Then Tintoret, himself alone nearly as strong as all the three, stands up for a last fight; for Venice, and the old time. He all but wins it at first; but the three together are too strong for him. Michael Angelo strikes him down; and the arts are ended. "Il disegno di Michael Agnolo." That fatal motto was his death-warrant.
218. And now, having massed out my subject, I can clearly sketch for you the changes that took place from Bellini, through Michael Angelo, to Tintoret.
The art of Bellini is centrally represented by two pictures at Venice: one, the Madonna in the Sacristy of the Frari, with two saints beside her, and two angels at her feet; the second, the Madonna with four Saints, over the second altar of San Zaccaria.
In the first of these, the figures are under life size, and it represents the most perfect kind of picture for rooms; in which, since it is intended to be seen close to the spectator, every right kind of finish possible to the hand may be wisely lavished; yet which is not a miniature, nor in any wise petty, or ignoble.
In the second, the figures are of life size, or a little more, and it represents the class of great pictures in which the boldest execution is used, but all brought to entire completion. These two, having every quality in balance, are as far as my present knowledge extends, and as far as I can trust my judgment, the two best pictures in the world.
219. Observe respecting them—
First, they are both wrought in entirely consistent and permanent material. The gold in them is represented by painting, not laid on with real gold. And the painting is so secure, that four hundred years have produced on it, so far as I can see, no harmful change whatsoever, of any kind.
Secondly, the figures in both are in perfect peace. No action takes place except that the little angels are playing on musical instruments, but with uninterrupted and effortless gesture, as in a dream. A choir of singing angels by La Robbia or Donatello would be intent on their music, or eagerly rapturous in it, as in temporary exertion: in the little choirs of cherubs by Luini in the Adoration of the Shepherds, in the Cathedral of Como, we even feel by their dutiful anxiety that there might be danger of a false note if they were less attentive. But Bellini's angels, even the youngest, sing as calmly as the Fates weave.
220. Let me at once point out to you that this calmness is the attribute of the entirely highest class of art: the introduction of strong or violently emotional incident is at once a confession of inferiority.
Those are the two first attributes of the best art. Faultless workmanship, and perfect serenity; a continuous, not momentary, action,—or entire inaction. You are to be interested in the living creatures; not in what is happening to them.