ifferent from that of others, that
it is a thing beautiful and strange. If this fantastic invention had
been executed with correct and well-ordered drawing, and if the painter
had given diligent attention to the parts and to each particular detail,
as he has done to the whole in expressing the confusion, turmoil, and
terror of that day, it would have been a most stupendous picture. And
whoever glances at it for a moment, is struck with astonishment; but,
considering it afterwards minutely, it appears as if painted as a jest.
The same master has painted in oils in that church, on the doors of the
organ, Our Lady ascending the steps of the Temple, which is a
highly-finished work, and the best-executed and most gladsome picture
that there is in that place. In S. Maria Zebenigo, likewise on the doors
of the organ, he has painted the Conversion of S. Paul, but not with
much care. In the Carita is an altar-piece by his hand, of Christ taken
down from the Cross; and in the Sacristy of S. Sebastiano, in
competition with Paolo Veronese, who executed many pictures on the
ceiling and the walls of that place, he painted over the presses Moses
in the Desert and other scenes, which were continued afterwards by
Natalino, a Venetian painter, and by others. The same Tintoretto then
painted for the altar of the Pieta, in S. Giobbe, three Maries, S.
Francis, S. Sebastian, and S. John, with a piece of landscape; and, on
the organ-doors in the Church of the Servites, S. Augustine and S.
Philip, and beneath them Cain killing his brother Abel. At the altar of
the Sacrament in S. Felice, or rather, on the ceiling of the tribune, he
painted the four Evangelists; and in the lunette above the altar an
Annunciation, in the other lunette Christ praying on the Mount of
Olives, and on the wall the Last Supper that He had with His Apostles.
And in S. Francesco della Vigna, on the altar of the Deposition from the
Cross, there is by the same hand the Madonna in a swoon, with the other
Maries and some Prophets.

In the Scuola of S. Marco, near SS. Giovanni e Polo, are four large
scenes by his hand. In one of these is S. Mark, who, appearing in the
air, is delivering one who is his votary from many torments that may be
seen prepared for him with various instruments of torture, which being
broken, the executioner was never able to employ them against that
devout man; and in that scene is a great abundance of figures,
foreshortenings, pieces of armour, buil