ROCCO, SCUOLA DI SAN 427

gather that, having been painted in competition with Paul Veronese and other powerful painters of the day, it was probably Tintoret’s endeavour to make it as popular and showy as possible. It is quite different from his common works; bright in all its tints and tones; the faces carefully drawn, and of an agreeable type; the outlines firm, and the shadows few; the whole resembling Correggio more than any Venetian painter. It is, however, an example of the danger, even to the greatest artist, of leaving his own style; for it lacks all the great virtues of Tintoret, without obtaining the lusciousness of Correggio. One thing, at all events, is remarkable in it,-that, though painted while the competitors were making their sketches, it shows no sign of haste or inattention.

41 to 44. Figures of Children, merely decorative.

45 to 56. Allegorical Figures on the Roof. If these were not in the same room with the “Crucifixion,” they would attract more public attention than any works in the Scuola, as there are here no black shadows, nor extravagances of invention, but very beautiful figures richly and delicately coloured, a good deal resembling some of the best works of Andrea del Sarto. There is nothing in them, however, requiring detailed examination. The two figures between the windows are very slovenly, if they are his at all; and there are bits of marbling and fruit filling the cornices, which may or may not be his: if they are, they are tired work, and of small importance.

59. Christ before Pilate. A most interesting picture, but, which is unusual, best seen on a dark day, when the white figure of Christ alone draws the eye, looking almost like a spirit; the painting of the rest of the picture being both somewhat thin and imperfect. There is a certain meagreness about all the minor figures, less grandeur and largeness in the limbs and draperies, and less solidity, it seems, even in the colour, although its arrangements are richer than in many of the compositions above described. I hardly know whether it is owing to this thinness of colour, or on purpose, that the horizontal clouds shine through the crimson flag in the distance; though I should think the latter, for the effect is most beautiful. The passionate action of the Scribe in lifting his hand to dip the pen into the ink-horn is, however, affected and overstrained, and the Pilate is very mean; perhaps intentionally, that no reverence might be withdrawn from the person of Christ. In work of the thirteenth and fourteenth centuries, the figures of Pilate and Herod are always intentionally made contemptible.¹

60. Ecce Homo. As usual, Tintoret’s own peculiar view of the subject. Christ is laid fainting on the ground, with a soldier standing on one side of Him; while Pilate, on the other, withdraws the robe from the scourged and wounded body, and points it out to the Jews. Both this and the picture last mentioned resemble Titian more than Tintoret in the style of their treatment.

61. Christ Bearing His Cross. Tintoret is here recognisable again in undiminished strength. He has represented the troops and attendants

¹ [For another description of this picture, see Modern Painters, vol. ii. (Vol. IV. p. 274). This and No. 61 were published by the Arundel Society: see above, p. xxxii.]

[Version 0.04: March 2008]