DOI Page / Citation link:
https://doi.org/10.11588/diglit.68745#0212
TINTORETTO
of apostles and angels. We may surmise that Tintoretto was
expected to carry out the same subject on somewhat similar
lines.
By the end of 1590 the canvas was in position. It is a
stupendous undertaking for a man of close on seventy to have
completed by his own hand in two years and a half. The finish-
ing touches to conceal the joining of the sections were added by
Domenico, to obviate the fatigue to the old man of going up and
down the ladder, but the bulk of the painting is entirely by the
Master’s hand.
The great picture was received with acclamations of delight by
all Venice. The members of the Senate publicly thanked and em-
braced the painter and he was asked to name his own reward.
He refused to fix a price, saying that he had done it for fame
rather than money and they might give him what they chose.
The Senate then voted a munificent sum, which, however,
Tintoretto, with the liberality in money matters which had always
distinguished him, insisted on their reducing. This generosity
was commended by the Republic and astonished other artists who
had already privately estimated the picture at an even higher
price.
Our first impression as we confront the vast and faded canvas
which is said to contain over 700 figures, is one of bewilderment
at its confusing multitude, but little by little we become aware of
the presence of an all-controlling order and, as we grow familiar
with the details, we are able to grasp something of its unity, and
to understand that not without reason has it been called one of
the supreme masterpieces of art.
Though Tintoretto used the design now in the Prado, he has
materially altered it by making his two principal figures smaller
and higher up on the canvas, and by replacing the First Person
of the Trinity by the Dove of the Holy Spirit, in this way
allowing more room for the throng of subservient figures. In
the Louvre study it seems evident that he had strongly in
mind the mystic Rose of Dante. He has created a definite
centre, with gradually enlarging and very distinct circles, and
though this idea is somewhat modified, it still dominates his
final scheme.
122
of apostles and angels. We may surmise that Tintoretto was
expected to carry out the same subject on somewhat similar
lines.
By the end of 1590 the canvas was in position. It is a
stupendous undertaking for a man of close on seventy to have
completed by his own hand in two years and a half. The finish-
ing touches to conceal the joining of the sections were added by
Domenico, to obviate the fatigue to the old man of going up and
down the ladder, but the bulk of the painting is entirely by the
Master’s hand.
The great picture was received with acclamations of delight by
all Venice. The members of the Senate publicly thanked and em-
braced the painter and he was asked to name his own reward.
He refused to fix a price, saying that he had done it for fame
rather than money and they might give him what they chose.
The Senate then voted a munificent sum, which, however,
Tintoretto, with the liberality in money matters which had always
distinguished him, insisted on their reducing. This generosity
was commended by the Republic and astonished other artists who
had already privately estimated the picture at an even higher
price.
Our first impression as we confront the vast and faded canvas
which is said to contain over 700 figures, is one of bewilderment
at its confusing multitude, but little by little we become aware of
the presence of an all-controlling order and, as we grow familiar
with the details, we are able to grasp something of its unity, and
to understand that not without reason has it been called one of
the supreme masterpieces of art.
Though Tintoretto used the design now in the Prado, he has
materially altered it by making his two principal figures smaller
and higher up on the canvas, and by replacing the First Person
of the Trinity by the Dove of the Holy Spirit, in this way
allowing more room for the throng of subservient figures. In
the Louvre study it seems evident that he had strongly in
mind the mystic Rose of Dante. He has created a definite
centre, with gradually enlarging and very distinct circles, and
though this idea is somewhat modified, it still dominates his
final scheme.
122