At the first glance you think that the angel has burst through the wall, but that is not so.

But as it is, even without that violence, how utterly different from the demure treatment of the Tuscans! To think of Fra Angelico and Tintoretto together is like placing a violet beside a tiger lily.
A little touch in the picture should be noticed: a carpenter at work outside.

Very characteristic of Tintoretto.
Next--but here let me remind or inform the reader that the Venetian Index at the end of the later editions of _The Stones of Venice_ contains an analysis of these works, by Ruskin, which is as characteristic of that writer as the pictures are of their artist.

In particular is Ruskin delighted by "The Annunciation," by "The Murder of the Innocents," and, upstairs, by the ceiling paintings and the Refectory series.
Next is "The Adoration of the Magi," with all the ingredients that one can ask, except possibly any spiritual rapture; and then the flight into a country less like the Egypt to which the little family were bound, or the Palestine from which they were driven, than one can imagine, but a dashing work.

Then "The Slaughter of the Innocents," a confused scene of fine and daring drawing, in which, owing to gloom and grime, no innocents can be discerned.