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Updated: June 9, 2025
The Tintoret's visions were not so bright as that; but he had several that were radiant enough. In the room that contains the work just cited are several smaller canvases by the greatly more complex genius of the Scuola di San Rocco, which are almost simple in their loveliness, almost happy in their simplicity.
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.
Disagreeable voyage on the Po. Venice, beautiful but smelly. Copies Tintoret's "Miracle of the Slave." Thunderstorms. Reflections on the Fourth of July. Leaves Venice. Recoaro. Milan. Reflections on Catholicism and art. Como and Maggiore. The Rigi. Schaffhausen and Heidelberg. Evades the quarantine on French border. Thrilling experience. Paris.
Veronese is reported to have been far more correct and careful in drawing than was Tintoret, while Veronese's prodigality of colour was a mellowed version of Tintoret's glare or deadness. One of Veronese's best pictures is the 'Marriage of Cana, painted originally for the refectory of the convent of San Giorgio, Venice, and now in the Louvre.
Ushered into the advocate's waiting-room, a large parlor with curtains of starched muslin as fine as that of which surplices are made, its only ornament a large and beautiful copy of Tintoret's Dead Christ over the door, his uncertainty and anxiety changed to indignant conviction. It was not possible. He had been misled touching Le Merquier.
There are few more suggestive contrasts than that between the absence of a total character at all commensurate with its scattered variety and brilliancy in Veronese's "Marriage of Cana," at the Louvre, and the poignant, almost startling, completeness of Tintoret's illustration of the theme at the Salute church.
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