Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 29, 2025
To 1538 belongs the large and beautiful picture of the Presentation of the Virgin Mary in the Temple, painted for the Scuola della Carit
In the Renaissance architects, it may, perhaps, for once, be considered a merit, that they put their bad decoration systematically in the places where we should least expect it, and can seldomest see it: Approaching the Scuola di San Rocco, you probably will regret the extreme plainness and barrenness of the window traceries; but, if you will go very close to the wall beneath the windows, you may, on sunny days, discover a quantity of panel decorations which the ingenious architect has concealed under the soffits.
Mark enthroned, with SS. Sebastian, Roch, Cosmas, and Damianus, is 1512, when Titian, having completed his share of the work at the Scuola del Santo, returned to Venice. True, it is still thoroughly Giorgionesque, except in the truculent St. Mark; but, then, as essentially so were the frescoes just terminated.
S. Zaccaria at Venice was built by Martino in 1456, and the Scuola di S. Marco in 1485. Pietro was engaged on the Madonna dei Miracoli in 1483. So that Giorgio's work antedates theirs by some years. He had numerous pupils, whose names have been recorded; the other workmen came from Durazzo, Curzola, and Spalato.
The frescoes themselves, if indeed Titian carried them out on the walls of his house at Padua, as has been suggested, have perished; but that they ever came into existence there would not appear to be any direct evidence. The types, though broadened and coarsened in the process of translation into wood-engraving, are not materially at variance with those in the frescoes of the Scuola del Santo.
One of the greatest of the schools was the 'Scuola de San Rocco, and this was given into the hands of Tintoretto, who covered the walls with his paintings, leaving but little room for other artists. But it is in the Ducal Palace that the master's most famous work is seen. There, covering the entire side of the great hall, hangs his 'Paradiso, the largest oil painting in the world.
The Scuola having been built, where, under the banner of S. Rocco, a philanthropical confraternity might meet to confer as to schemes of social amelioration, it was, in 1560, decided to invite the more prominent artists to make proposals as to its decoration. Tintoretto, then forty-two, Paul Veronese and Schiavone were among them.
It is not immortality that we breathe at the Scuola di San Rocco, but conscious, reluctant mortality. Fortunately, however, we can turn to the Ducal Palace, where everything is so brilliant and splendid that the poor dusky Tintoret is lifted in spite of himself into the concert.
In other words, his treatment of the high theme chosen by him has been adequate. We must seek the Scuola di San Rocco for examples of Tintoretto's liveliest imagination. Without ceasing to be Italian in his attention to harmony and grace, he far exceeded the masters of his nation in the power of suggesting what is weird, mysterious, upon the border-land of the grotesque.
At the Scuola di San Rocco, where there are acres of him, there is scarcely anything at all adequately visible save the immense "Crucifixion" in the upper story. It is true that in looking at this huge composition you look at many pictures; it has not only a multitude of figures but a wealth of episodes; and you pass from one of these to the other as if you were "doing" a gallery.
Word Of The Day
Others Looking