1594, Tintoretto (Jacopo Robusti) and Domenico Robusti, Il Paradiso -- Doge’s Palace (Venice)
From the museum label: Due to its immense size, the picture was painted in sections; not in the artist's own studio but in the large main hall of the nearby Scuola della Misericordia. Most of the work was done by Tintoretto's son, Domenico, who - as one can see from a comparison with the painting now in the Thyssen-Bornemisza - was far from faithful to his father's original design. The Coronation of the Virgin is replaced by a The Virgin Interceding with Christ on behalf of Venice, the scene being surmounted by the dove of the Holy Spirit and raised upon a dense semicircular rank of cherubim and seraphim. Furthermore, the reference to the Annunciation that had figured in Guariento's fresco re-appears: the archangel Gabriel is shown holding out a lily to Mary, depicted with a halo of seven stars.
The divine light now emanates not from the dove of the Holy Spirit but from the figure of Christ the Judge, shown holding a globe surmounted by a cross; to his right stands the Archangel Michael holding out the scales of justice. The order of the celestial hierarchy is respected, though in a summary fashion: the evangelists appear in a semi-circle immediately beneath the main scene, with the saints then aligned in the same order in which they figure in church litanies. There are some clear historical references: for example, amongst the saints in the centre one can recognise St. Justina, patron saint of Padua, whose feast day is 7 October, the date of the Battle of Lepanto. From the centre of the dais a path of light opens up towards the Empyrean, allowing the souls of the Just to ascend (with the assistance of angels) and Grace of God to descend upon the doge. At the centre of this path of light stands out the radiant figure of a semi-veiled archangel. The composition is crowded with around five hundred figures, depicted in some detail. The final effect is of an overpowering tumult that seems to celebrate the greatness of the Republic more than it does the triumph of God. The canvas would be an overwhelming success, maintaining its reputation for more than two centuries. As for the old Tintoretto, though the 1582 composition was much closer to his artistic sensibility, he still placed great importance upon this work for the Doge's Palace. In fact, the commission was so important to him that he actually applied to the Senate for a reduction in the payment for his work.
Link to a high-resolution close-up photo of details from this painting.
1594, Tintoretto (Jacopo Robusti) and Domenico Robusti, Il Paradiso -- Doge’s Palace (Venice)
From the museum label: Due to its immense size, the picture was painted in sections; not in the artist's own studio but in the large main hall of the nearby Scuola della Misericordia. Most of the work was done by Tintoretto's son, Domenico, who - as one can see from a comparison with the painting now in the Thyssen-Bornemisza - was far from faithful to his father's original design. The Coronation of the Virgin is replaced by a The Virgin Interceding with Christ on behalf of Venice, the scene being surmounted by the dove of the Holy Spirit and raised upon a dense semicircular rank of cherubim and seraphim. Furthermore, the reference to the Annunciation that had figured in Guariento's fresco re-appears: the archangel Gabriel is shown holding out a lily to Mary, depicted with a halo of seven stars.
The divine light now emanates not from the dove of the Holy Spirit but from the figure of Christ the Judge, shown holding a globe surmounted by a cross; to his right stands the Archangel Michael holding out the scales of justice. The order of the celestial hierarchy is respected, though in a summary fashion: the evangelists appear in a semi-circle immediately beneath the main scene, with the saints then aligned in the same order in which they figure in church litanies. There are some clear historical references: for example, amongst the saints in the centre one can recognise St. Justina, patron saint of Padua, whose feast day is 7 October, the date of the Battle of Lepanto. From the centre of the dais a path of light opens up towards the Empyrean, allowing the souls of the Just to ascend (with the assistance of angels) and Grace of God to descend upon the doge. At the centre of this path of light stands out the radiant figure of a semi-veiled archangel. The composition is crowded with around five hundred figures, depicted in some detail. The final effect is of an overpowering tumult that seems to celebrate the greatness of the Republic more than it does the triumph of God. The canvas would be an overwhelming success, maintaining its reputation for more than two centuries. As for the old Tintoretto, though the 1582 composition was much closer to his artistic sensibility, he still placed great importance upon this work for the Doge's Palace. In fact, the commission was so important to him that he actually applied to the Senate for a reduction in the payment for his work.
Link to a high-resolution close-up photo of details from this painting.