Ruskin 's view of Tintoretto 's landscape here may be compared with what he writes at Works, 6.431 and Works, 6.432 where Tintoretto is the 'first of the old painters who ever drew mountain detail rightly'. For evidence he refers back to his discussion of the 'two landscapes at the end of the Scuola di San Rocco' in the footnote at Works, 4.285. The paintings are presumably Santa Maria Maddalena Leggente and Santa Maria Egiziaca in Meditazione. For a full account of these pictures see Works, 11.408 and Works, 11.409. There although Ruskin cannot resist the comment that they are painted 'as carelessly and as fast as an upholsterer's journeyman finishing a room at a railroad hotel', he sees them nevertheless as not 'languidly painted', but painted in Tintoretto's 'hottest and grandest temper'. At Works, 9.436 Ruskin writes of power and feeling in landscape: 'I have put Turner and Tintoret side by side, not knowing which is, in landscape, the greater'.
The comparison made at the end of the paragraph is with the picture of St. Jerome in the church of San Grisostomo by Giovanni Bellini to which Ruskin refers at MP I:84.