Next let us group together the miracles in the history of St. Mark. One of the qualities which strikes us most in the "Miracle of the Slave" is its strong local colour. It tells of Titian and Bonifazio and is unlike Tintoretto's later style. The colours are glowing and gem-like; carnations, orange-yellows, deep scarlet, and turquoise-blue. The crimson velvet of the judge's dress is finely relieved against a blue-green sky, and Tintoretto has kept that instinctive fire and dash which culminates at once and without effort in perfect action, "as a bird flies, or a horse gallops." It startled the quiet members of the Guild, and at the first moment they hesitated to accept it. The "Rescue of the Saracen" and the "Transportation of the Body" are more in the golden-brown manner to which he was moving, but it is in the "Finding of the Body" (Brera) that he rises to the highest emotional pitch. The colossal form of the saint, expanding with life and power as he towers in the spirit above his own lifeless clay, draws all eyes to him and seems to fill the barrel-roofed hall with ease and energy. Every part of the vault is flooded by his life-giving energy, and here Tintoretto deals with light and shade with full mastery. As we follow Tintoretto's career, it is borne in upon us how little positive colour it takes to make a great colourist. The whole Venetian School, indeed, does not deal with what we understand as bright colour. Vivid tints are much more characteristic of the Flemish and the Florentine, or, let us say, of the painters of to-day. Strong, crude colours are to be seen on all sides in the Salon or the Royal Academy, but they are absent from the scheme of sombre splendour which has given the Venetians their title to fame. This is especially true of Tintoretto, and it becomes more so as he advances. His gamut becomes more golden-brown and mellow; the greys and browns and ivories combine in a lustrous symphony more impressive than gay tints, flooded with enveloping shadow and illumined by flashes of iridescent light. Another noticeable feature is the way in which he puts on his oil-colour, so that it bears the direct impression of the painter's hand. The Florentines had used flat tints, opaque and with every brush-mark smoothed away; but as the later Venetians covered large spaces with oil-colour, they no longer sought to dissimulate the traces of the brush, and light, distance, movement, were all conveyed by the turns and twists and swirls with which the thin oil-colour was laid on. Look at the power of touch in such a picture as the "Death of Abel"; we see this spontaneity of execution actually forming part of the emotion with which the picture is charged. The concentrated hate of the one figure, the desperate appeal of the other, the lurid note of the landscape, gain their emotion as much from the impetuous brush-work as from the more studied design. We come closest to the painter's mind in the Scuola di San Rocco.