File:The Venetian School of Painting (1912) (14781709554).jpg

Identifier: venetianschoolof1912phil (find matches)
Title: The Venetian School of Painting
Year: 1912 (1910s)
Authors: Phillipps, Evelyn March, d. 1915
Subjects: Painting Painters
Publisher: London : Macmillan and Co., limited
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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Text Appearing Before Image:
at littlefigure, whose heart has travelled far away tocommune with the Spirit, whose dwelling isthe light of setting suns. It is not possible in a short space to touch,even in passing, on all the many scenes in thesehalls : the Annunciation, with its marvellousflight of cherubs, reminding us of the flight oipigeons in the Piazza, and how often the oldpainter must have watched them ; the Tempta-tion, contrasting the throbbing evil, the fleshjthat must be fed, with the calm of absolutepurity; the Massacre of the Innocents, forwhich the horrors of sacked towns could havesupplied many a parallel,—we have not time todwell on these, but we may notice how the artisthas overcome the difficulty of seeing clearly in thedark halls, by choosing strong and varied eff^ectsof light for the most shadowed spaces, and wecan picture what the halls must have been likewhen they first glowed from his hand, adornedwith gilded fretwork and moulding, and hungwith opulent draperies, with the rose-red and 258
Text Appearing After Image:
Tintoretto, Scuola di San Rocco. S. MARY OF EGYPT. (Photo, Anderson.) TINTORETTO purple of bishops* and cardinals robes reflected inhe gleaming pavement. Leonardo, by one supreme example, Tintoretto,Dy many renderings, have made the LastSupper peculiarly their own in the domain ofirt. It shows how strongly the mystic strainmtered into the mans character, that often asTintoretto treated the subject, it never lost itsinterest for him, and he never failed to find a freshDoint of view. In that in S. Polo, Christ oflfers:he sacred food with a gesture of vehementgenerosity. Placed as the picture is, to appeal toill comers to the Mass, to afford them a welcomeIS they pass to the High Altar, it tells of the3read of Life given to all mankind. Tintorettolimself, painted in the character of S. Paul,tands at one side, absorbed in meditation. Weleed not insist again on the emotional value ofhe deep colours, the rich creams and crimsonsnd the chiaroscuro. In his latest rendering, in)* Giorgio Maggi

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