f St. Mark, past
the recumbent figure, and across the picture by means of the band of
light on the ground, to the important group of frightened figures on
the right. And from them on to the figures engaged in lowering a corpse
from its tomb. Or, following the direction of the outstretched arm of
St. Mark, we are led by the lines of the architecture to this group
straight away, and back again by means of the group on the right and the
band of light on the ground. The quantities are not placed in reposeful
symmetry about the canvas, as was the case in the Raphael, but are
thrown off apparently haphazard from lines leading the eye round the
picture. Note also the dramatic intensity given by the strongly
contrasted light and shade, and how Tintoretto has enjoyed the weird
effect of the two figures looking into a tomb with a light, their
shadows being thrown on the lid they hold open, at the far end of the
room. This must have been an amazingly new piece of realism at the time,
and is wonderfully used, to give an eerie effect to the darkened end of
the room. With his boundless energy and full enjoyment of life,
Tintoretto's work naturally shows a strong leaning towards variety, and
his amazing compositions are a liberal education in the innumerable and
unexpected ways in which a panel can be filled, and should be carefully
studied by students.

[Illustration: Plate XLIX.

THE FINDING OF THE BODY OF ST. MARK TINTORETTO (BREDA, MILAN)

Compare with Raphael's Ansidei Madonna, and note how energy and movement
take the place of static calm in the balance of this composition.

_Photo Anderson_]

A pleasing proportion that often occurs in nature and art is one that
may be roughly stated in figures as that between 5 and 8. In such a
proportion the eye sees no mathematical relationship. Were it less than
5, it would be too near the proportion of 4 to 8 (or one-third the total
length), a dull proportion; or were it more, it would be approaching too
near equality of proportion to be quite satisfactory.

I have seen a proportional compass, imported from Germany, giving a
relationship similar to this and said to contain the secret of good
proportion. There is certainly something remarkable about it, and in the
Appendix, page 289 [Transcribers Note: APPENDIX], you will find some
further interesting facts about this.

The variety of proportions in a building, a picture, or a piece of
sculpture should always be under the control of