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Between him and the outstretched finger of Jehovah calling him again to life, there runs a spark of unseen spiritual electricity. To comprehend Tintoretto's touch upon the pastoral idyll we must turn our steps to San Giorgio again, and pace those meadows by the running river in company with his Manna-Gatherers.
You will nowhere see anything more direfully lugubrious, or more approaching for direct force, though not of course for amplitude of style, Tintoretto's great renderings of the scene in Venice. The abject anguish of the crucified and the straddling authority and brutality of the mounted guards in the foreground are contrasted in a fashion worthy of a great dramatist.
Introduced into the avocat's waiting-room a vast parlour with fine white muslin curtains, having for its sole ornament a large and beautiful copy of Tintoretto's Dead Christ his doubt and trouble changed into indignant conviction. It was not possible! He had been deceived as to Le Merquier.
No doubt he was a pupil of Titian; Gautier but repeated current gossip when he said that the Greek went mad in his attempt to emulate his master. But Tintoretto's influence counts heavier in this picture than Titian's, a picture assigned by Cossió midway between Greco's first and second period.
With his boundless energy and full enjoyment of life, Tintoretto's work naturally shows a strong leaning towards variety, and his amazing compositions are a liberal education in the innumerable and unexpected ways in which a panel can be filled, and should be carefully studied by students.
To correct this thinness and dislocation, to restore life without losing significance, painting must proceed to accumulate symbol upon symbol, till the original impression is almost restored, but so restored that it contains all the articulation which a thorough analysis had given it. Such painting as Tintoretto's or Paolo Veronese's records impressions as a cultivated sense might receive them.
But the same effect is carried to its highest fulfilment, with even a loftier beauty, in the episode of Christ before the judgment-seat of Pilate, at San Rocco. Of all Tintoretto's religious pictures, that is the most profoundly felt, the most majestic. No other artist succeeded as he has here succeeded in presenting to us God incarnate.
As a contrast to the infinite calm of Raphael's "Madonna," we have reproduced Tintoretto's "Finding of the Body of St. Mark," in the Brera Gallery, Milan. Here all is life and movement. The proportions are infinitely varied, nowhere does the eye grasp any obvious mathematical relationship.
But in Tintoretto's compositions the position and arrangement of his figures as he began to dwell upon his great conceptions were such as to render the study from the living model a matter of great difficulty and at times an impossibility.... He ... modelled his sculptures ... imparting to his models a far more complete character than had been customary.
Between him and the outstretched finger of Jehovah calling him again to life, there runs a spark of unseen spiritual electricity. To comprehend Tintoretto's touch upon the pastoral idyll we must turn our steps to San Giorgio again, and pace those meadows by the running river in company with his Manna-Gatherers.
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