DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68745#0143
THE UPPER HALL
English bearing find any considerable amount of action unnatural,
but others, who are well acquainted with the Southern races, know
that they talk as much with their bodies as with their tongues. You
ask your road of an Italian peasant, and he describes the whole
route, with its turns and twists, by swinging round his body and
stretching out his arms and as much by sign as speech, so too the
expression of grief, joy, or astonishment is conveyed by means to
which English people are quite unused. As a rule, Tintoretto
prefers to convey expression by movement of body, and does not
put much into his faces, but in this picture the faces are full of
rapturous thanksgiving.
The last compartment at the west end of the roof is the
‘Paschal Feast,’ in which three figures stand, with staves in their
hands, prepared for a journey, and watch a little flame; the fire
in which, according to command, the remains of the supper were
consumed.
Several of the small panels on the ceiling are very interesting.
Particularly full of light and air is that in which Jonah, having
escaped from the jaws of the whale, kneels before the altar. The
feeling of grey-blue distance, of a wild solitude behind him is
extremely beautiful. Jonah’s two forefingers are pointing together,
as if to imply that this time his way is the same as God’s, for at
the second command he was to obey and to go to preach at
Nineveh. In Michelangelo’s Jonah, in the Sistine Chapel, the
hands cross each other, and the forefingers point in different
directions.
Where Moses works deliverance at the Red Sea, he stands on
a raised ground with the congregation armed with spears, gathered
below. Moses grasps a rod with one hand, and the other is
stretched aloft. The shining face of the Almighty looks down
from above and Moses looks up, streams of light springing from
his forehead. A cloud and column of fire are seen behind the
people. The swaying of this figure and the luminous quality of
the background have something in common with that fresco of
Michelangelo in which the Spirit of God, embodied in a tall
figure, moves upon the face of the waters. The small panel on
the right is put down by Ruskin and Boschini as the ‘ Vision of
Elijah,’ but in Cicognara’s work on the Buildings of Venice, it is
79
English bearing find any considerable amount of action unnatural,
but others, who are well acquainted with the Southern races, know
that they talk as much with their bodies as with their tongues. You
ask your road of an Italian peasant, and he describes the whole
route, with its turns and twists, by swinging round his body and
stretching out his arms and as much by sign as speech, so too the
expression of grief, joy, or astonishment is conveyed by means to
which English people are quite unused. As a rule, Tintoretto
prefers to convey expression by movement of body, and does not
put much into his faces, but in this picture the faces are full of
rapturous thanksgiving.
The last compartment at the west end of the roof is the
‘Paschal Feast,’ in which three figures stand, with staves in their
hands, prepared for a journey, and watch a little flame; the fire
in which, according to command, the remains of the supper were
consumed.
Several of the small panels on the ceiling are very interesting.
Particularly full of light and air is that in which Jonah, having
escaped from the jaws of the whale, kneels before the altar. The
feeling of grey-blue distance, of a wild solitude behind him is
extremely beautiful. Jonah’s two forefingers are pointing together,
as if to imply that this time his way is the same as God’s, for at
the second command he was to obey and to go to preach at
Nineveh. In Michelangelo’s Jonah, in the Sistine Chapel, the
hands cross each other, and the forefingers point in different
directions.
Where Moses works deliverance at the Red Sea, he stands on
a raised ground with the congregation armed with spears, gathered
below. Moses grasps a rod with one hand, and the other is
stretched aloft. The shining face of the Almighty looks down
from above and Moses looks up, streams of light springing from
his forehead. A cloud and column of fire are seen behind the
people. The swaying of this figure and the luminous quality of
the background have something in common with that fresco of
Michelangelo in which the Spirit of God, embodied in a tall
figure, moves upon the face of the waters. The small panel on
the right is put down by Ruskin and Boschini as the ‘ Vision of
Elijah,’ but in Cicognara’s work on the Buildings of Venice, it is
79