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slave's arrival back to his master's residence, when his master punishes him. The master, seated at the throne on the right, calls for the slave's eyes to be gouged out, legs to be broken, and mouth to be shattered. However, the instruments of torture continue breaking next to slave as he calls for St. Mark, who appears at the top of the composition. Stunned, the crowd on the left side of the picture is convinced of a miracle.
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some members of the confraternity originally insisted the painting be returned
Tintoretto. Various theories exist as to the cause of the dispute over the work, ranging from Tintoretto's personality to favoritism from Tintoretto's father-in-law, who held a leadership position within the Scuola Grande di San Marco. Ultimately, though,
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is a classic example of a work from the
Venetian school. The piece is daring in its use of color to organize its composition. In particular, the juxtaposition of depth created by the vibrant pink of the garb of St. Mark contrasted with brilliant white turban below him creates a sense of depth that
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was, from the beginning, the biggest commission
Tintoretto had received. The confraternity that paid for the work, the Scuola di San Marco, was the largest and wealthiest lay organization in Venice, and it played a central role in social life. However, the work was not met with immediate success;
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as inspiration. Prior to the events shown in the picture, the slave wants to visit the tomb of the patron saint of Venice, but his master forbids his visit. The slave makes the pilgrimage against his master's will, and devotes his body to St. Mark upon reaching the tomb. The painting shows the
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was commissioned by the charitable civic organization of the Scuola Grande di San Marco to hang opposite the altar within the building. The work hung in the Scuola until seized by the French in 1797. It was then returned to Venice in its current location at the
Gallerie dell'Accademia in 1815.
214:, Tintoretto did not have powerful backers. The artist was continually told his brushwork was too rushed and works were unfinished. In particular, the famous Venetian painter Titian was an open critic of Tintoretto’s work to this point.
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wrote that
Tintoretto changed the course of religious painting in Venice, as everyone after him painted scenes with the "great strength and energy used that he expressed through his figures." More recently, authors have placed
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138:'s bronze reliefs, Saint Mark appears at the top of the image after being summoned by the slave, destroying the tools used in his torture and stunning the crowd.
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at the beginning of
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The bronze relief by Jacopo
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The image tells the hagiography of a slave who lived long after the life of St. Mark, using fellow
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321:"The Miracle of the Slave, also known as The Miracle of Saint Mark | Gallerie dell'Accademia di Venezia"
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has been described as
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Interpretations of the painting have focused on its religious content. Contemporary biographer
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of art along with themes that would become prevalent throughout the artist's career.
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Ilchman, Frederick (2007). "Tintoretto as a
Painter of Religious Narrative".
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Ilchman, Frederick (2007). "Tintoretto as a Painter of Religious Narrative".
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416 cm × 544 cm (164 in × 214 in)
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was met with praise and led to numerous new commissions from Tintoretto.
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351:(1 ed.). Madrid: Museo Nacional del Prado. pp. 13–16.
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401:"Smarthistory – Jacopo Tintoretto, The Miracle of the Slave"
297:"Smarthistory – Jacopo Tintoretto, The Miracle of the Slave"
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was the first notable work of Tintoretto's career. Prior to
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Hills, Paul (2009). "Tintoretto and the Venetian Gothic".
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Echols, Robert (2007). "The Decisive Years: 1547-1555".
431:. Madrid: Museo Nacional del Prado. pp. 213–215.
506:"Tintoretto and the Theme of Miraculous Intervention"
483:. Madrid: Museo Nacional del Prado. pp. 66–67.
376:. Madrid: Museo Nacional del Prado. pp. 66–67.
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makes the figure of the saint stand out in the air.
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458:. Internet Archive. London : Reaktion.
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943:Il Paradiso
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827:Crucifixion
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905:The Muses
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
