,transcriber's ,note3 ,table of         
,contents added by transcriber4         
,,masterpieces      ,,in ,,colour       
,,edited ,,by      ,t4 ,,leman ,,hare   
,,tintoretto          ,,in ,,the ,,same 
,,series          ,,artist4             
,,author4        ,,velazquez4           
,s4 ,l4 ,,bensusan4      ,,reynolds4    
,s4 ,l4 ,,bensusan4      ,,turner4      
,c4 ,,lewis ,,hind4      ,,romney4      
,c4 ,,lewis ,,hind4      ,,greuze4      
,,alys ,,eyre ,,macklin4                
,,botticelli4         ,,henry ,b4       
,,binns4      ,,rossetti4               
,,lucien ,,pissarro4      ,,bellini4    
,,george ,,hay4      ,,fra ,,angelico4  
,,james ,,mason4      ,,rembrandt4      
,,josef ,,israels4      ,,leighton4     
,a4 ,,lys ,,baldry4      ,,raphael4     
,,paul ,g4 ,,konody4      ,,holman      
,,hunt4        ,,mary ,e4 ,,coleridge4  
,,titian4             ,s4 ,l4           
,,bensusan4      ,,millais4             
,a4 ,,lys ,,baldry4      ,,carlo        
,,dolci4        ,,george ,,hay4         

,,gainsborough4       ,,max             
,,rothschild4      ,,tintoretto4        
,s4 ,l4 ,,bensusan4          ,in        
,preparation        ,,van ,,dyck4       
,,percy ,m4 ,,turner4      ,,franz      
,,hals4           ,t4 ,e4 ,,staley4     
,,whistler4             ,j4 ,,martin    
,,wood4      ,,leonardo ,,da ,,vinci4   
,m4 ,w4 ,,brockwell4      ,,rubens4     
,s4 ,l4 ,,bensusan4                     
,,burne-,,jones4          ,a4 ,,lys     
,,baldry4      ,j4 ,f4 ,,millet4        
,,percy ,m4 ,,turner4      ,,luini4     
,,james ,,mason4      ,,chardin4        
,,paul ,g4 ,,konody4      ,,fragonard4  
,,haldane ,m',,fall4      ,,holbein4    
,s4 ,l4 ,,bensusan4      ,,boucher4     
,,haldane ,m',,fall4      ,,vig,e ,,le  
,,brun4        ,,haldane ,m',,fall4     
,,watteau4              ,,lewis ,,hind4 
,,murillo4              ,s4 ,l4         
,,bensusan4        ,,and ,,others4      
,illustration3 ,,plate ,i4--,a ,,knight 
,,of ,,malta4 ,frontispiece 7,from      
,hampton  ,court7    ,this portrait     

7note the ,maltese crosses on the cloak7
 is a splendid  example of ,tintoretto's
 gifts as a portrait painter4 ,it should
 be  remembered that three or four      
hundred years have helped the restorer's
  arts to spoil much of the painter's   
work4              ,,tintoretto         
,,by ,s4 ,l4 ,,bensusan                 
,,illustrated ,,with ,,eight            
,,reproductions ,,in ,,colour           
,illustration3 ,,in ,,sempiternum4      
,,london3 ,t4 ,c4  ,e4 ,c4 ,,jack       
,,new ,,york3 ,,frederick ,a4 ,,stokes  
,,co4          ,,contents               
,i4                                     
#i          ,,ii4                       
#cb         ,,iii4                      
#fh          ,,list ,,of ,,illustrations
          ,plate         ,i4 ,a ,knight 
,of ,malta                              
,frontispiece                ,from      
,hampton ,court                         
,page        ,,ii4 ,the ,doge ,alvise   
,mocenigo                       #ad     
,in the ,venetian ,academy              

,,iii4 ,the origin of ,the ,milky ,way  
#bd                ,in the ,national    
,gallery          ,,iv4 ,st4 ,george and
 the ,dragon                      #cd   
,in the ,national ,gallery           ,v4
 ,the ,procurator ,battista ,morosini   
#dj                ,in the ,venetian    
,academy          ,,vi4 ,queen ,esther  
,fainting before ,ahasuerus         #ej 
,in ,hampton ,court ,palace             
,,vii4 ,the ,risen ,christ blessing     
three ,senators       #fj               
,in the ,venetian ,academy              
,,viii4 ,adam and ,eve                  
#gj                ,in the ,venetian    
,academy          ,illustration      ,i 
,sometime in the second decade of the   
sixteenth century there was born  to one
 ,battista ,robusti1 cloth-dyer of      
,venice1 a boy to whom the name  ,jacopo
 was given4 ,we know nothing of the     
childhood of the lad who1  because his  
father's business was that of a tintore 
or dyer1 was  known to his companions as
 ,tintoretto4 ,but one1 ,carlo ,ridolfi1

 who  was born about the time when      
,tintoretto died1 towards the close of  
the sixteenth century1 tells us that the
 little dyer1 whose name is  written so 
large in the history of                 
sixteenth-century art1 started very     
early to practise drawing1 and used his 
father's working material in  order to  
give his productions the colour they    
seemed to need4 ,that he  must have     
shown signs of uncommon talent at an    
early age is shown by  the fact that he 
found his way to the studio or workshop 
of ,titian1 the  greatest painter in the
 ,venice of his time2 a man whose       
position enabled  him to require1 from  
all who sought to become his pupils1 a  
measure of  proficiency that promised to
 make their work useful when the demands
  of patrons were more than one painter 
could hope to satisfy unaided4  ,only   
the lad who possessed undeniable gifts  
or powerful patrons could  find a place 
in the workshop of the greatest painter 
of the day1 and  ,tintoretto was quite  

without patronage4 ,the story-tellers of
 the period  assure us that pupil and   
master quarrelled1 they even hint that  
,titian  was jealous of the young       
student1 and this of course is not      
impossible  because we have plenty of   
instances on record in which jealousy   
has  been found thriving within the     
studio4 ,then1 again1 clever lads are   
not  always tactful1 and an unbridled   
tongue may make hosts of enemies1 and   
destroy the atmosphere of repose in     
which alone good work is possible4 ,a   
brilliant painter might well have been a
 little intolerant of precocious        
pupils4    ,entering into detail1       
,ridolfi tells us in his life of the    
painter that  when ,tintoretto was at   
work in ,titian's studio he copied some 
of the  master's pictures so cleverly   
that ,titian told one of his other      
pupils  to send the boy away1 and       
,robusti was dismissed from the studio  
without  explanation4 ,it is a          
significant fact1 at the service of     

those who  accept the theory of         
jealousy1 that throughout the years when
 ,tintoretto  was struggling for        
recognition ,titian had no eyes for his 
young pupil's  work1 and was only led to
 praise a picture by seeing it unsigned 
and  exhibited in the open4 ,there were 
times when the elder painter could  have
 placed commissions in the young man's  
way1 but he seems to have  preferred to 
help others1 of whom ,paolo ,cagliari1  
known as the ,veronese1  is the only man
 whose work retains a large place in the
 public eye4 ,but  clearly ,titian must 
have had some other motive as well as   
jealousy1  for he himself had more work 
than he could possibly do1 and the help 
of a clever pupil like ,tintoretto would
 have been valuable in times of  great  
stress when patrons were waxing         
impatient4 ,whatever the other  motive  
may have been it escaped ,ridolfi1 and  
no other record of the  early days is   
extant4    ,illustration3 ,,plate       
,,ii4--,,the ,,doge ,,alvise ,,mocenigo 

,this portrait1 to be seen to-day in the
 ,accademia at ,venice1 is one of  the  
most striking of the long series of the 
leading citizens of the  ,republic4     
,tintoretto painted many of these       
portraits1 for he was for  many years   
one of the official painters to the     
,republic4 ,venice holds  the best of   
this work4    ,looking at the work of   
the little dyer it seems reasonable to  
suggest  that he acted as all great     
painters before and after him have      
done--that  is to say1 he sought what   
was best in the work around him1 and    
having  collected all the material he   
required1 evolved his own artistic      
personality from a judicious selection4 
,artists do not come into this  world   
ready made1 and the period of the making
 depends upon the man4  ,for many1 life 
is not long enough1 and it is one of the
 tragedies of  art work that the mastery
 over technical difficulties is         
sometimes  delayed until the eye is     
becoming dim and the hand uncertain4    

,from the  very first we find that      
,tintoretto was immersed in the affairs 
of his  art1 that he could not hold his 
hand1 that he laboured with feverish    
energy1 that no commission was despised1
 and that nothing was too large  or too 
small for him to undertake4 ,throughout 
the days of his youth his  industry was 
devoted entirely to mastering the       
difficult technique of  his work1 until 
foreshortening1 perspective1 correct    
anatomy1 relative  values1 light1       
shadow1 and relief1 were his subjects   
rather than his  masters4 ,then he was  
prepared to begin where so many great   
,venetian  artists had left off4    ,it 
had been a reproach to the ,venetians   
that for all their colour they  were    
poor draughtsmen4 ,needless to add that 
this rebuke came from the  schools of   
,florence1 where men were more concerned
 with correct drawing  than rich colour4
 ,but ,tintoretto removed the reproach  
from ,venice1 and1  while he learned to 
draw in fashion that left the           

,florentine schools  nothing to teach1  
he followed ,gian ,bellini and ,titian  
into the domain  of colour1 and his work
 to-day reveals many of the best        
qualities  of the two ,italian schools  
of art in happy combination4 ,when he   
was  fully equipped according to his    
lights1 and was prepared to enter  into 
competition with the men around him1    
,tintoretto set out boldly  to achieve  
the best results--he knew what he could 
do even if he did  not know what the    
accomplishment was worth4 ,it was not a 
part of his  mental attitude to rest    
content with work done for those who    
sought the  service of second-class men4
 ,the form of ,michelangelo1 the colour 
of  ,titian2 these were the achievements
 he sought to realise1 and he wrote     
these words on the wall of his workshop 
in the same spirit as that in  which    
pious ,hebrews still put the declaration
 of their faith upon the  doorposts of  
their houses4 ,he understood that       
,michelangelo ,buonarotti  had said the 

last word in form1 and that ,titian had 
gone as far in the  direction of colour4
 ,not until he was armed with patiently 
acquired  skill1 extraordinary natural  
aptitude1 and a temperament that could  
not be satisfied with anything less than
 complete success1 did he feel  prepared
 to take the world of art by storm1 and 
then he had put to the  credit of his   
record a measure of hard work that no   
other painter could  show4    ,for the  
first few years ,tintoretto had to      
strive in the ranks of men  who1        
whatever their gifts1 had more chances  
than he4 ,venice was full  of artists2  
commissions did not always depend upon  
merit1 influence  and favour counted for
 a great deal1 and the clever son of an 
obscure  dye-worker could hardly reach  
the goal of his ambitions without a long
  period of waiting4 ,things had altered
 from the days when ,titian came  from  
the mountains of ,cadore to the studio  
of ,gian ,bellini1 there was  now so    
much talent in ,venice that a man might 

have good gifts and yet go  hungry4 ,art
 had widened its boundaries1 developed  
the importance of its  expression and   
the scope of its appeal1 offering wealth
 and reputation  to those who could     
succeed in impressing the statesman1    
churchman1 or  conqueror who held the   
patronage of the arts to be one of the  
special  privileges of their state4     
,in ,florence the tendency was to treat 
art as one branch of the  many-sided    
profession of life4 ,the artist of the  
day was sculptor and  architect as well2
 sometimes he was engineer and          
statesman1 he took  every field of      
activity for his labours1 and certainly 
the success of  the great men whose     
range of endeavour was so wide was quite
 remarkable4  ,happily the ,venetians   
were less ambitious4 ,bellini1 who is1  
in the  colour sense1 the father of     
,venetian art1 had a comparatively      
restricted  outlook4 ,titian1 his pupil1
 went farther afield and divorced art   
from  the church1 doubtless ,giorgione  

had he lived would have helped to make  
that divorce more effective4            
,tintoretto1 who was ,titian's pupil1   
just  as ,titian had been ,bellini's1   
was content to give all his energies1   
his  extraordinary industry1 and his    
great gifts to the service of painting4 
,he could not enlarge the boundaries    
because ,titian had carried them        
already into the domain of mythology1   
allegory1 and portrait painting1  and   
the time had not yet come when landscape
 could stand by itself4 ,but            
,tintoretto1 though he could not develop
 the theme1 managed to develop  the     
treatment1 and became in a sense to be  
discussed later on the  father of       
impressionism4 ,this was his special    
service to art1 and  must be regarded as
 a remarkable discovery when we see how 
firmly fixed  were the ordinary         
painters' conventions in handling       
subjects4 ,titian  had broken away from 
the restrictions on subject matter1 it  
was left to  ,tintoretto to revolt      

against the conventional handling1 but  
this revolt  was of course the product  
of late years4 ,he began where his      
masters were  leaving off1 and he ended 
by being a law to himself4 ,it will be  
seen1  judging by the statements of his 
biographers1 and particularly that  of  
,ridolfi to whom we have referred1 that 
the young painter's gifts  and his habit
 of thinking for himself and following  
his theories into  the realm of practice
 were in the way of his advancement4 ,he
 worked so  rapidly that the people to  
whom he applied in the first instance   
for  commissions were a little          
suspicious4 ,they could not understand  
how a  man who painted with lightning   
rapidity and was prepared to sell his   
labour for any price1 however small1    
could claim to be taken seriously4  ,his
 cleverness made them afraid4 ,they do  
not seem to have understood the  type of
 artist that works because work is the  
very first law of life1  and is content 
with a small return1 knowing that when  

once the proper  chance has come it will
 be possible to command a better price4 
,illustration3 ,,plate ,,iii4--,,the    
,,origin ,,of ,,the ,,milky ,,way       
,this extraordinary painting to be seen 
to-day at the ,national ,gallery        
reveals not only the artist's vivid     
imagination but the wonderful  skill    
with which he can present a flying      
figure and leave it as though  supported
 in mid air4 ,students of ,tintoretto   
will not fail to note the  resemblance  
between the flying figure here and the  
one in ,the ,miracle  of the ,slave in  
the ,venetian ,academy4    ,the general 
feeling about ,jacopo ,robusti is       
perhaps summed up by ,giorgio  ,vasari  
in his ,lives4 ,he is a great lover of  
the arts1 says our  gossip2 he delights 
in playing on various musical           
instruments2 he is  a very agreeable    
person1 but as far as painting is       
concerned he has  the most capricious   
hand1 and the boldest1 most extravagant1
 and most  obstinate brain that ever    

belonged to painter4 ,of this the proof 
lies in  his works and in their         
fantastic composition so different from 
the usage  of other painters4 ,indeed1  
,robusti becomes more than ever         
extravagant in  his recent inventions1  
and the strange fancies that he has     
executed as  it were almost without     
design1 as though he aimed to show that 
art is  but a jest4 ,he will sometimes  
present as finished1 sketches which are 
just such mere outlines that the        
spectator sees before him pencil marks  
made by chance1 the result of a bold    
carelessness rather than the fruits  of 
design and judgment4    ,these are      
significant words only when we consider 
that they were written  at a time when  
,tintoretto was alive1 and ,vasari must 
have been moved to  great excess of zeal
 to have gone so far in the painter's   
dispraise4  ,indeed he closes his little
 sketch by remarking that ,tintoretto   
after  all is a very clever man and a   
highly commendable painter4 ,the special

  interest of the criticism lies in its 
revelation of the attitude of his       
contemporaries towards ,tintoretto4 ,for
 more than a century art had been       
moving1 pictures had ceased to be flat1 
the difficulties of chiaroscuro  were   
being faced rather than shirked4        
,atmosphere was growing1 the  problems  
of perspective were deemed worthy of    
careful study4 ,colour was  not only    
brilliant1 but the secret of mixing     
colours long since lost and  apparently 
irrecoverable was known in the studios  
of the leading men4  ,but the very      
earliest lessons of impressionism had   
yet to be taught1 and  realism had      
rendered dull and lifeless pictures that
 were hung rather  beyond the reach of  
the spectator's close scrutiny4         
,tintoretto saw that  work must be      
handled in such a fashion that the      
spectator who stood  some distance away 
could get an impression of the whole of 
the subject  treated4 ,he knew that if  
objects were painted with equal values  

and the  meticulous care of the         
miniaturist the canvas would only yield 
its fruit  to those who could stare     
right into it4 ,these facts were a      
pleasant  revelation to him and an      
unpleasant one to his contemporaries4   
,his work  was destined to influence    
,velazquez--,velazquez influenced ,goya1
 the  mantle of ,goya fell upon ,edouard
 ,manet1 and ,manet founded the great   
impressionist school of ,france that has
 been doing work of extraordinary  merit
 and enduring interest while schoolmen  
of contemporary generations  have been  
concerned with telling stories in terms 
of paint and harking  back to the       
pre-,raphaelities4    ,the modern work  
suffers more from neglect and disregard 
than that of the  great masters of old  
time1 because nowadays it is possible to
 multiply  the lowest and most popular  
class of picture and scatter it         
broadcast  among those who have no      
knowledge of the aims and objects of    
art4 ,they  think that a picture is     

bound to be a good one if it should     
chance to  appeal to them1 forgetful    
that their lack of taste may have as    
much  as anything to do with the appeal 
of the work4 ,a picture may please  an  
observer because the picture is great or
 because the observer is  small1 but the
 latter alternative is hardly popular   
with those who go  conscientiously to   
galleries4    ,vasari tells us many     
stories of ,tintoretto's inexhaustible  
activity4  ,ridolfi does the same1 and  
it is easy to understand why a man who  
could  not keep his brush from his hand 
for any length of time1 and would       
accept any price or any commission      
rather than remain idle1 was rather  a  
terror to his contemporaries1 and earned
 the title of ,il ,furioso  by which he 
was widely known4 ,few artists in the   
world's history have  achieved so much1 
for although we know of countless       
frescoes and  pictures that have        
perished utterly1 we still have         
something like six  hundred works left  

to stand for the seventy-five years of  
the painter's  life1 and some of these1 
such as the works in the ,doges'        
,palace1 are  crowded with figures4     
,indeed the work in the ,doges' ,palace 
might well  stand for the life's        
monument of any artist however          
long-lived and  industrious4    ,it is  
no fault of ,tintoretto that his work   
baffles the tired eye4 ,he  cannot be   
studied in a day1 or two days1 or even  
three2 you cannot go  to him from other 
painters4 ,he demands the closest and   
most enduring  attention together with  
some expert guidance on the occasion of 
the  first visit in order that the      
countless points in crowded canvas may  
not  be overlooked4 ,he was a man of    
such breadth of vision1 his conceptions 
were so magnificent that he must be     
approached with something akin  to      
reverence4 ,we cannot go to him as to   
,titian or ,bellini and feel  that we   
can bring to the merit of each canvas   
the necessary amount  of appreciation4  

,while the ,paradiso took years to      
complete1 some of  ,tintoretto's smaller
 canvases took many months in the       
making1 although  the painter has never 
been excelled in the rapidity of        
execution4 ,he  who hopes to digest in  
half-an-hour the work that took         
,tintoretto half  a year imagines a vain
 thing4 ,to read some of the criticism  
that has  been meted out to ,tintoretto 
is to realise that their own limitations
  have given serious trouble to some of 
his critics1 because he is so  vast and 
so splendid in his themes1 and so       
extraordinarily brilliant in  his       
treatment1 he has baffled one generation
 after another4 ,his theory  of relative
 values has been misunderstood and      
misinterpreted1 but to  see him in his  
true light it is necessary to consider  
how many of his  successors could paint 
a large figured picture on anything     
approaching  the same scale with an     
equal measure of intelligence4 ,nowadays
 we do  not look for heroic achievement2

 and it is perhaps as well1 seeing that 
there is none to be had4                
,illustration3 ,,plate ,,iv4--,,st4     
,,george ,,and ,,the ,,dragon           
7,national ,gallery1 ,london7    ,this  
remarkable work is one of the finest    
examples of ,tintoretto in  ,england4   
,composition and colouring are alike    
masterly and though some of  the beauty 
of paint has passed1 the ,st4 ,george   
and the ,dragon remains a  striking     
work4          ,,ii      ,thanks to     
,carlo ,ridolfi we can form a fairly    
correct idea of the  conditions under   
which young ,tintoretto lived in the    
early days4 ,the  expulsion from        
,titian's studio must have been a very  
serious blow to  his hopes and          
ambitions1 but he did not repine        
unduly--he was made of  sterner stuff4  
,he took a small apartment and began    
those unremitting  labours that were to 
land him in the first rank of           
draughtsmen4 ,through  ,daniele da      
,volterra1 a pupil of ,michaelangelo1 he

 secured the models of  the master's    
work that were to teach him so much     
about anatomy1 and  were to be used for 
experiments in foreshortening1 and the  
treatment  of light and shade4 ,he had  
one friend1 an artist known as          
,schiavone1  a man almost as poor as    
himself in those first days of struggle 
and  disappointment--a man who had      
likewise sought instruction in ,titian's
  studio but had left it without        
incurring that great master's ill-will4 
,one of the earliest commissions that   
fell to ,schiavone was for the          
decoration of ,st4 ,mark's ,library1 but
 ,tintoretto had to wait longer for     
work1 and some years would seem to have 
passed before he realised his  ambition 
and received a commission to paint      
altar-pieces4 ,there are some  workers  
to whom enforced idleness would be      
fatal1 and ,tintoretto might  have been 
one of them1 but for the fact that he   
had no capacity for  indolence1 and     
would work even though he worked for    

nothing4    ,the first church to give   
him a commission would seem to be that  
of ,santa  ,maria del ,carmine1 and the 
impression that he gave to his masters  
must  have been a very favourable one1  
for we find that the churches of ,st4   
,benedetto and ,santo ,spirito gave him 
orders soon after4 ,then the ,scuola    
della ,trinita recognised his talent1   
and gave him an order for certain       
pictures1 including the famous ,death of
 ,abel and the equally famous  ,adam and
 ,eve1 of which ,john ,ruskin said1 this
 in absolute power  of painting is the  
supremest work in all the world4 ,these 
,scuoli or  confraternities were both   
wealthy and powerful bodies1 able and   
eager to  give valuable commissions to  
artists4 ,they would often grant        
permanent  pay and regular work to the  
man whose accomplishment satisfied their
  requirements1 and the work that       
remains to us shows that the directors  
of the ,scuoli were men of taste and    
discretion4    ,as soon as ,tintoretto  

felt that he was within sight of the    
goal of his  ambitions he married1      
choosing for his wife one ,faustina of  
,vescovi1 the  daughter of a patrician  
house1 and a woman who seems to have    
realised  that her husband's devotion to
 the ideals of art were likely to make  
him  a very bad business man4 ,like many
 of the wives of clever men she played  
the tyrant in matters that did not      
concern the studio1 and the painter     
would seem to have evaded some of her   
regulations for his comfort by  saying  
the thing that was not4 ,we would not   
say that he originated the  habit1 but  
it is said to have become popular and   
traces of it are still  found among     
husbands in the twentieth century4      
,tintoretto took a house  in the west   
end of ,venice on the ,fondamenta dei   
,mori overlooking ,murano1  and there he
 worked hard and lived simply4 ,he must 
have been a man of  engaging manner and 
amusing conversation1 because ,ridolfi  
has recorded  many amusing little facts 

about him in his famous volume of       
biographies4    ,illustration3 ,,plate  
,v4--,,the ,,procurator ,,morosini      
7,from the ,venetian ,academy7    ,this 
is another of ,tintoretto's official    
pictures4 ,the ,procurator1 a man  whose
 singular dignity is not affected by his
 rather coarse and heavy  features1 is  
wearing beautiful robes that are now    
beginning to fade4    ,clearly          
,tintoretto believed that ,titian was   
his enemy1 although we  do not find that
 the younger man took any steps to      
demonstrate his  ill-will4 ,it would    
seem that many men who came to          
,tintoretto's studio  could talk of     
nothing but ,titian's virtues1 and that 
this conversation  tired the younger    
man1 who at last put an end to the      
gossip very  cleverly4 ,he secured an   
incomplete canvas by ,titian and painted
 a  figure into it1 then he sent the    
picture to the house of his friend      
,contarino1 where the gossips who       
dabbled in literature and art were      

accustomed to assemble4 ,all who saw the
 picture praised it to the  skies1 and  
when they had finished chattering       
,tintoretto remarked that  the work they
 admired so much was painted partly by  
himself4 ,thereafter  the gossips seem  
to have found some other topics of      
conversation1 and  ,tintoretto was able 
to pursue his paths in peace without    
suffering from  comparisons that must   
have been odious4    ,the painter's     
union was blessed with children1 of whom
 his daughter  ,marietta was perhaps his
 favourite4 ,until she was fifteen years
 of age  she used to accompany her      
father through ,venice dressed as a boy4
 ,she  learned a great deal from him1   
and became a portrait painter1 dying    
some little time before her father1 to  
his great grief4 ,some few of           
,tintoretto's remarks have come down to 
us4 ,he is said to have held that  black
 and white are the most beautiful       
colours1 and with the record  of this   
opinion it becomes curious to see in    

,tintoretto's pictures  how the splendid
 colouring that was needed to express   
his work in the  days when he was young 
grew more and more sombre as time passed
 on1  until the dominant tone became the
 golden brown that is familiar to       
students of his pictures4 ,as a young   
man he revelled in bright colours1  but 
in middle and old age their charm       
passed4 ,there is something very  human 
about this attitude towards externals4  
,tintoretto placed a very  great        
importance upon drawing1 more importance
 indeed than any of the  ,venetians had 
placed upon it before his time4 ,he     
thought very little of  copies from the 
nude1 being no believer in the beauty of
 the average  nude form1 and holding    
that the hand of the artist is necessary
 in order  to express to the full the   
beauty that the lines of the body       
suggest4  ,one pauses to wonder how he  
would have regarded ,schopenhauer's     
criticism  of the female form4          
,tintoretto had two sons1 who became his

 pupils when they were old  enough2 he  
was more fortunate in his family than   
was his great master  and rival1 and his
 home life would seem to have been a    
tranquil one1  because we have learned  
from ,vasari that he was a good         
musician1 and  played well on several   
instruments4 ,music does not flourish in
 unhappy  homes4 ,he could not have     
entertained as ,titian did1 because     
throughout  his life he was a           
comparatively poor man1 but he gathered 
round him  some of the most interesting 
people in his native city and1 with the 
exception of ,titian and ,aretino1 all  
seemed to have been well pleased  with  
him4 ,aretino1 of course1 being the     
greatest gossip of his century1  could  
not keep his tongue quiet under any     
circumstances1 and never  hesitated to  
say an unpleasant thing as long as it   
had wit or humour4  ,tintoretto bore    
with his old master's factotum as long  
as he could1 and  then his patience     
giving out1 invited him to the studio   

and proceeded  to take his measure with 
a naked dagger1 recording it as though  
he was  going to paint a portrait4      
,aretino1 who seems to have been an     
arrant  coward1 took the hint and       
controlled his unruly tongue4 ,perhaps  
he  realised that it was unnecessary as 
well as unwise to provoke a man who     
asked for nothing better than to be     
allowed to spend his life in hard  work 
free from interruption4    ,it is quite 
likely that ,tintoretto's amazing gifts1
 together with his  capacity for hard   
work1 would have brought him very       
rapidly to the  front1 had not ,titian  
been the pride of the ,venetians1 but   
while the  great painter from ,cadore   
dominated the ,city of the ,lagoons no  
other man  could hope to stand beside   
him1 and certainly ,tintoretto did not  
improve  his own chances by his violent 
early search for work1 and his startling
  offers to paint pictures of any size  
for any price4 ,inasmuch as he  did not 
place a high value upon his own work1 it

 was unreasonable to  expect that his   
patrons would fall into the error of    
over-praising it4  ,in setting a value  
upon their own work most men remember   
that they are  sellers1 nor is it the   
business of buyers to raise the price4  
,it is no easy task to hunt out         
,tintoretto's countless pictures in     
,venice4 ,including panels1             
altar-pieces1 and portraits1 the work in
  the ,doges' ,palace1 in the           
,accademia1 and the collections of      
private  owners1 there must be of this  
painter's work well-nigh three hundred  
examples whose authenticity is beyond   
dispute1 while1 needless to say1  there 
are plenty of pictures to be found in   
the collections of dealers  and amateurs
 that have rather more than a suspicion 
of ,robusti's hand1  though they can    
hardly claim to be painted by him alone4
 ,like all  other masters ,tintoretto   
had his pupils1 and his children and    
pupils  between them would appear to be 
very largely responsible for some of    

the pictures that bear his name4 ,to add
 to the difficulties of the  visitor1   
,tintoretto has suffered more than most 
men from exposure1  neglect1 and        
repainting4 ,the salt-savoured air of   
,venice is by no means  the best in the 
world for pictures2 and candles1 though 
they may save  their pious purchasers   
from many years' suffering in           
,purgatory1 have  an awkward habit of   
smoking and spoiling the altar pictures 
that stand  before them4 ,candle smoke  
respects neither madonna nor saint1 and 
though  raised with the best intentions1
 will destroy masterpiece or daub with  
equal certainty and indifference4 ,in   
,tintoretto's time piety was more       
fashionable than art criticism1 and his 
pictures have suffered very much  from  
the devotion they have inspired in the  
breasts of those to whom  candles were a
 short-cut to salvation4 ,happily the   
,scuola of ,st4 ,roque1  with its       
countless beautiful works of the master 
on panel and ceiling  and staircase1    

still preserves a great deal of its     
original beauty4 ,the  ,doges' ,palace  
has a splendid collection1 including the
 famous ,paradise  in the ,hall of      
,council1 while other apartments in the 
palace boast  specimens of the master's 
most inspired work4 ,the ,royal ,palace1
 and  that of ,prince ,giovanelli1 are  
very rich in the fruit of ,tintoretto's 
labours1 while the ,academy of ,fine    
,arts from which a part of the  pictures
 given here were taken1 holds some of   
the painter's masterpieces  in really   
favourable positions4    ,in the ,doges'
 ,palace the neck and back of the man   
who wishes to study  ,tintoretto must   
endure constant strain1 and the great   
compositions are  so hard to understand 
that headache often anticipates         
comprehension1 and  appreciation gets no
 chance4 ,the ,academy is not too       
crowded1 save at the  season of the     
great ,american invasion1 and there it  
is possible to enjoy  ,tintoretto       
quietly4    ,illustration3 ,,plate      

,,vi4--,,queen ,,esther ,,fainting      
,,before ,,ahasuerus    7,hampton ,court
 ,palace7    ,here we have one of       
,tintoretto's spirited compositions in  
which he makes  no attempt to adapt his 
costumes to the period of the ,bible    
story4 ,one  and all the figures are    
sixteenth-century ,venetians4    ,the   
more we study ,tintoretto the more his  
mastery for every branch  of his art    
becomes apparent4 ,his composition is   
the more marvellous  because he had not 
had the advantage of receiving          
inspiration from  other masters4 ,he    
carried composition farther than it had 
gone before1  bringing to his aid in    
that work a certain dramatic instinct   
that does  not seem to have been        
associated with the painter's workshop  
before  his time4 ,he redeemed ,venetian
 painting from the charge of bad drawing
  that had been levied against it by the
 ,florentines1 and when we come to      
colour we find that ,tintoretto has     
little or nothing to yield in this      

department even to ,titian himself1 and 
that he gets many of his finest  effects
 from lower tones than those that       
appealed to his master4 ,some of  his   
colour effects are less daring1 less    
theatrical1 less immediate in  their    
appeal than those of ,titian1 but when  
they are understood they  are hardly to 
be less admired1 although we have to    
admit that in many  cases they have been
 restored1 and retouched by many        
well-meaning fools  who did not         
understand the extraordinary delicacy of
 treatment that gave  the canvas its    
pristine quality4 ,a picture by         
,tintoretto in which the  rich golden   
brown tints have survived the passages  
of the years and the  hand of the       
restorer1 is at once a thing to wonder  
at and be grateful  for4    ,like all   
great painters ,tintoretto had little   
use for drawings4 ,he did  not believe  
in making elaborate studies2 we can     
learn this from his  first work for the 
,scuola of ,st4 ,roque1 when he entered 

into competition  with several big      
painters1 and managed to present a      
finished picture  to his startled       
patrons and competitors in the shortest 
possible  time4 ,vasari tells the story1
 how the brotherhood decided to have    
some  magnificent and honourable work on
 the ceiling of the ,scuola1 and  asked 
,salviati1 ,zucchero1 ,paolo ,cagliari  
7,veronese71 and ,tintoretto  to prepare
 a design4 ,while the artists were      
giving themselves with  all diligence to
 the preparations of their designs1     
writes ,vasari1  ,tintoretto made an    
exact measurement of the space for which
 the picture  was required1 and taking a
 large canvas he painted it at his usual
  speed1 without taking any one into his
 confidence1 and fixed it in  the place 
destined to receive it4 ,on the morning 
when the brotherhood  assembled to see  
the designs and determine the matter1   
they found that  ,tintoretto had        
completed his work1 that he had even    
fixed it in its  place4 ,at this they   

were very angry1 saying that they       
desired designs1  and had not           
commissioned him to do more than prepare
 one4 ,robusti  replied that this was   
his method of preparing designs1 and    
that he knew  no other1 that all designs
 and models for a work should be        
executed in  this fashion to the end    
that persons interested might see what  
would be  offered to them1 and might not
 be deceived4 ,finding the brethren were
  still displeased1 ,tintoretto added   
that if they did not think fit to pay   
for the work1 he would make a present of
 it to them for the sake of the  saint  
from whom he had received much kindness4
 ,the brotherhood could say  no more1   
for they dare not refuse a gift offered 
to their patron1 and so  the picture was
 accepted1 and the brethren had to make 
their peace as  best they could with the
 angry and disappointed competitors4    
,it would be pleasing to write at length
 about the work that ,tintoretto        
contributed to the buildings of the     

brotherhood1 but in the appendix  to his
 third volume of the ,stones of ,venice1
 ,john ,ruskin has dealt  so completely 
and so admirably with the master that   
those who are  interested will find all 
they seek in his pages4 ,in the lower   
hall are  an ,annunciation1 an          
,adoration of the ,magi1 an ,assumption 
of the  ,virgin1 a ,presentation of     
,jesus1 and several others4 ,in the     
upper  hall there is the wonderful      
masterpiece of ,st4 ,roque in ,heaven1  
together with many pictures of the great
 heroes of ,bible ,history1 and  the    
,last ,supper that ,velazquez copied4   
,the refectory holds the great          
,crucifixion1 and eleven panels devoted 
almost entirely to single  figures4     
,tintoretto had a hard struggle to      
become the painter for the wealthy      
brotherhood1 which had already          
commissioned work from ,titian1         
,giorgione1  ,schiavone1 and other men  
of light and leading1 but when he had   
once  secured a footing he did not lose 

the confidence of the brethren4 ,they   
realised that the master was second to  
none in the honourable ranks of  their  
painters1 and indeed the brotherhood is 
best remembered to-day  because it chose
 ,tintoretto to paint so many of its    
masterpieces4 ,it  would have been a    
pleasant task to reproduce some of these
 works here1  but it would have been    
impossible to put on a small page1 with 
any  hope of conveying a fair idea of   
their extraordinary fascination1 the    
,massacre of the ,innocents1 ,christ    
before ,pilate1 the ,crucifixion1  or   
other pictures of that size4 ,it has    
seemed better on this account to  rest  
content for the most part with single   
figures1 and to emphasise  the one      
aspect of the painter's many merits4    
,his mastery of composition  must be    
left for those who go to ,venice or to  
some other of the cities  wherein the   
work is seen in all its glory4          
,illustration3 ,,plate ,,vii4--,,the    
,,risen ,,christ ,,appearing ,,to       

,,three ,,senators    7,in the ,venetian
 ,academy7    ,this is a curious work   
remarkable for the splendid handling of 
the  figure of ,christ4 ,the three      
,senators are so obviously standing for 
their  portraits that they do not       
interest us4    ,some five years would  
seem to have elapsed between the time   
when  ,tintoretto forced his picture of 
,st4 ,roque upon the astonished         
brotherhood1 and the time when he       
painted the ,crucifixion for the        
,scuola in return for a fee of #bej     
ducats1 becoming thereafter a  member of
 the brotherhood4 ,he worked for them   
for ten years or more1  leaving the     
question of terms to their judgment1 but
 receiving a very  fair price4 ,by the  
middle of the 'sixties his position in  
,venice  was assured4 ,he was accepted  
on every hand as a man who honoured the 
churches and brotherhoods1 civil or     
religious1 that employed him4  ,unlike  
,titian he was very reliable1 and does  
not seem to have accepted  commissions  

and then to have ignored them because   
better work came along  unexpectedly4   
,his work in the churches is very varied
 and is scattered  throughout ,venice4  
,ridolfi refers to his early pictures in
 the ,church  of ,st4 ,benedict1 but    
they are not to be found there now4     
,santa ,maria  dell ',orto1 which was   
one of the first to employ his brush1   
holds his  famous ,last ,judgment1 a    
composition of singular nobility1       
painted with  great technical skill1 and
 the wonderful imagination that inspired
 all  the painter's efforts4            
,unfortunately the details on the canvas
 are not  easily seen1 and the whole    
work would appear to have been handed   
over more than once to the renovator    
whose tender mercies1 like those of  the
 wicked1 are cruel4 ,in the same church 
there are two ,martyrdoms1  one of ,st4 
,paul or ,st4 ,christopher1 and another 
of ,st4 ,agnes1 and there  is the       
fascinating ,presentation of the        
,virgin1 which ranks side by  side with 

,titian's masterpiece in the ,venetian  
,academy4 ,tintoretto's  colour scheme  
is more subdued1 but the composition is 
singularly  attractive1 and the         
painter's knowledge of perspective1 his 
gift of  conveying atmosphere1 his skill
 in handling the human figure in any    
position have hardly been seen to       
greater advantage than in this master   
work4 ,perhaps because the church ,santa
 ,maria dell ',orto received the        
artist's earliest work he loved it above
 all other churches1 for it held  the   
vault of the ,vescovis and he chose to  
be buried there4 ,clearly he  was one   
for whom his wife's family held no      
terrors4 ,many other painters  figure in
 this church1 which lies well away from 
the city's main  thoroughfares1 by the  
canal ,rio della ,madonna dell ',orto4  
,palma ,vecchio  is to be seen there and
 that ,girolamo who is said to have     
acted for  ,titian when he wished to    
expel ,tintoretto from his workshop4    
,the church  also has a ,pieta by       

,lorenzo ,lotto1 and a ,madonna by ,gian
 ,bellini4  ,tintoretto's burial in the 
church is recorded on a tablet4    ,the 
church of ,san ,cassiano has two or     
three pictures by ,tintoretto1 and  that
 of ,san ,francisco della ,vigna is said
 to have another1 but it is not  to be  
seen1 and the brethren of ,st4 ,francis 
who pace to and fro along  the          
broken-down cloisters can give no       
information to intruders armed  with red
 guide-books4 ,san ,giorgio ,maggiore is
 rich in ,tintorettos1  and has one or  
two attractive works by ,bassano4 ,a    
very famous ,last  ,supper was painted  
for this church1 but the work will not  
vie with much  that ,tintoretto did     
elsewhere4 ,santa ,maria dei ,frari has 
a beautiful  ,massacre of the           
,innocents4 ,san ,marziale has an       
,ascension1 and  two ,annunciations1    
together with a work that the painter   
did not  live to finish4 ,on the        
,giudecca in the old ,franciscan ,church
 of the  ,redentore1 where a famous     

water festival is held throughout one   
night  in the summer1 there are two     
splendid examples of the painter's work1
  and in the church of the ,madonna     
della ,salute there is a ,marriage of   
,cana4 ,this church holds several       
pictures by ,titian and other masters   
of renown4 ,santo ,stefano is said to   
have some famous pictures by            
,tintoretto in the sacristy1 but the    
writer has not seen them4    ,the list  
of church pictures is by no means       
exhausted4 ,it would not  be easy to    
deal with them without giving these     
pages a suspicious  resemblance to a    
catalogue4 ,the visitor to ,venice may  
be well advised to  visit as many       
churches as he can1 and to remember that
 many a building  of little latter-day  
significance holds priceless work       
belonging to the  sixteenth century4 ,in
 ,florence there are a score or more of 
,tintoretto's  pictures in the galleries
 of the ,uffizi and the ,pitti ,palace2 
in the  former there is a striking      

replica of the ,wedding at ,cana in the 
,venetian church of the ,madonna della  
,salute1 but all these have their  crowd
 of admirers2 they are catalogued and   
clearly seen4 ,in ,venice1 on  the other
 hand1 many a church from which the     
hurried tourist turns  aside holds one  
or more of ,tintoretto's masterpieces1  
and if it is  well hung and has escaped 
the troublesome attentions of restorer  
and  candle-burner1 it will well repay  
quiet study4    ,the story that a great 
picture has to tell travels far beyond  
its own  subject-matter1 and the quality
 of that imagination which is associated
  with all great work is seen in a very 
high degree in many a church  picture by
 the great ,venetian master4 ,perhaps he
 owes his heroic  achievements to       
,michelangelo4 ,the full story of his   
indebtedness has  been treated at length
 by ,john ,ruskin1 for whom the         
painter's work held  great attractions2 
but it may be said1 without fear of     
contradiction1  that where a picture has

 survived its surroundings1 the vigour  
of mind1  the breadth of view1 the      
dramatic sense of the painter1 his      
splendid  power of seeing the great     
stories of ,old or ,new ,testament in   
their  most dramatic aspect1 will       
satisfy the most critical sense of the  
onlooker almost as much as the conquest 
of difficulties in light1 shade1        
foreshortening1 composition1 and graded 
tones please the man who has  mastered  
the technicalities of the painter's art4
    ,looking at ,tintoretto's work and  
remembering that he hardly stirred      
beyond the limits of the ,republic1 it  
is impossible not to reflect  upon the  
chance and luck that beset the lives of 
men4 ,tintoretto1 with  his splendid    
gifts1 his rapid accomplishment1 his    
courteous manner1  remains in ,venice2  
his fame suffering because he could see 
far beyond  the limits that beset the   
view of his great and popular master4   
,had  ,tintoretto not been able to see  
quite so clearly1 had he not alarmed    

contemporary criticism by groping       
successfully after the first truths  of 
impressionism1 he might have been in the
 fulness of time the court  painter of  
popes and emperors4 ,his splendour might
 have been diffused  throughout ,italy2 
it might have travelled to ,spain1 then 
the greatest of  all world powers4      
,titian1 for all his extraordinary      
gifts1 had certain  conventional        
limitations4 ,tintoretto1 equally       
gifted1 could see more  deeply into the 
truths that underlie painting1 so he did
 not prosper  in like degree4 ,happily  
for him he was a man who worked for     
work's  sake1 as long as his hands were 
full and he could labour from morning   
until night1 the pecuniary and social   
results hardly seemed worth  bothering  
about4 ,we know that ,titian1 whose     
income was much larger than             
,tintoretto's1 was loud in his          
complaints of bad times and inadequate  
payments1 but if ,tintoretto complained1
 ,ridolfi has forgotten to  record the  

fact4 ,there is no attempt here to      
belittle ,titian or to  praise          
,tintoretto2 each was a man for whom the
 sixteenth century and  its successors  
must need be grateful4 ,the difference  
between them was  temperamental1 and is 
worth recording1 though it is not set   
down in any  spirit of unfriendly       
criticism4    ,illustration3 ,,plate    
,,viii4--,,adam ,,and ,,eve    7,from   
the ,venetian ,academy7    ,this        
picture1 representing ,eve in the act of
 offering the apple to ,adam1  is       
remarkable for the beauty of the flesh  
painting4 ,john ,ruskin was  moved to   
express his admiration for it in terms  
of enthusiasm4          ,,iii      ,it  
would seem that the pictures for the    
brotherhood of ,st4 ,roque secured  for 
,tintoretto the crowning honour of his  
life1 the commission to bring  his brush
 to the service of the ,doges' ,palace4 
,it is hardly too much to  say that just
 as the ,doges' ,palace is the most     
remarkable monument of  the ,venetian   

,republic left in ,venice to-day1 so    
,tintoretto's pictures  are the most    
remarkable decorations in the palace    
itself4 ,there  must be fifty or more of
 them1 if we include the ,hall of ,grand
 ,council1  the ,hall of ,scrutiny1 the 
,college1 the ,entrance and the ,passage
 to the  ,council of ,ten1 the          
,ante-room to the ,chapel1 the ,senate  
and the ,salon  of the ,four ,doors2 but
 the task of painting fifty pictures1   
stupendous  though it may seem1 is not  
realised until we remember the size and 
quality of some of these works4 ,the    
,paradise1 for example1 in the  ,council
 ,hall1 is more than twenty-five yards  
long1 and is such a work  as many a     
painter would have given the greater    
part of his life to2 but  ,tintoretto   
had little more than six years to live  
when he undertook the  work1 and there  
is no doubt that while the brain behind 
the picture was  always his1 the hand   
was sometimes that of his son or one of 
his pupils4    ,it may be supposed that 

most painters1 who have reached         
,tintoretto's  age when they received   
their commission for the ,ducal ,palace1
 would  have hesitated to begin work on 
such a colossal scale4 ,they would have 
felt that the span of their life could  
hardly stretch much farther1  and       
knowing that much was to be done in the 
way of portraits and small  pictures1   
would have been content with these4 ,it 
was characteristic of  ,tintoretto that 
he should at once undertake pictures on 
the largest  scale known to painters4   
,not only did he undertake the work1 but
 he  accomplished it4    ,the student of
 ,tintoretto who finds himself in       
,venice should1 we think1  endeavour to 
leave the ,doges' ,palace alone until he
 has watched the  painter's development 
in the various ,venetian churches4 ,then
 he should  study the work done for the 
brotherhood of ,st4 ,roque1 and finally 
should go to ,st4 ,mark's to see the    
crowning achievement of one of the      
greatest men who ever took a paint-brush

 in hand4 ,students of opera  will have 
noticed how a great singer will         
sometimes keep his voice back  until the
 work is nearly over1 in order to put   
all his energy into the  last act1 and  
so leave an impression that will not be 
forgotten easily4  ,so it was with      
,tintoretto4 ,he did splendid work in   
many directions1  but saved himself for 
the last act1 and the crowning          
achievement of  his life was reserved   
for the ,doges' ,palace4 ,there all the 
inspiration  that had blossomed in the  
,venetian churches1 and budded in the   
,scuola  of ,st4 ,roque1 came suddenly  
into flower1 and the visitor to the     
palace  will look in vain throughout the
 civilised world for an equally enduring
  monument to any one man4 ,other great 
artists have left their traces in  many 
cities1 but it may be doubted whether   
,michelangelo and ,raphael in  the      
,vatican have left a more enduring      
record than ,tintoretto gave to  the    
,palace of the ,doges4 ,so vast was his 

achievement1 so brilliant was  his      
imagination1 that our eyes1 trained down
 to see small things1 and  unaccustomed 
to realise the full idea underlying     
great pictures1 tremble  before the     
,paradise and ,venice with the ,gods and
 the ,doge ,nicolo da  ,ponte1 or the   
,capture of ,zara1 or ,st4 ,mark        
,introducing the ,doge  ,mocenigo to    
,christ1 or the splendid ,descent from  
the ,cross1 in the  ,senate1 or the     
,pagan picture in the ,salon of the     
,four ,doors1 in which  ,jupiter gives  
,venice the ,empire of the ,sea4 ,any   
one of these pictures  might have been  
regarded as the crowning achievement in 
the life of a  very considerable        
painter4 ,before them all imagination   
stops4 ,certainly  ,tintoretto was a    
long time coming into his kingdom1 but  
there could have  been few to dispute   
his supremacy when he arrived4    ,in   
#aegd ,tintoretto applied to the        
,fondaco de ,tedeschi for a broker's    
patent1 and thus history repeated       

itself1 for it will be remembered  that 
,titian had endeavoured to secure       
,bellini's place in the great  house of 
the ,german merchants1 and now          
,tintoretto was supplanting  ,titian4   
,the application seems to have been     
quite successful4 ,the house  to-day    
serves as a general post-office1 and    
still shows some slight  trace of the   
frescoes of ,giorgione and ,titian4     
,there does not seem to  be any record  
of work that ,tintoretto did for the    
,german merchants1  but the appointment 
was largely an honorary one as far as   
the work  went1 although it brought a   
certain income to the fortunate owner of
  the office4 ,tintoretto had now       
reached the time when his work could no 
longer be ignored1 and even ,florence   
which looked askance at art in  ,venice 
elected the painter a member of its     
,academy1 an honour that was  conferred 
also upon ,titian1 ,paul ,veronese1 and 
a few smaller men4    ,throughout all   
the years in which the painter's art was

 maturing1 and  the circle of his       
patrons was widening1 he seems to have  
lived a quiet  and uneventful life in   
,venice1 seeking friends in his own     
circle1  labouring diligently in his    
studio1 and never permitting the claims 
of  affairs lying outside his work to   
tempt him to be idle4 ,a man of happy   
disposition1 with no vices1 and no      
extravagant tastes1 he would seem  to   
have found his earning sufficient for   
his need1 and to have been  happy in his
 home life1 although we have already    
recorded the fact upon  ,ridolfi's      
authority that like so many other good  
men ,tintoretto was in  the habit of    
telling lies to his wife4 ,signora      
,robusti must have been a  little trying
 when she sought to regulate her        
husband's expenditure1 the  times of his
 going out and coming in1 and other     
trifles of the sort that  good women    
delight to take an interest in4    ,the 
great grief of ,tintoretto's life was   
happily delayed until #aeij1  when the  

well-beloved ,marietta1 who had been her
 father's friend and  companion for so  
long1 died4 ,the shock must have been a 
very serious  one1 for ,tintoretto      
himself was well over seventy1 but it   
does not seem  to have diminished his   
activity4 ,he would appear to have given
 all his  days to his own labour1 or the
 superintendence of the labours of      
others1  and so the years crept on      
uneventfully for him1 until the last day
  of ,may #aeid when his strenuous1     
vigorous1 and brilliant career found    
its closing hour1 and those whom he left
 behind1 together with a great          
concourse of admiring citizens1 took him
 to the tomb of his wife's house  in the
 ,church of the ,madonna dell ',orto1   
which he had enriched with so  much fine
 painting4 ,his daughter1 having        
predeceased him--as we have  seen1 she  
was a portrait painter1 and her father's
 dearest friend--his  son ,domenico     
carried on the family work1 and         
completed his father's  commissions1 but

 neither brain1 nor hand1 nor eye could 
compare with  those that were now at    
rest1 and the younger ,tintoretto makes 
small  claim upon the attention of      
artist or historian4    ,so a very great
 man passed out of the life of ,venice1 
and for a brief  while his fame         
slumbered1 but in years to come great   
artists1 ,velazquez  foremost among     
them1 made the great city of the        
,adriatic a place of  pilgrimage for his
 sake4 ,his influence1 travelling on    
another road1  extended as far as ,van  
,dyck4 ,we have already traced the      
descent to the  modern school of        
impressionism1 but he would be a bold   
man who would  say that the influence of
 ,tintoretto is exhausted1 or holds that
 he has  nothing to teach the twentieth 
century4 ,his light will hardly grow dim
  as long as his painting has a claim   
upon the attention of civilised men4    
,the plates are printed by ,,bemrose    
,,dalziel1 ,,ltd41 ,watford      ,the   
text at the ,,ballantyne ,,press1       

,edinburgh          ,transcriber's      
,notes3      ,simple typographical      
errors were corrected4    ,defective    
printing of names of authors of some    
other titles in the  ,series was        
remedied by reference to another title  
in the ,series1 whose  list was         
well-printed4