The project to replace the damaged mural was a major attraction to all artists based in the Papal States of Italy at the time, and so it was a huge honour for Tintoretto to acquire the commission. He successfully got approval after submitting a number of sketches to indicate how he intended the final piece to look. In reality, there was actually a major shift in the development stage, partly because of the inclusion in the planning of the artist's son. Despite the changes that occurred, it is still considered an exceptional and breathtaking mural that is truly worthy of the Tintoretto name, even though others were involved in its delivery.

I have no hesitation in asserting this picture to be by far the most precious work of art of any kind whatsoever, now existing in the world.

John Ruskin

The final mural is around twenty two metres wide, and seven metres tall. There are approximately five hundred figures within this emotional artwork, making it unsurprising that the Tintoretto family would make use of other members of their studio in order to complete this monumental undertaking. We do know that Tintoretto's son took over much of the direction for the overall project after his father's earlier management. It is commissions such as this, where huge walls are decorated, inch-by-inch, that we start to realise just why so many famous artists of this period would insist on building up their own studios.

Paolo Veronese, a highly respected Venetian artist, was initially given the commission but passed away, leaving the work to be handed over to someone else. There was often a lot of politics and bureaucracy involved in these types of projects which meant that they could take many years to complete, even before any other issues may have cropped up. Despite the involvement of others, the general style found in Il Paradiso is typical of Tintoretto and also will remind many of the work of artist El Greco, who was famous for a similarly expressive depiction of figures, using dramatic lighting.