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Updated: June 9, 2025


But in that simply treated fresco, with its arrangement as simple as that of a vast antique bas-relief, there is an imaginative suggestion far surpassing this of Tintoret's.

In place of the blank, black factory wall, there is the low wall of some Italian Campo Santo, its painted sides more precious than marbles or gold could have made them; in place of the dull and heavy stone of the Exchange, the glowing mosaics of some southern cathedral; in place of the factory bell and the rush into the steaming and dirty workroom, the bell of a convent on Fiesole, and the slow walk through its cool cloisters; in place of the dead files of uniform ugly houses, Venetian palaces, with the water at their base, reflecting the colors which Giorgione and Titian, housepainters at Venice, left upon their stones; in place of the racket of the street, the quiet greenness of an English lane, or the inaccessible ice and glory of a far-off mountain summit; in place of the burnt waste of fields covered with ashes and coal-dust, the burning stretch of the desert with the Sphinx looking out over it century after century; in place of the shower coming down through the dirty air to wash the dirty roofs, a storm breaking over the sea-shore rocks, or beating down on the broken wreck; instead of the drabbled calico of the factory girl and her face old before its time, the satins of Vandyck's beauties, and the fair looks of Sir Peter Lely's heroines; instead of Manchester mayors and masters of factories, Tintoret's noble Venetian counsellors and doges, and Titian's Shakspearian men.

It had been painted by Raphael and by several of the earlier Venetian painters, but Tintoret's treatment of it was all his own. In the earlier pictures, the princess, for whose sake St. George fights the dragon, was a little figure in the background fleeing in terror. St.

But he saw that no amount of art lectures or art congresses, or 'plans for advancing the fine arts, will ever produce this result. The people, he says very wisely, and in the true spirit of Toynbee Hall, must always have 'the best models constantly before their eyes. As is to be expected from one who was a painter, he is often extremely technical in his art criticisms. Of Tintoret's 'St.

The homeliest prose melts into the most ethereal poetry the literal and the imaginative fairly confound their identity. This, however, is vague praise. Tintoret's great merit, to my mind, was his unequalled distinctness of vision.

Here is M. Charles Blanc, the French art critic's opinion of Tintoret's largest work, seventy-four feet in length and thirty feet in height: The Glory of Paradise, in the great hall or throne-room of the Doge's Palace:

They have kept their brightness through the centuries, and they shine with their neighbours in those golden rooms. There is a piece of painting in one of them which is one of the sweetest things in Venice and which reminds one afresh of those wild flowers of execution that bloom so profusely and so unheeded in the dark corners of all of the Tintoret's work.

These things speak so frankly and benignantly to the sense that even when they arrive at the highest style as in the Tintoret's "Presentation of the little Virgin at the Temple" they are still more familiar.

Giovanni Bellini is more or less everywhere in Venice, and, wherever he is, almost certain to be first first, I mean, in his own line: paints little else than the Madonna and the saints; he has not Carpaccio's care for human life at large, nor the Tintoret's nor the of the Veronese.

Tintoret's immense creative power and the colours of Titian's painting which inspired Tintoret's ambition, as we remember these were the effective influences Velasquez experienced in Italy. His purchases and his own later canvases afford that inference.

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