceness of this composition is curiously connected with the languor of thought and touch throughout the work. 16. Miracle of the Loaves. Hardly anything but a fine piece of landscape is here left; it is more exposed to the sun than any other picture in the room, and its draperies having been, in great part, painted in blue, are now mere patches of the color of starch; the scene is also very imperfectly conceived. The twenty-one figures, including Christ and his Disciples, very ill represent a crowd of seven thousand; still less is the marvel of the miracle expressed by perfect ease and rest of the reclining figures in the foreground, who do not so much as look surprised; considered merely as reclining figures, and as pieces of effect in half light, they have once been fine. The landscape, which represents the slope of a woody hill, has a very grand and far-away look. Behind it is a |
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