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Updated: June 29, 2025
At the upper end of the Audience Chamber of the Scuola of S. Marco he painted a S. Mark preaching on the Piazza; in which picture he painted the façade of the church, and, among the multitude of men and women who are listening to the Saint, Turks, Greeks, and the faces of men of diverse nations, with bizarre costumes.
And of this quality there are three remarkable instances in the Scuola.
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.
The Tintoret's visions were not so bright as that; but he had several that were radiant enough. In the room that contains the work just cited are several smaller canvases by the greatly more complex genius of the Scuola di San Rocco, which are almost simple in their loveliness, almost happy in their simplicity.
The official programme of the Scuola pictures, printed on screens in various languages, badly needs an English revisor. Here are two titles: "Moise who makes the water spring"; "The three children in the oven of Babylony." It also states "worthy of attention are as well the woodcarvings round the wall sides by an anonymous." To these we come later.
And of this quality there are three remarkable instances in the Scuola. No one but Tintoretto could have evoked the fiend in his Temptation of Christ.
This renders the crucifixion extremely painful, intolerable in powerful pictures. I knew of an intelligent, sensitive little child who burst into convulsive sobbing before Tintoretto's great Crucifixion in the Scuola San Rocco at Venice.
His "Crucifixion," which we shall see at the Scuola of S. Rocco, must ever be this giant painter's most tremendous achievement; but the picture before us must equally remain his culminating effort in serene, absolute beauty.
To one of these societies the friends of the defunct pay a certain sum, and the association engages to inter the dead, and bear all the expenses of the ceremony, the dignity of which is regulated by the priest of the parish in which the deceased lived. The rite is now most generally undertaken by the Scuola di San Rocco.
Her early art studies were under G. Vastagh, C. von Telepy, W. Lindenschmit, and Munkácsy; later she was a pupil at the Julian Academy in Paris and the Scuola libera in Florence. In the Parish Church at Köbölkut are three of her pictures of sacred subjects, and in the Hungarian National Museum a picture of still-life. Her "Old Woman," 1885, is mentioned as attracting favorable notice.
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