DOI Page / Citation link:
https://doi.org/10.11588/diglit.68745#0188
CHAPTER XII
LATE WORK
IN the Ante-Chiesetta, the entrance to what was the Chapel of
the Doges, the master has left two small, oblong paintings
in his very happiest and most finished style; paintings which
carry us at once from the over-pompous ‘ Doge-pictures ’ to the
company of ‘ Bacchus and Ariadne ’ and their companions in the
Ante-Collegio. These, which are each about eight feet by six in
size, are, as Ruskin says, ‘in his most quiet and noble manner.’
The first has lately been re-named ‘ St. George, St. Margaret, and
St. Louis of Toulouse,’ but the old title, which pronounced it to be
the ‘ Princess Saba rescued by St. George,’ seems the more descrip-
tive. The princess bestrides the vanquished monster, whose head
is pierced by a lance, the broken shaft of which lies at their feet.
St. George lifts his arms on high in triumphant joy at her deliver-
ance. The colour here is restrained but very beautiful; the tone
of greenish-blue in the young bishop’s robe is repeated in the sky,
and deepens to a blue-grey in St. George’s armour, while his
mantle is sea-green, and the robe of the princess a soft Venetian
red. She is not so attractive a type as some of the painter’s
female figures, but her neck and shoulders and outstretched arm
are marvellously well drawn. She looks up lovingly and confid-
ingly at her rescuer. He tosses up his arms with that light and
easy gesture which is so characteristic of Tintoretto. His head
and whole figure are most beautiful, and the armour is an excellent
piece of painting. Not less sympathetic is the graceful and dignified
young bishop. The wide sky and hills behind give a welcome
effect of space, and the colour is subdued by a great deal of warm
russet and grey. Even more grave and harmonious are the two
saints on the opposite wall. Though the picture is painted in
browns and creams, with only a little soft red on St. Jerome’s
108
LATE WORK
IN the Ante-Chiesetta, the entrance to what was the Chapel of
the Doges, the master has left two small, oblong paintings
in his very happiest and most finished style; paintings which
carry us at once from the over-pompous ‘ Doge-pictures ’ to the
company of ‘ Bacchus and Ariadne ’ and their companions in the
Ante-Collegio. These, which are each about eight feet by six in
size, are, as Ruskin says, ‘in his most quiet and noble manner.’
The first has lately been re-named ‘ St. George, St. Margaret, and
St. Louis of Toulouse,’ but the old title, which pronounced it to be
the ‘ Princess Saba rescued by St. George,’ seems the more descrip-
tive. The princess bestrides the vanquished monster, whose head
is pierced by a lance, the broken shaft of which lies at their feet.
St. George lifts his arms on high in triumphant joy at her deliver-
ance. The colour here is restrained but very beautiful; the tone
of greenish-blue in the young bishop’s robe is repeated in the sky,
and deepens to a blue-grey in St. George’s armour, while his
mantle is sea-green, and the robe of the princess a soft Venetian
red. She is not so attractive a type as some of the painter’s
female figures, but her neck and shoulders and outstretched arm
are marvellously well drawn. She looks up lovingly and confid-
ingly at her rescuer. He tosses up his arms with that light and
easy gesture which is so characteristic of Tintoretto. His head
and whole figure are most beautiful, and the armour is an excellent
piece of painting. Not less sympathetic is the graceful and dignified
young bishop. The wide sky and hills behind give a welcome
effect of space, and the colour is subdued by a great deal of warm
russet and grey. Even more grave and harmonious are the two
saints on the opposite wall. Though the picture is painted in
browns and creams, with only a little soft red on St. Jerome’s
108