00000394 |
Previous | 394 of 406 | Next |
|
small (250x250 max)
medium (500x500 max)
Large
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
364 VENETIAN INDEX.
Fourth Group. Inner room on the upper floor.
On the Roof.
36 to 39. Children's Heads. 41 to 44. Children.
40. St. Rocco in Heaven. 45 to 56. Allegorical Figures.
On the Walls.
57. Figure in Niche. 60. Ecce Homo.
58. Figure in Niche. 61. Christ bearing his Cross.
59. Christ before Pilate. 62. Crucifixion.
36 to 39. Four Children's Heads, which it is much to be regretted should be thus lost in filling small vacuities of the ceiling.
40. St. Rocco in Heaven. The central picture of the roof,
in the inner room. From the well-known anecdote respecting
the production of this picture, whether in all its details true or
not, we may at least gather that having been painted in competition with Paul Veronese and other powerful painters of the
day, it was probably Tintoret's endeavor to make it as popular
and showy as possible. It is quite different from his common
works; bright in all its tints and tones; the faces carefully
| 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 | 00000394 |
| Type | Books/Pamphlets |
| Transcript | 364 VENETIAN INDEX. Fourth Group. Inner room on the upper floor. On the Roof. 36 to 39. Children's Heads. 41 to 44. Children. 40. St. Rocco in Heaven. 45 to 56. Allegorical Figures. On the Walls. 57. Figure in Niche. 60. Ecce Homo. 58. Figure in Niche. 61. Christ bearing his Cross. 59. Christ before Pilate. 62. Crucifixion. 36 to 39. Four Children's Heads, which it is much to be regretted should be thus lost in filling small vacuities of the ceiling. 40. St. Rocco in Heaven. The central picture of the roof, in the inner room. From the well-known anecdote respecting the production of this picture, whether in all its details true or not, we may at least gather that having been painted in competition with Paul Veronese and other powerful painters of the day, it was probably Tintoret's endeavor to make it as popular and showy as possible. It is quite different from his common works; bright in all its tints and tones; the faces carefully |
|
|
|
|
|
|
| B |
|
| C |
|
| G |
|
| H |
|
| M |
|
| T |
|
| U |
|
| Y |
|
|
|
