In this picture, however, the force of the thought hardly atones for the painfulness of the scene and the turbulence of its feeling. The power of the master is more strikingly shown in his treatment of a subject which, however important, and however deep in its meaning, supplies not to the ordinary painter material enough ever to form a picture of high interest; the Baptism of Christ. From the purity of Giotto to the intolerable, inconceivable brutality of Salvator,[61] every order of feeling has been displayed in its treatment; but I am aware of no single case, except this of which I am about to speak, in which it has formed an impressive picture. Giotto's, in the Academy of Florence, engraved in the series just published, (Galleria delle belle Arti,) is one of the most touching I know, especially in the reverent action of the attendant angels, and Leonardo's angel in that of Andrea del Verrocchio is very beautiful, but the event is one whose character and importance are ineffable upon the features: the descending dove hardly affects us, because its constant symbolical occurrence hardens us, and makes us look on it as a mere type or letter, instead of the actual presence of the Spirit; and by all the sacred painters the power that might be put into the landscape is lost, for though their use of foliage and distant sky or mountain is usually very admirable, as we shall see in the fifth chapter, yet they cannot deal with near water or rock, and the hexagonal and basaltic protuberances of their river shore are I think too painful to be endured even by the most acceptant mind, as eminently in that of Angelico, in the Vita di Christo, which, as far as I can judge, is a total failure in action, expression, and all else; and in general it is in this subject especially, that the greatest painters show their weakness. For this reason, I suppose, and feeling the difficulty of it, Tintoret has thrown into it his utmost strength, and it becomes noble in his hands by his most singularly imaginative expression, not only of the immediate fact, but of the whole train of thought of which it is suggestive; and by his considering the baptism not only as the submission of Christ to the fulfilment of all righteousness, but as the opening of the earthly struggle with the prince of the powers of the air, which instantly beginning in the temptation, ended only on the cross. Sec. 19. By Tintoret.