With equal originality and truth, Tintoret has illustrated the allegory of the temptation of St. Anthony.[20] This subject is usually treated either absurdly or grotesquely; as when the saint is discovered in a grotto through which bats, mice, witches, and imps flit and gambol. Not one of these ridiculous creatures, we may safely say, would frighten or tempt anybody. But who are the enemies that a man whose life is dedicated to holiness, and who has taken the three vows of poverty, chastity, and obedience, must resist? Tintoret’s picture gives the answer. In it one of the figures, typifying Riches, offers gold and precious gems. “Why live a beggar?” she pleads softly; “take these and have power.” A second figure, Voluptuousness, is that of a woman fair in body. “Come with me,” she urges; “let us taste of joy together while there is still time.” A third, who (I think) represents Unbelief or Heresy, has already dashed the saint’s missal and rosary to the ground, has snatched up his scourge, and, endeavoring to drag him away, has plucked off his mantle. “Come with me,” this tempter seems to say; “there will be no more scourging, and fasting, and mortification; with me your life shall be without care and unrestrained.” Nevertheless, Anthony, thus hard beset, looks heavenward, uttering a prayer for succor. Are not these apt personifications of those lower impulses to which even men of high resolve have succumbed? All the witches of the Brocken and all the bats in a Pharaoh’s tomb have nothing alluring about them. [20] In the church of San Trovaso, Venice. There are few of Tintoret’s paintings which will not make similar revelations, if you look attentively. Often what appears to be only a casual accessory is the key to the whole composition. Let me cite two instances of his imaginative use of color. The first occurs in “The Martyrdom of St. Stephen.”[21] The saint has fallen on his knees beneath the stoning of his persecutors, but there is no melodramatic spurting of blood or sign of physical pain. His face betokens fortitude, resignation, and forgiveness of his tormentors. He gazes up steadfastly into heaven, and sees the glory of God, and Jesus standing on the right hand of God. The Almighty is clothed in a robe of red and a black mantle. In the background on earth, behind the martyr, a crowd watch the persecution; they are too far away for us to distinguish faces, but one of them, who is seated, is clothed in black and red. It is Paul, soon to acknowledge Christ and put on the livery of God. Again, in the “Paradise,” Tintoret gives profound significance to color as a symbol: Moses, the witness to the Old Covenant, and Christ, the witness to the New Covenant, have robes of similar colors. [21] In the church of San Giorgio Maggiore, Venice. Mr. Ruskin was the first to point out this stroke of genius.