insignia upon any
artist."

"I cannot help feeling the motion, the action, of all these wild
figures," exclaimed Bettina, as she stood looking about in a helpless
way. "I seem to be buffetted on all sides, and the pictures mix
themselves with each other."

"It is no wonder. No painter was ever so extravagant as he could be.
There is a headlong dash, an impetuous action in his figures when he
wills, that remind us of Michael Angelo; but Tintoretto's imagination
far outran that of the great Florentine master. Yet there is a singular
sense of reality in his most imaginative works, and it is this, I
think, that is sometimes so confusing and overwhelming. His paintings
here are so many that I cannot talk long about any particular one. I
will only try to tell you what qualities to look for--then you must, for
yourselves, endeavor to understand and come under the spell of the
personality of the artist.

"In the first place," he continued, "look for power--power of
conception, of invention, and of execution. For instance, give your
entire attention for a few minutes to this _Massacre of the Innocents_.
See the perfect delirium of feeling and action--the frenzy of men,
women, and children. Look also for originality of invention.
Combinations and situations unthought of by other painters are here.
There is never even a hint of plagiarism in Tintoretto's work. In his
own native strength he seizes our imagination and, at will, plays upon
it. We shudder, yet are fascinated."

"Oh, uncle! I don't like it!" cried Margery, almost tearfully. "I don't
wish to see any more of his pictures, if all are like these."

"Madge--puss," said Malcom, "this is a horrible subject. Not all will be
like this."

"No, dear," said her mother, sympathizingly, "I don't like it either.
You and I will choose the pictures we are to look at long. There are
many of Tintoretto's that you will enjoy, I know,--many from which you
can learn about the artist, as well as from such as these."

"We cannot doubt the dramatic power of Tintoretto, can we?" asked Mr.
Sumner, with a suppressed twinkle of the eye. "What shall we look for
next? Let us ascend this beautiful staircase. Now look at this
_Visitation_. Is it not truly fine, charming in composition, graceful in
action, agreeable in color, and true and noble in expression?"

All agreed most eagerly with Mr. Sumner's opinion of the picture. Then,
turning, Bettina caught sight of an _Annunciation_, and cried