_Tintoretto_ (Venetian: 1518-1584). _See 16._
Some remarks made by Ruskin on another version by Tintoret of the
same subject are not inappropriate to this dark and probably faded
picture.[220] "One circumstance is noticeable as in a considerable
degree detracting from the interest of most of Tintoret's
representations of our Saviour with his disciples. He never loses sight
of the fact that all were poor, and the latter ignorant; and while he
never paints a senator or a saint, once thoroughly canonised, except as
a gentleman, he is very careful to paint the Apostles in their living
intercourse with the Saviour in such a manner that the spectator may
see in an instant, as the Pharisee did of old, that they were unlearned
and ignorant men; and, whenever we find them in a room, it is always
such a one as would be inhabited by the lower classes.... We are
quickly reminded that the guests' chamber or upper room ready prepared
was not likely to have been in a palace, by the humble furniture upon
the floor" (_Stones of Venice_, Venetian Index, under "Moisé, Church
of St.") In front is St. Peter, placing his foot in a brazen basin and
bending forward with a deprecating action--in contrast to which is the
look of cheerful and almost amused alacrity on the part of Him who came
not to be ministered unto, but to minister. Behind are other disciples
pressing forward with reverent curiosity. Another, in the right-hand
corner of the foreground, has raised his foot on a bench and is drying
it with a cloth. To the left a female attendant holds a taper, whilst
in the background are other figures, one of whom reclines before a fire.