It is not possible in a short space to touch, even in passing, on all the many scenes in these halls: the "Annunciation," with its marvellous flight of cherubs, reminding us of the flight of pigeons in the Piazza, and how often the old painter must have watched them; the "Temptation," contrasting the throbbing evil, the flesh that _must_ be fed, with the calm of absolute purity; the "Massacre of the Innocents," for which the horrors of sacked towns could have supplied many a parallel,--we have not time to dwell on these, but we may notice how the artist has overcome the difficulty of seeing clearly in the dark halls, by choosing strong and varied effects of light for the most shadowed spaces, and we can picture what the halls must have been like when they first glowed from his hand, adorned with gilded fretwork and moulding, and hung with opulent draperies, with the rose-red and purple of bishops' and cardinals' robes reflected in the gleaming pavement. [Illustration: _Tintoretto._ _Scuola di San Rocco._ S. MARY OF EGYPT. (_Photo, Anderson._)] Leonardo, by one supreme example, Tintoretto, by many renderings, have made the "Last Supper" peculiarly their own in the domain of art. It shows how strongly the mystic strain entered into the man's character, that often as Tintoretto treated the subject, it never lost its interest for him, and he never failed to find a fresh point of view. In that in S. Polo, Christ offers the sacred food with a gesture of vehement generosity. Placed as the picture is, to appeal to all comers to the Mass, to afford them a welcome as they pass to the High Altar, it tells of the Bread of Life given to all mankind. Tintoretto himself, painted in the character of S. Paul, stands at one side, absorbed in meditation. We need not insist again on the emotional value of the deep colours, the rich creams and crimsons and the chiaroscuro. In his latest rendering, in S. Giorgio Maggiore, he touches his highest point in symbolical treatment. Some people are only able to see a theatrical, artificial spirit in this picture, but at least, when we consider what deep meditation Tintoretto had bestowed on his subjects, we may believe that he himself was sincere and that he let himself go over what commended itself as an entirely new rendering. "The Light shined in the Darkness, and the Darkness comprehended it not." The supernatural is entering on every side, but the feast goes on; the serving men and maids busy themselves with the dishes; the disciples are inquiring, but not agitated; none see that throng of heavenly visitants, pouring in through the blue moonlight, called to their Master's side by the supreme significance of His words. The painter has taken full advantage of the opportunity of combining the light of the cresset lamp, pouring out smoky clouds, with the struggling moonlight and the unearthly radiance, in divers, yet mingling streams which fight against the surrounding gloom.