00000404 |
Previous | 404 of 406 | Next |
|
small (250x250 max)
medium (500x500 max)
Large
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
374 VENETIAN INDEX.
Torcello, general aspect of, II. 12; Santa Fosca at, I. 117, II.
13; duomo, II. 14; mosaics of, II. 196; measures of, II. 378;
date of, II. 380.
Trevisan, Palazzo, I. 369, III. 212.
Tron, Palazzo. Of no importance.
Trovaso, Church of St. Itself of no importance, but con-
■ taining two pictures by Tintoret, namely:
1. The Temptation of St. Anthony. (Altar piece in the
chapel on the left of the choir.) A small and very carefully
finished picture, but marvellously temperate and quiet in
treatment, especially considering the subject, which one would
have imagined likely to inspire the painter with one of his
most fantastic visions. As if on purpose to disappoint us, both
the effect, and the conception of the figures, are perfectly
quiet, and appear the result much more of careful study than
of vigorous imagination. The effect is one of plain daylight;
there are a few clouds drifting in the distance, but with no
wildness in them, nor is there any energy or heat in the flames
which mantle about the waist of one of the figures. But for
the noble workmanship, we might almost fancy it the production of a modern academy; yet as we begin to read the picture,
the painter's mind becomes felt. St. Anthony is surrounded
by four figures, one of which only has the form of a demon,
and he is in the background, engaged in no more terrific act
of violence toAvard St. Anthony, than endeavoring to pull off
his mantle; he has, however, a scourge over his shoulder, but
this is probably intended for St. Anthony's weapon of self-
discipline, which the fiend, with a very Protestant turn of
mind, is carrying off. A broken staff, with a bell hanging to
it, at the saint's feet, also expresses his interrupted devotion.
The three other figures beside him are bent on more cunning
mischief: the woman on the left is one of Tintoret's best portraits of a young and bright-eyed Venetian beauty. It is
curious that he has given so attractive a countenance to a type
apparently of the temptation to violate the power of poverty,
for this woman places one hand in a vase full of coins, and
shakes golden chains with the other. On the opposite side of
the saint, another woman, admirably painted, but of a far less
attractive countenance, is a type of the lusts of the flesh, yet
| 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 | 00000404 |
| Type | Books/Pamphlets |
| Transcript | 374 VENETIAN INDEX. Torcello, general aspect of, II. 12; Santa Fosca at, I. 117, II. 13; duomo, II. 14; mosaics of, II. 196; measures of, II. 378; date of, II. 380. Trevisan, Palazzo, I. 369, III. 212. Tron, Palazzo. Of no importance. Trovaso, Church of St. Itself of no importance, but con- ■ taining two pictures by Tintoret, namely: 1. The Temptation of St. Anthony. (Altar piece in the chapel on the left of the choir.) A small and very carefully finished picture, but marvellously temperate and quiet in treatment, especially considering the subject, which one would have imagined likely to inspire the painter with one of his most fantastic visions. As if on purpose to disappoint us, both the effect, and the conception of the figures, are perfectly quiet, and appear the result much more of careful study than of vigorous imagination. The effect is one of plain daylight; there are a few clouds drifting in the distance, but with no wildness in them, nor is there any energy or heat in the flames which mantle about the waist of one of the figures. But for the noble workmanship, we might almost fancy it the production of a modern academy; yet as we begin to read the picture, the painter's mind becomes felt. St. Anthony is surrounded by four figures, one of which only has the form of a demon, and he is in the background, engaged in no more terrific act of violence toAvard St. Anthony, than endeavoring to pull off his mantle; he has, however, a scourge over his shoulder, but this is probably intended for St. Anthony's weapon of self- discipline, which the fiend, with a very Protestant turn of mind, is carrying off. A broken staff, with a bell hanging to it, at the saint's feet, also expresses his interrupted devotion. The three other figures beside him are bent on more cunning mischief: the woman on the left is one of Tintoret's best portraits of a young and bright-eyed Venetian beauty. It is curious that he has given so attractive a countenance to a type apparently of the temptation to violate the power of poverty, for this woman places one hand in a vase full of coins, and shakes golden chains with the other. On the opposite side of the saint, another woman, admirably painted, but of a far less attractive countenance, is a type of the lusts of the flesh, yet |
|
|
|
|
|
|
| B |
|
| C |
|
| G |
|
| H |
|
| M |
|
| T |
|
| U |
|
| Y |
|
|
|
