I think I found no picture which stirred me much,
but this time there were two which enticed me to the Doge's
palace day after day, and kept me there hours at a time.
One of these was Tintoretto's three-acre picture in the
Great Council Chamber. When I saw it twelve years ago I
was not strongly attracted to it--the guide told me it
was an insurrection in heaven--but this was an error.

The movement of this great work is very fine. There are
ten thousand figures, and they are all doing something.
There is a wonderful "go" to the whole composition.
Some of the figures are driving headlong downward,
with clasped hands, others are swimming through the
cloud-shoals--some on their faces, some on their backs--great
processions of bishops, martyrs, and angels are pouring swiftly
centerward from various outlying directions--everywhere
is enthusiastic joy, there is rushing movement everywhere.
There are fifteen or twenty figures scattered here and there,
with books, but they cannot keep their attention on
their reading--they offer the books to others, but no
one wishes to read, now. The Lion of St. Mark is there
with his book; St. Mark is there with his pen uplifted;
he and the Lion are looking each other earnestly in the face,
disputing about the way to spell a word--the Lion
looks up in rapt admiration while St. Mark spells.
This is wonderfully interpreted by the artist.
It is the master-stroke of this imcomparable painting.
[Figure 10]

I visited the place daily, and never grew tired of