till the marble seems rending around us, but far back, at the bottom of the stairs, there is something in the shadow like a heap of clothes. It is a woman, sitting quiet,--quite quiet--still as any stone, she looks down steadfastly on her dead child, laid along on the floor before her, and her hand is pressed softly upon her brow. Sec. 22. Various works in the Scuola di San Rocco. Sec. 23. The Last Judgment. How treated by various painters. This, to my mind, is the only imaginative; that is, the only true, real, heartfelt representation of the being and actuality of the subject in existence.[63] I should exhaust the patience of the reader if I were to dwell at length on the various stupendous developments of the imagination of Tintoret in the Scuola di San Rocco alone. I would fain join a while in that solemn pause of the journey into Egypt, where the silver boughs of the shadowy trees lace with their tremulous lines the alternate folds of fair clouds, flushed by faint crimson light, and lie across the streams of blue between those rosy islands, like the white wakes of wandering ships; or watch beside the sleep of the disciples among those massy leaves that lie so heavily on the dead of the night beneath the descent of the angel of the agony, and toss fearfully above the motion of the torches as the troop of the betrayer emerges out of the hollows of the olives; or wait through the hour of accusing beside the judgment seat of Pilate, where all is unseen, unfelt, except the one figure that stands with its head bowed down, pale like a pillar of moonlight, half bathed in the glory of the Godhead, half wrapt in the whiteness of the shroud. Of these and all the other thoughts of indescribable power that are now fading from the walls of those neglected chambers, I may perhaps endeavor at some future time to preserve some image and shadow more faithfully than by words; but I shall at present terminate our series of illustrations by reference to a work of less touching, but more tremendous appeal, the Last Judgment in the Church of Santa Maria dell' Orto. In this subject, almost all realizing or local statement had been carefully avoided by the most powerful painters, they judging it better to represent its chief circumstances as generic thoughts, and present them to the mind in a typical or abstract form. In the judgment of Angelico the treatment is purely typical, a long Campo santo, composed of two lines of graves, stretches away into the distance; on the left side of it rise the condemned; on the right the just. With Giotto and Orcagna, the conception, though less rigid, is equally typical, no effort being made at the suggestion of space, and only so much ground represented as is absolutely necessary to support the near figures and allow space for a few graves. Michael Angelo in no respect differs in his treatment, except that his figures are less symmetrically grouped, and a greater conception of space is given by their various perspective.