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But where is the use of talking about her? I don't believe, you know, that even the greatest painter can show what is the real beauty of a very beautiful woman in the ordinary sense: Titian's and Tintoretto's women must have been miles handsomer than they have made them.
They talked of how the greatest masters of the High Renaissance Michael Angelo, Leonardo da Vinci, and Raphael used to come here to study, and thus this little chapel became a great art school; and how, at the present time, it is esteemed by many one of the four most important art-buildings in the world; the others being, Arena Chapel, Padua, where are Giotto's frescoes; Sistine Chapel, Rome, where are Michael Angelo's greatest paintings; and Scuola di San Rocco, Venice, which is filled with Tintoretto's work.
Lines may be unified according to the three modes of harmony, balance, and evolution. The repetition of the same kind of line confers a harmonious unification upon a drawing, as in Tintoretto's "Bacchus and Ariadne," where the circle is to be found repeated in the crown and ring, in the heads of the three figures, in the breasts of Ariadne.
The Scuola di S. Rocco Defective lighting A competition of artists The life of the Virgin A dramatic Annunciation Ruskin's analysis S. Mary of Egypt The upper hall "The Last Supper" "Moses striking the rock" "The Crucifixion" A masterpiece Tintoretto's career Titian and Michel Angelo A dramatist of the Bible Realistic carvings The life of S. Rocco A humorist in wood A model council chamber A case of reliquaries The church of S. Rocco Giorgione or Titian?
And would Titian and Paul Veronese and Tintoretto have done all this for a Mayor and Corporation? These are awkward questions. None the less, there it is, and the Doges' Palace, within, would impart no thrill to me were it not for Tintoretto's "Bacchus and Ariadne."
The picture is less dramatic and more sympathetic; but personally I should never go to Venice for an "Annunciation" at all. Here also is Tintoretto's "Visitation," but it is not easily seen. The upper hall is magnificent, but before we examine it let us proceed with the Tintorettos.
At the Ducal Palace we found the great painters exalting the Doges and the Republic; even the other picture in Venice which I associate with this for its pure beauty Tintoretto's "Bacchus and Ariadne" was probably an allegory of Venetian success. In the churches and at the Accademia we have seen the masters illustrating the Testaments Old and New.
There are, however, who deny Titian's authorship; Mr. Ricketts, for example, gives the picture to Francesco Vecellio, the painter's son. Tintoretto's "Last Supper," on the left of the high altar, is more convivial than is usual: there is plenty of food; a woman and children are coming in; a dog begs; Judas is noticeable.
There is a headlong dash, an impetuous action in his figures when he wills, that remind us of Michael Angelo; but Tintoretto's imagination far outran that of the great Florentine master. Yet there is a singular sense of reality in his most imaginative works, and it is this, I think, that is sometimes so confusing and overwhelming.
He often toiled there all day long, his hands red and swollen with the cold, for the winter, as I have before remarked, was unusually severe. For many days I saw him working on a Descent from the Cross by Tintoretto a bold attempt, for Tintoretto's colors are as baffling as those of the great Venetian master himself.
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