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Updated: June 29, 2025
The unusually pensive Madonna reminds the spectator, by a certain fleshiness and matronly amplitude of proportion, though by no means in sentiment, of the sumptuous dames who look on so unconcernedly in the St. Anthony causing a new-born Infant to speak, of the Scuola.
Over the dead Christ bend women in grief; a younger woman stands by the cross, in agony; and in a corner are kneeling, very smug, the two donors, Federigo da Montefeltro and Battista Sforza. Across the road is a Scuola with ceilings by the dashing Tiepolo very free and luminous, with a glow that brought to my mind certain little pastorals by Karel du Jardin, of all people!
After a delightful half hour of gliding through broad and narrow canals, they landed in front of the Church of San Rocco, and passed into the alleyway from which is the entrance of the famous Scuola. As they stepped into its sumptuous hall, Miss Sherman remarked: "I see that Mr. Ruskin says whatever the traveller may miss in Venice, he should give much time and thought to this building." "Mr.
Within, it is magnificent too, while to its architectural glories it adds no fewer than six-and-fifty Tintorettos; many of which, however, can be only dimly seen, for the great Bartolommeo Bon, who designed the Scuola, forgot that pictures require light.
Nor was he unique among Venice's builders in this matter; they mostly either forgot it or allowed their jealousy of a sister art to influence them. "Light, more light," is as much the cry of the groping enthusiast for painting in this fair city, as it was of the dying Goethe. The story of Tintoretto's connexion with the Scuola illustrates his decision and swiftness.
The very weakness of the picture engages and convinces. The Holy Cross Gentile Bellini's Venice The empty windows Carpaccio's Venice The story of S. Ursula Gay pageantry A famous bedroom Carpaccio's life Ruskin's eulogy. In Room XV are the Santa Croce miracles. The Holy Cross was brought by Filippo da Massaro and presented to the Scuola di S. Giovanni Evangelista.
Tintoretto, to be rightly understood, must be sought all over Venice in the church as well as the Scuola di San Rocco; in the Temptation of S. Anthony at S. Trovaso no less than in the Temptations of Eve and Christ; in the decorative pomp of the Sala del Senato, and in the Paradisal vision of the Sala del Gran Consiglio.
Hardly again, until he reached extreme old age, did such an impulse of sacred passion colour the art of the painter of Cadore as here. In the earlier section of his life-work the Triumph of Faith constitutes a striking exception. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua.
Elsewhere than in the Madonna dell' Orto there are more distinguished single examples of Tintoretto's realising faculty. The 'Last Supper' in San Giorgio, for instance, and the 'Adoration of the Shepherds' in the Scuola di San Rocco illustrate his unique power of presenting sacred history in a novel, romantic framework of familiar things.
Giotto's chapel at Padua; the Villa Farnesina at Rome, built by Peruzzi and painted in fresco by Raphael and Sodoma; the Palazzo del Te at Mantua, Giulio Romano's masterpiece; the Scuola di San Rocco, illustrating the Venetian Renaissance at its climax, might be cited among the most splendid of these achievements.
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