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Updated: June 19, 2025
These works, then, and many others that are here passed over, it being enough to have made mention of the best, have been executed by Tintoretto with such rapidity, that, when it was thought that he had scarcely begun, he had finished. And it is a notable thing that with the most extravagant ways in the world, he has always work to do, for the reason that when his friendships and other means are not enough to obtain for him any particular work, even if he had to do it, I do not say at a low price, but without payment or by force, in one way or another, do it he would. And it is not long since, Tintoretto having executed the Passion of Christ in a large picture in oils and on canvas for the Scuola of S. Rocco, the men of that Company resolved to have some honourable and magnificent work painted on the ceiling above it, and therefore to allot that commission to that one among the painters that there were in Venice who should make the best and most beautiful design. Having therefore summoned Joseffo Salviati, Federigo Zucchero, who was in Venice at that time, Paolo Veronese, and Jacopo Tintoretto, they ordained that each of them should make a design, promising the work to him who should acquit himself best in this. While the others, then, were engaged with all possible diligence in making their designs, Tintoretto, having taken measurements of the size that the work was to be, sketched a great canvas and painted it with his usual rapidity, without anyone knowing about it, and then placed it where it was to stand. Whereupon, the men of the Company having assembled one morning to see the designs and to make their award, they found that Tintoretto had completely finished the work and had placed it in position. At which being angered against him, they said that they had called for designs and had not commissioned him to execute the work; but he answered them that this was his method of making designs, that he did not know how to proceed in any other manner, and that designs and models of works should always be after that fashion, so as to deceive no one, and that, finally, if they would not pay him for the work and for his labour, he would make them a present of it. And after these words, although he had many contradictions, he so contrived that the work is still in the same place. In this canvas, then, there is painted a Heaven with God the Father descending with many Angels to embrace S. Rocco, and in the lowest part are many figures that signify, or rather, represent the other principal Scuole of Venice, such as the Carit
Conspicuous in front is a page holding a unicorn, the ancient emblem of chastity, and often introduced significantly into pictures of the Virgin. 6. But the most celebrated example is the Presentation by Titian, in the academy at Venice, originally painted for the church of the brotherhood of charity (Scuola della Carit
A man in Christian costume was seen hastening towards us with the air of one who had heard that his friends were in trouble, and needed his assistance. "Bona sera, signori." How musical did the words sound! "Oh man," said we, "per carit
The second story, which existed as a kind of tower above each end of the façade, was thrown down by the great earthquake, and never rebuilt. The loggia has stone benches against the walls, one to the left, and two, one above the other, to the right, which were the seats for senators on great fête days. In 1462 there was another fire, so that only fragments of Onofrio's work remain the hall on the ground floor with the seventeenth-century wooden ceiling, several of the caps of the loggia, and the courtyard within, the great door and the windows of the first floor. This is all that appears to have been preserved. The great council then called in Michelozzo the Florentine and George of Sebenico. The former was at Ragusa in 1463, looking after the building of the walls of the city; and on February 11, 1464, it was ordered "that the palace be rebuilt" after his designs; but, in the following June, George of Sebenico was appointed, working, no doubt, on the general lines laid down by Michelozzo. The great hall was burnt during the French siege, and very little remains inside worthy of note. There are two tolerable pictures, one an early copy of the Paris Bordone in the National Gallery, the Venus and Adonis, and the other, a Baptism of Christ, in the manner of Paduan work of the fifteenth century. Both have been restored. The courtyard has an arcade of round arches, resting on cylindrical columns with Renaissance caps, and an upper arcade resting on twin columns and piers, two arches to each bay, both stories being vaulted with sustaining arches, but without ribs. The loggia in front has ribs and bosses at the intersections. A small staircase to the right contains other remains of Onofrio's building a bracket, on which is carved a figure of Justice holding a label, and with a mutilated lion on each side of her; opposite to it is a capital, on which is carved the Rector administering justice; neither of them in their original place. The main doorway is pointed with a richly carved moulding and caps, which belong to Onofrio's work; above it is S. Biagio in a Renaissance niche, and between the caps and the arch a shallow frieze is interposed, on which are carved little figures engaged in combats, a love scene, and Cupids with an organ and trumpets. The corbels from which the vaults spring are carved, the subjects being two groups of boys playing, a man fighting a dragon or basilisk with club and little target, a struggle between a girl and a bear, &c. The doors at the end, the Porta della Carit
A version of it was Englished by Thorpe from Carit Etlar's "Eventyr og Folkesagen fra Jylland": but this, while it tells of Ebbe's adventures at the "Bride-show," and afterwards at the hunting-party, contains no account of the lovers' escape and voyage, or of the miracle which brought them comfort at the last.
At the steps of the Palazzo della Ragione he halted, cap in hand. The trumpeters shrilled for silence, the Secretary of the Republic read a Latin speech; everybody applauded what nobody understood. Amilcare, at the end of it, swung off his horse and ran up the steps. He embraced the orator, embraced the signori one after another; greetings flashed about, tears, laughter, clappings on the back. But he kept his head throughout: it was seen that he wished to present his wife. Present her! Enthusiasm grew frenzied; he had to battle his way down the steps to regain her side. He lifted her lightly down; hand in hand they went up the steps again. Molly excelled herself, was the wonder of the whole city. How she curtsied to their lordships what a figure she had for that grace how tall, how supple, and how slim! When she gave her rosy cheek to each in turn, there was a kind of caught sob audible in the crowd. The simplicity of the act brought tears to tender eyes: men laughed or looked haggard, according as the trouble took them; women, more at home with tears, clung to each other as they cried. A marvel all believed her an angel clean from heaven; the kiss of peace, la bocca della Carit
"Raffaello, che era la gentilezza stessa ... restavano vinti dalla cortesia e dall' arte sua, ma più dal genio della sua buona natura; la quale era si piena di gentilezza e si colma di carit
We come now to one of the most popular of all Titian's great canvases based on a sacred subject, the Presentation in the Temple in the Accademia delle Belle Arti at Venice. This, as Vasari expressly states, was painted for the Scuola di S. Maria della Carit
Blangini was a petit maître as well as a singing master; always attired in the height of the fashion, and in manner and appearance much more of a Frenchman than an Italian. He was mercilessly satirical on the failures of his pupils, to whom (having reduced them, by the most ridiculous imitation of their unfortunate vocal attempts, to an almost inaudible utterance of pianissimo pipings) he would exclaim, "Ma per carit
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