The painting is based on the traditional Catholic belief that the Virgin Mary was physically crowned “Queen of Heaven” by her son Jesus after her assumption, a commonly depicted moment in 14th century Florence. However, in Tintoretto's 16th century depiction of the coronation, which was a period strongly dominated by mannerism, he used a classical hierarchy of scale, atmospheric perspective and light to direct attention to the two most important, but physically smallest figures , in the composition, the Virgin Mary and Jesus. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay But before I begin my analysis, I would like to point out that although the painting stands 1.43 meters by 3.62 meters in the Louvre Museum, the final composition is to be imagined in a larger and grander setting in the Doge's Palace of Venice, where it will eventually reach a size of over 22 meters by 7 meters in height. The painting in the Louvre hangs at eye level, while Tintoretto's final piece hangs above doors where you would have to physically crane your neck upwards if you were near the painting. This difference in vision would greatly influence an analysis, so as I view this sketch in the Louvre I have decided to also keep in mind the final viewing location of similar compositions. In Tintoretto's oil on canvas, he sets his almost perfectly balanced, but crowded composition on semi-oval planes, where in the center they begin to flatten to form only slightly rounded squares which in turn add greater depth to the painting. These tableaux form the flat bases for the hierarchy of figures to be set up. On the top level we have the Virgin Mary crowned by her son Jesus. Mary's body is elongated and appears to be made only of cartilage as her body curves and is crouched in a way that human anatomy cannot form. In its tilted and twisted position, Jesus' head becomes the tallest figurative piece in the painting, informing the viewer that Jesus is the most important figure in the composition. At the same level, the twelve apostles of Jesus sit in hierarchical order (lower than Jesus and Mary), all bodies depicted in the same mannerist style as Mary, Jesus and the rest of the figures. On the second level, under the Coronation sit other biblical figures such as angels, three different Popes and Saint John the Baptist, indicated by his high cross. On the third tier, mostly covered by shadow, there is the celestial band where the angels play contemporary instruments of the time. Each level shows the importance of the figures as the highest floor contains the highest sacred importance, the second floor contains important religious figures, and finally the sacred band and choir. Inside the third tier where the celestial band plays, in the front row, those who play instruments that would sound loud in a choir such as the guitar and the piano are clearly delineated while the rest of the band seems to begin to blend together. This hierarchy of scale continues throughout the work when we see Adam and Eve (depicted by the lightness of their clothing) where they appear to almost double the size of the figure sitting to their right. Their size is so significant that they occupy more than a single cloud and appear to need balance from the clouds below them as their legs dangle downwards. Obeying the classic hierarchy of scale, Tintoretto gives his figures and composition easily readable planes; using this technique he manages to outline which are the most important figures in his depiction of the Coronation of the Virgin. The atmospheric perspective that Tintorettocreates in his Coronation of the Virgin adds to the monumentality of this depiction and further emphasizes Mary and Jesus' exalted positions. The true vanishing point of the painting is the crown that Jesus holds above Mary's head. So HighThe vanishing point gives the viewer the feeling of having to look up at Jesus and Mary, making them feel smaller, less significant. Within the painting, Tintoretto has created such depth as if the painting never truly ends, as if the viewer is right inside the painting and that it is not hanging on any wall. By creating this depth, he is able to deceive the eye into believing that the crowd of worshipers is of extraordinary size. This atmospheric perspective adds energy to such a significant moment as the coronation. The atmosphere adds vibrant movement to each of the figures as your gaze is led upward in wide rings. Looking at the painting is similar to finding your way in a circus, your gaze is constantly caught by something beautiful or something strange until you reach the center ring and find the Ring Master himself. In this case we find Jesus. The atmospheric perspective caused by the great depth of the crowd and the singular empty space at the bottom center, lifts your gaze and keeps you waiting as you reach the coronation of the Virgin Mary. Light has an important meaning for the viewer, in a composition as crowded as Tintoretto's Coronation of the Virgin. The light in Tintoretto's work seems to come from the upper central part of the work and spreads its light into the growing composition. The light in this painting can easily be interpreted as God or the Holy Spirit as it seems to touch everyone present in the work and look down on the sacred moment. Light is also used more effectively on the Virgin Mary and Jesus when she is made Queen. The light absorbs them completely and, with the help of Tintoretto's pastel palette, they shine celestially, almost mystically, as if they themselves are being lifted and turned. in the light, which shines on the spectator. The lights and shadows in this composition emphasize other key figures in the scene. For example, light reflects on many of the Pope's robes, attracting the attention of spectators. And even though Adam and Eve are in one of the densest sections of the painting, they stand out when the light catches their bare skin and illuminates it a little. Many of the angels in the painting are drenched in sunshine as if they too are absorbed in divine light. The bright, pastel tones of Tintoretto's Coronation of the Virgin would not be successful without the choice of lighting, which becomes divine in choosing who is the most important, the holiest in its populous composition. Analyzing The Coronation of the Virgin by Tintoretto, one cannot help but get lost in the composition, which is not monumental in size (in the Louvre) but is monumental in subject, matter and energy. Remember: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay Standing in front of the busy work, it is as if you can hear the singing of angels and the dragging of bodies. You can almost start to feel the orange light touching your face as you look up at Jesus and the Virgin Mary. If you stay too long in front of the work, you may be fooled into believing that the coronation is taking place in front of you. Because of its obedience to the hierarchy of scales, the setting of its composition in an atmospheric perspective, and the light that perfectly elevates you to the divine, those inclined to religious beliefs may feel a swelling within themselves as their Queen is crowned by the Messiah, his son..