Compared with the intensity and single-mindedness of Leonardo, this is a commonplace rendering; but as an illustration to the Venetian Bible, it is fine; and as a work of art by a mighty and original genius glorying in difficulties of light and shade, it is tremendous.

Opposite is a quieter representation of the miracle of the manna, which has very charming details of a domestic character in it, the women who wash and sew and carry on other employments being done with splendid ease and naturalness.

The manna lies about like little buttons; Moses discourses in the foreground; in the distance is the Israelite host.

All that the picture lacks is light: a double portion: light to fall on it, and its own light to be allowed to shine through the grime of ages.
Tintoretto also has two altar-pieces here, one an "Entombment," in the Mortuary Chapel--very rich and grave and painful, in which Christ's mother is seen swooning in the background; and the other a death of S.
Stephen, a subject rare with the Old Masters, but one which, were there occasion to paint it, they must have enjoyed.

Tintoretto has covered the ground with stones.
The choir is famous for its series of forty-six carved panels, representing scenes in the life of S.Benedict; but some vandal having recently injured one or two, the visitor is no longer allowed to approach near enough to examine them with the thoroughness that they demand and deserve.