00000383 |
Previous | 383 of 406 | Next |
|
small (250x250 max)
medium (500x500 max)
Large
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
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 |
|
|
|
B |
|
C |
|
G |
|
H |
|
M |
|
T |
|
U |
|
Y |
|
|
|