g his hand to dip the pen into the ink-horn is,
however, affected and overstrained, and the Pilate is very mean;
perhaps intentionally, that no reverence might be withdrawn from the
person of Christ. In work of the thirteenth and fourteenth centuries,
the figures of Pilate and Herod are always intentionally made
contemptible.

_Ecce Homo._ As usual, Tintoret's own peculiar view of the subject.
Christ is laid fainting on the ground, with a soldier standing on one
side of him; while Pilate, on the other, withdraws the robe from the
scourged and wounded body, and points it out to the Jews. Both this
and the picture last mentioned resemble Titian more than Tintoret in
the style of their treatment.

61. _Christ bearing his Cross._ Tintoret is here recognizable again in
undiminished strength. He has represented the troops and attendants
climbing Calvary by a winding path, of which two turns are seen, the
figures on the uppermost ledge, and Christ in the centre of them,
being relieved against the sky; but, instead of the usual simple
expedient of the bright horizon to relieve the dark masses, there is
here introduced, on the left, the head of a white horse, which blends
itself with the sky in one broad mass of light. The power of the
picture is chiefly in effect, the figure of Christ being too far off
to be very interesting, and only the malefactors being seen on the
nearer path; but for this very reason it seems to me more impressive,
as if one had been truly present at the scene, though not exactly in
the right place for seeing it.

62. _The Crucifixion._ I must leave this picture to work its will on
the spectator; for it is beyond all analysis, and above all praise.

S

SAGREDO, PALAZZO, on the Grand Canal, II. 256. Much defaced, but full
of interest. Its sea story is restored; its first floor has a most
interesting arcade of the early thirteenth century third order
windows; its upper windows are the finest fourth and fifth orders of
early fourteenth century; the group of fourth orders in the centre
being brought into some resemblance to the late Gothic traceries by
the subsequent introduction of the quatrefoils above them.

SALUTE, CHURCH OF STA. MARIA DELLA, on the Grand Canal, II. 378. One
of the earliest buildings of the Grotesque Renaissance, rendered
impressive by its position, size, and general proporti