DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0445
COLLECTION OF MR. ROGERS. 401
legend, a Christian slave, in the service of a gentleman of
Provence, disobeyed his master’s commands, in order to
visit the relics of St. Mark, and on his return was con-
demned to the torture ; as it was about to be inflicted,
St. Mark himself appeared, and miraculously saved his
votary.
The victim is extended on the ground. The baffled
executioner holds up the instruments of death, miracu-
lously broken, in his hand. St. Mark is seen above this
group, the figure seems to rush downwards, floating, air-
sustained. A little in the background sits the lord of the
slave; and around are numerous spectators, looking on
with various expressions of doubt, consternation, curiosity,
and astonishment. Among them conspicuous, is the female
figure on the left, bending backwards, with a child in her
arms, and one knee resting on the base of a pillar, referred
to by Ridolfi, for its wonderful life and expression.* The
whole composition is inconceivably spirited and masterly,
all glowing with life and soul, and coloured with amazing
richness and brilliancy. In the great picture there is an
old man in the corner, which is not in the sketch. From
Mr. Ottley’s collection. 3 ft. 1 in. by 4 ft. 3 in.
The great picture, about twenty feet in length, was one
of the three which Tintoretto painted for the Scuola di
San Marco. It is now in the Museum at Venice.
TITIAN (Tiziano Vecelli), b. 1477 ; d. 1576. (See p. 128.)
35 “La Gloria di Tiziano,”—called also, “ The Apo-
theosis of Charles V.,” “ The Last Judgment,” and, by
Ridolfi, “ Il Paradiso.”f The original finished sketch for
the great picture of this subject is now in the Royal
Gallery at Madrid. It is a tradition, that this extra-
ordinary picture owed its origin to a dream of Charles V.,
which he related to Titian, and desired him to paint it.!
* “ E fra gli stupori di quel maravigliosa componimento & una donna appog-
giata ad un piedestallo, che si lancia in dietro per vedere 1’ azione, cosi pronta
e vivace che viva rassembra.”
t Ridolfi, vol. i. p. 167.
t This is not the only instance of a royal dream commemorated in painting.
Le Brun’s famous “ Crucifix aux Anges” is said to have been a dream of Anne
of Austria.
legend, a Christian slave, in the service of a gentleman of
Provence, disobeyed his master’s commands, in order to
visit the relics of St. Mark, and on his return was con-
demned to the torture ; as it was about to be inflicted,
St. Mark himself appeared, and miraculously saved his
votary.
The victim is extended on the ground. The baffled
executioner holds up the instruments of death, miracu-
lously broken, in his hand. St. Mark is seen above this
group, the figure seems to rush downwards, floating, air-
sustained. A little in the background sits the lord of the
slave; and around are numerous spectators, looking on
with various expressions of doubt, consternation, curiosity,
and astonishment. Among them conspicuous, is the female
figure on the left, bending backwards, with a child in her
arms, and one knee resting on the base of a pillar, referred
to by Ridolfi, for its wonderful life and expression.* The
whole composition is inconceivably spirited and masterly,
all glowing with life and soul, and coloured with amazing
richness and brilliancy. In the great picture there is an
old man in the corner, which is not in the sketch. From
Mr. Ottley’s collection. 3 ft. 1 in. by 4 ft. 3 in.
The great picture, about twenty feet in length, was one
of the three which Tintoretto painted for the Scuola di
San Marco. It is now in the Museum at Venice.
TITIAN (Tiziano Vecelli), b. 1477 ; d. 1576. (See p. 128.)
35 “La Gloria di Tiziano,”—called also, “ The Apo-
theosis of Charles V.,” “ The Last Judgment,” and, by
Ridolfi, “ Il Paradiso.”f The original finished sketch for
the great picture of this subject is now in the Royal
Gallery at Madrid. It is a tradition, that this extra-
ordinary picture owed its origin to a dream of Charles V.,
which he related to Titian, and desired him to paint it.!
* “ E fra gli stupori di quel maravigliosa componimento & una donna appog-
giata ad un piedestallo, che si lancia in dietro per vedere 1’ azione, cosi pronta
e vivace che viva rassembra.”
t Ridolfi, vol. i. p. 167.
t This is not the only instance of a royal dream commemorated in painting.
Le Brun’s famous “ Crucifix aux Anges” is said to have been a dream of Anne
of Austria.