91. His artistical attainments, as might be conjectured, are nothing more than the development, through practice, of his natural powers in accordance with his sacred instincts. His power of expression by bodily gesture is greater even than Giotto's, wherever he could feel or comprehend the passion to be expressed; but so inherent in him was his holy tranquillity of mind, that he could not by any exertion, even for a moment, conceive either agitation, doubt, or fear--and all the actions proceeding from such passions, or, _a fortiori_, from any yet more criminal, are absurdly and powerlessly portrayed by him; while contrariwise, every gesture, consistent with emotion pure and saintly, is rendered with an intensity of truth to which there is no existing parallel; the expression being carried out into every bend of the hand, every undulation of the arm, shoulder, and neck, every fold of the dress and every wave of the hair. His drawing of movement is subject to the same influence; vulgar or vicious motion he cannot represent; his running, falling, or struggling figures are drawn with childish incapability; but give him for his scene the pavement of heaven, or pastures of Paradise, and for his subject the "inoffensive pace" of glorified souls, or the spiritual speed of Angels, and Michael Angelo alone can contend with him in majesty,--in grace and musical continuousness of motion, no one. The inspiration was in some degree caught by his pupil Benozzo, but thenceforward forever lost. The angels of Perugino appear to be let down by cords and moved by wires; that of Titian, in the sacrifice of Isaac, kicks like an awkward swimmer; Raphael's Moses and Elias of the Transfiguration are cramped at the knees; and the flight of Domenichino's angels is a sprawl paralyzed. The authority of Tintoret over movement is, on the other hand, too unlimited; the descent of his angels is the swoop of a whirlwind or the fall of a thunderbolt; his mortal impulses are oftener impetuous than pathetic, and majestic more than melodious.