insomuch that Pordenone was extolled by the Venetians more than any artist who had laboured in their city up to that time had ever been.
But among the various motives whereby Pordenone was incited to exertion, was that of his rivalry with the most excellent Titian: perpetually endeavouring to surpass that master, he promised himself that by continual study, by a bold style of execution, and by his rapid and able mode of working in fresco, he should deprive the latter of that preeminence which he had acquired by so many admirable works; he laboured hard to attain his purpose by other means also, taking great pains to prove himself always courteous and obliging, and being careful to associate as much as was possible with great personages, all with the one object and to the same intent. Nor did this rivalry and emulation fail to produce a good effect, since they caused Pordenone to give the utmost study to his works and to execute all with the most unwearied diligence, by which means he has rendered them worthy of ever-during praise.
The advantages thus obtained caused Pordenone to receive a commission from the wardens of San Rocco, who appointed him to paint the chapel of that Church, with the whole of the Tribune, in fresco.[1] He commenced the work accordingly, depicting a figure representing God the Father in the tribune above-mentioned, with a large number of Angels in the form of children, moving around him in beautiful and varied attitudes. On the frieze of the same tribune he painted eight figures from the Old Testament, with the four Evangelists in the angles; and over the High Altar he placed the Transfiguration of Christ, while the two lunettes at the sides are occupied by the four Doctors of the church. There are besides two large pictures in the centre of the church, by the hand of the same master, the one representing Christ restoring a number of sick persons to health, the figures of the latter being exceedingly well done[2] and the other
- ↑ The pictures of Pordenone in the church of San Rocco, having suffered greatly from the effects of time, were re-painted in the old outlines in the eighteenth century, by Gius. Angeli.— Ed. Flor. 1832-8.
- ↑ This is the picture of the Pool of Bethesda, but it is by Tintoretto, not Pordenone. —Masselli. This work is not now to be found enumerated among the paintings of San Rocco. —Förster
