of
this picture, whether in all its details true or not, we may at least
gather that having been painted in competition with Paul Veronese and
other powerful painters of the day, it was probably Tintoret's
endeavor 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 colored, 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 color, although its arrangements are richer than in many
of the compositions above described. I hardly know whether it is owing
to this thinness of color, 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 liftin