The whole scheme has been worked out in detail in my book on "Tintoretto." In the working out of his great scheme, Tintoretto is impatient of hackneyed and traditional forms; he must have a reading of his own, and one which appeals to his imagination. We see that passion for movement which distinguishes his early work. "Moses striking the Rock" is a figure instinct with purpose and energy. The water bounds forth, living, life-giving, the people strain wildly to reach it. His figures are sometimes found fault with, as extravagant in gesture, but the attitudes were intended to be seen and to arrest attention from far below, and we must not forget that the painter's models were drawn from a Southern race, to whom emphasis of action is natural. Tintoretto, it may be conceded, is on certain occasions, generally when dealing with accessory figures, inclined to excess of gesture; it is the defect of his temperament, but when he has a subject that carries him away he is sincere and never violent in spirit. Titian is cold compared to him; his colour, however effective, is calculated, whereas Tintoretto's seems to permeate every object and to soak the whole composition. To quote a recent critic: "He chose to begin, if possible, with a subject charged with emotion. He then proceeded to treat it according to its nature, that is to say, he toned down and obscured the outlines of form and mapped out the subject instead in pale or sombre masses of light and shade. Under the control of this powerful scheme of chiaroscuro, the colouring of the composition was placed, but its own character, its degree of richness and sobriety, was determined by the kind of emotion belonging to the subject. To use colour in this way, not only with emotional force, but with emotional truth, is to use it to perform one of the greatest functions of art."[5] [5] "Venice and the Renaissance," _Edinburgh Review_, 1909.