In these diagrams a certain static effect is kept up throughout, on account of our lines being vertical and horizontal only, which lines, as we saw in an earlier chapter, are the calmest we have.  But despite this, I think the added life due to the variety in the proportions is sufficiently apparent in the diagrams to prove the point we wish to make.

As a contrast to the infinite calm of Raphael’s “Madonna,” we have reproduced Tintoretto’s “Finding of the Body of St. Mark,” in the Brera Gallery, Milan.  Here all is life and movement.  The proportions are infinitely varied, nowhere does the eye grasp any obvious mathematical relationship.  We have the same semi-circular arches as in the Raphael, but not symmetrically placed, and their lines everywhere varied, and their calm effect destroyed by the flickering lights playing about them.  Note the great emphasis given to the outstretched hand of the powerful figure of the Apostle on the left by the lines of the architecture and the line of arm of the kneeling figure in the centre of the picture converging on this hand and leading the eye immediately to it.  There is here no static symmetry, all is energy and force.  Starting with this arresting arm, the eye is led down the majestic figure of St. Mark, past the recumbent figure, and across the picture by means of the band of light on the ground, to the important group of frightened figures on the right.  And from them on to the figures engaged in lowering a corpse from its tomb.  Or, following the direction of the outstretched arm of St. Mark, we are led by the lines of the architecture to this group straight away, and back again by means of the group on the right and the band of light on the ground.  The quantities are not placed in reposeful symmetry about the canvas, as was the case in the Raphael, but are thrown off apparently haphazard from lines leading the eye round the picture.  Note also the dramatic intensity given by the strongly contrasted light and shade, and how Tintoretto has enjoyed the weird effect of the two figures looking into a tomb with a light, their shadows being thrown on the lid they hold open, at the far end of the room.  This must have been an amazingly new piece of realism at the time, and is wonderfully used, to give an eerie effect to the darkened end of the room.  With his boundless energy and full enjoyment of life, Tintoretto’s work naturally shows a strong leaning towards variety, and his amazing compositions are a liberal education in the innumerable and unexpected ways in which a panel can be filled, and should be carefully studied by students.

[Illustration:  Plate XLIX.

THE FINDING OF THE BODY OF ST. MARK TINTORETTO (BREDA, MILAN)

Compare with Raphael’s Ansidei Madonna, and note how energy and movement take the place of static calm in the balance of this composition.

Photo Anderson]

A pleasing proportion that often occurs in nature and art is one that may be roughly stated in figures as that between 5 and 8.  In such a proportion the eye sees no mathematical relationship.  Were it less than 5, it would be too near the proportion of 4 to 8 (or one-third the total length), a dull proportion; or were it more, it would be approaching too near equality of proportion to be quite satisfactory.