But the most exquisite instance of this imaginative power occurs in an incident in the background of the Crucifixion. I will not insult this marvellous picture by an effort at a verbal account of it. I would not whitewash it with praise, and I refer to it only for the sake of two thoughts peculiarly illustrative of the intellectual faculty immediately under discussion. In the common and most catholic treatment of the subject, the mind is either painfully directed to the bodily agony, coarsely expressed by outward anatomical signs, or else it is permitted to rest on that countenance inconceivable by man at any time, but chiefly so in this its consummated humiliation. In the first case, the representation is revolting; in the second, inefficient, false, and sometimes blasphemous. None even of the greatest religious painters have ever, so far as I know, succeeded here; Giotto and Angelico were cramped by the traditional treatment, and the latter especially, as before observed, is but too apt to indulge in those points of vitiated feeling which attained their worst development among the Byzantines: Perugino fails in his Christ in almost every instance (of other men than these after them we need not speak.) But Tintoret here, as in all other cases, penetrating into the root and deep places of his subject, despising all outward and bodily appearances of pain, and seeking for some means of expressing, not the rack of nerve or sinew, but the fainting of the deserted Son of God before his Eloi cry, and yet feeling himself utterly unequal to the expression of this by the countenance, has on the one hand filled his picture with such various and impetuous muscular exertion that the body of the Crucified is, by comparison, in perfect repose, and on the other has cast the countenance altogether into shade. But the agony is told by this, and by this only, that though there yet remains a chasm of light on the mountain horizon where the earthquake darkness closes upon the day, the broad and sunlike glory about the head of the Redeemer has become wan, and of the color of ashes.[62]