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This did not promise very good business at the time, but the work was so splendid and Tintoretto so reasonable that they finally agreed to give him all the work of their order nearly enough to keep him employed during a lifetime. After that he painted sixty great pictures upon their walls.
Of the four artist-figures who in the tradition of Tintoret's picture support this "Golden Calf" of Venice, Tintoret himself is the one specially Venetian. Giorgione was of Castel Franco; Titian came from the mountains of Cadore; Paolo from Verona. But Jacopo Robusti, the "little dyer," the Tintoretto, was born, lived, and died in Venice.
<b>ROBUSTI, MARIETTA.</b> Born in Venice. 1560-1590. The parentage of this artist would seem to promise her talent and insure its culture. She was the daughter of Jacopo Robusti, better known as "Il Tintoretto," who has been called "the thunder of art," and who avowed his ambition to equal "the drawing of Michael Angelo and the coloring of Titian."
Instead of drawing many sketches, he made little wax models of figures and arranged them inside a cardboard or wooden box in which there was a hole to admit a lighted candle. So, besides the grouping of the figures, he could also arrange the light and shade. But, though he worked hard, fame was long in coming to Tintoretto. People did not understand his way of painting.
He moulded with extreme care small models of his figures in wax and clay. Titian and other painters as well as Tintoretto employed this method as the means of determining the light and shade of their design. Afterwards the later stages of their work were painted from the life.
The whole house was such as Tintoretto loved to paint huge wooden rafters; open chimneys with pent-house canopies of stone, where the cauldrons hung above logs of chestnut; rude low tables spread with coarse linen embroidered at the edges, and laden with plates of fishes, fruit, quaint glass, big-bellied jugs of earthenware, and flasks of yellow wine.
In this room, for example, we find Tiepolo allegorizing Venice as the conqueror of the sea. And now for the jewel of art in the Doges' Palace. It is in the room opposite the door by which we entered the ante-room of the Sala del Collegio and it faces us, on the left as we enter: the "Bacchus and Ariadne" of Tintoretto.
Both here and at the Accademia we shall see picture after picture in which these purse-proud Venetian administrators, suspecting no incongruity or absurdity, are placed, by Titian and Tintoretto, on terms of perfect intimacy with the hierarchy of heaven.
The son of a stone-cutter, he was born in 1528, and thus was younger than Titian and Tintoretto, with whom he was eternally to rank, who were born respectively in 1477 or 1487 and 1518. At the age of twenty-seven, Veronese went to Venice, and there he remained, with brief absences, for the rest of his life, full of work and honour.
Other sayings were that he had three brushes, one of gold, one of silver, and a third of brass, and that if he was sometimes equal to Titian he was often inferior to Tintoretto! In this last category Kugler puts two of his earliest works, the enormous Last Judgment, and The Golden Calf, in the church of S. Maria dell'Orto, while on his much later Last Supper he is still more severe.
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