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Updated: June 30, 2025
These works, then, and many others that are here passed over, it being enough to have made mention of the best, have been executed by Tintoretto with such rapidity, that, when it was thought that he had scarcely begun, he had finished. And it is a notable thing that with the most extravagant ways in the world, he has always work to do, for the reason that when his friendships and other means are not enough to obtain for him any particular work, even if he had to do it, I do not say at a low price, but without payment or by force, in one way or another, do it he would. And it is not long since, Tintoretto having executed the Passion of Christ in a large picture in oils and on canvas for the Scuola of S. Rocco, the men of that Company resolved to have some honourable and magnificent work painted on the ceiling above it, and therefore to allot that commission to that one among the painters that there were in Venice who should make the best and most beautiful design. Having therefore summoned Joseffo Salviati, Federigo Zucchero, who was in Venice at that time, Paolo Veronese, and Jacopo Tintoretto, they ordained that each of them should make a design, promising the work to him who should acquit himself best in this. While the others, then, were engaged with all possible diligence in making their designs, Tintoretto, having taken measurements of the size that the work was to be, sketched a great canvas and painted it with his usual rapidity, without anyone knowing about it, and then placed it where it was to stand. Whereupon, the men of the Company having assembled one morning to see the designs and to make their award, they found that Tintoretto had completely finished the work and had placed it in position. At which being angered against him, they said that they had called for designs and had not commissioned him to execute the work; but he answered them that this was his method of making designs, that he did not know how to proceed in any other manner, and that designs and models of works should always be after that fashion, so as to deceive no one, and that, finally, if they would not pay him for the work and for his labour, he would make them a present of it. And after these words, although he had many contradictions, he so contrived that the work is still in the same place. In this canvas, then, there is painted a Heaven with God the Father descending with many Angels to embrace S. Rocco, and in the lowest part are many figures that signify, or rather, represent the other principal Scuole of Venice, such as the Carit
The portrait of her by Zucchero, which now hangs in Hampton Court, depicts her when she must have been of more than middle age; and still the face is one of beauty, though it be a strange and almost artificial beauty one that draws, attracts, and, perhaps, lures you on against your will.
Don Gaetano dropped a lump of sugar into the saucepan, stirred it with a stick, and in a persuasive voice I heard him say, "Che bella roba, che bella roba, quanto e buono questa latte con lo zucchero! A slight rustling was heard beneath the Abruzzi cloak and a black little hand was stretched out toward the red paper bag. "Primo il latte, primo il latte" admonished the old man.
Among the relics preserved here are the cups given to Sir Francis Drake by Queen Elizabeth on his return from the memorable voyage round the world in the Pelican. Here also is a portrait of Sir Francis by Zucchero. Exmouth, although a modern watering-place, has a few points of interest, being one of the oldest seaside resorts on the south-west coast.
This morning I went with U to the Uffizi gallery, and again looked with more or less attention at almost every picture and statue. I saw a little picture of the golden age, by Zucchero, in which the charms of youths and virgins are depicted with a freedom that this iron age can hardly bear to look at.
The giant porter of the Duke of Wurtemberg was 7 1/2 feet high. "Big Sam," the porter at Carleton Palace, when George IV was Prince of Wales, was 8 feet high. The porter of Queen Elizabeth, of whom there is a picture in Hampton Court, painted by Zucchero, was 7 1/2 feet high; and Walter Parson, porter to James I, was about the same height.
It was finished afterwards by Federigo Zucchero of S. Agnolo in Vado, a young and excellent painter, held to be among the best in Rome, who painted in fresco on the walls at the sides Mary Magdalene being converted by the Preaching of Christ and the Raising of her brother Lazarus, which are pictures full of grace.
She summons Parliament, but lets them know that her orders must be obeyed in any case. If any one will look at the painting by Zucchero he will see how much is made of Elizabeth's hands a distinctive feature quite as noble with the Tudors as is the "Hapsburg lip" among the descendants of the house of Austria.
"Si, Signore, ho il di Lei cappello." "Ha Ella il di Lei pane?" "Si, Signore, ho il mio pane." "Ha Ella il mio zucchero?" "Si, Signore, ho il di Lei zucchero." There wasn't much use in going over such simple things in English for Giuseppe and so instead of this Ruth would read aloud something from Tennyson.
Here are examples of the works of Sir Joshua Reynolds, de Mytens, Tintoretto, Teniers, Snyders, Bassano, Wyck, de Vos, Greffier, Francks, Berghem, Zucchero, Wootton, Breughel, Dirk Maas, Netscher, Gagnacci, Gerard Honthorst, Van der Meulen, Rigaud, Vandyke, Holbein, Kneller, Lely, Dahl, M. Shee, Knapton, West, Jansen, Verelst; in fact not only in the picture-gallery, but in all parts of the Abbey are scattered treasures of art and vertu.
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