DOI Page / Citation link:
https://doi.org/10.11588/diglit.68745#0196
TINTORETTO
and carried before the altars of the gods, and she was condemned
to torture and death. The young Sempronius endeavoured to
carry her off, but no sooner had he touched her than he fell into
convulsions and died. He was restored to life by the prayers of
Agnes herself, whose life he and his father would then willingly
have saved, but the fanaticism that had been aroused could not be
quelled, and the maiden was borne away to martyrdom.
The temple of the gods has an arched vault, in which soars a
bevy of graceful angels, unfortunately terribly over-painted. They
bear the palm-leaf crown of martyrdom, and in their midst a flood
of glory streams from the Holy Dove and lights up the childish
face of the little saint, who, with her lamb by her side, looks up
with an air of dauntless courage, the centre of a moved and
excited throng. This part of the picture seems to have mercifully
escaped the attentions of the restorer ; the face and the veil of
golden hair are very lovely and are painted with a remarkably
crisp and dainty touch and the cast-shadows on the white robe
and mantle are transparently clear. A number of heads of
beautiful Venetian women, perhaps members of the Contarini
family, appear in the crowd behind, and the spears against the
arches speak of the phalanx of soldiers, which wait to lead her to
execution. It was a situation the dramatic nature of which appealed
to Tintoretto, and he has contrasted the little figure of the saint,
so young and slight, with her attendant lamb, yet inspired by so
indomitable a spirit, as strongly as he is able, with the men in
gorgeous robes and armour who surround her.
Once again, in his most silvery style, is what remains of the
‘ Baptism of Christ ’ in the Church of San Silvestro. This picture
has been at one time cut clean out of its setting, then replaced and
painted round, while the upper part, the Father and a group of
angels, is entirely the work of a most miserable dauber. But the
two figures in the middle are intact and have a wild grace, peculiarly
striking, and the suggestion of the vista of river beyond them is
given with great charm. By a natural motive, an easy turn is given
to the Baptist’s figure; the cup has just been filled from the gushing
waterfall in the rocks behind, and the Saint turns his body half
round, to pour the water over the bending head of the Saviour.
We can study here the difference between Tintoretto’s render-
112
and carried before the altars of the gods, and she was condemned
to torture and death. The young Sempronius endeavoured to
carry her off, but no sooner had he touched her than he fell into
convulsions and died. He was restored to life by the prayers of
Agnes herself, whose life he and his father would then willingly
have saved, but the fanaticism that had been aroused could not be
quelled, and the maiden was borne away to martyrdom.
The temple of the gods has an arched vault, in which soars a
bevy of graceful angels, unfortunately terribly over-painted. They
bear the palm-leaf crown of martyrdom, and in their midst a flood
of glory streams from the Holy Dove and lights up the childish
face of the little saint, who, with her lamb by her side, looks up
with an air of dauntless courage, the centre of a moved and
excited throng. This part of the picture seems to have mercifully
escaped the attentions of the restorer ; the face and the veil of
golden hair are very lovely and are painted with a remarkably
crisp and dainty touch and the cast-shadows on the white robe
and mantle are transparently clear. A number of heads of
beautiful Venetian women, perhaps members of the Contarini
family, appear in the crowd behind, and the spears against the
arches speak of the phalanx of soldiers, which wait to lead her to
execution. It was a situation the dramatic nature of which appealed
to Tintoretto, and he has contrasted the little figure of the saint,
so young and slight, with her attendant lamb, yet inspired by so
indomitable a spirit, as strongly as he is able, with the men in
gorgeous robes and armour who surround her.
Once again, in his most silvery style, is what remains of the
‘ Baptism of Christ ’ in the Church of San Silvestro. This picture
has been at one time cut clean out of its setting, then replaced and
painted round, while the upper part, the Father and a group of
angels, is entirely the work of a most miserable dauber. But the
two figures in the middle are intact and have a wild grace, peculiarly
striking, and the suggestion of the vista of river beyond them is
given with great charm. By a natural motive, an easy turn is given
to the Baptist’s figure; the cup has just been filled from the gushing
waterfall in the rocks behind, and the Saint turns his body half
round, to pour the water over the bending head of the Saviour.
We can study here the difference between Tintoretto’s render-
112