The entire background is angled towards an ultimate vanishing point which sits at the back of the piece. Elaborate sculptured buildings all lead the way to that point. In the foreground, there is a display of Tintoretto's finely tuned figurative skills.
As the artist grew older, his work became darker and more moody. His venetian teachings were becoming more faint within his work and the real personality of Tintoretto was starting to appear. He also had a greater freedom within his work once his reputation had been established across the city.
The artist used this method on several occasions, particularly in his larger compositions, where he would angle the background buildings and foreground floor along the same line of perspective. Most likely he would complete these elements first before moving on to the figures. The overall feel may remind of some of the work of Greek painter, El Greco.
As a skilled draughtsman it is likely that he would have completed several study drawings and layers of underpainting before commencing with the main oil work. Such elaborate pieces would normally require multiple stages in order to be completed effectively.