* *

p. 13

Who said “No man hath greater love than this, To die to serve his friend?” So these have loved us all unto the end. Chide thou no more, O thou unsacrificed! The soldier dying dies upon a kiss, The very kiss of Christ.

p. 14TO TINTORETTO IN VENICE

p. 14

The Art of Painting had in the Primitive years looked with the light, not towards it. Before Tintoretto’s date, however, many painters practised shadows and lights, and turned more or less sunwards; but he set the figure between himself and a full sun. His work is to be known in Venice by the splendid trick of an occluded sun and a shadow thrown straight at the spectator.

Tintoretto’s thronged “Procession to Calvary” and his “Crucifixion,” incidentally named, are two of the greatest of his multitude of works in Venice.

Master, thy enterprise, Magnificent, magnanimous, was well done, Which seized, the head of Art, and turned her eyes— The simpleton—and made her front the sun.

Long had she sat content, Her young unlessoned back to a morning gay, To a solemn noon, to a cloudy firmament, And looked upon a world in gentle day.

But thy imperial call Bade her to stand with thee and breast the light, And therefore face the shadows, mystical, Sombre, translucent, vestiges of night,

p. 15Yet glories of the day. Eagle! we know thee by thy undaunted eyes Sky-ward, and by thy glooms; we blow thy way Ambiguous, and those halo-misted dyes.

p. 15

Thou Cloud, the bridegroom’s friend (The bridegroom sun)! Master, we know thy sign: A mystery of hues world-without-end; And hide-and-seek of gamesome and divine;

Shade of the noble head Cast hitherward upon the noble breast; Human solemnities thrice hallowèd; The haste to Calvary, the Cross at rest.

Look sunward, Angel, then! Carry the fortress-heavens by that hand; Still be the interpreter of suns to men; And shadow us, O thou Tower! for thou shalt stand.

p. 16A THRUSH BEFORE DAWN

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