The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . empter in the Scuolo di san Rocco in Venice, with a wild,voluptuous beauty, really offering a temptation tomortals instead of being the repulsive reptile formswhich were portrayed by the northern nations, andwhich we shall have opportunity to consider whenwe deal with those schools in art. This picture isa strong example of Tintoretto, and characteristicin every way. Tintorettos Parnassus is a restless, uncomfort-able, vague place — just the proper environmentfor a cer
The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . empter in the Scuolo di san Rocco in Venice, with a wild,voluptuous beauty, really offering a temptation tomortals instead of being the repulsive reptile formswhich were portrayed by the northern nations, andwhich we shall have opportunity to consider whenwe deal with those schools in art. This picture isa strong example of Tintoretto, and characteristicin every way. Tintorettos Parnassus is a restless, uncomfort-able, vague place — just the proper environmentfor a certain school of poets whose uncertaintyof ideal makes them waver and sway in their dic-tion, much like these floating Muses, who hover atall sorts of indeterminate angles, and suggest aform of poetry that should have no special coher-ence but should express through lilt and eu-phony alone a sort of hypnotic rhythm. The Par-nassus is probably not entirely by Tintorettos ownhand, — the finish is closer than usual with him,and the faces of the women conform too strictly toone type, which does not happen to be Tintorettos. XTbe (5ceat Denetians 63 type. In this picture one sees evidence of the kindof study in perspective which dehghted Tintoretto:he used to make Httle clay models, and then suspendthem from beams in the ceiling, so that he might seethem from below as if they were flying through theair. Near by hangs a charming painting, genuine also,showing a knight in armour rescuing two ladiesfrom a tower. He stands below, in a boat, which isridiculously inadequate to its load, not to mentionthe addition of two fair nude ladies. This boatlooks as if a man in armour alone would be sufficientto swamp it. It has a sort of gondola prow ateither end. A boy sits at the stern, and neither henor the knight seem to regard it as at all peculiarthat the ladies are descending from their captivitywithout any clothes. They are all unembarrassedand graceful, and the composition charming. Thet
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Keywords: ., bo, bookcentury1900, bookdecade1900, bookidartofdresdengall00addi
