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Updated: June 25, 2025
Titian did not choose to impart what could be imparted of his art to his scholars, and, in all probability, Tintoretto was no deferential and submissive scholar. There is a tradition that Titian expelled this scholar from his academy, saying of the dyer's son, that 'he would never be anything but a dauber. Tintoret was not to be daunted.
I should be glad if the reader who is interested in the question here raised, would read, as illustrative of the subsequent statement, the account of Tintoret's 'Paradise, in the close of my Oxford lecture on Michael Angelo and Tintoret, which I have printed separately to make it generally accessible.
There are noble pictures here by Giorgione, and Titian, and Tintoret, and Paul Veronese, and Bonifazio. Look at this Musical Party by Giorgione, this landscape by Titian, this portrait of the vile Duke of Alva by the same great master, the greatest master of all in portraiture.
It is the striking image of a multitude in the air, a rout in the heavens, or rather in purgatory. Here, again, is Mr Ruskin's unequalled estimate of Tintoret's works: 'I should exhaust the patience of the reader if Ion the various stupendous developments of the imagination of Tintoret in the Scuola di San Rocco alone.
Thus, when Titian or Tintoret look at a human being, they see at a glance the whole of its nature, outside and in; all that it has of form, of colour, of passion, or of thought; saintliness, and loveliness; fleshly body, and spiritual power; grace, or strength, or softness, or whatsoever other quality, those men will see to the full, and so paint, that, when narrower people come to look at what they have done, every one may, if he chooses, find his own special pleasure in the work.
While painting in the rest of Italy was becoming mannered and sentimental, lacking in power and originality, Tintoret in Venice was creating masterpieces with a very fury of invention and a corresponding swiftness of hand. He was his own chief teacher.
Painting reached its loftiest height in Giorgione, Titian, Tintoret, and Paul Veronese. The greatest of colourists sprang from a world of colour. Faded, ruined as the city is now, the frescoes of Giorgione swept from its palace fronts by the sea-wind, its very gondoliers bare and ragged, the glory of its sunsets alone remains vivid as of old.
Architects may tell us that its Gothic arcades are melodramatic; sculptors may depreciate the decorative work of Sansovino; painters may assert that the genius of Titian, Tintoret, and Veronese shines elsewhere with greater lustre.
When Battisto Franco was employed, in conjunction with Titian, Paul Veronese, and Tintoret, to adorn the library of St. Mark, his work, Vasari says, gave less satisfaction than any of the others: the dry manner of the Roman school was very ill calculated to please eyes that had been accustomed to the luxuriance, splendour, and richness of Venetian colouring.
Van Dyck is dull, Rubens oily, Tintoret yellow; it is Velasquez alone who can give us the illusion of life in all its fulness!" In 1649 Velasquez paid his second visit to Rome, where he painted the famous portrait of His Holiness, Pope Innocent X. which is now in the Doria palace.
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