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Updated: June 25, 2025
I have reversed the chronological order and chosen to speak of Tintoret after Rembrandt, because, being an Italian and still in contact with some of the old tradition, the great Venetian can show more completely, both what was gained and what was lost in imaginative rendering by the liberation of the individual artist and the development of artistic means. First, of the gain.
I have placed in your Educational series a wing by Albert Dürer, which goes as far as art yet has reached in delineation of plumage; while for the simple action of the pinion it is impossible to go beyond what has been done already by Titian and Tintoret; but you cannot so much as once look at the rufflings of the plumes of a pelican pluming itself after it has been in the water, or carefully draw the contours of the wing either of a vulture or a common swift, or paint the rose and vermilion on that of a flamingo, without receiving almost a new conception of the meaning of form and colour in creation.
Those of Titian, Paul Veronese, Tintoret, and the Bassans, are in general slight and undetermined. Their sketches on paper are as rude as their pictures are excellent in regard to harmony of colouring. Correggio and Barocci have left few, if any, finished drawings behind them. And in the Flemish school, Rubens and Vandyke made their designs for the most part either in colours or in chiaroscuro.
The Venetian painters attracted him most and, he says, speaking of Titian, Paul Veronese and Tintoret, “they appeared to be the first painters who reduced to a system what was before practised without any fixed principle.” From these painters he declares Rubens extracted his scheme of composition which was soon understood and adopted by his countrymen, even to the minor painters of low life in the Dutch school.
After Italy, in the course of that century, had been finally enslaved, then, and not till then, painting suffered from the general depression of the national genius. The great luminaries were extinguished one by one, till none were left but Michael Angelo in Rome, and Tintoret in Venice.
I believe he has a career before him. What is your opinion of French art?" Rennes had studied in Paris and was well acquainted with the artist in question. They talked about the exhibitions of the year and the prices paid at a recent sale of pictures. "Old Garrow has some fine pictures," said Reckage. "I would give a good deal for his Ghirlandajo. Do you know it? And then that noble Tintoret?
The mind of Tintoret, incomparably more deep and serious than that of Titian, casts the solemnity of its own tone over the sacred subjects which it approaches, and sometimes forgets itself into devotion; but the principle of treatment is altogether the same as Titian's: absolute subordination of the religious subject to purposes of decoration or portraiture.
There were literally hundreds of painters in Holland, few of them bad. That does not mean that all Dutchmen had the magical power of vision belonging to the greatest artists, the power that transforms the objects of daily view into things of rare beauty, or the imagination of a Tintoret that creates and depicts scenes undreamt of before by man.
He looked in respectful silence at Bellini and Tintoret; but the industrial growth of the north, the strikes of braccianti on the central plains, and the poverty of Sicily and the south in these problems he was soon deeply plunged, teaching himself Italian in order to understand them. Then they had returned to Mrs. Gaddesden, and to the surrender of Martindale to its new master.
In the divine figure of the Republic with which Tintoret filled the central cartoon of the Great Hall every Venetian felt himself incarnate.
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