The Relation Between Michael Angelo And Tintoret: Seventh of the Course of ...

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The Relation Between Michael Angelo And Tintoret: Seventh of the Course of ...
Ruskin, John, 1819-1900
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3. The Face principal, not the body.
4. And the Face free from either vice or pain.
It is not possible, of course, always literally to observe the second condition, that there shall be quiet action or none ; but Bellini's treatment of violence in action you may see exemplified in a notable way in hia St Peter Martyr. The soldier is indeed striking the sword down into his breast ; but in the face of the Saint is only resignation, and faintness of death, not pain — ^that of the executioner is imp
...assive ; and, while a painter of the later schools would have covered breast and sword with blood, Bellini allows no stain of it ; but pleases himself by the most elaborate and exquisite painting of a soft crimson feather in the executioner's helmet Now the changes brought about by Michael Angelo — and permitted, or persisted in calamitously, by Tintoret — are in the four points these : 1st Bad workmanship.
The greater part of all that these two men did is hastily and incompletely done ; and all that they did on a large scale in colour is in the best qualities of it perished.


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