DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68745#0181
THE DUCAL PALACE
mould of feature, small head, pointed chin, rounded eyelids,
nose slightly retrousse and ears coiled like a seashell; the type
of which he was making use in the Madonna of the ‘ Flight
into Egypt’ and of which we find fresh examples in his very
latest work.
The 4 Three Graces ’ holding the roses and myrtle sacred to
the god of love, cannot be surpassed for actual perfection of
painting, and technique like this witnesses to Tintoretto’s power
of working as finely as he chose, and satisfies us that when he used
a broad and careless touch it was not from any lack of knowledge.
His treatment of flesh is quite distinct from the fine grained
surface, which looks like marble endowed with life, of Titian’s
nudes, or from the hot-blooded, fruit-like carnations which
Giorgione paints; but for softness, for supple curves, for the
dappled play of light and shadow upon tender, youthful forms, he
has no rival. No one has ever painted gauzy veils with a more
ethereal perfection. Delicacy, refinement, breathe throughout.
The hand of Aglaia rests with dainty touch on her companion’s
arm, yet the back of the third goddess is drawn with a firmness,
with a ripple of muscles under sweeping lines which embraces the
whole lithe framework from head to heel. The composition is
quite original, and while all the gleaming forms slant one way, the
mulberry and pink and crimson draperies are massed in the
opposite direction, and thus the eye is never distressed by want of
balance, while a scrap of perpendicular line here and there supplies
the co-ordinate standard.
The figure of4 Minerva expelling Mars,’ while Venice feasts with
Peace and Concord, among vines and fruits, has the same happy,
idyllic note. Knowing Tintoretto as we do, I think it is almost
certain that he intended these four compositions to be taken as a
series, and to be read somewhat in this way ; Venice is called upon
to reign over the seas; her empire increases, till she basks in
triumphant peace; Wisdom and Diplomacy keep war and rapine
far from her gates, yet her security does not rest upon those
arts alone, for underground, Vulcan never rests from forging his
weapons, and, should she need them, her sons will spring to her
side, armed to the teeth.
Paolo Veronese was called to appraise the value of these
103
mould of feature, small head, pointed chin, rounded eyelids,
nose slightly retrousse and ears coiled like a seashell; the type
of which he was making use in the Madonna of the ‘ Flight
into Egypt’ and of which we find fresh examples in his very
latest work.
The 4 Three Graces ’ holding the roses and myrtle sacred to
the god of love, cannot be surpassed for actual perfection of
painting, and technique like this witnesses to Tintoretto’s power
of working as finely as he chose, and satisfies us that when he used
a broad and careless touch it was not from any lack of knowledge.
His treatment of flesh is quite distinct from the fine grained
surface, which looks like marble endowed with life, of Titian’s
nudes, or from the hot-blooded, fruit-like carnations which
Giorgione paints; but for softness, for supple curves, for the
dappled play of light and shadow upon tender, youthful forms, he
has no rival. No one has ever painted gauzy veils with a more
ethereal perfection. Delicacy, refinement, breathe throughout.
The hand of Aglaia rests with dainty touch on her companion’s
arm, yet the back of the third goddess is drawn with a firmness,
with a ripple of muscles under sweeping lines which embraces the
whole lithe framework from head to heel. The composition is
quite original, and while all the gleaming forms slant one way, the
mulberry and pink and crimson draperies are massed in the
opposite direction, and thus the eye is never distressed by want of
balance, while a scrap of perpendicular line here and there supplies
the co-ordinate standard.
The figure of4 Minerva expelling Mars,’ while Venice feasts with
Peace and Concord, among vines and fruits, has the same happy,
idyllic note. Knowing Tintoretto as we do, I think it is almost
certain that he intended these four compositions to be taken as a
series, and to be read somewhat in this way ; Venice is called upon
to reign over the seas; her empire increases, till she basks in
triumphant peace; Wisdom and Diplomacy keep war and rapine
far from her gates, yet her security does not rest upon those
arts alone, for underground, Vulcan never rests from forging his
weapons, and, should she need them, her sons will spring to her
side, armed to the teeth.
Paolo Veronese was called to appraise the value of these
103