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Updated: June 13, 2025
It was a mad dream, born of the sea's roar and Tintoretto's painting. But this afternoon no such visions are suggested. The sea sleeps, and in the moist autumn air we break tall branches of the seeded yellowing samphire from hollows of the rocks, and bear them homeward in a wayward bouquet mixed with cobs of Indian-corn. Fusina is another point for these excursions.
Placed as the Assunta now is in the immediate neighbourhood of one of Tintoretto's best-preserved masterpieces, the Miracolo del Schiavo, it undergoes an ordeal from which, in the opinion of many a modern connoisseur and lover of Venetian art, it does not issue absolutely triumphant.
The Titians that hang in the gallery of my mind are other than this. A Madonna and Child and a rollicking baby at Vienna: our own "Bacchus and Ariadne"; the Louvre "Man with a Glove": these are among them; but the "Assumption" is not there. Tintoretto's great picture of the "Miracle of S. Mark" was painted between 1544 and 1548, before he was thirty.
I know of no such portrait of an old man as Doctor Dolliver in art or literature, except perhaps Tintoretto's portrait of his aged self, in the Louvre.
In Albert Durer's composition, she is just in the act of sinking to the ground in a very natural attitude, as if her limbs had given way under her. In Tintoretto's celebrated Crucifixion, we have an example of the Virgin placed on the ground, which if not one of the earliest, is one of the most striking of the more modern conceptions.
The important rooms Venetian art in London The ceiling of the thousand wings Some early painters Titian's "Assumption" Tintoretto's "Miracle of S. Mark" A triumph of novelty The Campanile miracle Altar-pieces Paul Veronese Leonardo drawings Indifferent works Jesus in the house of Levi A painter on his trial Other Tintorettos Another miracle of S. Mark Titian's last painting.
She was subsequently canonized. The other two and hardly distinguishable paintings are "The Presentation of Christ in the Temple" and "The Assumption of the Virgin." Now we ascend the staircase, on which is a beautiful "Annunciation" by Titian, strangely unlike Tintoretto's version below. Here the Virgin kneels before her desk, expectant, and the angel sails quietly in with a lily.
In the foreshortened figure on the ground at the left of Tintoretto's "Finding of the Body of St. The work of Henner in France is an extreme instance of the quality of softness and fleshiness got by painting across the form. The look of toughness and hardness given by the brush work following down the forms is well illustrated in much of the work of James Ward, the animal painter.
We have seen Tintoretto's monster picture, which is seventy-four feet long and I do not know how many feet high, and thought it a very commodious picture. We have seen pictures of martyrs enough, and saints enough, to regenerate the world.
S. Maria dei Miracoli An exquisite casket S. Maria Formosa Pictures of old Venice The Misericordia Tintoretto's house The Madonna dell'Orto Tintoretto's "Presentation" "The Last Judgment" A Bellini Titian's "Tobias" S. Giobbe Il Moro Venetian by-ways A few minor beauties. Among the smaller beauties of Venice its cabinet architectural gems, so to speak S. Maria dei Miracoli comes first.
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