A Wanderer in Venice

by E. V. Lucas

Since the story of S. Mary of Egypt is little known, I may perhaps be permitted to tell it here. This Mary, before her conversion, lived in Alexandria at the end of the fourth century and was famous for her licentiousness. Then one day, by a caprice, joining a company of pilgrims to Jerusalem, she embraced Christianity, and in answer to her prayers for peace of mind was bidden by a supernatural voice to pass beyond Jordan, where rest and comfort were to be found. There, in the desert, she roamed for forty-seven years, when she was found, naked and grey, by a holy man named Zosimus who was travelling in search of a hermit more pious than himself with whom he might have profitable converse. Zosimus, having given her his mantle for covering, left her, but he returned in two years, bringing with him the Sacrament and some food.

When they caught sight of each other, Mary was on the other side of the Jordan, but she at once walked to him calmly over the water, and after receiving the Sacrament returned in the same manner; while Zosimus hastened to Jerusalem with the wonderful story.

The next year Zosimus again went in search of her, but found only her corpse, which, with the assistance of a lion, he buried. She was subsequently canonized.

The other two and hardly distinguishable paintings are "The Presentation of Christ in the Temple" and "The Assumption of the Virgin."

Now we ascend the staircase, on which is a beautiful "Annunciation" by Titian, strangely unlike Tintoretto's version below. Here the Virgin kneels before her desk, expectant, and the angel sails quietly in with a lily. The picture is less dramatic and more sympathetic; but personally I should never go to Venice for an "Annunciation" at all. Here also is Tintoretto's "Visitation," but it is not easily seen.

The upper hall is magnificent, but before we examine it let us proceed with the Tintorettos. In "The Adoration of the Shepherds," in the far left-hand corner as one enters, there is an excellent example of the painter's homeliness. It is really two pictures, the Holy Family being on an upper floor, or rather shelf, of the manger and making the prettiest of groups, while below, among the animals, are the shepherds, real peasants, looking up in worship and rapture. This is one of the most attractive of the series, not only as a painting but as a Biblical illustration.

In the corresponding corner at the other end of this wall is another of the many "Last Suppers" which Tintoretto devised. It does not compare in brilliance with that in S. Giorgio Maggiore, but it must greatly have interested the painter as a composition, and nothing could be more unlike the formality of the Leonardo da Vinci convention, with the table set square to the spectators, than this curious disordered scramble in which several of the disciples have no chairs at all. The attitudes are, however, convincing, Christ is a gracious figure, and the whole scene is very memorable and real.

The Tintorettos on the walls of the upper hall I find less interesting than those on the ceiling, which, however, present the usual physical difficulties to the student. How Ruskin with his petulant impatience brought himself to analyse so minutely works the examination of which leads to such bodily discomfort, I cannot imagine. But he did so, and his pages should be consulted. He is particularly interesting on "The Plague of Serpents." My own favourite is that of Moses striking the rock, from which, it is said, an early critic fled for his life for fear of the torrent. The manna scene may be compared with another and more vivid version of the same incident in S. Giorgio Maggiore.