This very fervor comes through in the work of the Venetian painter Jean-Baptiste Tiepolo, for instance in his "La Montée au Calvaire" (The Way to Calvary), one of the rare episodes of the Christian epic he chose to stage. What we see here goes counter to all that precedes it: gone from the scene are the dark-light essentiality, immobilism, silence and, above all, vital confidentiality between the viewer and the work. This work lives autonomously, exalting its own prowess, dancing and singing to its own glory.
Clearly, all the lines of this work progress upwards, towards the heights of Golgotha. The colors too - all the reds, blues, whites, golds, yellows, flesh colors in various shades - all progress upwards. The artist obviously enjoyed playing with space, producing something that is basically theatrical. In its contrast with the work of Caravaggio, Meylan, Guido Reni, van der Werff and Piazzetta, this painting serves as a masterful introduction to pictorial Rococo.