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Scuola San Rocco near Venice. Tintoretto at the Venetian School of Saint Roch

Starovinny balm., which is effective in helping with various diseases of the skin, inflammation, inflammation, allergies, psoriasis, dermatitis, viraz, opia and other. changing the coarseness of the skins, restoring the structure, protecting from UV changes. The balm was based on herbs, which, behind the orders of St. Rocco (San Rocco), rejoiced at the sick with the plague, which raged in the middle ages in Europe.

name balm SAN ROCCO pov'yazane z іm'yam vіdomogo y all іtalії saint, like images on the packaging.

San Rocco, but Holy Roch dosi shanuetsya Roman Catholic Church as a healer in the plague, as a constant waste of Europe. San Rocco is respected as the patron of mandrіvniki, pharmacists, doctors, gardeners, healers, stubborn ones, dogs and thinness; we are also sick of the plague, cholera, skaz, ailments of the nig. Following orders, Rocco was born around the 30-40s of the 14th century of Montpellier (France) with the governor of the city. Even in the presence of the people, the Lord marked him with a red cross on his chest, which appeared miraculous in a year. After the death of the father, the young man gave away all his mayo to the dead and in odes pilgrim (prochan) straightened to Italy, where the plague was raging at that hour. At the hour of your pilgrimage to the country of Rocco, rejoicing at the sick people for the plague with healing herbs and falling with hellish banners. The plague stepped in front of him - the ailments were cured with a miraculous rite. Having beaten hundreds of dozens of people like that, Rocco, through a wound on his nose, himself contracted the plague and went to die in the forest near the zanedbanu hut. Yogo vryatuvav dog z raztashovannogo nearby castle, bringing Yomu zhu and licking the wound. Healing saints turned to France, they didn’t recognize him and threw him like a spy to the pit. For 5 years, after spending time at the v'yaznitsa, the head of some kind of godly uncle, so I did not show his noble quest. On September 16, 1378, they knew the dead in the cell, and how wonderful the light was. After the death of Rocco, they all shook the miraculous cross on his chest and realized who it was. Rocco was voted holy, and the day 16 sickle - the day of St. Rocco. In 1414 p. the plague broke out near the city, and the fathers of the city called the people to pray to St. Rocco. The whole procession began for the honor of the saint, and the plague rightly clung. In 1485, the relics of St. Rocco were stolen from Montpellier by the Venetians and brought to Venice, in order to save the city from the constant threat of plague. Venice, through its links with the Gathering, the signs of the infection came, was one of the first victims of the plague epidemics, and the place smelt in the fight against the "black death". In honor of tsієї podії near Venice and the bula, the scuola (church) of San Rocco was evoked, the de Venetians prayed for the sign of tribute for the order of the plague, and de dosi the relics of San Rocco are saved. The images of San Rocco are considered unique, the shards of wine are always depicted from a dog, and with a hand pointing at the plague-stricken place on the left knee, which was not accepted at that hour.

The balm of SAN ROCCO was based on healing herbs, which, after the orders of St. Roch, lied to the sick. Balm SAN ROCCO is a special active complex, which effectively helps with various diseases of the skin - inflammation, inflammation, psoriasis, dermatitis and other. Yogi diya is bewildered by the wholesome powers of growth and components, which are to be avenged in the new.:

• Oliya tea treeє effective anti-rus and anti-fungal protection. It may have anti-inflammatory and ailing power, known allergic reactions, effectively against staphylococci and streptococci. It cleanses and disinfects wounds and calms the pain during surgery, can heal wounds in case of injuries and pores, eliminates fungal infections of the skin, eczema, sever stubble, swelling with bites, coma, stinging warts and swelling of the bulb. Helps with varicella and operating lichen.
• Oliya geranium to avenge geraniol, citronelol, geranyl tiglinate, which can be antiseptic, rejuvenate and tone up, restore clitin, usuvaє visipi, acne, eczema, desquamation, exfoliate skin wrinkles after opikіv. Friendly to the problematic shkir.
• Oliya ogirkovoi grass It is a source of gamma-linolenic acid, as it stimulates the production of prostaglandins from the protizapal reaction and changes the production of metabolites of oxidation of arachidonic acid, which activates the ignition reaction.
• Soy glycineє rich in protein dzherelom, zmіtsnuє lipidny bar'єr skіri, zapobіgaє vtrati frivolity kolagenovіh fibers, naє naє naє naє zvolozhuyuchu dіyu, pom'yakshuє shkiru and priyaє regeneratsії kіtin. Improving the exchange processes in the cells of the shkir, effectively restoring the balance of the water, strengthening the protection of the functions of the shkir.
• Violet tricolor extract(brothers) may have power. At the root of the plant, there are: alkaloid violin, saponins, in the herb - vitamin C, salicylic acid, salts of tartaric acid, mucus. Violet tricolor extract can help to soften, protizapalnu, zagoyuvalnu, anti-allergic dia, gives a positive effect when looking behind the sunburned skin, which should peel off, with a blackish hanging.
• Extract of Echinacea purpurea to avenge a complex of biologically active speeches that give bactericidal, antiviral, antifungal, immunomodulating action. Echinacea enhances phagocytosis, as well as migration of leukocytes in the middle of the inflammation, activates T-lymphocytes, stimulates the production of interferon. It has bactericidal, fungicidal and anti-Russian dominance (including the growth of staphylococci and others), may have corticozoa-like dominance (promoting adaptive capacity of the organism). Echinacea extract is active against staphylococcus, streptococcus, herpes virus, thrush fungus. Zastosovuєtsya with skin bacterial infections, allergic dermatosis - psoriasis, eczema, dermatitis, acne visips, for cleansing and curing wounds, virazok, opikiv.
• Calendula extract to retaliate against bitter speech, mucus (2.5%), organic acids (malic and salicylic), essential oil, beta-carotene, vitamin C, flavonoids, bioflavonoids, saponins, tannins of speech, resin (over 3%), inulin. Vin may be protizapal, bactericidal (especially for staphylococci and streptococci), antifungal, wound healing, astringent, tissue regeneration spray. In cosmetology, wines zastosovuetsya as an effective healing and tonic zasіb for dry and dry skin, with pimples, aggravated by purulent infection. It is recommended for treatment of wounds, slaughter, purulent inflammation, furunculosis, for the prevention of scarring, which are formed, for closed wounds, for skin visips, lichen, swelling, frostbite, for inflamed veins of the legs, etc.
• immortelle extract avenge ethereal oliya, flavonoids, ascorbic acid, vitamin K, herbs and tannins and other. Vin may have a biologically active effect, may have an anti-inflammatory and antibacterial effect, calm the skin.
• St. John's wort extract rich in essential oils (azulene, choline), flavonoids (isoquercetin, rutin, quercetin), phytoncides, hot extractive speeches, vitamin C and carotene. Vіn maє high antibacterial activity of Staphylococcus aureus and Gram-positive microflora. Zastosovuєtsya with purulent-flammable infections of the skin.
• Oliya dormouse, It should contain up to 45% fat, 27% carbohydrates, 13-20% protein speech, chlorogenic acid, speech tannins, carotenoids, phospholipids, citric and tartaric acids, epithelial wound spray. It was established yogo bacteriostatic diyu against golden and white staphylococcus aureus.
• Phospholipides. The special role of balms is given to phospholipids. The stinks are delivered to the deep balls of the skin of fat, water-resistance biologically active speech, which enters the warehouse of the balm, protecting it from the sun. To ensure stepwise penetration of active speeches at the shkir. Phospholipids prolong the activity of other active balsams, restore disorders of the exchange of speech and the protection of the functions of the tongue.
• Bisabolol- it is one of the most active components of chamomile oil. Vіn znіmaє inflamed skin that, suvayuchi razdratuvannya, calm down, stimulate the process of regeneration clitin. Alantoin heals and softens the skin, stimulates the process of healing the wound and renewing the skin of the epidermis.
• Morkvyana Oliya- one of the best oils for shkiri, which you can use. Illuminate the skin, protecting the look of early antiquity, as well as enhancing the function of sweat and sebaceous deposits. It is recommended to look after dry skin, to peel and puff, with various teasing, as well as for opiates, psoriasis and eczema. Rich in vitamins A and E.
• Vitamin E (tocopheryl acetate)- An anti-oxidant. Vіn zmіtsnyuє membranes clitin, uplifting old shkіri, stimulating shkіrne breath and blood flow, allowing it to live the shkіra, znimaє zapalennya that teasing.
• Vitamin A (retinyl palmitate), Being tavering Antioxidant, Uppsilniaє Starnnya Shkіry, Normalіzu Synthesis Kolagenu, Spring Regenerationsії Klіtin, Приздись пружні скірика то регоблює дрибні сморщися, TA TA ONE SKIRY SKIRY, PIVYSKU SKRIRNYY IMUNITE TA STABILIZUZUєSUKI.

Dia:

• swiftly knowing the burning, reddening and reddening of the shkir
• severe skin disease (eczema, dermatitis, psoriasis etc.)
• maє vіdluschuvalnu dіyu, reshkodzhaє roughening shkіri.
• boosts tissue immunity, stimulates collagen uptake
• may be anti-allergic
• zmіtsnyuє shkіru, vіdnovlyuyuchi її structure
• enliven, help me to live a dry skin, improve the exchange of speech
• protects the skin from the influx of ultraviolet changes.

Galuzy zastosuvannya:

• dry, sensitive, ruffled, scorched, that blackened skin
• termіchnі opіki skіri І-ІІ stage
• prevention and treatment of sleepy eyes
• trophic virazki, psoriasis, eczema, vitiligo, felon, abscesses, dermatitis
• vugry vulgaris, herpes, sinci
• stretching of the ligaments of the joints, arthritis and arthrosis, neuritis and neuralgia
• go for a massage

Way to zastosuvannya:
Apply a few times a day on the fences of the dilyanka shkir to clinical polishing

Active components:
Tea tree oliya, geranium oliya, ogar grass oliya, soy glycine, extracts: tricolor violets, echinacea, calendula, immortelle, st. carrot oliya, allantoin, vitamin E, citric acid, ascorbic acid.

Venice has a museum of less than one brilliant artist, who was born and died in every place. Tse Jacopo Robusti, on the prize of Tintoretto (1519-1594). Vіn navchavsya at the famous Titian's master, and at 20 years he has already become an independent artist.

1. Tintoretto’s own name has been sung for a while in Scuola Grande di San Rocco, having worked for 23 years, having completed 60 canvases after 60 paintings with episodes from the Old and New Testaments. Vіdomy his bezryslivistyu, vіn vykonav grandiose cycle odnosіbno for a worthless fee - a share rent from 100 ducats.

2. Prior to that, Tintoretto had already glorified himself with numerous masterpieces, among them there was a picture of the images of San Rocco, which exulted in the plague, which is found in the church of San Rocco on the same square in the San Polo district. Axis on qiu square, where there are two budіvlі s canvases of Tintoretto, I dreamed of drinking and, obviously, look at the paintings of Tintoretto.

It's amazing, but far away ...

Holy Roch at the liquorice, 1549. Canvas, oliya. 307 x 673 cm, Church of St. Roch, Venice.

3. At once, Venice will be cast like a beautiful dream to that, moreover, to the one who had mercy on the weather, wanting to get ahead of Piran’s blows, far away to create a planned meta. І in one day not only ride on all types of water transport, gondola, but also visit Scuola San Rocco.

4. There is no doubt that we will spend an hour on the її vіdvіduvannya and we will immediately see there, without getting lost in the narrow streets of Venice, obviously, there was no ...

5. Otzhe, vіdpochivshi at the best mist zustrіch Il Caffé, having tasted the best ice cream in Il Doge and I'll cut the pizza navinos Al Volo, we dosit shvidko vyishli for vkazіvniki at our place.

Let's talk about those who are the Scuoli (Schools) of Venice.
In the other half of the 13th century, in central Italy, impersonal brotherhoods of the laity appeared, uniting in the name of Christ, the Mother of God, the patron saint for preaching religion and mutual assistance. In Venice, similar brotherhoods had Schools. Their members lay down to the bourgeois versions of the population, so I would not become a patrician, but simply a bulk, as if living near the city, they were engaged in various crafts and professions. In rich fortunes there were people who had great financial opportunities, and were excluded from the oligarchic system of the Republic. The protestors could play a prestigious role in the Venetian society. The nobles could also stay with the brotherhood, but it would be impossible to occupy the ranks and plant them.

6. Before the fall of the Republic, schools played a significant role in the religious life of the community and in support of the townspeople. Tse bula nadanny system social assistance impossible, more than a few members of the society, that buv - to the entire population.

7. At the beginning of the 15th century, Venice had a few types of Shkil: arts and crafts, for nationality, for religion. Podіbniy pіdrozdіl buv official confirmation in 1467 roci.
Among the Schools of Religious Direction, the Beats were seen, as if they practiced self-flagellation among everyone on the street, as an act of directing sins. The Beatih association began to play a dominant role and turned into the Great School, which, for example, in the 16th century, became six.

8. The School of San Rocco - St. Roch, the patron saint of the sick for the plague, who, dedicating his life to the glee of the Germans, was established in 1478 as the School of the religious community of Bitikh. After the immeasurable fortunes, for example, the capital called in the area of ​​Frara its first independent place of rebuking: there was little wake of the right-hander from the church, from the house like Shkoletta.

11. The Church was roused to the honor of St. Roch, which is the order of St. Mark, the patron saint of Venice. At the church dosі z 1485 the remains of St. Roch rest, like miraculously stooped at Venice, just like the relics of St. Mark.

12. The project of the life of the church cheruvav architect Bartolomeo Bon. Budіvnytstvo thrived from 1489 to 1508. The facade of the church is in the Baroque style, decorated with sculptures by the architect Maccaruzzi, it was produced in 1760.

13. Shoroku on the 16th of the sickle, having paid a visit to the church, and prayed with a call to the saint, so that he would protect the place from the plague. At the same time, the tradition is played among the schoolchildren theatrical performance. The church has a sprig of paintings by Tintoretto.

18. During the 16th century, the School became the richest brotherhood in Venice. Until 1515, the union had over 500 members, so a decision was made about the creation of a new great life. Zvedennya Scuola began the same fate for the project of Bortolomeo Bona. Budіvnitstvo was carried on with great scope and stretched for thirty years. Bud_vlya bula was still mined from 1549 roci, and the project was already completed by another Italian architect, Antonio del Scarpagno.
In 1789, the school was elevated by the pontiff Piem VI to the rank of arch-brotherhood and dossi є one of the most ancient Great Schools, which survived the fall of the republic. Reshta Shkoli was dissolved following the decree of Napoleon in 1806, but the Shkola decree was bypassed, wanting to spend part of its wealth. Tim is not less, he was redundant and dosі znahoditsya in її volodіnі budіvlі of the School itself, the church that Shkoletti. The main wake on the square is, obviously, Scuola: there is a lion hand in front of the facade of the church.

19. There is a brotherhood of over three hundred people and women, who are not less active in charitable deeds, and then they are engaged in their significant artistic work. The school is a unique art gallery of the masters of the early Renaissance, there is a sprinkling of painted bays and a great selection of rare paintings.

In 1564, there was a competition for painting walls and steles, from which they took the fate of the best Italian painters of that hour. Not without cunning, Jacopo Tintoretto won: deputy sketch of wines, presenting to the jury a ready-made work - the fresco "Saint Roch". In addition, standing on the painting, the darchy wrote "St. Roch by Jacopo Tintoretto", and, having protected the statutes of Scuola San Rocco, the brotherhood was embarrassed by the work of the guilty painting.

Hall of the first on top. Sala terrena. The scuola is formed from the lower and upper surfaces, as well as the bay of Albergo. Henry James wrote: "It is unlikely that we know in the other world that there are chotiri walls, in which the strokes of genius have been invested. The flooring of these canvases is thicker, it is important to go wild."
And it’s true, the concentration of masterpieces in the name is great, and the impression of the whole museum is just plain stupid ...

20. It is important that Tintoretto's robots are marveling 54 in order, to whom it was written, tobto. go through the pictures on the first version, and on the other version go back to the Albergo Bay. But I still want to show you today’s beautiful and calm hall on top with a cycle of paintings dedicated to the Mother of God and written in 1582-1587.

21. Vivtar decorates the statue of St. Roch with the roboti Gerolamo Campagna on the cob of the XVI century.

22. Saint Roch was born in Montpellier in 1295 to a noble family. After a short medical training, I was inspired by my wealth, and at the age of 20 years I went to Italy as a pilgrim, zupinyayuchis, to help us suffer from the plague in the places of Italy, and in P'yachenets I myself fell ill. Rocco performed a miraculous rite of healing, helping you with a dog, bringing you bread from the forest.
If I turned back to Montpellier, I didn’t recognize it, the shards of wine changed greatly. Roh bu v_dpravleny v'yaznitsyu, de died in 1327 vіtsі 32 rokіv. Yomu's feats and merit brought him a negaine shanuvanna in France, and vіn bv vyznanie zahisnik vіd chumi, yak expanded at that hour throughout all of Europe. Roch was especially frivolous at Venice, the plague was often fierce, and in 1485 his relics were transported to Venice and placed in the church in 1520. After the great plague of 1576, the fate of the city became the patron saint of the place, and the church became a place of pilgrimage. Roch buv deafening is holy, and day 16 sickle of confessions is the day of St. Roch.

28. On the left wall you can see the paintings "Adoration of the Magi" and "Escape to Egypt".

29. On the left wall - "They are not beaten".

A cycle of 8 paintings on the first version depicts the Mother of God and the childhood of Christ. The cycle begins with the miraculous "Blessings" and ends with the painting "Assumption of the Mother of God". The painting of the first on top of the bulo viconano was in 1583-1587, if Tintoretto was already over 60.

Annunciation

Adoration of the Magi

Travel to Egypt

They don't beat you

Circumcision

Ascension of Mary

The paintings "Mary Magdalene" and "Mary of Egypt" exude a special serenity, the landscape in these paintings is the most important part of the composition.

St. Mary of Egypt. Mary Magdalene

All photographs of the paintings are posted on the official website of the Scuola di San Rocco
Dzherelo Information: Scuola di San Rocco Avenue,

In the place of miracles and the dazzling works of art, you will not be able to see the floorings brighter and stronger than the damage, as if managing the name cycle of 54 paintings by Tintoretto robots, placed on the walls of Scuola San Rocco.

History

From dirt to riches. Tsia Scuola Grande di San Rocco, as if it was a good pledge for the sick, was founded in 1478. to the glory of St. Roch, the saint, whose power against ailments made him popular with the plague-infected Venice.

In 1564, scuola, having become one of the richest brotherhoods of the city, ruled the competition for the right to embellish the walls of their lives. Vіn buv vigrani Tіntoretto, which vitrativ potіm nearly 23 years on the creation of the pictorial cycle, becoming one of the largest in Europe.

Scuola San Rocco in the middle

Miracles are in the middle. Sobachit 54 robots of Tintoretto in the order in which they were written, go through the paintings on the first version and in the main hall (Sala Grande) on the other.

We should go near the Albergo Hall (Sala dell’Albergo), roaming the side of the main hall, de more generously occupying the majesty of the Rose (1565), we often talk about yak, like about one of the largest Italian paintings.

The central stele panel of the hall is occupied mural "Holy Roch at Glory" zavdyaki yakіy Tіntoretto otrimav tse zamovlennya.

At the main hall you can make stele paintings (1575-1581) from the images of episodes from the Old Testament, respectfully chosen, to draw parallels with Scuoli's benevolent or jubilant method. Ten paintings on the walls show scenes from the New Testament.

To give respect to the miracle of carving on wood of the XVII century. vzdovzh stan, vikonan the little sculptor Francesco Pianta. Three of the eight paintings on the first version, the rest, written by the artist for scuola (1583-1588), are the best of their own “Blessing” and “Escape to Egypt”.

"Rose"

The famous canvas of the Tintoretto school of robots "Rozp'yatya".

In this picture, the Rose of Christ and the impersonal people, which will make the sufferer feel lost. Among them are different people. Є holy faith and suffering, and є і just cіkavі.

In this picture, all sides of the person are taken, they are shown so clearly, that in the eyes of the robot and for a long time it does not dare to break.

Wooden sculptures

The specialty that worked in the main hall of the scuoli was the sculptor and woodcarver Francesco P'yanta, who, having created a cycle of allegorical wooden statues, the meaning of which hangs in the light of the greatness of mystic scientists.

Ale, respectfully living your post, it’s impossible not to remember that the stink of the hoarse spirit of the trivi- mic illustration of the ancient alchemy tradition, as if you were thinking about the spiritually perfected people.

"Blessing"

The final cycle of 8 paintings on the first version tells about the Mother of God and the childhood of Christ.

The cycle revolves around the "Blessed", on which Mary is depicted as a peasant girl with rough hands and that miraculous figure.

"Moses, who draws water from the rocks" and "Manna from heaven"

There are 21 paintings on the stele with scenes from the Old Testament. Three great canvases on the stele: “Moses, who hangs water from the rocks”, “Midny serpent” and “Manna from heaven” give me scuoli - relief of the needs of the suffering and the hungry.

Moses, who draws water from the rocks

Some of the stele paintings are by Giuseppe Angeli. On the walls - 12 paintings from biblical scenes.

Manna from heaven

"The Peace of Christ" and "Adoration of the Shepherds"

Two most powerful robots - "Christ's Spokus", depicting the young Satan, who pronounces two loaves of bread to Christ, and "Adoration of the shepherds", miraculously accurately conveyed the awe of the shepherds, like bringing their modest gifts to Mary and not.

Video

In order to get lost in Tintoretto's creativity and indulge in all the beauty of Scuoli, it is recommended to marvel a little for an hour, and a little more for a clear video.

Budivlya Great Scuoli San Rocco(Scuola Grande di San Rocco), insanely, from a glance of architecture, that opulence was best preserved from the future of the Great Venetian Scuols (Brotherhoods), as if together with the small Brotherhoods, by stretching the wealth of the capital, to become a great measure of beneficent communities of religious directness, we are ill, and also for the protection of the interests of the other professional guilds, or support of the weakest members of the congregations, who require members from other regions that live near Venice.

Scuola, what to wear im'ya Saint Roch of Montpellier, who died at Piachentsi in 1327, whose relics, zgidno with orders, were transported to Venice in 1485, was officially recognized by the Rada of Ten in 1478. and put aside for the help of sick people, especially those who suffered from plague epidemics.

On the back of the head, it rose in the Church of San Giuliano, and later, after a low rise, moved beyond the apse of the Church of Santa Maria Gloriosa de Frari. Here, at the turn of the 15th and 16th centuries, vinikla scoletta(Scoletta) - the wake of brotherhood, as well as Church of San Rocco(Chiesa di San Rocco), sponsored by the head architect of the Cathedral of San Marco, Bartolomeo Bona.

The facade of the building was reconstructed in 1765-1771. architect Maccaruzzi. Necrobrika Pisil, Zab_lChini, Zbіlshenimi Econichnoye Mozdianos, Sun sacrivered by Parafianyan Church, Zroblenі Zabama Shanovano Relіkvії Holy Roch and Miraculous Sobrechnya "Christ, Shah Neste Horst", Yaki was attributed to Kisti Georgeon Abo Titzіan, the Treasury of Skilli attached a risman about Budіvnitney from the most famous and most private architectural ensembles in Venice, Campo di San Rocco square.

Budіvnitstvo grandiose life on the contrary, Scoletta's appointment was rozpochaty in 1517 for the project of Bartolomeo Bona, which was especially cherubed by robots until 1524. After Bona, who had a venerable relationship with his lieutenants, robotically choked Sante Lombardo. After the time of the hour, the work was done at 1526 roci, the life was continued through the river and the village was completed until 1549 by the church of Antonio Abbondi, more by the father of the Skarpan'ino. The final works from the work of the life were carried out until 1560 under the supervision of GianGiacomo dei Grigi.

Significant controversy is not a whole thing in the eyes of architecture, which is framed by trivial terms of everyday life in the wake of baked super-shots, which were blamed between contract workers and deputy directors. The plan of the façade and the lower order of the facade and the side portico with great windows-befores, designed by Bratolomeo Bon, reflects the main tendencies of the Venetian architecture of the XIV century - the beginning of the XV century.

Facade of the Great Scuoli San Rocco near Venice (levoruch).
Rear facade of the Great Scuoli San Rocco near Venice (right-handed).

The lower tier will be according to the plan of the architect Scarpania, but it will be connected with the upper one behind the additional columns, which will serve as a decorative function, which is typical for the Cinquecento, as well as pilasters, stitched between the double veins, crowning, partly trikutny pediments everything was not brought to its logical conclusion.

After the completion of all weekly work at 1560 roci Jacopo Tintoretto proceeding to the majestic decoration of the bays, over which the wines worked right up to 1588, the rock and yak rise to miraculous masterpieces of painting of all hours.

From 1564 to 1567, 27 canvases were painted, which embellish the plafonds and walls of the Albergo Hall, where members of the Treasury and Dzonti, the elected administration of the Brotherhood, were selected. From 1576 to 1681, 25 plafonds and wall paintings were created for the Hall of Superiore, in 1582-1587. - Vіsіm canvases of the Terrena Hall, painted in 1587. we will see the statue of robot Girolamo Campagna. In 1588, a canvas for the vіvtarnaya niche was laid, and two statues, vikonan Giorolamo Campagna, were installed on the sides of it. The very same vіvtar buv zvedeniy at Zalі Superiori rock earlier.

Bud_vlya Velyka Scuoli of the brotherhood of St. Roch near Venice (levoruch).
Piazza Campo San Rocco and Church of San Rocco (right-handed).

The decorative design of Scuoli, the scales allowed for the harder and more organic art of Jacopo Tintoretto, which was carried out at the next century. In 1656, Antonio Zanchi created a great bachelorette composition on the canvas for the right wall of the parade gatherings in honor of the end of the plague epidemic of 1630, and in 1673 P'etro Negri created a composition on the opposite wall.

In the other half of the 17th century, to decorate the walls of the Hall of Superiore, on the contrary, a series of twelve sculptural cariatids by the robots of Francesco P'yanti the Younger, inspired by the original baroque style, was installed.

The sculptor himself explains the allegorical meaning of the cariatids in the cartouche, which imitates the parchment suviy at the hand of Mercury, the statue of which is known to be right-handed from the exits. Step two sculptures, ruffled closer to the day, a caricature of Jacopo Tintoretto and a self-portrait of the sculptor himself at the moment when he takes off his mask.

Then, like the XVII century, Girolamo Pellegrini frescoed the dome of the vestibule of the descents, and 24 wooden reliefs with episodes from the life of St. The stench embellishes the walls of the presbytery of the Hall Superiore, the entrance to which is closed with bronze gates, which were appointed in 1756 for the project of Giuseppe Filiberti.

Go to the top on top of the Scuoli San Rocco (levoruch).
Great Departure Scuoli San Rocco, architect A.Scarpagno (right-handed).

1754 dated to the rock is a picturesque work by Giuseppe Angeli, included in the lintel framed by the plafond of the Chancellery, Viconan Caprofaro Mazzetti Tencolla. The remaining significant works in Scuoli can be seen until 1885/90, if it was restored under the auspices of the Superiore Hall for the project of P'etro Saccardo.

Immediately after the end of the period of the Republic, Scuola, as at that time was enriched by the robots of Titian, Strozzi and Tiepolo, was included in the Napoleonic lists of wake-up calls, which are closed, which could have caused the loss of a prominent architectural part of the church’s edifice. Luckily, the paintings were not looted, and without a hitch they were handed over to the expert head organ, and the monumental complex itself was reopened in 1806.

The caretakers of the Brotherhood spent the whole hour taking care of the food of the majestic pilgrimage of Jacopo Tintoretto.

Dati deyakh restoration work installed exactly, including the results of the archives (P. Rossi, the activity of Domenico Tintoretto, Sante P'yatti and Giuseppe Angeli for Scuoli San Rocco, at the "Venetian Art", 1977): Domenico Tintoretto in 1602 "; Angelo Vidali in 1673 roci (paintings of the Albergo Hall), in 1674 roci (“Proliferation of bread and ribs”, “Christ's Spokus”) and in 1678 roci (“The Presentation of the Madonna”); Lelio Bonetti in 1696 ("The Sheep's Cup"); Gaetano Zompini before 1672 (paintings by Zali Albergo).

Beginning in 1777, the artist Giuseppe Angeli, after being recognized in 1770 as the restorer of the Scuoli Numerical Paintings, worked on the restoration of the plafond painting of the Hall Superiore. Repeating the original little one, renewing the vins, among them the olive, viconated with the tempera of the light domineering Tintoretto of a rhomboid form. The rest of the restoration robots, about the exact information, come in, live by Florian in 1834 (“The Presentation of the Madonna”).

Tovstі Пізні инрумувня Farbi, Iddshavannya І, especially, Vіdshavannya Originalnye Cloths Vіd Pilmennikіv із із икуновый подекоевева Keeping Static Farbi, Viklikalikali Rockіt Conducted by Narikіntsі 60-Rokiv Robіt with Polikіsphennya Introduction Castle T_NTORETTO, CRIM Floor painting Hall Albergo R).

Restoration work was carried out in the period between 1969 and 1974 at the beginning of the financial year, given by the chief rank of the Charitable Edgard J. Kaufman Foundation of Pittsburgh, for the mediation of the American Venice Committee of the International Foundation for the Protection of Memorials of Venice, which helped

In the course of the restoration work, as with greater merit, they marked the reading of Tintoretto's masterpieces, it was possible to stitch those, like an artist, getting ready to work with farbs, a handful of hand-painted different plots without a middle on the canvas. In these great designs of many compositions, visible, among them, in the photographs in infrared exchanges, the positions of people are painted naked, as in most of the innumerable little ones we know, they are signed by Tintoretto.

Plafond "Holy Roch at Glory" by Jacopo Tintoretto at Scuoli San Rocco (levoruch).
The painting “Prayer for the Chalice” by Jacopo Tintoretto in infrared exchanges (right-handed).

Those that the artist volіv fixes all his ideas without looking at the graphic scribbles on the canvas, explained his way of working, and at the same time even more often the front scribbles of his compositions on the paper.

Under the hour of the restoration work, it was also revealed, the shards darkened yogo farbi. robit hourly, the result is a decrease in the power of certain pigments and a change in the color characteristics. Zokrema, the black color changed into lead-syria, green - into brown, red - into pale erysipelas, yellow - into red-violet, crying out, in such a rite, irreversible creation of color, yaki, from one side, helped to reduce the sharpness of the coloristic solution , moreover, they highlighted the intensity of light effects, a couple of thoughts as a dramatic accent in the interior, especially the Hall Superiore.

Regardless of the natural change of the quality of artistic creations, it is necessary to protect Jacopo Tintoretto in the Scuola San Rocco when assessing the picturesque works, stench is one of the main stages of the creative path of the great Venetian master and the masterpieces of European painting of the 16th century.

The Life and Creativity of Jacopo Tintoretto

Jacopo Robusti, nicknames Tintoretto the founders of the profession of yogo father Giovanni Battista, a seamstress of seam fabrics, was born near Venice in 1519, as a testament to his death, dated 31 May 1594, died in 1594 in 1594, and died in the seventy-five years of his life.

Near the year 1550, they are friends with Faustina Bishop, daughter of Marco, Grand Prior of Scuoli San Marco in 1547, as for the new, Crimean children, the future painters Marietta (1554 r.n.), Domeniko (1560 r.n. ). ) and Marco (1561 r.n.), who also actively worked in the master’s batka.

Considering the historical records, Jacopo Tintoretto was surprised by his small stature and rather proud and pedantic character. As the documentary tells of 1539, Tintoretto was already an independent master at the same time for twenty years.

Rocky the rise of yoga mastery we slept with this period, if the artistic life of Venice recognized profound changes, calling out a strong infusion of mannerism. The stench penetrated the Venetian painting at the result of more expensive artists at the center of the new Roman, Tuscan, and European schools of art, which vindicated the influx of creativity of Raphael and Michelangelo; ridges of wide estamps and small majstrіv tsikh shkіl near the Veneto region; zavdyaki perebuvannya at Venice Tuscan artists, among them boules Jacopo Sansovino, Francesco Salviat, Giuseppe Porta and Giorgio Vasari.

Jacopo Tintoretto "Self-portrait" (levoruch). Portrait of Jacopo Tintoretto (right-handed).

In the first robots of Tintoretto, which, zgіdno with documentary dzherel, stretched out for a short period of time Titian's master, the atmosphere is strongly discerned, and especially the influx of the unmistakable wineiness of Bonifacio Veronese and Schiavone, the refined elegance of Paris Bordone, the plasticity of lightness of Pordenone, the masterful life of sculpture, Michichelangelo

Unique Mova Tintoretto reaches adulthood and firstly he declares to himself in the painting “The Last Supper”, the victoria in 1547 for the church of San Marquola, and in the canvas “The Miracle of St. Mark”, written in 1548 for Scuoli and dedicated to the one-named Saint, as if they were rebuying at the Gallery of the Academy.

In these canvases, deeds are already visible characteristic rice yoga style: tight folding dynamics of perspective-spacious motives; hand-held brushstroke; accentuation of plastic forms and contrasting light; strimana mіts gestures and poses; emotional influx of local colorful flames and gradation of cold tones.

At the transmission of action, de without a middle and a rich voice, the apology is negligently groaning all over the eye, more and more dominance is growing light against the miraculous tones of Titian's painting.

Light Tintoretto’s painting has played an important role even later, if on the cob of the sixth decade in a series of masterpieces, in the middle of the “History of the Journey” (1550-53 pp.) from the Scuoli della Trinita (Brotherhood of the Trinity), which the last ones are in the Gallery of the Academy, “Academy” Museum of the History of Mystics, doors, organ of the Venetian church Madonna del Orto.

Jacopo Tintoretto "Self-portrait" (levoruch).
Portrait-caricature of Jacopo Tintoretto, by F. P'yanta the Younger (right-handed).

In addition, as the popularity of Paolo Veronese's radiant painting grows rapidly, the tension of Tintoretto's paintings weakens, transforming into more calm rhythms, figurative intonations and a greater alloy of light tones.

But soon, at the turn of the sixth and seventh decade of the Cinquecento, on the doors of the organ with images of the Evangelists (1557) and in the painting of the Church of Santa Maria del Giglio near Venice, at the “St. George and Princess” from the London National Gallery in "Sheep Font" from the Church of San Rocco (1559) fantastic awakening, in which the Daedalus shows more dramatic power of light - an element that enhances the significance of the color of that little one.

Zavdyaki zasnovanіy on svіtlovih contrasts vnutrіshnoї napruzhenostі pochuttіv i forms, yak i ranіshe perebuvayuchi beyond whether yakoї akademіchnoї umovnostі, Tіntoretto traktuє velichnі relіgіynі that those svіtskі Square od іnshih venetsіanskih maystrіv Druha half Cinquecento: Tіtsіana, Paolo Veronese that Jacopo Bass.

As in the front canvases of the Palace of Dozhiv, there may be a commemorative infusion of maisterna, then in works on those sacred stories, as if they are written on their own, such as “The Hat at the Cana of Galilee” from the sacristy of the Church of Santa Maria della Salute (1561), “ Nabutya Khresta" from the Church of Santa Maria Mater Domini, new canvases by Scuoli San Marco (1562-66), the middle ones "Nubtya relics of St. The Last Judgment" (1562-65 pp.) from the church of Madonna del Orto, Tintoretto for help, strimko roared in vzaєmodії svіtla and іnі іnі access to the rich-voiced dynamic greatness of the stage idea, permeated with existential praises, to the same extent, within the framework of the new church with profoundly religious poetic clarity in the її accessible clearness of reason.

In this rank, the artist conveys unimaginable paintings by Scuoli San Rocco, rozpochati in 1564, in some wines in their own manner, they demonstrate their unstoppable strength

On March 24, 1546, a decision was made to put on the Grand Prior Scuoli San Rocco a renewal of food decorative wall decoration Halls of Albergo, as if next to embellish with “paintings, then canvases from the images of the articles, how to get the best, then, how to recommend it lightly, and otherwise with paintings ...”.

Decree bula viskonano, and for a little rokіv pіznіshe, on 21st of spring 1553, Titian Vecelli zaproponuvav viskonat large picture for the wall, rostashovanoї behind the seats of members of the Treasury. However, the proposition, although it was adopted unanimously, was lost without success. Only on September 3, 1557, a decision was made to take care of the design of the Hall, on which it was punished by the public to see two ducats from Scuoli's contributions.

However, it happened to be reported on May 22, 1564, so that the decision caused specific problems, if thirty seven employees of the Treasury and Zombies of the goiter were to take on stained glass for payment for the first great picture for the central part of the plafond. It is noteworthy that at the beginning of the meeting, Zanі de Zіnionі would be ready to pay fifteen ducats for those that the robot was not entrusted to Jacopo Tintoretto.

But Tintoretto himself easily secured a supportive commission, presenting the completed oval panel of the central ceiling with images of "St.

Competition Scuoli's stoneworkers at the meeting on January 31, 1564, and in the new year, with the help of Ridolf (1648), took part in the deeds of the greatest recognition that actively practicing in Venice artists: Andrea Schiavoni, Federo Schiavoni, Federo Sciavoni, Federo Sciavoni, Giuseta Sciavoni, Giuseta Sciavoni, Giuseta Sciavoni, Giuseta Sciavino

Having issued commissions on 22 chervnya 1564 free of charge, but not without debate, the oval panel “Holy Roch in Glory”, Tintoretto in the fall of the same fate, without paying, having completed the construction of the stele, the robot over the wooden details of such, was painted 22 limes, 22 Zhovtnya has not yet been completed.

In 1565 roci, if the Grand Prior bv Girolamo Rota, Titoretto bv acceptance to fraternity membership, having taken up the work again and completed the grandiose canvas “Rozp'yattya”, as if they were placed in that part of the Hall, for which Titian, in 1553, they prepared their own version of the pictorial design.

On the advent of fate, on the 31st of Birch, the stoneworkers of Scuoli completed the work on the walls of the Albergo Hall, having Tintoretto put three more canvases on the Passion of Christ. Tintoretto occupied his vicons for the whole of 1556 and the first months of 1567; (R. Pallukini-P. Rossi, "Tintoretto - Religious and worldly creation", Milan, 1982).

In this rank, less than two rocky Tintoretto completed art by Zali Albergo in RUSLІ CREATSKY SERIMLIN І NETWORKE OF Bільшої истраний иминивів, dripping the invalidity of the І Single project at San Rocco, I bouw embodies of the value of Vіdrizok Zhittya Mastera і і і і и и и и водины ной Гойна, Yoy Mussettva, Mesomsteed for Togo the figurative fantasies of the artist, the lack of in-betweenness and hostility, which she herself inspires herself and inspires others.

In order to better prostrate for the evolution of Jacopo Tintoretto's pictorial manner in the period of his work from 1574 to 1587 at the Great Scuola of San Rocco, it is recommended to look at the paintings of the Albergo Hall (1564-1567 pp.), then go to the Hall Superiori 8 (15 p7 -15. ), and then go down to Terrena Hall (1582-1587).

Albergo Hall

Holy Roch in Glory

Allegories of the hours of fate. Spring

Allegories of the hours of fate. Summer

Allegories of the hours of fate. Autumn

Allegories of the hours of fate. Winter

Alegory Scuoli of San Giovanni Evangelista

Alegoriya Scuoli Mіserikordia

Alegoriya Scuoli San Marco

Alegories of Virtue. truth

Alegoriya Scuoli San Teodoro

Alegories of Virtue. Vira

Zhіnocha figure

Alegories of Virtue. happy

Zhіnocha figure

Alegories of Virtue. Kindness

Alegory Scuoli della Carita

Alegories of Virtue. generosity

Descent to Calvary

Crowning with a crown of thorns

Christ before Pilate

Rozp'yatta

Holy Roch in Glory

The great oval plafond at the center of the stele richly trimmed with gilded carvings is the same canvas "Holy Roch at Glory", like, according to the records of Giorgio Vasari in 1568, we will base on exact data, taking away the first hour of rebuking at Venice in 1566, Tintoretto placed 22 worms in the center of the stele of the Hall of Albergo in 1564, not representing the Chancellery in front, mind the competition, stunned on May 31, 1564, and in which the fate of Giuseppe Salviat, Paolo Veronese, Federico Zuccat and Andrea Schiavone took part.

Viyshlo, that Tintoretto caught a friend like a deputy, and his competitors, at the same time calling a galas at the mystetsky stakes of Venice and a fury at the Scuoli’s cerivniki. Kerіvnitstva Skuoli, overwhelmed by the artist’s praise, who “was less asked for sketches, and didn’t entrust the design”, Tintoretto, as if Vasari, “revealing that this is the same method of painting, that in a different way it’s not possible, and that the contours of that model if you do your duty, be such that you don’t introduce anyone into Oman, and if, nareshti, you don’t want to pay him for a painting, and for work, you can donate wine. I, having said that, without regard for those who super-girls were trying, having worked so hard that the picture should be known in that very place.

On 22 chervnya 1564 the act is dated free transfer paintings by Tintoretto Scuole, and on the 29th of the black Brotherhood is issuing another act, which will annul the competition.

oval plafond Zali Albergo demonstrating the mastery of Tintoretto in pobudovі compositions, already practiced in numerical analogous works. The artist from the authoritative yoma, the creator of mіtsyu, and I will be addicted to vicorist, merciful acceptance of the image of the figures of St. Roch, the Lord God and the Angels in perspective from the bottom of the hill.

The figure of the Lord God is especially straightened down with its tight structural plasticity, it can be indirectly, guessing the robots of Michelangelo, as if respecting Schultz (“Venetian plafond painting of the Renaissance”, Berkeley-Los Angeles, 1968), .

Hoca Tіntoretto i do not vіdmovlyaєtsya od vlastivih Yomou rіzkih rakursіv, prospects, susіdstva Contrast kolorіv, zlagodzhenoї palіtri Farben zіtkanoї of mіnlivih i vitonchenih vіdtіnkіv, vіn, zdaєtsya, pragne bring, scho Mauger zaproponuvati varіanti design, scho not postupayutsya svoєyu zhvavіstyu robots new svіtila hudozhnoї scene - Paolo Veronese.

Alegories of the Great Skuols, Virtue and Pori fate

Next to the central oval panel in a golden syavire of a thoughtfully thought out wooden frame, in luscious tints of decor, which so conjure up the "mannerist" Venetian plafonds of Giorgio Vasari (Palace Corner Spinelli, 1542), Giuseppe Salviati, 1548) and Paolo Veronese Sebastiano, 1555), Jacopo Tintoretto in 1564 twenty canvases of different roses, which depicts “Heads of the Way”, “Smite the Rock”, “Allegories of the Great Venetian Scuols”, “Dobrіbniki”, also transferred to Scuola free of charge, as if to remind De Tolnay (Interpretation of Tintoretto’s painting cycles in Scuola San Rocco, in “Hu, 1960), “improve the artistic program of the design of the Albergo Hall, starting from the moral and religious understanding (canvases of the allegory of Scuoli and Virtue) and ending with the podia of the universal scale.”

Jacopo Tintoretto "Spring" (left-handed) and "Leto" (right-handed), plafonds of the series "Alegories of Pori Rock".

Like and on the plafond of the Square Atrium of the Palace of Dozhiv, which was seen at once (1564-65 pp.) with the plafond of San Rocco, Tintoretto depicts chotiri pori roku at the sight of some figurines of the road, with an armchair insensibility, which were worn out in the midst of the tallness, characteristic of this time of year.

Jacopo Tintoretto "Autumn" (left-handed) and "Winter" (right-handed), plafonds of the series "Alegories of Pori Rock".

Numbers and others allegorical depiction of the Great Skuolsі Basic Virtue I have inflammatory poses of the І Zhaimnimi Ruhami Tіl Vіdverto, Manyuristsky Parking T_NTORETTO, specially logging on the cake of Eskіzakh, Yaki, becoming the bіlshіsti grafіchny robіt, Scho більсильлия, і і є nibільша и и и вомина повися souls of Mikeland. Tintoretto from other representatives of the Venetian art school.

AT "Alegories of Scuoli John the Evangelist" the eagle spread its wings in order from the figure of the saint, which looked back and looked in the middle at the reading. AT "Alegories of Scuoli Miserikordia" The Virgin Mary with a medallion on her breasts, on which the child of Jesus is depicted, stretches her arms forward, wrapping her brothers in her arms.

AT "Alegories of Scuoli San Marco" The Holy Grail "a violin to a friend" according to the appointment to Ivan the Evangelist and the same boredom in reading. In these three allegories, zavdyaki grі z іlusornyy perspective, they also stand in folding clothes and poses.

Allegorical figure "Truth" the torso of twists, and all parts of the body are given by stretched zests to the features of color and light cherry.

AT "Alegories of the Scuoli of San Teodoro", which is easily recognized for writing on the front sketch, which is saved in the Cabinet of the Little Girls of the Uffizi Gallery near Florence, the holy warrior forcibly fits into the malovnichesky oval, on the aphids of which one sees the shine of the light of chain mail on the spalakhas.

Gaze at "Viru", which is easily identified by the bowl in the right hand, we will bend our knees in “Patience” by Giorgio Vasari, on one of the plafonds of the Palace Corner Spinelli near Venice.

So far not exactly identified two female figures, which is on the sides of the type "Happiness". Having clasped hands in the gesture of a pious speech, the stench is not moving in the midst of the fog, blowing in the wind. Their white and gleaming red robes develop in vortex flows, accentuated by living and radiant changes of light.

Deliberately rhythmic їх poses significantly help the miraculous image created in the allegory "Happy", I’ll write at the front of the sketch, so I’ll take it in the Cabinet of the Little Girls of the Uffizi Gallery near Florence. Like a bent leg in the allegorical figure “Viri” tells about the painting by Vasari, the body is brought forward by a clean chord of dark green and intense erysipelas color.

Before the picture "Kindness" so is the frontal little one, which is found in the Cabinet of the Little Ones of the Uffizi Gallery near Florence, with an inscription that allows you to accurately identify the iconography of the allegory. The figure of the nibi steps back at the trusting piety, waving the edge of the oval of the leg, which lifts the great body.

Represented in a richly folded pose figure in "Alegoria Scuoli Santa Maria della Carita", lowly take two children to yourself, smoothly flow into gossip clothes, light and darkness. From the same angle, a woman’s figure is presented, ready to fly, with outstretched hands in a gesture of bowing, it was a good time to write "Alegory of Generosity".

In the plafond skin image, Tintoretto's unimaginative fantasy leaves its mark, which clearly fits into the decorative decoration, reminiscent of the spirit of life.

"Three Apples"- the whole fragment of the frieze with the coats of arms of the great scuols, embroidered between the figurines of the road with garlands of fruits and flowers, which illuminates the entire perimeter of the hall under the fifth arch of the wooden framing of the plafond. Fragment znaydeny zahovanim pid Chastain іnshogo frieze at restavratsіynih robots 1905 roku, demonstruє pobіzhnu i rіzku naporistіst smear Tіntoretto i іntensivnu yaskravіst Yogo palіtri, slit nedotorkanu polіhromієyu, slit not znebarvlenu vplivom Svitla, yak Tse became not tіlki bagatma Yogo webs Especially in Zalі Superіorі (Upper Hall).

The addictive Tintoretto cycle at Albergo Bay

Completing in 1565 p. "Rozp'yattya" (divine distance), Jacopo Tintoretto in 1566 took up other canvases to decorate the walls of the Albergo Hall, which depicts the main episodes of the Passion of Christ, the artist finished working on them in the first month of 1567.

The picture called out the most crowded "Christ before Pilate", while working on such a Tintoretto, it is possible, relying on one of the woodcuts of the cycle of Albrecht Dürer's Small passions, which is a reminder of the trivial slaughter of the artists-mannerists - in the Venetian rhyme of the word - the German graphics of the first half of the 16th century.

However, all the reminiscences of Tintoretto are forgotten in the theatrical dramatism of the production, which is created on the basis of a folding architectural score, which is created by the hand of light, the stagnation of deep shadows and napalauts with reflexes, tapas

Jacopo Tintoretto "Christ before Pilate" (levoruch).
Figure of Christ, a fragment of the painting by Jacopo Tintoretto Christ in front of Pilate (right-handed).

A thin change of light, scho to pass between the human natovp and the architectural budovaya, niby the sword of the host, the picture is cut post Christ at the white mantle. Whispering by a stream of bright light, Christ stands before the official hypocritical court of Pilate, depicted in a red robe and, at the beginning, drenched in a dungeon.

Remensively, repeating the theme of the King of the Carpaccio "Forgiven King of the Angles of the Ambassadors", Shah, enter the cycle of Istorії, Ursuli from one-to-one Skioi, Scho Ning Sbergue in Gallery Academії, Tіntoretto Bіli Pіdnіzhya Tron Pivitto Zaggzhuє Old Secretary, Strangno Stranded Prolisp appear at a public process in the midst of an intolerant whispering at the same time, which stubbornly vimages the death of Christ.

Without a hint of speech, the Evangelical scene, with marvelous uninterruptedness, conveys to the deep the idea of ​​the Holy Letter, depicting the goodness of the Sin of God, which does not care about the power of fear in its moral bondage to people.

Posilannya, similar to the Christian speech, laid the foundation for the painting “Christ before Pilate”, permeating and other creations of the Strassic cycle.

At the picture "Crowning with a Crown of Thorns", maisterno roztashovanoy like a tympanum above the door, do not fear the zbentezhennoy natovpu, characteristic of other scenes. Undaunted by the torment of the tormented flesh, Christ regally sits at the gatherings at the center of the composition, at that hour, like the figures of the Pilate and the embroidered in the foreground, the function of living lashtunks is right-handed and left-handed, framing this heavy picture and leading the look of a peep through the canvases.

At the strained light sweat, where the livoruch is coming, the farbies are sleeping and transforming: the red color of the robe of Pilat and the hired batting, as well as the mantle of Christ, sira steel chain mail with bright glints of light in the sight of swarms, muting the white color of the canvas in the flame of blood pathetically mournful appearances.

Hiring a killer, a fragment of Jacopo Tintoretto's painting "Crowning with a Crown of Thorns" (levoruch).
Jacopo Tintoretto "The Descent to Golgotha" (right-handed).

canvas scene "Going to Golgotha" vibuduvana under the warm hood and evoked in contrasts: the first part, the levoruch, zanuren in the thin shade, on the background of which one can see the local patches - white, erysipelatous, green, black, orange-yellow - the vestments of two roses and their sharpened; the other part of the process was seen with light on the aphids of the gray with erysipelas of the sky, it looks like a figure of a hired batting, which is high in the foreground against the light, with a veil of wind, wrapped around the neck of Christ. And the scene is overshadowed by a rich group of holy squads on a choli with a warrior, who trims the pale-rozhevu korogva, who masquerades in the wind.

At this other part, walk De Tolnay (1960, op. cit.) in the likeness of a “triumphal process”, in front of a strained dramatic spirit, which is to enter another plane of the human suffering of Christ, with an over-the-top intensity, transferred to this great, may be falling wooden cannon 'nogo. cross figure.

The biased cycle of Tintoretto for Zalia Albergo reaches its culmination among the artist's other prominent works in the picture "Rose" grandiose canvas that occupies the entire wall opposite the entrance to the hall.

From below, a lion hand, entrusted with the right foot of a white horse, roztasovaniya wrote with the date and signature: “M.D.LXV. /tempore. MAGNIFICI / DOMINI HIERONIMI / ROTAE, ET COLLEGARVM / JACOBUS TINCTORECJTVS FACEBAT".

The majestic canvas, for the 9th of June 1566 Tintoretto's rock was paid two hundred and fifty ducats, gained popularity among contemporary artists, which is confirmed not only by letters, but also by numerical engravings, first and naivіdomіsha z like bula karachhosti. fate for the life of Tintoretto. Engravings from paintings by Tintoretto inspired such great masters of European painting of the 17th century, such as Rubens and Van Dyck.

Before working on the canvas of Tintoretto, pidijshov іz the great distance, vykonavshi numerical preparatory babies, zokrema, apply sketches of human figures, which were saved, in the Cabinet of Little Girls of the Uffizi Gallery near Florence, in the Victoria and Albert Museum in London, in the Rotterdam Museum of Boijmans-van Beningen.

But it is especially noteworthy that the artist, right on the canvas, having already known in detail the entire compositional inspiration, that it was installed, if any, and the other robots of the master in Scuoli San Rocco, while duplicating the canvases for an hour of restoration work ("Venetian Art", 1976).

Christ on the Cross, a fragment of Jacopo Tintoretto's painting "Rozp'yatya" (levoruch).
A group of Christ's followers, a fragment of Jacopo Tintoretto's painting "Rozp'yatya" (right-handed).

Grandiose scene from impersonality diyovih osib vibudovana horizontally, її we will understand with a haircut є rose on the cross Christ, the figure of which is clearly visible on the aphids of leaden planks, hanging from its tragic self over a group of people, which shows the sadness of the day of the cross. The human natovp, scho to rush, breaking into groups, moving them apart with radial exchanges in the form of gatherings, motuzok and crosses of two robbers.

Here, the timbre brilliance of the farb is characteristic of “St. Roch in Glory” (div. earlier), in whose works the gra of light gives composition to the bottomless depth of expanse and perspective, seeing the strained plasticity of the group of leaders on the side of the view of the crucified Christ and the confusion of people living on the day rozp'yattya, more and more with swedish slacks lighted up the human yurba in the world of that, as it is seen from the proscenium, and the least weeping її in the depths of the bright, sharp lines, which mingle with the rare elements of the deserted landscape.

Mary Magdalene, a fragment of Jacopo Tintoretto's painting "Rozp'yatya" (levoruch).
The Mother of God, a fragment of Jacopo Tintoretto's painting "Rozp'yatya" (right-handed).

Under the rhythmic beats of yaskry and lively exchanges, a light palette of bright color chords, overflowing tones, now bright and warm, now pale and cold, which reach the climax in groups of Christ's followers, scho were stingy with a pіdnіzhzhya rozp'yattya, in yakіy you see a sprinkling of people who are sickened to twisted pain persons of Mary. Especially strong hostility profile of John the Evangelist, beasts uphill in a reverent reverence, and the head of a woman, disguised as one is not visible, that the sinisterness of the rest of the son of God is being smeared.

The color and light vibrate intensely at the miraculous staging from the spacious-light point of the staging. On the brightly illuminated yellow maidan, the remaining moments of the life of Christ's vipadian companions are gushing, like they spread out their torment, at that hour, like peeping people, who marvel at the side, dumbly take away on their whiffs a whirlwind stream, which disperse in concentric stakes.

Historical truth transforms into Tintoretto's fantasy, turning into a grandiose chorale, into a poetic interpretation of a Christian diva, in front of some poignant emotional charge, no one can be left alone.

An example of this is given by the artist himself, pretending to look like a bearded man, who spire on a stone pile above the figure of a digger, who climbed to dig the ground, but then died at the sight of Mary and people who were huddled around her.

Self-portrait of the artist (a man with a beard), a fragment of Jacopo Tintoretto's painting "Rose" (in the center).
Robotic master Jacopo Tintoretto "Prophet" (left hand and right hand).

On De Tolnay's Thought (1960, op. cit.), two positions of the prophets, for quality it is impossible to compete with other malovnichnye creations of the Hall of Albergo, imovirno, and the robots of Tintoretto's master. Irrespective of the strongest poshkodzhennya, tsі dvі postаі, mabut, represent peeping, as if frozen in thought in front of the "bachenny", created my painting, like a butt for the view of the hall. Indeed, you can tell that the glance of the “Prophet” on the right of the beasts at the “Rozp'yattya”, the other “Prophet” marvel at the pictures, painted on the wall from the side of the entrance doors.

Robots of other artists at the Sala Albergo

Possibly, already in 1508, the image of the church of San Rocco was swaying "Christ, who bear the cross", as if it were not a problem, it became an inexhaustible body of donations to the faithful and accepted the uninterrupted growth of the goodness of the Church and the Scuoli of San Rocco.

Above the picture, described by Sanudo in 1520, as an engraving dated by the same fate, there was a lunette depicting the blessing of the Lord God, the Holy Spirit and the gentry with symbols of addictions, which saved and was respected by the work of Titian's maisterna.

Only in 1951 the painting was moved, but long ago it was transferred from its primary stage to the chapel of the left apse of the Church of San Rocco, Bulo premises near the Sala Albergo Scuoli, to create a space for the iconic image of Felich Kareni, consecrated to Pope Pius X.

From the drive of attribution of the picture, the super-girls are still turning around after the restoration of 2009. Її popularity, which has grown rapidly, is confirmed by numerical copies, still in the 16th century. Like some followers support the idea by Giorgione As it was appointed by Vasari at the sight of "Zhittepisiv" in 1550, then other smarts would recognize authorship of Titian, to whom the Tuscan historian of art ascribes the same verse in 1568 to the same Zhittepisiv, with clarifications that the painting “... as richly someone thinking, lay brushes of Giorgione.”

Irrespective of the fact that the bariste ball of pictures of poshkodzheniya and in dekіlkoh mіsts, especially falling into the eye thinness farb, as can be seen like in the "Old" Giorgione from the Gallery of the Academy, so in the "Concert" penzla Titiana from the Palazzo Pitti near Florence.

Absolutely Titianian seems to be a poetic thought create, in which, with the dramatic nature of the testimony, the contrast of the spiritual will become two main diyovyh osіb: a wicked person, who insolently turned on Christ, and Christ himself, staring at the sight of such an atrocity among the beakers.

“Christ, who bears the cross” at San Rocco, with a whole moment of buti, through a deak of compositional stinginess and a weak tangle of lilac figures, which is far away suggestive of Leonardo, with a strong central group and malovnichiy technique, with the presence of “sfumato”, one of the first creations , having appeared on the Venetian artistic scene on the cob of the other half of the first decade of the Cinquecento, with some faults, pragmatically, as if to remind the dzherel, to denigrate the technique and the idea of ​​​​Giorgione.

Image copyright P'eti, which may have written "YHS" to the beast with a left hand and "XPS" to the right, is periodically attributed to Giorgione, Bellini or Titian. The most reasonable, however, is the proposition of Pignatti (“Giorgione”, Venice, type. 1969 and 1978) robot cola Giorgione, "Close to the rest of the robots" of the master of Castelfranco, such as the "Pasteer" of the Hampton Court Museum, tobto. dated її around 1510 by rock.

Tse Small canvas zdaєtsya, Nese on sobі signet proynyatoї glibokim pochuttyam іntimnostі that lіrichnostі Giorgione, scho virazhaєtsya in vіdstoronenіy zoseredzhenostі way, that perіodu, if vіn, naprikіntsі Perche desyatilіttya XVI stolіttya, Mabuchi, perebuvav pid vplivom koloristichnoї that psihologіchnoї ekspresivnostі, zapozichenoї in Tіtsіana .

Hall Superiore (Upper)

Not ten years had passed since the majestic design of Zali Albergo, like Jacopo Tintoretto, having already begun to work on Hall Superior.

A great expanse of embellishments with "cloths" that sounded were rented from the rock in the river to embellish the hall in the fallows like a saint, as if the rulers were seen off. On 24 September 1542, the Scuola San Rocco decided to make a decision to adorn this Hall, so that it would not be praised otherwise. Shards of 9 lindens were installed, that the “clothings” became unacceptable, the need for a new, larger design appeared, and on May 6, 1574, a decision was made to replace the stele trim.

After the completion of the carpentry work, if the gilding of the carved details was completed, 2 limes 1675 r. Jacopo Tintoretto roku proponuvav Radі Skuoli no cost vikonati the great square ceiling, goiter, finish yoga before 16 September 1576, the day of St. Roch.

A few months after the completion of the folding work on the “Midny Serpent”, on September 13, 1577, Tintoretto urged to write two great plafond canvases, asking for more payment for materials and farby, and leaving Scuoli and Dzonti to judge the amount of payment for it.

Wash, proponated by the artist, they were negainally accepted by Scuola, and twenty days later, on September 20, the artist began to work on the paintings "Manna from heaven" and "Moses, who hangs water from the rocks." Still continuing to work on these canvases, on the 25th of February 1577 Jacopo Tintoretto hung out the readiness of viconat on the same minds, on the 13th of September, the whole plafond painting.

This proposition of the artist was also accepted, and from the statement of Tintoretto on 27 leaf fall 1577, the fate follows that the work is close to completion and that the master himself is ready dedicate the excess of your life to the improvement of the home of Scuoli, including ten paintings for the walls of the viconati, for the Hall of Superiore, the plafonds of the new church of San Rocco, and for Scuoli and the church.

Vin also took upon himself the need to prepare three large canvases for the holy saint of St. Roch, on his own making farb, and also to take care of each other, at the time of ailment, after the completion of the work at the Hall of Superior, the honor of imitation at a hundred ducats.

The proposition of Tintoretto was adopted on 2 December 1577 by the General Chapter of Scuoli, and on 24 February 1578, a commission was elected at the warehouse of three members of the brotherhood, as it was their responsibility to conduct a watchfulness, evaluate and solidify the picturesque works of Tintornimetto on the appointment.

I deputies, and mitets vykonali their goiter. in such a manner, a grandiose project for decorating the Hall Superiore was completed in 1581 year. To Yomu, like the Hall of the Terrena (Lower Hall), Jacopo Tintoretto shows all his strength, flooding the maisterney with the vikonanny of the Christmas paintings, which glorify the riches of Venice, which were recognized for embellishing the great bays of the Palace of the Doges.

At the Sala Superiori, zokrema, vіn to bring a sense of religious self-sacrifice, so semi-permanently expressed in the robots of the Sala Albergo, to the right grandeur of the idea of ​​​​monumental forms, as if to know the innovation of the creative spirit, which I create new sensi, however, these views are profoundly authentic.

Stele plan of the Superiore hall

Midny serpent

Moses, who draws water from the rocks

Manna from heaven

Adam and Eva

The Lord stands before Moses

fire stovp

Jonah, who comes out of the belly of a whale

Bachennya of the Prophet Ezekiel

Bachenny Yakov

Isaac's sacrifice

Elisha multiply bread

Appearance of an angel to the holy prophet Elijah

Jewish Great Day

Bachenya Jeremiah

Abraham and Melchidesek

Illya on the fiery chariot

Poryatunok Danila

Samson, who drinks water from the cracks of a donkey

Samuel and Saul

Poryatunok Moses

Three youths in the furnace of fire

The Old Testament cycle on the plafonds of the Superior Hall

"Midny serpent"- the first plafond at the Hall of Superiors, chanted by Jacopo Tintoretto between the 2nd of March 1575 and the 16th of April 1576. Due to the fair respect of De Tolnay (1969, op. cit.), there was no exact iconographic program, like a sturgeon Tode (Kritintor Tode draw about the work of the master, in the "Documentary of Mystical Science", XXVII, 1904), to that in the document in the form of lime 1575 p. Tintoretto pronounce the central painting on the theme to the visconat, having already stated in words about the yak in advance in words, but on the other topic, the bajan of the Grand Prior Scuoli.

On the other side, near the painting “The Midday Serpent”, as De Tolnay writes, there are already links with the themes of other canvases, with which it was planned to embellish the walls and ceiling of the Superior Hall, and also the philanthropic goals of the Brotherhood of St. Roch: “Saving and resurrecting the suffering people through the miracle of the Old Testament, which became a prototype of the Savior of the human race through the sacrifice of Christ on the cross.”

Jacopo Tintoretto "Midny serpent", central plafond of the Superiore hall (levoruch).
Jacopo Tintoretto "Moses, who draws water from the rocks" (right-handed).

The mid-sized serpent with the head of a ribbee, which wraps itself around a cross, clearly shows an allusion to the clothes of the suffering, stunned by Scuola, before the same visual expression to know the lesson of the Gospel of John, to the plot of the Old Testament "they will save people through Christ: so may the offerings be made to Sin of Man, the skin of the skin, who believes in New, not dying ”(Ivan, III, 14-15). The image of the non-streaming dramatism.

An angelic whirlwind, which flies after the Lord God, which appears from the shadows, neither wedged into a ball of human bodies and snakes, but the right-handed one, on the humpback, Moses points his finger at the middling snake. The grandiosity of the idea, Michelangelo's genus, the strained plasticity of forms to give an over-the-top and mournful illustrative effect, the essence of what is supposed to be in the Christian mind and in the air, understood for everyone.

Having completed the central canvas of the plafond in the Hall of Superiors, Jacopo Tintoretto on the cob in 1577 proceeded to finish two great canvas paintings. On these canvases, it is obvious to draw a parallel with the beneficent goals of the brotherhood of ryatuvannya bіdnih vіd pangs of hunger, on the thought of De Tolnay (1960, op.cit.).

On the picture "Moses, who draws water from the rocks" the prophet will tell with his robe and posture to stand for Christ, and the water, which was on the walls, symbolizes the shelter, which wafts from the breasts of the son of God.

In one of the recent interpretations (“Roboti Tintoretto in San Rocco. Artistic and historical achievement of Scuoli’s 500th century”. Milan, 1980) Perocco is drenched by the water, which is a symbol of grace. This episode of the Old Testament, the loves of the maisters of the Middle Ages and the Resurrection, also brings up a new interpretation, which is remembered, Tintoretto’s fantasy is no less than the “Midny Serpent”.

In this work, in the greater world, earlier, I lightly claim the role of the main diy individual, with a fantastic non-streamlined ordering myself all the other formal sensations, propagating them in new compositional productions, but still posting.

The focus of this composition is in the point, ruffled on the side of the scene: here Moses, with a miraculous rite of hanging water from the rocks in the wilderness. The episode of the testimonies of a right-handed person in the hanging figure of God, who sits on a thunderous cloud in mittens, so upset, at that hour, down in the deep, a view of the tabir is seen, it’s such a quick ride on horseback.

At the strained rhythm of the rhythm, the drawing of light and darkness all the image-creating elements are directed to the creation of a living enemy of an uninterrupted circular movement. In the endless expanse, on what a vital fantasy Tintoretto projects the physical visibility of reality, indestructible, like a skel, Moses is overwhelmed, who stands between the darkness and the light near the red glittering cloak under the crystal jet of water.

Also at the third plafond of the Hall of Superiors on the canvas "Manna from heaven" ostentatious is an allusion to the sacrifice of Christ, through which salvation is reached. So, according to the idea of ​​De Tolnay (1960, op. cit.), improvisations are cast “as an allusion to the Temple in Jerusalem, as well as to the tablecloth, which is figured in the Mystic evening”, until they receive manna from heaven, to go to the believers “ I looked at the big sky, ”and at the same time, I was clearly sent to one of the favorable goals of the activity of Scuoli San Rocco - a famine guard.

Hoch Tse canvas Je bіlsh a static i vrіvnovazhenim, nіzh two poperednі louvre zavdyaki vikoristannyu Priya zhivih lashtunkіv, SSMSC utvoryuyut cholovіk of Kaushik zlіva that Moses pravoruch have glibinі scene pozhvavlyuєtsya Shvidky zmіnoyu dark that osvіtlenih planіv, dosyagayuchi bliskuchih efektіv on nametі God that nizhche , on pagorbs, de images of nayaskravishi people's posts

I renew Tintoretto's strokes with virtuoso sweep and fantastic virtuosity to subdue near and distant plans. Tsya shvidk_st conceived and vikonannya, scho є characteristic rice of the artistic manner of Tintoretto, which was always appreciated by the proper rank. Moreover, that she did not fit one of the members of the Brotherhood, the implacable opponent of the artist, she did not understand George Vasari, who was born in 1566, standing in front of the Last Judgment from the Church of the Madonna del Orto, strimanously hanging out about the inaccuracy of the little one and haste. at vіdpratsyuvanni details.

Similar expressions are often discussed in criticism, including in modern times (R. Longi, “Introduction to Five Centuries of Venetian Painting”, Florence, 1946).

"Adam and Eve". At that hour, like De Tolnay (1960, op. cit.) interprets the primordial sin as the reason for all the lives of people, Schultz (1968, op. cit.) Like in the picture with the same plot, created thirty fates earlier for Scuoli Santissima-Trinita, which is in the Gallery of the Academy, the figures of Adam and Evi are depicted near the tree. And in this version, the atmosphere of panicky glare, present in the picture from the Gallery of the Academy, was replaced by the dramatic impression of the crushing of the harvested fruit, which is reached by the steep bends of light and the presence of a rose handful of wild nature.

"The Lord Stands Before Moses". Tsey and other oval plafonds, placed on two sides, look at the painting “Moses, who hangs water from the rocks”, internally pov'yazanі z it for iconography. The moment, if the Lord God is Moses, to show him the land of habitation, of ideas with an indirect mannerist subtlety, which is manifested in a free and lively setting of rhythmic figures and spacious plans in a hvilyuyuchy light context.

Plafond roboti Jacopo Tintoretto "The Lord stands before Moses" (levoruch).
Plafond roboti Jacopo Tintoretto "Fire Stovp" (right-handed).

"Fire Stovp". Just like before, this scene with Moses, de vin leading the Jewish people through the wasteland, following the fiery stovpom, is closely connected with the idea of ​​the order, which is reflected in the painting “Moses, who hangs water from the rocks”. The top of this plafond is occupied by the head rank of the mighty figure of Moses, which is tinged with bright smugs of light and shade over the red-orange and gray background of the sky and the white patches of human natovp, which behold the miraculous manifestation below.

"Jonah, who comes out of the belly of a whale". De Tolnay (1960, op. cit.) in this plafond alludes to water as a bearer of a new life, leaning on the plafond “Moses, who hangs water from the rocks”, as well as on the canvases “Chreshchennya”, “Sheep Cup” and “ Resurrection of Christ”, placed on the walls. Tintoretto conveys to the creative spirit the moment when Jonah emerges from the majestic pasture of stingy ribeye and raptly opposes the Lord God. The scene is full of symbolic streaks and contrasting blackness of tones in the scene with an incredible emotional tension.

"Bachennya of the Prophet Ezekiel". The obvious meaning of the link with "The Resurrection of Christ" and with "The Copper Serpent" present in the biblical plot of the great oval from the images of Ezekiel, like spectacles, behind the splendid wave of the hand. Three images - the Lord God, Ezekiel, and the naked human figure, virishheni for the help of contrast, are trying to draw out the real between the pictures.

Plafond roboti Jacopo Tіntoretto "Bachennya prophet Єzekіїl" (levoruch).
Plafond roboti Jacopo Tintoretto "Bachennya Jacob" (right-handed).

"Bachenya Jacob". The biblical episode is rightly respected by De Tolney (1960, op. cit.) with an allusion to the pictorial canvases "Resurrection" and "Ascension of Christ", ruffled on the walls of the Hall Superiore (Upper Hall). A kind of vkaz_vkoy on the vіdstan, scho spreading Jacob, shown with his back against the light, and the Father of Heaven, who appears in the horny svetinn on the aphids of the celestial empire, a clear view of heavenly gatherings, virisheniya behind the help of a phantasmagoric perspective, looking down

"The Sacrifice of Isaac". De Tolnay (1960, op. cit.) has a clear analogy with the divine resurrection at the scene of "The Resurrection of Lazarus" and with the rebuking of Christ in the "Prayer for the Chalice". Let's talk about one of the oval plafonds, especially deep reflections and maisterno chimes. For the help of a pronounced color solution, the plastic strength of forms and living things and the crumbling grit of light fixings the moment, if an angel grasps the hand of Abraham, ready to kill the wet son of Isaac, bowing to the will of the Lord.

"Yelise to multiply bread". Behind its theme, the oval plafond ties in with other paintings of the Hall Superiore, as if to avenge the allusions to the sacrament of the Eucharist and the bindings of the members of the Brotherhood of St. Roch to ease the suffering of the hungry. Before them one can see the plafonds “The Appearance of an Angel to the Holy Prophet Elijah”, “Jewish Paska” and wall paintings “Production of bread and ribs” and “Last Supper”. The greater part of the oval panel is occupied with the figure of Elisha, which hangs over the natovpom of the Jews by the desert and is busy distributing bread. Tintoretto's prote malovnichesky text, a particularly distant plan, was destroyed during the old restoration works of Giuseppe Angeli (1777-78).

Plafond roboti Jacopo Tintoretto "Yelise to multiply bread" (levoruch).
Plafond roboti Jacopo Tintoretto "The appearance of an angel to the holy prophet Elijah" (right-handed).

"The Appearance of an Angel to the Holy Prophet Elijah". Another in the house is the oval panel of the plafond of the Hall Superiore, as if it were good to remember the zavdyakovuetsya distant thought that lyrical richness of colors. Nemov's releases from the bow, the winged visnik is rapidly approaching the sleeping Іllі. MONUMENTALLY ON ORCH OF POSTAILS, SHO ILE IS UKRAGE IN OVALII, BAGATE PALITRA FARB І KOLІRNIY VІDTІNKIV DZVOLOLOGE SECHSIA, SHO ROSZHOGAZE IN VІDODPORMENE LISІ, PEREWORD SERVICE, PODNIY VІDPOVIKODNOSTІ Z URYVKOM ZA BіBlії, Scho Rypovіda Choreb to the ground” and fell asleep at the silence of the night, and the angel of the Lord reached out to the new one and said: “Get tired and zh”” (III, re., XIX, 5). It is quite obvious that the canvas is included in the group of creations, without intermediary connected with the theme of the Eucharist.

"Jewish Great Day". In addition, the canvas, as it was considered not to be signed, after the restoration, which cleared up this ball of houses, became the undoubted creation of Tintoretto in all its writing, to the marvelous light solution, which ideally reflects the theme of the picture. In this painting, like in other canvases of the Hall Superiore, there is a strong tension on the theme of the Eucharist.

Ceiling inserts by Giuseppe Angeli

Developing those canvases of the plafonds in the Hall of Superiore, Tintoretto vicon in tempera with victories to the reception of light 8 rhomboid plafond inserts on biblical subjects. For a long time it was important that they were restored by Giuseppe Angeli; Giuseppe Angeli in the years 1777-78.

Ceiling inserts by Giuseppe Angeli "Jeremiah's Tower", "Abraham and Melkhidesek", "Illa on the Fire Chariot", "Danila the Poryatunok" (angry to the right).

The fact of replacement is confirmed by the documents published by Paola Rossi (1977, op. cit.), zgіdno z yakim, posterigachі behind the right of the Great Scuols ordered that Angeli vicon in exact copies of the old temperamental robots of Tintoretto.

Ceiling inserts by Giuseppe Angeli "Samson, who takes water from the slits of a donkey", "Samuel and Saul", "Moses' Poryatunok", "Three young women in a fiery furnace" (angry to the right).

On confirmation of the signing of these copies and a receipt for payment, deposited on September 12, 1778 by Giuseppe Angeli, in this letter, he writes directly about all the plafond inserts “wicons again in oil” behind the lines “let’s write in tempera by Tintoretto himself.”

Eight diamond-shaped canvases show the characteristic drawings of Angela’s mannered piquant style, which was formed in Piazzetti’s master.

Wall plan of the Superiore Hall

Adoration of the shepherds

Baptism of Christ

Resurrection of Christ

Prayer for the cup

sacramental supper

Apparition of Saint Roch

Reproduction of bread and rib

Resurrection of Lazarus

Ascension

Sheep bought

Spocus Christ

Holy Pox

Saint Sebastian

New Testament cycle on the walls of the Superiori Hall

On the first canvas "Shepherds' Inclination" The Zovnishnya wall of the Hall Superiore was conceived by Tintoretto to be drawn into the unfinished compositional freedom. At the stage with the chair of the illusory pobudovoy shepherd in the lower part of the picture, with shy, radio gestures, they point to their dari, christened for help, the darkness of the light that calls are coming.

Jacopo Tintoretto "Adoration of the Shepherds" (levoruch).
Jacopo Tintoretto "The Baptism of Christ" (right-handed).

Upland firebrands and other rows of diyovі individuals of the divine podії pronyatі vіdchuttі mіzhe urochistої prichetnosti, blinded by the light that bleeds crisscrossing the dahu of miserable nurseries. Two different emotional moments and reclining chairs are also for the help of different coloring, which in the lower part peacefully collapses in uninterrupted overflows and reflexes and at the same time kindly conveys the concrete realism of the creatures near the khlіva, bright plumage of pavich, modest home stuffing. At the upper part of the vikoristan there is a calm and peaceful palette, not respecting those that are pierced by thin, light threads in the background with great colors.

Anna Palluchini (“Tintoretto’s Robots in the Scuoli San Rocco”, Milan, 1965) rightly reinforces the homeland ties between the painting of Tintoretto in the Scuoli San Rocco, recognized for the support of the poor people, stricken especially with zhorstok ailments, and like the half of the city of XV promotions of preachers, one of them, zokrema, buv Mattia Bellentani, in his treatise "The Practice of Rozum's Movement" of 1573.

In De Tolnay's thought, the picture is connected with the idea of ​​a future zvіlnennya vіd grіha, I'm afraid to believe and її roztashuvannya near the oval plafond Adam and Eva.

"Baptism of Christ". The plot proximity of this canvas to the other “Adoration of the Magi” emphasizes the cardinal importance of the idea of ​​these two works. In “Adoration”, for the help of folding direction and light and color solutions, the main moment of the undertaking was seen, and in “The Baptism of Christ” this moment has no significance.

Two divine individuals were placed with a lion hand and seen by a stream of light, which was in the back of the stubborn Christ, disguised as a tone in the darkness, so it was as if to stand John the Baptist, that he braced himself forward, to pour water over Jordan on the head of the Sin of God. About two of the main characters spread out in a great open space, bordering the right hand in the foreground with a curtain at the sight of the rocks, which are collapsing, angry, in the clay, showing the drive to Jordan, and the right goddamn tossing, chasing their chergi, painted with glittering iridescence.

The procession, written with a marvelous sweeping brushstroke, is given, uninterruptedly slipping along the offending sides of the vaulted curtain of trees under the cover of important and dirty planks. Fluctuating rhythms of light and many figurative and expanseous links create the likeness of a vir, which has a negaine fantasy and a little peeping.

Christ and John the Baptist, a fragment of the painting by Jacopo Tintoretto "The Baptism of Christ" (levoruch).
Self-portrait of the artist, a fragment of the painting "Baptism of Christ" by Jacopo Tintoretto (right-handed).

Marvel at the whole canvas, once you see, like in the paintings of Scuoli San Rocco, Jacopo Tintoretto with the most creative free-thinking of the naydorozhchi traditional themes religious iconography, perebuvaya under the undoubted influx of popular belief, as if to inspire through the rock after the closure in 1563, the Council of Trent was at least not infused with the sanctimonious vigor of the counter-reformation.

In response to De Tolnay's idea (1960, op. cit.), the canvas evokes a link from the succulent plafonds, especially from "Moses, who hangs water from the rocks" with its allusion to the water, like a life of freedom.

Jacopo Tintoretto "Resurrection of Christ" (levoruch).
Jacopo Tintoretto "Prayer for the Cup" (right-handed).

"Resurrection of Christ". In a dramatic crescendo, all the power of the light and compositional solution is centered in the figure of Christ, who has risen like an irresistible symbol of faith, in the aureole of the blind divine light, which is half-witted from the open crypt. Yogo postat Bula was miraculously characterized by Boskin in 1660. with rich richness, powerful baroque epic: "Effectless, bright and gleaming / There is more change, lower gold"

At the supranatural syavi, instead of laying out a mosaic, there are chotiri angels with great wings, as if they shoved an important marmur slab to the crypt, and with a natural light they saw two holy squads, like they speak among themselves. The greatness of the divine underpins the score of strong and powerful farbs, in contrasting chords that approach the shadowy flames, and a brightly illuminated background.

De Tolnay (1960, op. cit.) guesses how the theme of which canvas was transferred to the "Bachenny Ezekiel" in an oval plafond beast.

"Prayer for the Cup". With an over-the-top majsternistyu interpretation of light and non-fading drama, Tintoretto recognized at night, having established the main moments of the episode from the New Testament.

At the upper part of the picture, Christ, standing in the garden, dressed in a red coat and shriveled in the veil of human suffering, takes a note about the swede of death in the form of a divine messenger, which rushes into the picture with a right-handed hand in a red halo, which shimmers like blisses on the leaves of bushes.

At the same time, with a supranatural dzherel of light, the post of two apostles, zanurenny at sleepy sleepy, is christened, and the silhouette of a third awakened, and the left-handed motorcade is invisibly seen, which is collapsing in the unbroken and cold evening weather, to know the Son of God.

The role of the light stretching the creative path of Jacopo Tintoretto, and especially in the canvases of the Great Scuoli of San Rocco, even though it recognized the change from the point of view of the intensity of the color and the color spіvіdnosheniya, steadily grew, more and more gaining "the power of the significance of one main remarkable opportunity" zіh svoїlіshih manifestations.

To sleep the apostles, a fragment of Jacopo Tintoretto's painting "Prayer for the Chalice" (levoruch).
Christ and the Angel from the Chalice, a fragment of Jacopo Tintoretto's painting "Prayer for the Chalice" (right-handed).

In neskіnchennomu cherguvannі Obrazotvorche that timchasovih ritmіv of bezposerednoyu zhvavіstyu opovіdі scho Well vіdrazu zahoplyuє pochuttya glyadachіv, lyudske strazhdannya Іsusa postaє in іstinno vіzіonerskіy іnterpretatsії, yak fair porіvnyuvali of analogіchnoyu robots El Greco: Christ, have zanureny tragіchnі pillows about death; the divine spirit of the angel that gives the chalice; tenditna fidelity of the apostles to their leader; the approachable secrecy of the repetitions of Christ, is so marvelously expressed in the crazy weaving of their muffled-white, mute, illuminated by a month, guise.

It is a poetic fantasy for Yaskrava to know the greatest sound of the most striking zasib in the swidkost vikonannya. As written by De Tolnay (1960, op. cit.), the theme of the canvas is rebuffed by the link with "The Sacrifices of Isaac", we present it to the oval ceiling. Indeed, in both robots, the emotional emphasis falls on the image of suffering at the link with the submissive, as it does not follow a special choice, but follows the will of God.

Jacopo Tintoretto "The Last Supper" (levoruch).
Jacopo Tintoretto "Multiple bread and fish" (right-handed).

"Mystery Supper". Not less than the world below "Christ's Baptism" and "Prayer for the Chalice" the scene of "Last Supper" is presented for the help of fantastically promising and open spaces. Kindly see the building of Tintoretto to promote new, well-thought-out interpretations of those close to you and often repeated in your figurative repertoire.

Skrіz, krіm foreground, where at the gatherings two great figures of the bіdnyakіv were roamed in order with a non-gaming dog, a marmur's pіdloga in the shahіvnitsyu diagonally going into the perspective of the kitchen utensils, and the right hand is shown stomping in the dark wall, which surrounds the great hall with the dozhina. at the table, the figures change sharply in proportions.

Two are suffocated by streams of light, one from somewhere in the foreground, and the other from the depths of the corridor, right-handed, the apostles behind the help of light are painted in the mustache of the roses of their postures of those emotional states, the strength of which is weaker in the world naimensho, ale negainoly visible on a blind halo.

Christ generously gave a break to his senses, explaining to those in attendance the sacrament of the Eucharist and conveying the evil of one of the apostles. The skin image of the writings with an invisible force, with a light, assertive rhythm, breaks into the picture from the sides.

The Eucharist, a fragment of Jacopo Tintoretto's painting "The Last Supper" (levoruch).
A group of apostles, a fragment of Jacopo Tintoretto's painting "The Last Supper" (right-handed).

Navit there, defiantly, you become swish, and the smear is more uninterrupted, like a servant of a pro-marty servant, like doing household chores in a comoria and a kitchen with a great fireplace, no time has been spent.

As I respect De Tolnay (1960, op. cit.), from the theme of the canvas, the sacrament of the Eucharist, the plafonds of the insert over the vvtar recurve.

"Multiplication of bread and rib". In this canvas Tintoretto turns to the stage scheme, which was used by him in "The Descent to Golgotha" when decorating the Hall of Albergo in 1566: the first plan of zanureniya at the shadows, to which the performances are contrasted on the diagonal of lighting another plan.

At the dense temryava on the aphids of the hillock, which is going uphill, the artist describes people with spalahs of light, like, lying, standing or sitting, the paintings crouched in the foreground. At the trusted diva, like the axis-axis of the tradition, there are also people on the hump on the aphids of the black sky, that the ice was sticking out with the first erysipelas of the sun, to go.

Respect is cherished on the figures of Christ and Andriya, as they hurry the young man with a cat to distribute bread and ribs. On the smoldering calm nature, if you showed color and light, you could make your contribution to the transmission of wide and ornate expanses of structures, creating an enchanting naturalness. This canvas, like the front, is closely tied with the theme of the Eucharist.

Jacopo Tintoretto "The Resurrection of Lazarus" (levoruch).
Jacopo Tintoretto "Dawn" (right-handed).

"Resurrection of Lazarus". No less, lower in “Multiple bread and fish”, the interplay of light and silence accompanying rhythmic and peaceful contrasting figurative rhythms, which weaken in the harmony of carefully thought-out poses and ruins, as well as the emotions of head and other rows of wild miracles.

At the bottom half of the canvas, Mary, the sister of Lazarus, is tucked into the dark, depicted from the back, and the profile of the tone in the sweat is light. Vona threw out her hands, caught in restlessness, never trusting Christ, who calmly and impartially sits opposite her after the resurrection formula.

In the mountains, among the leaves of trees, clearly painted against the light on the bright aphrodisiac of a grayish-erysipelas sky, Lazar turns life upside down, flutters in the funeral curtains under the piercing glances of the human mind that the ice is visible behind a small hillock.

The theme of such a miraculous rendition of the tragic situation with a path of divine introduction allows you to express the meaning of the links of this canvas, like the painting "Prayer for the Cup", with an oval ceiling "Isaac's Sacrifice".

"Pidnesennya". In this canvas, perhaps, as in the other picture from the Great Scuoli of San Rocco, Tintoretto reaches the navigating point of his lyrical and visionary fantasy in an uninterrupted sense of light effects, which does not apply close to natural values. At the three-handed radius weave of angelic wings, palm trees and olives, on the aphids of a dense cluster of thunderclouds, Christ the God-man is resurrected with a radius of life, and it is dumb to go beyond the borders of the picture.

This unstoppable and outside of life appearance, handed over for the help of a whirlwind-like flurry of light and rich farb, is hard pressed against the gazer, just like a lion-hander in the foreground it is great to stand the apostle, who threw himself on his back in front of a miracle, or step back at once for others. across the table. Moses and Illya, written in maisterno in yellow tones, on the vіdstanі they are moving on the plain, illuminated by yellow and erysipelas changes of light.

Yak і "Rossennnі", Petchi Saturation, Fillying of Christ, Scho Balance, Fіguro Chistl, Scho Balance, Svіtl І Tіnnu, Log in Svіtliki Introduction Pictures to reach with melodramatic priomas, Shah, do not let go to the banal of theaterly eyes, obvious to everyone, without mystery and without cover-ups.

Christ with Angels, a fragment of Jacopo Tintoretto's painting "Dawn" (levoruch).
Prophets Moses and Illya, a fragment of Jacopo Tintoretto's painting "The Resurrection" (right-handed).

Zavdyaki zdatnosti robit smyslova napovnenya images more nasich, awakening the imagination and seem to inspire the most simple and humble gazers, Tintoretto propagates new interpretations of Christian myths and svoєridno vyslovlyuє vlasne pochuttiyne.

Podiya, which is depicted in the "Ascension", is transferred to the thought of De Tolnay (1960, op. cit.), "Jacob's towers", embossed in the oval of the ceiling.

Jacopo Tintoretto "Sheep Cup" (levoruch).
Jacopo Tintoretto "The Spocus of Christ" (right-handed).

"Sheep bought". After some restoration work, like two girls, were carried out in the 17th century by Domenico Tintoretto (1602) and Leo Bonetti (1696), the lower part of the canvas was changed, from the girl to the old woman, the beast to Christ (P. Rossi, 1971, uk.op.). Following these works of methodological reasons, they removed the rest of the restoration (1974), the canvas was saved by the most opposite pictorial robots of Jacopo Tintoretto in Scuol San Rocco. Irrespective of the price, like before, the staging of the scene calls out, with a lot of opportunity, which captures the transmission of the essence of the miraculous feat.

Under a curtain of vines, Christ, seeing visions of light and darkness for help, heeling over the sickness, healing you, and the suffering of the great pool were filled with water, which they believed in a miracle. I’ll look at those, as I respect De Tolnay (1960, op. cit.), the signs of presence lead like a life of death, which heals a person’s illness, the canvas is tied with a wall painting “Christendom” and with oval plafonds on the stele.

Jesus Christ, fragment of Jacopo Tintoretto's painting "Sheep Cupid" (levoruch).
Disguise of Christ, a fragment of Jacopo Tintoretto's painting "The Spocus of Christ" (right-handed).

"The Peace of Christ". The scene is reminiscent of a particularly dramatic pathos of a wailing rose of Christ, who is sitting on the present right-handed man under a strong evil spirit, and a beautiful young bead, who holds two stores of bread in his hands. The obvious sensation of this episode, so that the inevitable need to overcome hunger, is distinguished by a miraculous color, which reaches its climax in the gradations of an intense erysipelas color, like a winged wing and a choice of zukhvaloї bіsіvskoy. As shown by De Tolnay (1960, op. cit.), "The Spocus of Christ" is conveyed by the oval plafond "Adam and Eve".

"Holy Pox"і "Saint Sebastian". Called to life by the power of light, that strained plastic form that color, the two saints, as I respect De Tolnay (1960, op. cit.), are truly created by the “suffocated gazers” of the wall in front of the vvtar, the meaning of "the school of knowing God in an esthetically religious sense".

Attribution to Domeniko Tintoretto, viconan of Eikmeier figurative art", 1969), did not take away the confirmation of the hour of restoration in 1971.

Maisternya Jacopo Tіntoretto "Saint Roch" (levoruch) and "Saint Sebastian" (near the center).
Jacopo Tintoretto "The Appearance of St. Roch" (right-handed).

"The Apparition of Saint Roch". The vіvtarna niche, which dates back to 1588 rock, like the “Zustrich Mary and Elizabeth”, was vikonan for the active participation of the helpers, as it became known for the results of the restoration of 1967 rock. Having especially richly helped Jacopo Tintoretto yogo syn Domenico, wanting, without a doubt, Tintoretto Sr. to lay down the idea of ​​​​creation, from which St. Roch in the middle of the dark occupies the entire upper part of the canvas, hanging over the heads of his shanuvalnikov.

Other artistic creations Scuoli

Tiziano Vecellio. "Blessing". The canvas became the power of Scuoli in 1555 after the decree of the fall, ordered by the legal adviser Amelio da Cortona, a member of the Brotherhood of St. Roch. Together with Tintoretto's "Zustrich Mary and Elizabeth", it was on the back of the head above the arcade of the exit maidanchik, which led from Terrena Bay (Lower Hall) to Superiore Hall ( Upper Hall) Scuoli, and was replaced in 1936. the painting “Saint John”, imaginatively painted by Leonardo Coroni, donated by the Gallery of the Academy.

In the opinion of some critics, the picture is often chalked up by the teachings of the master and dated in the interval from 1526 to 1545. After restoration, 1973 the canvas appeared in that capacity, again I thought of that yoga realization, like the authorities only Titian on the threshold of the 1540s.

Right-handed at the flat of the canvas, an angel rushes into a chimeric ode with white and gleaming-red robes, his hand is lifted in a gesture of blessing. Under the portico near the classical style, the Virgin Mary, behind the wooden pulpit, stands changed at the roses and stands at the position of humble obedience to the will of God. Deeply special nature of what is being seen, is supported by the presence of domestic creatures and objects: quail, plaid, which lie at the gatherings of the department, vodkrity cat with accessories for needlework.

Jacopo Tintoretto. "Zustrich Mary and Elizabeth". This canvas and the canvas in the vіvtarnoї nišі zgaduyutsya in rozpisі pro otrimannya 16 ducats signed by Jacopo Tintoretto dated May 15, 1580 r. Ale on the vіdminu vіd "The Appearance of St. Roch", the painting "Zustrich Mary and Elizabeth", which was on the back above the arch. 1936 “Madonna with Silence and Two Chamberlains” of the Venetian school of Cinquecento from the collection of the Academy Gallery, maє signature and miraculously demonstrates Tintoretto’s artistic manner.

Under the dbaylivimi thoughtful glances of St. Josip the Lіvoruch and St. Zacharias, the right-hander sees the son of Mary and Elizabeth. The hvilyuyuchy character under the marvelous rank is passed on for the help of the expanse of poses and gestures of two great women's positions, presented from below in a sharply short perspective and virishheny in orange, green-black, red and white tones, otherwise the horizon is phosphorescent on a near-black body.

Giambattista Tiepolo. "The Poryatunok Hagar and Izmaila". The whole canvas and the young man before the new one, “Foreshadowing Abraham by angels,” was attached to Scuola in 1785. There are two important milestones in the work of Giambattisti Tiepolo on the cob of the fourth decade of the XVIII century. At the same hour, the artist turned sharply from Milan, de vin painted the palaces of Arcinto and Kozati-Dunyani with frescoes, and with a surge of awakened interest to the light-filled painting of Piazzetti, he created two masterpieces “Adoration of the Unmoved” from the sacristy of the Basilica of San Marco from the church della Fava near Venice. On this canvas, the fine details are small and the gradation of color, pierced by lyrical psychology, is especially kindly remembered in the foreground, calling out louder than the gazer.

Giambattista Tiepolo "The Poryatunok Hagar and Izmaila" (levoruch).
Giambattista Tiepolo "Vision of Abraham by angels" (right-handed).

Giambattista Tiepolo. "Vision of Abraham by angels". This picture, for its radiant and radiant malovnichestyu, does not compromise on a paired picture before it. The figure of Abraham, to pray, is sharply seen in the midst of the bright darkness, and the robe is stealthily looking at the new angel. A group of angels at the seam dress in expensive tones, on the flooring with a realistically inscribed lower softness of their flesh, one of the most characteristic features of the sleepy painting of Giambattisti Tiepolo. In the meantime, the very small easel paintings to the most beautiful insights of Tiepolo’s creative and poetic genius, wanting to be realized in the world again with the strength of his supra-eminent scenography and fantasy and in the great canvases in the fresco scenes, and in their decorative niches.

Human portrait. A mature man, realistically represented in a pious attitude in a portrait dated 1573, the deacons respect the images of one of the prominent deacons Scuoli, you can recall Tintoretto himself. This identification, however, does not have conflicting differences from the traditional iconography of the great artist, backed up by authentic references.

"Man's portrait" of an unknown artist (levoruch).
Bernardo Strozzi "Holy Roch" (right-handed).

Bernardo Strozzi. "Holy Roch". The canvas hangs around the dzherelakh of the 18th century, like at the Chancellery Hall. Tvіr is a characteristic illustration of maestro's majestic manner, rich in color effects inspired by Rubens' creativity. The Genoese of Strozzi, who came to Venice in 1630, together with Fetti and Liss, brought the renewal of the painting of the Venetian lagoon, which lives on, in the first decade of the 17th century.

Giuseppe Angeli "Holy Roch in Glory", plafond of the Chancellery Hall (levoruch).
Giuseppe Angeli "Vira" and "Mercy", plafond of the Chancellery Hall (right-handed).

Giuseppe Angeli. "Holy Roch in Glory", "Vira", "Mercy". Three canvases embellish the plafond of the Chancellery Scuoli. The stench was enchanted by Giuseppe Angeli by Grand Prior Antonio Bianchi in 1754 and completed no later than 18 April of the same year (P. Rossi, 1967, op. cit.). The three paintings by Angeli, which evoke the freedom of the composition of robots, the three paintings by Angela, regardless of those that are still immersed in the characteristic soft, gleaming palette of Piazzetti’s great teaching, are kindly combined with the simple compositions of the XVII century Carpo Mazzetta roboti.

Antonio Zanca. "The Apparition of the Madonni is ill for the plague". One of the most important features of this great canvas lies in the fact that it is made up of two parts separated by a wooden partition. This verse, written right-handed at the bottom of the great canvas, was completed by Antonio Zanchi on July 14, 1666. to the prayer of Grand Prior Bernardo Briolo. The great composition resurrects under the most severe plague epidemic of 1630, which brought grief to rich Venetian homelands. The theme itself suggested to Zanchi, the great naturalist of the 17th century, a dramatic and creative idea, grandiose in terms of the scale of the composition and the depth of light, which continues the tradition of Tintoretto's visionary fantasies, and show flooring for Scuoli.

Antonio Zanchi "The Apparition of the Madonna We Are Ill for the Plague" (levoruch).
P'etro Negri "Madonna ryatuє Venice in the form of plague 1630" (right-handed).

P'etro Negri. "Madonna Rapture Venice under the plague 1630". The details of this painting are especially characteristic of the "gloomy" relish and jubilant strength of the 17th century artist P'etro Negri, inspired by the naturalistic painting of Antonio Zanchi. A canvas that tells about the stingy plague epidemic, 1630 p. near Venice, it was completed by the master on the 20th sickle, 1673. to the prayer of Grand Prior Scuoli Angelo Acousti. The miraculous appearance of the Madonna at the intercession of St. Mark, is seen against the foggy background of Venice, de memory of the Basilica of Santa Maria della Salute, the life of which was painted in 1631 as a house of honor for the sake of the end of the plague epidemic. The Basilica della Salute was completed in 1687, but it is obvious that the main parts of the building were already completed in 1673.

View of Venice, a fragment of the painting by P'etro Negri "Madonna ryatuє Venice in the form of plague 1630" (levoruch).
Fresco by Girolamo Pellegrini “Mercy with the light of Viry before the unfortunate ailments, directed by Holy Roch” (right-handed).

Girolamo Pellegrini. "Mercy with the light of Viri before the unfortunate ailments, directed by Holy Roch". The fresco is the main point of development of the painting of Girolamo Pellegrina, bright and permeated with light, yet distant from the "gloomy" naturalism, if Pellegrini tried to bring a new trend into the artistic tradition of Paolo Veronese with the help of decorative devices, typical for the Roman. , with which the artist can practice youth.

Terren's Hall (Lower)

In 1581 p. the canvases of the Hall Superiore were completed, and the design of the plafond of the Church of San Rocco, de Jacopo Tintoretto, was also completed on the 27th leaf fall of 1577, which has not yet been created. In this rank, the artist has taken a lot of time on a number of projects, among which, in particular, he deserves the prestigious official engagement for the Palace of Dozhiv. Not interested in employment, already in 1582. Vіn vindicate their activity at the Scuoli San Rocco, working on the Zala Terrena.

On April 16, 1582, a record is dated about stained glass on the frame for the Adoration of the Magi. Until the coming fates (from 1583 to 1587) there are exact evidences about the prosuvannya robit. The rest of the evidence is a record about the wiping of stained glass on September 12, 1587, for which it is clear that the canvas "Cutting" became the last work placed in the Terrena Hall.

Tіntoretto, like before, otrimuvav schorichny zmist one hundred ducats rose from the world, as more leaf fall was appointed 1577 r. The remainder of the payment was terminated on May 1, 1794, shortly before the death of Jacopo Tintoretto on the 31st of that month.

From a whole cycle of pictorial works of Zal Terrena, only “Holy Mary Magdalene” and “Holy Mary of Egypt” are not found in the documents of Scuoli, like in travel guides and other dzherels of the 16th and 17th centuries. I cite the presence of such riddles, among those that offended pictures seem to be weakly related to the blatant iconography of the Titze Hall (“Little Jacopo Tintoretto” at the “Venetian Art”, 1951) they became a single ensemble of two human posts, one of which is identified in the painting “The Samitnik at the Fox”. The little "Samіtnik" was kept in the collection of the Museum of Mystery near Princeton.

Other authors note that two unimaginable "landscapes" are part of the primary decorative design of the Terrena Hall in the Scuoli San Rocco, and are characteristic of the mariological cycle, about which to note the presence of the "Last Day of the Madonna" (De Tolnay, 1960, uk.cit.), de Let's re-import the div element. (E. Huttinger, "Tintoretto's cycles of paintings in Scuola di San Rocco", Zurich, 1962).

To Niero’s thought (“Venice and the Plague 1348/1797”, Venice, 1979), two depictions of the saint allude to the “ogy ailments, widened in this century, like syphilis, like, like a plague, in the form of an epidemic.”

It turns out, without a doubt, that the two nightly "landscapes" are so fantastic behind the idea, as a natural final stage of the formation of forms, founded on the most profound feelings, for which the head-to-head in front of the minds of the people is light. After the placement in the Hall of Terrena of the canvas "Decoration" in 1587. Renovation of representative offices of Scuoli was completed.

Annunciation

Such an objective description everyday life the power of the miraculous appearance of the heavenly spring and the radiant round dance of angels is contrasted, like, on the top of the head with the Holy Spirit at the sight of an innocent dove with wide wings, vpryvayutsya in the composition of evil, mayzhe perpendicular to the head of Mary.

In the deep ink shade, all the images are embossed with a pronounced relief and cry out in a dramatic manner, which swells the respect of the beholder. The compositional solution is very close to the details - the head of Mary, the embrace of the Angel-vesnik, the ways that fly - (R.Lalukkini - P.Rossi, 1982, op.cit.) - there, the fate of Domenico Tintoretto, Jacopo's son, was destined.

"Adoration of the Magi". Completed lime 1582, tobto. The first of the canvases in the cycle for the Terrena Hall in order is celebrated, “Adoration of the Magi” demonstrates the unchanging strength of Tintoretto’s visionary ardor, which highlights the moment of the day that descends to the ground, in order to increase the intensity of light effects.

Angel-visnik and Virgin Mary, a fragment of Jacopo Tintoretto's painting "Blessing" (levoruch).
World of the Magi, a fragment of the painting by Jacopo Tintoretto "Adoration of the Magi" (right-handed).

Above the glimpse of the present and the rise of the wooden beams, the main light is roaring in the foreground of the picture, under the dzherelom of the light, which sighs from the dark figures and the appearance of three Magi, in the middle of which the redden Baldasar, who shriveled forward, at the turban, in the darkness rich-barbarous fight. The nightly symphony of the foreground is right-handed by the mischief that appears at the phosphorescent flame of light in the depths of the picture of the retinue of the Volkhviv, as if it arrived from distant lands, led by the expensive star, which already reached its zenith over the incompetence of Jesus.

Virgin Mary, a fragment of the painting "Adoration of the Magi" by Jacopo Tintoretto (levoruch).
Magus Baldasar, a fragment of Jacopo Tintoretto's painting "Adoration of the Magi" (right-handed).

Viblakhіv i swallowing, Yaskvyvyviyi І Mute Merrehtіnnya Vaglachіv i digestion diversion dius, і, rabavni vagomіsti, spill on the units of the mobs of Abo sink from Glyubini, Slіduychi by Rukhari, not the apparent tonalnu structure, it is up to Vikhoro .

"Entrance to Egypt". At the forest thickets, obminating all the people inhabited by the people of the city, Mary and Josip with divine incapacity, having almost lost their way to death at the order of the Irod, are crying out for reparation. Almost praising and fear pervades the whole navkolishniy landscape, in a lyrical form conveys the anxiety of the main characters in the picture, which were spread in the middle of the meadow waters, on the aphids of the humpbacks and the falling mountains, which stretch to the horizon, go to the distant, rose by the unstoppable sky.

The absence of the most beautiful details, marked with a penzle in the thick atmosphere of the days, which are worn out, shouted to demonstrate the difference in the unity of light and its unimaginable crushing on the surroundings of the colors of the sleepers, the dark ones and the melting ones. Livoruch, in the foreground, near the dark green, brown and white tones of the landscape, incorporating those modest belongings depicted with a laconic specificity of form and color, even as the right-handed hand, the edge of the view is flared, transmissions with a slick, swishy brushstroke and indistinct.

Gleaming at the rate of sickness, caused by a light wind; syayut, nіbi covered with gilding, the walls of a strong hut, light up with threads of light of a stovburi and a tree tree; rozsipayutsya on a myriad of light fragments schili pagorbiv and outline gir.

Egyptian landscape, a fragment of Jacopo Tintoretto's painting "Vtecha to Egypt" (levoruch).
St. Josip, a fragment of Jacopo Tintoretto's painting "Escape to Egypt" (near the center).
Virgin Mary of Nemovlyam, a fragment of Jacopo Tintoretto's painting "Vtecha to Egypt" (right-handed).

In a lyrical relationship color solution and light effects of the episode to know the cosmic wildness that the people are not movable under the influence of inner strength. In the distance, little and color, for the help of some specific life, the scene is shown by the transformed fantasy of Jacopo Tintoretto, whose landscape has become one of the greatest Venetian and European arts of all hours.

"They are not beaten". The atmosphere of panic, which is only slightly marked by the feeling of restlessness in “Vtecha to Egypt”, radically changes in “They are not beaten,” the swelled tragic baked pathos, conveyed by the unemotional circle of forms in this zhorstokіy scene. In a clear alloy of light and farb, be it a figure, or an object that, having recognized a rethinking, as is typical for Michelangelo, Raphael and sculptors-mannerists, especially Giambologna, is transformed and venerated by a new order of the dramatic chorale created by Tintoretto.

Episodes of inhuman zhorstoknosti go in a zigzag pattern one after another, written in randomly swish strokes, in a fast rhythm of glimmering horizontal smogs of light with interspersed shadows with supra-squamous primings of the skin formal element. Evil highlands high wall vіdsіkaє be-yaku possiblity to order; right-handed, a portico is seen near the glybin, which opens up a view of the forest landscape, demonstrating the zhorstok of rizanina.

Vio Detail Viconanі with EpiMoy Vioce Mіzzia, the active fitty of them: One Mati, Yako Marno Magnifier Schodimat Lezo Knizh, listed over blue, that Інший, Scho convulsively stated Zi Stini in Nadії зєєдtniya zi his dithiny, ghostly .

Mother with a child, a fragment of Jacopo Tintoretto's painting “They are not beaten” (levoruch).
Women in silence, a fragment of Jacopo Tintoretto's painting “They are not beaten” (near the center).
Servants of Herod, a fragment of Jacopo Tintoretto's painting "They are not beaten" (right-handed).

Miraculous in their own right, apart from the episodes, they gain even more strength, if the waves of the uninterrupted combined power of light changes are fused in one whole, which has a wild dramatic grandeur and does all the scope of the stage vimislu.

Znov Jacopo Tintoretto skillfully reworks in a poetic and poetic way based on the spiritual concept, fantasy and reality are grounded on photographic concreteness, and de skin podia may be obvious to all profoundly religious and moral motivations.

"Holy Mary Magdalene". More and more tensions and a breathtaking development of the lyrical power of light in the interpretation of reality, who knows his expression in different periods of Jacopo Tintoretto’s work at the Great Scuola of San Rocco, reaching his culm of St Mary Magdalene.

Jacopo Tintoretto "Holy Mary Magdalene" (levoruch).
Jacopo Tintoretto "Holy Mary of Egypt" (right-handed).

Holy Mary Magdalene is turned in disguise to the looker, she is zanuren at the reading room. Like a stovbur of the great tree levoruch, it was seen by a phosphorescent light on the aphids of the taemnic nature, it is shown in that rest of the visliz to mite, if the darkness of the axis-axis attaches all the contours of the strong buds and wobbly heights, the silhouettes of the humpbacked we see the black devil, sky.

Charіvna Overthelennia Retaliє Kolori in the mazhe monochromniy Palіti Palenh Toniv, at that hour Yak Forma is ridiculed in the riddles, unfortunate contours of the globo іndivіduli, fantastic iNTERPRETAKII Індина и и на на на наминірної і і ин и ї и и ​​и и и и а твалья варівнісью.

"Holy Mary of Egypt". Not less is the lower figure of Mary Magdalene, a small silhouette of St. Mary of Egypt is seen behind the help of light threads as an invisible part of the landscape and takes part in the yogi, filled with three-fold shadows, indistinct glare, or splashes of light, lived through, splashes of light.

Looking at the book, gazing holy at the landscape, already pierced by the monthly glints near the water stream and the contours of the temples. The silence feels that indestructible naturalness of nature, the spacious-perspective light effects have a fantastic transformation of the real reach of the uncrowded, most poetic tension.

Landscape, fragment of the painting "Holy Mary Magdalene" by Jacopo Tintoretto (levoruch).
Landscape, fragment of the painting "Holy Mary of Egypt" by Jacopo Tintoretto (right-handed).

So, perhaps on the basis of his life and creative path, having covered with the most charming and most important technique of light transmission for the manifestation of his fantastic bachelor, Jacopo Tintoretto completes the grandiose rozpovіd, rozpochata twenty fates earlier564, in at the Scuoli San Rocco.

All Life The artist Slord Baured by his finger, in Ostinno Relіgіynychnaya Speed, the Svilki w Glyboko Peoples, Yak False Viode Soblikіv Perevoformatsії, Priyazhviya in the fairness of the Spirit Sprifyattі Buttya, without Virivіv І SUM'YATA, SHO OCHIO YOU SUCHIA.

"Cut". The whole remaining canvas, vikonan for Terren's Hall, was placed in the lowest place at the sickle 1587 p. All critics recognize the great fate of the Viconan paintings by the masters of Tintoretto, especially Domenico Tintoretto, which was confirmed by the results of restoration work in 1970. The stench showed that Jacopo's robot was rewritten by a different co-author in more deaf tones, it is worth fussing and tight-fitting outline of the figures.

Nevovlya Іsus, a fragment of Jacopo Tintoretto's painting "Obrіzannya" (levoruch).
Two apostles, a fragment of the painting by Jacopo Tintoretto "The Presentation of the Madonna" (right-handed).

"The Presentation of Madonna". Restoration work 1970 they couldn’t quite grasp the traces of the previous numerical ones, among them it was especially necessary to guess the robots of Angelo Vidal in 1678. and Antonio Floriana in 1834 Ale, regardless of the damage to the integrity of the barvy ball, the canvas, like before, demonstrates the sensitivity, the power of Jacopo Tintoretto, that її self-giving of the robot.

The Virgin Mary is lifted up into the sky in the presence of an unstoppable breeze that blew the apostles, the skin of them, in their own way, experiencing the miracle manifestation, watching the difference almost: nevira, zdivuvannya, ecstatically choked. In their wide circle - and the whole part, found with farbs as a result of recent restoration work, in the past - the wheel is torn into figures, which without interruption wrap around the Madonna.

On the right, everything that is seen between heaven and earth is respectfully comprehended by two elders, without a doubt Brothers of Scuoli, depicted by Tintoretto on the canvas, as a reminder of the unbreakable union between the artist and the ceramists of the Great Scuoli San Rocco, which has spanned over twenty years.

List of artistic works

Plafoni of the Albergo Hall.

Jacopo Tintoretto "Holy Pox in Glory". Canvas, olive (360 x 240). Worm 1564
Jacopo Tintoretto "Spring". Canvas, oliya (diam. 90). 1564 p.
Jacopo Tintoretto "Leto". Canvas, oliya (diam. 90). 1564 p.
Jacopo Tintoretto "Autumn". Canvas, oliya (diam. 90). 1564 p.
Jacopo Tintoretto "Winter". Canvas, oliya (diam. 90). 1564 p.
Jacopo Tintoretto "Alegory of Scuoli of San Giovanni Evangelista". Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Alegoriya Skuoli Misericordia". Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Alegory of Scuoli San Marco". Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "The Truth" Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Alegory of Scuoli San Teodoro". Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto Vira. Canvas, olive (190 x 90). 1564 p.

Jacopo Tintoretto "Happiness" Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Female figure". Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Kindness" Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Alegoria Scuoli della Carita". Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Generosity" Canvas, olive (190 x 90). 1564 p.
Jacopo Tintoretto "Three Apples" (detail). Canvas, olive (25 x 58). 1564 p.

Paintings on the walls of the Albergo Hall.

Jacopo Tintoretto "Christ before Pilate" Canvas, olive (380 x 515). 1566/67 pp.
Jacopo Tintoretto "Crowning with Thorns". Canvas, olive (390 x 260). 1566/67 pp.
Jacopo Tintoretto "The Descent to Golgotha" Canvas, olive oil (390 x 515). 1566/67 pp.
Jacopo Tintoretto "Rose" Canvas, olive (1224 x 536). 1565
Maisternya Tіntoretto "Prophet". Canvas, olive (106 x 260.5). 1566/67 pp.
Maisternya Tіntoretto "Prophet". Canvas, olive (135.8 x 260.5). 1566/67 pp.
Giorgione abo Titian "Christ Who Bears the Cross" Oliya, canvas (88.3 x 68.2). Close 1506
Giorgione "P'eta". Oliya, canvas (81 x 55). Close 1506

Ceiling lamps and inserts in the Superiore room.

Jacopo Tintoretto "Midny serpent". Canvas, olive (520 x 840). 1575/76 p.
Jacopo Tintoretto "Moses, who draws water from the rocks." Canvas, olive (520 x 550). 1577 p.
Jacopo Tintoretto "Manna from Heaven" Canvas, olive (520 x 550). 1577 p.
Jacopo Tintoretto "Adam and Eve" Canvas, olive oil (370 x 265). 1577/78 pp.
Jacopo Tintoretto "The Lord Stands Before Moses" Canvas, olive oil (265 x 370). 1577/78 pp.
Jacopo Tintoretto "Fiery Stovp". Canvas, olive oil (265 x 370). 1577/78 pp.
Jacopo Tintoretto "Jona who comes out of the whale's belly". Canvas, olive oil (370 x 265). 1577/78 pp.
Jacopo Tintoretto "The Tower of the Prophet Ezekiel". Canvas, olive (265 x 660). 1577/78 pp.
Jacopo Tintoretto "Yakov's Bachenny". Canvas, olive (265 x 660). 1577/78 pp.
Jacopo Tintoretto "The Sacrifice of Isaac" Canvas, olive oil (370 x 265). 1577/78 pp.
Jacopo Tintoretto "Yelise to multiply bread". Canvas, olive oil (265 x 370). 1577/78 pp.
Jacopo Tintoretto "The appearance of an angel to the holy prophet Іllі". Canvas, olive oil (265 x 370). 1577/78 pp.
Jacopo Tintoretto "Jewish Great Day". Canvas, olive oil (370 x 265). 1577/78 pp.
Giuseppe Angeli "Jeremiah's Tower". Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Abraham and Melchidesek" Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Illa on the fiery chariot". Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Danila the Poryatunok". Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Samson, who drinks water from the cracks of a donkey." Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Samuel and Saul". Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Poryatunok Moses". Oliya, canvas (265 x 265). Close 1777-1778 years.
Giuseppe Angeli "Three Youths in the Fire Oven". Oliya, canvas (265 x 265). Close 1777-1778 years.

Canvases of the walls of the Superiore Hall.

Jacopo Tintoretto "Adoration of the Shepherds" Canvas, olive oil (455 x 542). 1578/81 pp.
Jacopo Tintoretto "The Baptism of Christ" Canvas, olive (465 x 538). 1578/81 pp.
Jacopo Tintoretto "The Resurrection of Christ" Canvas, olive (485 x 529). 1578/81 pp.
Jacopo Tintoretto "Prayer for the Chalice" Canvas, olive (455 x 538). 1578/81 pp.
Jacopo Tintoretto "The Last Supper" Canvas, olive (487 x 538). 1578/81 pp.
Jacopo Tintoretto "Many breads and ribs". Canvas, olive (460 x 523). 1578/81 pp.
Jacopo Tintoretto "The Resurrection of Lazarus" Canvas, olive oil (356 x 541). 1578/81 pp.
Jacopo Tintoretto "Dawn". Canvas, olive (325 x 538). 1578/81 pp.
Jacopo Tintoretto "Sheep Cupid" Canvas, olive (529 x 533). 1578/81 pp.
Jacopo Tintoretto "The Spocus of Christ" Canvas, olive oil (330 x 539). 1578/81 pp.
Tintoretto's maid "Holy Pox". Canvas, olive (80 x 250). 1578/81 pp.
Maisternya Tіntoretto "Saint Sebastian". Canvas, olive (80 x 250). 1578/81 pp.
Jacopo Tintoretto "The Apparition of Saint Roch" Canvas, olive (246 x 495). 1588

Cloths of the walls of the Terrena Hall.

Jacopo Tintoretto "The Annunciation" Canvas, olive oil (545 x 422). 1582/87 pp.
Jacopo Tintoretto "Adoration of the Magi". Canvas, olive oil (425 x 544). 1582
Jacopo Tintoretto "Escape to Egypt" Canvas, olive (580 x 422). 1582/87 pp.
Jacopo Tintoretto "They are not beaten". Canvas, olive oil (546 x 422). 1582/87 pp.
Jacopo Tintoretto "Holy Mary Magdalene" Canvas, olive (209 x 425). 1582/87 pp.
Jacopo Tintoretto "Holy Mary of Egypt" Canvas, olive oil (211 x 425). 1582/87 pp.
Jacopo Tintoretto "Breathing". Canvas, olive (482 x 440). 1582/87 pp.
Jacopo Tintoretto "The Presentation of the Madonna" Canvas, olive (587 x 425). 1582/87 pp.

Other create art .

Tiziano Vecellio "Blessing". Oliya, canvas (266 x 166). Close 1540
Jacopo Tintoretto "Zustrich Mary and Elizabeth". Oliya, canvas (257 x 158). 1588
Giambattista Tiepolo "The Poryatunok Hagar and Izmaila". Oliya, canvas (120 x 140). 1733
Giambattista Tiepolo, Abraham Seen by Angels. Oliya, canvas (120 x 140). 1743
Human portrait. Canvas, olive oil (57 x 72). 1573
Bernardo Strozzi "Holy Roch". Oliya, canvas (67 x 78). Close 1640
Giuseppe Angeli "Holy Roch in Glory". Oliya, canvas (166 x 251). 1754 p.
Giuseppe Angeli "Vira". Oliya, canvas (150 x 155). 1754 p.
Giuseppe Angeli "Mercy". Oliya, canvas (150 x 155). 1754 p.

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Ancient jubilant balm of San Rocco Vivasan, which is effective in helping with various diseases of the skin, inflammation, inflammation, allergies, psoriasis, dermatitis, viraz, opia and other. changing the coarseness of the skins, restoring the structure, protecting from UV changes. The balm was based on herbs, which, behind the orders of St. Rocco (San Rocco), rejoiced at the sick with the plague, which raged in the middle ages in Europe.

The balm of SAN ROCCO was based on healing herbs, which, after the orders of St. Roch, lied to the sick. Balsam SAN ROCCO is a special active complex, which is quick and effective to help with various diseases of the skin - swollen, inflamed, psoriasis, dermatitis and other. Yogi diya is bewildered by the wholesome powers of growth and components, which are to be avenged in the new.

Oliya tea treeє effective anti-rus and anti-fungal protection. It may have anti-inflammatory and ailing power, known allergic reactions, effectively against staphylococci and streptococci. It cleanses and disinfects wounds and calms the pain during surgery, can heal wounds in case of injuries and pores, eliminates fungal infections of the skin, eczema, sever stubble, swelling with bites, coma, stinging warts and swelling of the bulb. Helps with varicella and operating lichen.

Oliya geranium to avenge geraniol, citronelol, geranyl tiglinate, which can be antiseptic, rejuvenate and tone up, restore clitin, usuvaє visipi, acne, eczema, desquamation, exfoliate skin wrinkles after opikіv. Friendly to the problematic shkir.

Oliya ogirkovoi grass It is a source of gamma-linolenic acid, as it stimulates the production of prostaglandins from the protizapal reaction and changes the production of metabolites of oxidation of arachidonic acid, which activates the ignition reaction.

Soy glycineє rich in protein dzherelom, zmіtsnuє lipidny bar'єr skіri, zapobіgaє vtrati frivolity kolagenovіh fibers, naє naє naє naє zvolozhuyuchu dіyu, pom'yakshuє shkiru and priyaє regeneratsії kіtin. Improving the exchange processes in the cells of the shkir, effectively restoring the balance of the water, strengthening the protection of the functions of the shkir.

Violet tricolor extract(brothers) may have power. At the root of the plant, there are: alkaloid violin, saponins, in the herb - vitamin C, salicylic acid, salts of tartaric acid, mucus. Violet tricolor extract can help to soften, protizapalnu, zagoyuvalnu, anti-allergic dia, gives a positive effect when looking behind the sunburned skin, which should peel off, with a blackish hanging.

Extract of Echinacea purpurea to avenge a complex of biologically active speeches that give bactericidal, antiviral, antifungal, immunomodulating action. Echinacea enhances phagocytosis, as well as migration of leukocytes in the middle of the inflammation, activates T-lymphocytes, stimulates the production of interferon. It has bactericidal, fungicidal and anti-Russian dominance (including the growth of staphylococci and others), may have corticozoa-like dominance (promoting adaptive capacity of the organism). Echinacea extract is active against staphylococcus, streptococcus, herpes virus, thrush fungus. Zastosovuєtsya with skin bacterial infections, allergic dermatosis - psoriasis, eczema, dermatitis, acne visips, for cleansing and curing wounds, virazok, opikiv.

Calendula extract to retaliate against bitter speech, mucus (2.5%), organic acids (malic and salicylic), essential oil, beta-carotene, vitamin C, flavonoids, bioflavonoids, saponins, tannins of speech, resin (over 3%), inulin. Vin may be protizapal, bactericidal (especially for staphylococci and streptococci), antifungal, wound healing, astringent, tissue regeneration spray.
In cosmetology, wines zastosovuetsya as an effective healing and tonic zasіb for dry and dry skin, with pimples, aggravated by purulent infection. It is recommended for treatment of wounds, slaughter, purulent inflammation, furunculosis, for the prevention of scarring, which are formed, for closed wounds, for skin visips, lichen, swelling, frostbite, for inflamed veins of the legs, etc.

immortelle extract avenge ethereal oliya, flavonoids, ascorbic acid, vitamin K, herbs and tannins and other. Vin may have a biologically active effect, may have an anti-inflammatory and antibacterial effect, calm the skin.

St. John's wort extract rich in essential oils (azulene, choline), flavonoids (isoquercetin, rutin, quercetin), phytoncides, hot extractive speeches, vitamin C and carotene. Vіn maє high antibacterial activity of Staphylococcus aureus and Gram-positive microflora. Zastosovuєtsya with purulent-flammable infections of the skin.

Oliya dormouse, It should contain up to 45% fat, 27% carbohydrates, 13-20% protein speech, chlorogenic acid, speech tannins, carotenoids, phospholipids, citric and tartaric acids, epithelial wound spray. It was established yogo bacteriostatic diyu against golden and white staphylococcus aureus.

I have a special role for balms phospholipids. The stinks are delivered to the deep balls of the skin of fat, water-resistance biologically active speech, which enters the warehouse of the balm, protecting it from the sun. To ensure stepwise penetration of active speeches at the shkir. Phospholipids prolong the activity of other active balsams, restore disorders of the exchange of speech and the protection of the functions of the tongue.

Bisabolol- it is one of the most active components of chamomile oil. Vіn znіmaє inflamed skin that, suvayuchi razdratuvannya, calm down, stimulate the process of regeneration clitin. Alantoin heals and softens the skin, stimulates the process of healing the wound and renewing the skin of the epidermis.

Morkvyana Oliya- one of the best oils for shkiri, which you can use. Illuminate the skin, protecting the look of early antiquity, as well as enhancing the function of sweat and sebaceous deposits. It is recommended to look after dry skin, to peel and puff, with various teasing, as well as for opiates, psoriasis and eczema. Rich in vitamins A and E.

Vitamin E(Tocopheryl acetate) - an anti-oxidant. Vіn zmіtsnyuє membranes clitin, uplifting old shkіri, stimulating shkіrne breath and blood flow, allowing it to live the shkіra, znimaє zapalennya that teasing.

Vitamin A(Retin_l Palmіtat), Being an antioxidant, Upvilniaє Starnnya Shkіry, Normalіzє Synthesis Collagen, Springє Regeneration Synthesia Klіtin, Підеговіє пружні скрись торой тоготовє др дрибні сморщина, TA TA ONERGY SKIUM SKIUVAYANYA TA OGRUBINNYKH SKIRYTE, PIM SKRIRNIYA BAR.

Dia:

• swiftly knowing the burning, reddening and reddening of the shkir
• severe skin disease (eczema, dermatitis, psoriasis etc.)
• maє vіdluschuvalnu dіyu, reshkodzhaє roughening shkіri.
• boosts tissue immunity, stimulates collagen uptake
• may be anti-allergic
• zmіtsnyuє shkіru, vіdnovlyuyuchi її structure
• enliven, help me to live a dry skin, improve the exchange of speech
• protects the skin from the influx of ultraviolet changes.

Galuzy zastosuvannya:

• dry, sensitive, ruffled, scorched, that blackened skin
• termіchnі opіki skіri І-ІІ stage
• prevention and treatment of sleepy eyes
• trophic virazki, psoriasis, eczema, vitiligo, felon, abscesses, dermatitis
• vugry vulgaris, herpes, sinci
• stretching of the ligaments of the joints, arthritis and arthrosis, neuritis and neuralgia
• go for a massage

Way to zastosuvannya: Apply a few times a day on the fences of the dilyanka shkir to clinical polishing

Active components: Tea Tree Oliya, Oliya Geranium, Oliya Ogirkovo Grass, Soy Glycine, Extracts: Tricolor Violet, Echinacea, Calendula, Helichrysum, St. acid, ascorbic acid.