In the 1842 edition of Murray's Handbook of Painting in Italy Kugler, said that Tintoretto 'united great strength of shadow with the Venetian colouring, which gives a peculiar character to his pictures and is very successful when limited to the direct imitation of nature'. However he says that there are 'many errors, particularly unpleasing in his large compositions'. In particular 'we miss the feeling for the grand style of grouping which separates the whole into well-balanced parts, and ensures repose to the eye'. He believes that the 'execution is often coarse and mechanical'. Venice 'overflows' with Tintoretto 's works. Among his 'most celebrated, but not very pleasing pictures' is the Miracle of St. Mark' in the Accademia. The Crucifixion in the Gallery of the Academy of Venice, which is for Ruskin 'beyond all analysis and above all praise' ( Works, 11.428) is merely listed. The large Paradise in the Ducal Palace 'contains an innumerable and disagreeable crowd of human forms; but many parts of the picture display great skill, and the principal figures, Christ and the Virgin, are very dignified'. Eastlake, as editor of the handbook merely adds the rather ambiguous footnote that the Crucifixion 'all things considered, is perhaps the most perfect by the master'.
Kugler, revised Burckhardt, ed. Eastlake, on Tintoretto in the editions of Murray's Handbook of Painting in Italy published in 1847 and 1855 strengthens the criticism of Tintoretto.