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Updated: June 25, 2025
In his picture of 'The Princess Nausicaa and her Nymphs surprised at the river side by Ulysses, one connoisseur detected 'the fine drawing of Julio Romano, another, 'the deep juicy lustre of Tintoret, and a third 'a feeling and air altogether the painter's own; which last is probable. In 1772 he exhibited some pictures in London.
She and Ashe were looking at that "Last Supper" of Tintoret's which hangs in the choir of San Giorgio Maggiore at Venice. It is a picture dear to all lovers of Tintoret, breathing in every line and group the passionate and mystical fancy of the master. The scene passes, it will be remembered, in what seems to be the spacious guest-chamber of an inn.
There, where the black marks were on the wall, there had hung two pictures. Margaret and her father religiously believed them to be a Tintoret and Copley. Well, they were gone now. He had been used to dust them with a light brush every morning, himself, but now he said, "You can clean the pictures to-day, Margaret. Be careful, my child."
Tintoret had modelled his colouring upon Titian and was by nature a great colourist, but too often he used bad materials that have turned black with the lapse of years. In this picture you see his colour as it was meant to be, rich, and boldly harmonious.
One was a Rembrandt 'The Casting-out of Hagar' I have his copy of it in my room now the other was a Tintoret sketch. He worked at them for days and weeks, pondering and copying them, bit by bit, till he was almost ill with excitement and enthusiasm. But you see the result in what he does." And Helbeck smiled upon the artist with the affectionate sympathy of an elder brother.
The baby which the priest is holding in the little copy of Tintoret by Edward Jones which my father liked so much, over the basin stand in his bedroom. All the knowledge I have gained in these 17 years only makes me more full of awe and wonder at Tintoret. But it is so sad so sad; no one to care for him but me, and all going so fast to ruin.
With all the Slade Professor's generosity, the Ruskin drawing school, founded in these fine galleries to which he had so largely contributed, in a palatial hall handsomely furnished, and hung with Tintoret and Luini, Burne-Jones and Rossetti, and other rare masters, ancient and modern; with the most interesting examples to copy at the most convenient of desks, we may add yet in spite of it all, the drawing school was not a popular institution.
To Tintoret the contents of the chalice is the all-important matter: where is the majesty of the old Giottesque gesture, preserved by Leonardo, of pushing forward the bread with one hand, the wine with the other, and thus uncovering the head and breast of the Saviour, the gesture which does indeed mean "I am the bread you shall eat, and the wine you shall drink"? There remains, however, to mention another work of Tintoret's which, coming in contact with one's recollections of earlier art, may suggest strange doubts and well nigh shake one's faith in the imaginative efficacy of all that went before: his enormous canvas of the Last Day, at S. Maria dell' Orto.
Dominico, who was a painter, Tintoret had a daughter, Marietta, very dear to him, who was also a painter indeed, so gifted a portrait painter, as to have been repeatedly invited to foreign courts to practise her art, invitations which she declined, because she would not be parted from her father.
He rises to his best painting, as Mr. Ruskin has observed, when his subjects are noble doges, saints, priests, senators clad in purple and jewels and gold. But Tintoret is never quite Veronese. He cannot be untrue to beauty, and the pomps and glories of earth are beautiful to him; but there is a beauty too in earth, in man himself.
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