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ROCCO, SCUOLA DI SAN. 353
Raffaelle and Angelico are not a little helped by their hems
of robes, jewelled crowns, priests' copes, and so on; and the
pictures that have nothing of this kind in them, as for
instance the "Transfiguration," are to my mind not a little
dull.
20. Temptation. This picture singularly illustrates what
has just been observed; it owes great part of its effect to the lustre
of the jewels in the armlet of the evil angel, and to the beautiful colors of his wings. These are slight accessaries apparently,
but they enhance the value of all the rest, and they have evidently been enjoyed by the painter. The armlet is seen by
reflected light, its stones shining by inward lustre; this occult
fire being the only hint given of the real character of the
Tempter, who is otherways represented in the form of a beautiful angel, though the face is sensual: we can hardly tell how
far it was intended to be therefore expressive of evil; for Tintoret's good angels have not always the purest features; but
there is a peculiar subtlety in this telling of the story by so
slight a circumstance as the glare of the jewels in the darkness.
It is curious to compare this imagination Avith that of the
mosaics in St. Mark's, in which Satan is a black monster, with
horns, and head, and tail, complete. The whole of the picture
is powerfully and carefully painted, though very broadly; it is
a strong effect of light, and therefore, as usual, subdued in
color. The painting of the stones in the foreground I have
always thought, and still think, the best piece of rock drawing
before Turner, and the most amazing instance of Tintoret's per-
ceptiveness afforded by any of his pictures.
21. St. Rocco. Three figures occupy the spandrils of the
window above this and the following picture, painted merely in
light and shade, tAvo larger than life, one rather smaller. I
believe these to be by Tintoret; but as they are quite in the
dark, so that the execution cannot be seen, and very good designs of the kind have been furnished by other masters, I cannot answer for them. The figure of St. Rocco, as well as its
companion, St. Sebastian, is colored; they occupy the narrow
intervals between the windows, and are of course invisible under
ordinary circumstances. By a great deal of straining of the
eyes, and sheltering them with the hand from the light, some
| 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 | 00000383 |
| Type | Books/Pamphlets |
| Transcript | ROCCO, SCUOLA DI SAN. 353 Raffaelle and Angelico are not a little helped by their hems of robes, jewelled crowns, priests' copes, and so on; and the pictures that have nothing of this kind in them, as for instance the "Transfiguration," are to my mind not a little dull. 20. Temptation. This picture singularly illustrates what has just been observed; it owes great part of its effect to the lustre of the jewels in the armlet of the evil angel, and to the beautiful colors of his wings. These are slight accessaries apparently, but they enhance the value of all the rest, and they have evidently been enjoyed by the painter. The armlet is seen by reflected light, its stones shining by inward lustre; this occult fire being the only hint given of the real character of the Tempter, who is otherways represented in the form of a beautiful angel, though the face is sensual: we can hardly tell how far it was intended to be therefore expressive of evil; for Tintoret's good angels have not always the purest features; but there is a peculiar subtlety in this telling of the story by so slight a circumstance as the glare of the jewels in the darkness. It is curious to compare this imagination Avith that of the mosaics in St. Mark's, in which Satan is a black monster, with horns, and head, and tail, complete. The whole of the picture is powerfully and carefully painted, though very broadly; it is a strong effect of light, and therefore, as usual, subdued in color. The painting of the stones in the foreground I have always thought, and still think, the best piece of rock drawing before Turner, and the most amazing instance of Tintoret's per- ceptiveness afforded by any of his pictures. 21. St. Rocco. Three figures occupy the spandrils of the window above this and the following picture, painted merely in light and shade, tAvo larger than life, one rather smaller. I believe these to be by Tintoret; but as they are quite in the dark, so that the execution cannot be seen, and very good designs of the kind have been furnished by other masters, I cannot answer for them. The figure of St. Rocco, as well as its companion, St. Sebastian, is colored; they occupy the narrow intervals between the windows, and are of course invisible under ordinary circumstances. By a great deal of straining of the eyes, and sheltering them with the hand from the light, some |
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