He had already been employed in the church, and there remains, darkened and ruined by damp, the series illustrative of the career of S. Roch, patron saint of sufferers from the plague. When the great Halls of Assembly were to be decorated in 1560, the confraternity asked a conclave of painters, among whom were Veronese and Andrea Schiavone, to prepare sketches for competition. When they assembled to display their designs, Tintoretto swept aside a cartoon from the ceiling of the refectory and discovered a finished picture, the "S. Roch in Glory," which still holds its place there. Neither the other artists nor the brethren seem to have approved of this unconventional proceeding, but he "hoped they would not be offended; it was the only way he knew." Partly from the displeased withdrawal of some of the rest, but partly also from the excellence of the work, the commission fell to Tintoretto, and after two years' work he was received into the order, and was assigned an annual provision of 100 ducats (£50) a year for life, being bound every year to furnish three pictures. CHAPTER XXVI TINTORETTO (_continued_) The first portion of the vast building that was finished was the Refectory, but in examining the scheme, it is perhaps more convenient to leave it to its proper place, which is the climax. Before beginning, Tintoretto must have had the whole thing planned, and we cannot doubt that he was influenced by the Sixtine Chapel and recalled its plan and significance; the old dispensation typifying the new, the Old Testament history vivified by the acts of Christ. The main feature of the harmony which it is only reasonable to suppose governs the whole building, is its dedication to S. Roch, the special patron of mercy. The principal paintings of the Upper Hall are therefore concerned with acts of divine mercy and deliverance, and even the monochromes bear upon the central idea. On the roof are the three most important miracles of mercy performed on behalf of the Chosen People. The paintings on roof and walls are linked together. The "Fall of Man" at one end of the Hall, the disobedient eating, corresponds with the obedient eating of the Passover at the other, and is interdependent with the Manna in the Wilderness, the Last Supper, and the Miracle of the Loaves. The Miracles of satisfied thirst are represented by "Moses striking the Rock," Samson drinking from the jawbone and the waters of Meribah. The Baptism and other signs of the Advent of Christ and the Divine preparation, balance events in the early life of Moses. In the Refectory which opens from the Great Hall, we come to the "Crucifixion," the crowning act of mercy, surrounded by the events which immediately succeeded it, and typified immediately above in the Central Hall, by the lifting up of the Brazen Serpent. The miracles include six of refreshment and succour, two of miraculous restoration to health, and two of deliverance from danger.