Critics have disputed whether Titian’s picture or Tintoret’s be the earlier. The presumption is in favor of the former,[17] but there is no reason to cry plagiarism against either, because each master has worked out a similar conception with characteristic independence. The central idea--the youthful Virgin ascending the steps of the Temple to be received by the high priest--may be seen in one of Giotto’s frescoes.[18] What we admire is the originality of treatment in both pictures. To me, Tintoret’s conception seems the more nobly appropriate; and I know not in which of Titian’s works to look for a counterpart of that woman in Tintoret’s foreground, so easy, so living, so superb.
[17] Crowe and Cavalcaselle give 1539 as the date of Titian’s “Presentation;” 1545-46 is usually assigned as the date of Tintoret’s.
As an example of Tintoret’s insight into the spiritual world, turn to his picture of Lucifer.[19] From early Christian times, the Evil One has been represented by very crude and vulgar symbols. A hideous face, horns, a tail, and cloven hoofs have come to be his accepted signs. Such a monster could never tempt even the frailest striver after righteousness; for this conception illustrates the loathsomeness of the _results_ of sin, and not the allurements by which sin entraps us. It would be equally appropriate to show to a lover a crumbling skeleton as the effigy of the woman whom he loves. The Devil would make no converts if he announced himself to be the Devil, and dangled before men’s eyes the despair, the degradation, the infinite remorse, which are his actual merchandise, instead of the fleeting pleasures and deceitful promises under which he masks them. He is no bungler or fool, but supremely skilful in proportioning his enticement to the strength of his victim, and very alert in choosing the moment most favorable for attack. Goethe, in his Mephistopheles, has portrayed the enemy of good under one of his aspects, emphasizing the cynical and wicked rather than the seductive and plausible qualities. Tintoret has depicted the latter. His Lucifer is still an angel, though fallen. He has a commanding and beautiful form, and a countenance which at first fascinates, until, on searching it more deeply, you fancy you discern a suggestion of duplicity, a hint of sensuality, in it. Bright-hued and strong are the plumes of his wings, and a circlet of jewels sparkles on his left arm, the sole emblem of the wearer’s wealth. Here is indeed a being whose beauty might seduce, whose guile might deceive,--one whose presence dazzles and attracts, for it has majesty and grace and charm. Here is a fit embodiment of that ambition which shrinks not from crime in order to possess power; or of that false pleasure which decoys men from duty, and, still flying beyond reach, leads its prisoner deeper and deeper into the abominations of the abyss.