efully finished picture, but
marvellously temperate and quiet in treatment, especially considering
the subject, which one would have imagined likely to inspire the
painter with one of his most fantastic visions. As if on purpose to
disappoint us, both the effect, and the conception of the figures, are
perfectly quiet, and appear the result much more of careful study than
of vigorous imagination. The effect is one of plain daylight; there
are a few clouds drifting in the distance, but with no wildness in
them, nor is there any energy or heat in the flames which mantle about
the waist of one of the figures. But for the noble workmanship, we
might almost fancy it the production of a modern academy; yet as we
begin to read the picture, the painter's mind becomes felt. St.
Anthony is surrounded by four figures, one of which only has the form
of a demon, and he is in the background, engaged in no more terrific
act of violence toward St. Anthony, than endeavoring to pull off his
mantle; he has, however, a scourge over his shoulder, but this is
probably intended for St. Anthony's weapon of self-discipline, which
the fiend, with a very Protestant turn of mind, is carrying off. A
broken staff, with a bell hanging to it, at the saint's feet, also
expresses his interrupted devotion. The three other figures beside him
are bent on more cunning mischief: the woman on the left is one of
Tintoret's best portraits of a young and bright-eyed Venetian beauty.
It is curious that he has given so attractive a countenance to a type
apparently of the temptation to violate the power of poverty, for this
woman places one hand in a vase full of coins, and shakes golden
chains with the other. On the opposite side of the saint, another
woman, admirably painted, but of a far less attractive countenance, is
a type of the lusts of the flesh, yet there is nothing gross or
immodest in her dress or gesture. She appears to have been baffled,
and for the present to have given up addressing the saint: she lays
one hand upon her breast, and might be taken for a very respectable
person, but that there are flames playing about her loins. A recumbent
figure on the ground is of less intelligible character, but may
perhaps be meant for Indolence; at all events, he has torn the saint's
book to pieces. I forgot to note, that under the figure representing
Avarice, t