GUIDE TO THE ACADEMY AT VENICE 161

pretends to religion, which he has not; in 319, to art, which he has not. The last is a monstrous example of the apathy with which the later Italian artists, led by Raphael,¹ used this horrible subject to exhibit their ingenuity in anatomical posture, and excite the feeble interest of vulgar spectators.

243. Quiet Tintoret; very noble in senators, poor in Madonna.²

37. Quiet Paul Veronese; very noble in St. Jerome’s robe and Lion, and in little St. John’s back. Not particularly so in anybody’s front, but a first-rate picture in the picture-way.³

221.⁴ Dashing Tintoret: fearfully repainted, but grand yet in the lighter figures of background.

256, 261.⁵ Dashing Paul Veronese-splendid in art; in conception of Evangelists-all that Venice wanted of them, at that day. You must always, however, judge her as you would a sailor,⁶-what would be ridiculous or bombastic in others has often some honesty in it with her. Think of these Evangelists as a kind of figure-heads of ships.

Enter now the great room with the Veronese at the end of it,⁷ for which the painter (quite rightly) was summoned before the Inquisition of State: you will find his examination, translated by a friend to whom I owe much in my old Venetian days, in the Appendix to my second Guide;⁸ but you must not stop now at this picture, if you are

¹ [See Vol. IV. pp. 204, 272.]

² [In Room IX. (“Madonna and Child, with four Senators”).]

³ [In Room II. (“Madonna and Child, with SS. John, Joseph, Jerome, Francis, and Justina”).]

⁴ [In Room IX. (“Virgin in Glory, with S. Cecilia, S. Marina, and S. Theodore. SS. Cosmo and Damian below”).]

⁵ [In Room IX. (“St. Luke and St. John,” and “St. Mark and St. Matthew”).]

⁶ [Compare, in Modern Painters, the analysis of the influence of the sea on Venetian painting (Vol. VII. pp. 280 seq.).]

⁷ [Now in the same Room IX., No. 203: “The Supper in the House of Levi.”]

⁸ [See below, p. 187.]

XXIV. L

[Version 0.04: March 2008]