brought home to daily life,
in the 'Presentation of the Virgin.' Without leaving the Madonna dell'
Orto, a student can explore his genius in all its depth and breadth;
comprehend the enthusiasm he excites in those who seek, as the
essentials of art, imaginative boldness and sincerity; understand what
is meant by adversaries who maintain that, after all, Tintoretto was
but an inspired Gustave Dore. Between that quiet canvas of the
'Presentation,' so modest in its cool greys and subdued gold, and the
tumult of flying, running? doesn't make much sense, but can't figure
out a plausible alternative, ascending figures in the 'Judgment,' what
an interval there is! How strangely the white lamb-like maiden,
kneeling beside her lamb in the picture of S. Agnes, contrasts with
the dusky gorgeousness of the Hebrew women despoiling themselves of
jewels for the golden calf! Comparing these several manifestations of
creative power, we feel ourselves in the grasp of a painter who was
essentially a poet, one for whom his art was the medium for expressing
before all things thought and passion. Each picture is executed in the
manner suited to its tone of feeling, the key of its conception.

Elsewhere than in the Madonna dell' Orto there are more distinguished
single examples of Tintoretto's realising faculty. The 'Last Supper'
in San Giorgio, for instance, and the 'Adoration of the Shepherds'
in the Scuola di San Rocco illustrate his unique power of presenting
sacred history in a novel, romantic framework of familiar things.
The commonplace circumstances of ordinary life have been employed to
portray in the one case a lyric of mysterious splendour; in the other,
an idyll of infinite sweetness. Divinity shines through the rafters
of that upper chamber, where round a low large table the Apostles
are assembled in a group translated from the social customs of the
painter's days. Divinity is shed upon the straw-spread manger, where
Christ lies sleeping in the loft, with shepherds crowding through the
room beneath.

A studied contrast between the simplicity and repose of the central
figure and the tumult of passions in the multitude around, may be
observed in the 'Miracle of S. Agnes.' It is this which gives dramatic
vigour to the composition. But the same effect is carried to its
highest fulfilment, with even a loftier beauty, in the episode of
Christ before the judgment-seat of Pilate, at San Rocco. Of all
Tintoretto's religious pictures, th