He wears no helmet--for that might obscure his sight, and the difficulty in this warfare is not so much to kill your dragon as to see him. In front of him is the dead body of another man: He gazes on the silent dead "They perished in their daring deeds." This proverb flashes through his head, "The many fail, the one succeeds." Behind him is a long castle wall, the towers and battlements perhaps of some great city. In many pictures of this subject (see _e.g._ 75) there are crowds of spectators on the walls, who will cheer the knight in his struggle and applaud him in his victory. But here the walls are deserted, and but for the princess in the foreground, there are no spectators of the struggle: it is one which has to be fought alone and in secret places. The princess had been given, in the story, as a sacrifice to the dragon, and St. George, who comes to rescue her, is thus the type of noble chivalry. "She turns away for flight; and if her hands are raised to heaven, and her knees fall to earth, it is more that she stumbles in a woman's weakness, than that she abides in faith or sweet surrender. Tintoret sees the scene as in the first place a matter of fact, and paints accordingly, following his judgment of girl nature." But in another sense the princess of the allegory represents the soul of man, which has to be freed from subjection to the dragon of the flesh. And so perhaps Tintoret makes her fly, "from a certain ascetic feeling, a sense growing with the growing license of Venice, that the soul must rather escape from this monster by flight than hope to see it subdued and made serviceable" (_St. Mark's Rest_, Second Supplement, pp. 14, 21, 33; _Fors Clavigera_, 1873, xxv. and xxvi.) 17. THE HOLY FAMILY. _Andrea del Sarto_[60] (Florentine: 1486-1531). _See_ 690. St. Elizabeth with her son, the infant John the Baptist, visiting the Madonna and infant Christ. It is "a Holy Family," but except for the symbolical cross of the Baptist and the faint circlet of golden light surrounding the Madonna's head, there is no hint of divinity about this pretty domestic scene. 18. CHRIST AND THE PHARISEES.[61] _Bernardino Luini_ (Lombard: about 1475-1533).