DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68745#0130
CHAPTER VIII
THE SCHEME OF THE SCUOLA DI SAN ROCCO
AS soon as the ‘ Crucifixion ’ was completed, Tintoretto was
Z—W received into the Order, and from now till 1588, a period
of thirty years from the time he began to paint in the
church, the decoration of the great Scuola formed the backbone of his
work, carried on side by side with all other demands, at the low rate
of pay agreed to by the first contract. We do not know whether
the painter, as his fame and popularity rose ever higher, regretted
that he had so bound himself, but Tintoretto had never been a
covetous man ; he had enough money to satisfy his not extravagant
tastes, some of his children were following in his footsteps and
becoming successful artists, they were marrying comfortably,
his wife was a thrifty woman, and he had a good home, and the
Scuola gave him, what he loved above everything, a free space in
which he could give rein to his inexhaustible fancy. For con-
venience’ sake we must examine the whole series together, but we
must not lose sight of the fact that it was produced over a long
period of time, and mingles in and out with all but the very latest
of the works that come after this time.
The halls are not well adapted for pictorial decoration ; in fact,
perhaps never had one who loved light above everything had to
contend with greater difficulty, or to paint for positions in which
his work would be less well seen. The whole south side of
both the upper and lower rooms is lighted by a row of windows
high up, so that the space immediately below them is thrown into
shadow, only partly diminished by the light from the east end.
It is only on bright days, with patience and a good glass, that
the dark old paintings can be deciphered.
In the task of endeavouring to unravel the artist’s purpose, I
have been aided by a former writer, to whom I wish to tender my
68
THE SCHEME OF THE SCUOLA DI SAN ROCCO
AS soon as the ‘ Crucifixion ’ was completed, Tintoretto was
Z—W received into the Order, and from now till 1588, a period
of thirty years from the time he began to paint in the
church, the decoration of the great Scuola formed the backbone of his
work, carried on side by side with all other demands, at the low rate
of pay agreed to by the first contract. We do not know whether
the painter, as his fame and popularity rose ever higher, regretted
that he had so bound himself, but Tintoretto had never been a
covetous man ; he had enough money to satisfy his not extravagant
tastes, some of his children were following in his footsteps and
becoming successful artists, they were marrying comfortably,
his wife was a thrifty woman, and he had a good home, and the
Scuola gave him, what he loved above everything, a free space in
which he could give rein to his inexhaustible fancy. For con-
venience’ sake we must examine the whole series together, but we
must not lose sight of the fact that it was produced over a long
period of time, and mingles in and out with all but the very latest
of the works that come after this time.
The halls are not well adapted for pictorial decoration ; in fact,
perhaps never had one who loved light above everything had to
contend with greater difficulty, or to paint for positions in which
his work would be less well seen. The whole south side of
both the upper and lower rooms is lighted by a row of windows
high up, so that the space immediately below them is thrown into
shadow, only partly diminished by the light from the east end.
It is only on bright days, with patience and a good glass, that
the dark old paintings can be deciphered.
In the task of endeavouring to unravel the artist’s purpose, I
have been aided by a former writer, to whom I wish to tender my
68