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Updated: June 13, 2025
Continuing the traditions of Bellini and Giorgione, with a breadth of treatment, and a vigour of well-balanced faculties peculiar to himself, Titian gave to colour in landscape and the human form a sublime yet sensuous poetry no other painter in the world has reached. Tintoretto and Veronese are, both of them, excessive.
In Angelo, Francesca, Veronese, Botticelli, Titian, Raphael, Tintoretto, and Correggio, the brush of the painter has set forth the adoration of the Church of God. Thus, taken all in all, to be educated as a minister should be to be educated in the Higher Life of the race. Finally, above all else is the spiritual study and interpretation of the Word of God.
In the group of musicians in front we recognize Titian and Tintoretto, old Bassano, and Paolo himself. The Marriage at Cana, as a refectory subject, had been unknown till this time: it became popular, and Paolo afterwards repeated it several times.
The most remarkable feature of the whole composition is a group of musicians in the centre of the foreground, which are portraits of the artist himself and Tintoretto, playing on violon-cellos, and Titian, in a red robe, with the contra-bass.
But Uncle says Tintoretto the great Italian artist had two quarterings of nobility, and Velasquez had two and a half. Luckily we have with us among our things Uncle's easel and his paints that he used in Berlin.
Ruskin has championed Tintoretto with the same fervor that he has expended upon Turner," replied Mr. Sumner, smiling. "I think we should season his judgments concerning both artists with the 'grain of salt'. "But," continued he, as he saw all were waiting for something further, "there can be no doubt that Tintoretto was a great painter and a notable man.
Tintoretto, to be rightly understood, must be sought all over Venice in the church as well as the Scuola di San Rocco; in the 'Temptation of S. Anthony' at S. Trovaso no less than in the Temptations of Eve and Christ; in the decorative pomp of the Sala del Senato, and in the Paradisal vision of the Sala del Gran Consiglio.
Let us glance briefly at the artistic activity of the times when the violin-making craft leaped so swiftly and surely to perfection. If we turn to the days of Gaspard di Salo, Morelli, Magini, and the Amatis, we find that when they were sending forth their fiddles, Raphael, Leonardo da Vinci, Titian, and Tintoretto were busily painting their great canvases.
Painting, as in the frescoes of the Sistine Chapel and the wall paintings of Tintoretto and Veronese in the Ducal Palace of Venice, may be employed in the service of decoration.
Anyhow, it is exceedingly difficult to escape from colour in the air of Venice, or from Tintoretto in her buildings. Long, delightful mornings may be spent in the enjoyment of the one and the pursuit of the other by folk who have no classical or pseudo-mediæval theories to oppress them. Tintoretto's house, though changed, can still be visited.
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