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Indeed before every picture of Tintoret you may remember this tremendous portrait with profit. On one side the power, the passion, the illusion of his art; on the other the mortal fatigue of his spirit.
Tintoretto is only Tintoretto or Tintoret because his father was a dyer, and 'Il Tintoretto' is in Italian, 'the little dyer. Tintoretto's real name was one more in keeping with his pretensions, Jacopo Robusti.
Rubens, Velasquez, Rembrandt, Franz Hals, and Nicolaas Maas, Pieter de Hooch and Vermeer of Delft, Watteau and Chardin, Van Dyck, Titian, Tintoret, and Veronese were his true masters and his copies of their works are said by his enlightened critic, M. Arsène Alexandre, to have a masterly quality of their own, to be far removed from the conventionality of facsimiles, and to bear upon an underlying fidelity of transcription an impress of individual sentiment.
Michelangelo, Beethoven, Tintoret, would snap a critic's head off if he did not see what they were trying to do. They may seem sometimes to be arrogant in the mere display of power, yet their beauty lies in the sudden change from arrogance to humility. The arrogance itself bows down and worships; the very muscle and material force obey a spirit not their own.
Tintoret, Paul Veronese, and others of the Venetian schools, seem to have painted with no other purpose than to be admired for their skill and expertness in the mechanism of painting, and to make a parade of that art which, as I before observed, the higher style requires its followers to conceal.
But some of Coleridge's on Shakespeare, and some of Lamb's on the Plays of the Elizabethan Dramatists in particular The Duchess of Malfi and The Broken Heart may fairly be ranked among them. So, and with still less of hesitation, may Mr. Ruskin's rendering of the Last Judgment of Tintoret, and Mr. Pater's studies on Lionardo, Michaelangelo, and Giorgione. Of these, Mr.
The Pre-Raphaelites and naturalistic landscapists no longer needed the hand which "Modern Painters" had held out to them by the way. Of the great triad of Venice, Tintoret had been expounded, Veronese and Titian were now taken up and treated with tardy, but ample recognition.
The peasant mother to whose poorest hut that first stir of child-life has brought a vision of angels, who has marvelled at the wealth of precious gifts which a babe brings to her breast, who has felt the sword piercing her own bosom also as danger threatened it, on whose mean world her child has flung a glory brighter than glory of earth, is the truest critic of Tintoret.
Quitting Verona, Paul Veronese repaired to Venice, studying the works of Titian and Tintoret, and settling in their city, finding no want of patronage even in a field so fully appropriated before he came to take his place there. His first great work was the painting of the church of St Sebastian, with scenes from the history of Esther.
But in 1518, eight years after Giorgione's death, another great innovating master was born at Venice, Tintoret by name, who in his turn opened new visions of the world to the artists of his day.
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