JACOPO ROBUSTI See also:

• JACOPO ROBUSTI TINTORETTO (1518-1594)

TINTORETTO (1518-1594)  , one of the greatest painters of the Venetian school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice in 1518, though most accounts say in 1512 . His See also:

• FATHER

father, Battista Robusti, was a See also:

• DYER, JOHN (c. 1700-1758)
• DYER, SIR EDWARD (d. 1607)
• DYER, THOMAS HENRY (1804-1888)

dyer, or " tintore "; hence the son got the See also:

• NICKNAME

nickname of " See also:

• TINTORETTO, JACOPO ROBUSTI (1518-1594)

Tintoretto," little dyer, or dyer's boy, which is Englished as Tintoret . In childhood Jacopo, a born painter, began daubing on the dyer's walls; his father, noticing his See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent, took him See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round, still in boyhood, to the studio of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, to see how far he could be trained as an artist . We may suppose this to have been towards 1533, when Titian was already (according to the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary accounts) fifty-six years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . See also:

• RIDOLFI, or RIDOLFO, ROBERTO DI (1531-1612)

Ridolfi is our authority for saying that Tintoret had only been ten days in the studio when Titian sent him See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home once and for all . The See also:

• REASON (Lat. ratio, through French raison)

reason, according to the same writer, is that the See also:

• GREAT

great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master observed some very spirited drawings, which he learned to be the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of Tintoret; and it is inferred that he became at once jealous of so promising a See also:

• SCHOLAR, SCHOLARSHIP

scholar . This, however, is See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence of manner that Titian judged that See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Robusti, although he might become a painter, would never be properly a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil . From this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time forward the two always remained upon distant terms—Robusti being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turning the See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder to Robusti . Active disparagement also was not wanting, but it passed unnoticed by Tintoret . The latter sought for no further teaching, but studied on his own See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account with laborious zeal; he lived poorly, See also:

• COLLECTING

collecting casts, bas-reliefs, &c., and practising by their aid . His See also:

• NOBLE, SIR ANDREW (1832- )

noble conception of See also:

• ART

art and his high See also:

• PERSONAL

personal ambition were evidenced in the inscription which he placed over his studio—" I1 disegno di See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo ed it colorito di Tiziano " (Michelangelo's See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design and Titian's See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour) . He studied more especially from See also:

• MODELS

models of Michelangelo's " See also:

• DAWN (the 16th-century form of the earlier " Jawing " or " dawning," from an old verb " daw," O. Eng. dagian, to become day; cf. Dutch dagen, and Ger. tagen)

Dawn," " See also:

• NOON

Noon," " See also:

• TWILIGHT

Twilight " and " See also:

• NIGHT

Night," and became See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert in modelling in See also:

• WAX

wax and See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay—a method (practised likewise by Titian) which afterwards stood him in See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• STEAD, WILLIAM THOMAS (1849– )

stead in working out the arrangement of his pictures .

The models were sometimes taken from dead subjects dissected or studied in See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy See also:

• SCHOOLS

schools; some were draped, others nude, and Robusti was wont to suspend them in a wooden or cardboard See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box, with an See also:

• APERTURE (from Lat. aperire, to open)

aperture for a See also:

• CANDLE (Lat. candela, from candere, to glow)

candle . Now and afterwards he very frequently worked by night as well as by See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . The young painter See also:

• SCHIAVONE

Schiavone, four years Robusti's junior, was much in his See also:

• COMPANY

company . Tintoret helped Schiavone gratis in See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall-paintings; and in many subsequent instances he worked also for nothing, and thus succeeded in obtaining commissions . The two earliest mural paintings of Robusti—done, like others, for next to no pay—are said to have been " Belshazzar's Feast " and a " See also:

• CAVALRY (Fr. cavalerie, Ger. Kavallerie or Reiterei, derived ultimately from late Lat. caballus, horse)

Cavalry Fight," both See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long since perished . Such, indeed, may be said to have been the See also:

• FATE

fate of all his frescoes, See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early or later . The first See also:

• WORK

work of his which attracted some considerable See also:

• NOTICE

notice was a portrait-groupof himself and his See also:

• BROTHER

brother—the latter playing a See also:

• GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra)

guitar—with a nocturnal effect; this also is lost . It was followed by some See also:

• HISTORICAL

historical subject, which Titian was candid enough to praise . One of Tintoret's early pictures still extant is in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of the See also:

• CARMINE

Carmine in Venice, the " Presentation of Jesus in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple "; also in S . Benedetto are the " . See also:

• ANNUNCIATION

Annunciation " and " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ with the Woman of See also:

• SAMARIA

Samaria." For the Scuola dell& Trinity (the scuole or schools of Venice were more in the nature of hospitals or charitable See also:

• FOUNDATIONS

foundations than of educational institutions) he painted four subjects from See also:

• GENESIS
• GENESIS (Gr. 'ybeo-es, becoming; the term being used in English as a synonym for origin or process of coming into being)

Genesis . Two of these, now in the Venetian See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, are " See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve and the " See also:

• DEATH

Death of See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel," both noble See also:

• WORKS

works of high mastery, which leave us in no doubt that Robusti was by this time a consummate painter—one of the few who have attained to the highest See also:

• EMINENCE (Lat. eminentia)

eminence by dire study of their own, unseconded by any training from some See also:

• SENIOR, NASSAU WILLIAM (1790-1864)

senior proficient .

Towards 1546 Robusti painted for the church of the Madonna dell' Orto three of his leading works—the " See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

Worship of the See also:

• GOLDEN

Golden See also:

• CALF
• CALF, THE GOLDEN

Calf," the " Presentation of the Virgin in the Temple," and the " Last See also:

• JUDGMENT

Judgment "—now shamefully repainted; and he settled down in a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house hard by the church . It is a See also:

• GOTHIC

Gothic edifice, looking over the See also:

• LAGOON (Fr. lagune, Lat. lacuna, a pool)

lagoon of See also:

• MURANO (anc. Ammariuno)

Murano to the See also:

• ALPS

Alps, built in the Fondamenta de' Mori, still See also:

• STANDING

standing, but let out cheap to artisans . In 1548 he was commissioned for four pictures in the Scuola di S . Marco—the " Finding of the See also:

• BODY

body of St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark in See also:

• ALEXANDRIA
• ALEXANDRIA (Arab. Iskenderia)

Alexandria " (now in the church of the Angeli, Murano), the " See also:

• SAINT (lat. sanctus, " holy ")

Saint's Body brought to Venice," a " Votary of the Saint delivered by invoking him from an Unclean Spirit " (these two are in the library of the royal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace, Venice), and the highly and justly celebrated " See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

Miracle of the Slave." This last, which forms at See also:

• PRESENT

present one of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief glories of the Venetian Academy, represents the See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend of a See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian slave or See also:

• CAPTIVE (from Lat. capere, to take)

captive who was to be tortured as a See also:

• PUNISHMENT (from Lat. punire, to punish, from poena, punishment, Gr. 7rocvil)

punishment for some acts of devotion to the evangelist, but was saved by the miraculous intervention of the latter, who shattered the See also:

• BONE (a word common in various forms to Teutonic languages, in many of which it is confined to the shank of the leg, as in the German Bein)
• BONE, HENRY (1755-1834)

bone-breaking and See also:

• BLINDING

blinding implements which were about to be applied . These four works were greeted with See also:

• SIGNAL

signal and See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause, including that of Titian's intimate, the too potent Pietro See also:

• ARETINO, PIETRO (1492-1556)

Aretino, with whom Tintoret, one of the few men who scorned to See also:

• CURRY

curry favour with him, was mostly in disrepute . It is said, however, that Tintoret at one time painted a See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling in Pietro's house; at another time, being invited to do his portrait, he attended, and at once proceeded to take his sitter's measure with a See also:

• PISTOL

pistol (or a See also:

• STILETTO (an Italian diminutive of stilo, dagger, Lat. stilus, a pointed instrument)

stiletto), as a significant hint that he was not exactly the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man to be trifled with . The painter having now executed the four works in the Scuola di S . Marco, his straits and obscure endurances were over . He married See also:

• FAUSTINA, ANNIA GALERIA

Faustina de' Vescovi, daughter of a Venetian nobleman . She appears to have been a careful housewife, and one who both would and could have her way with her not too tractable See also:

• HUSBAND

husband . Faustina See also:

• BORE

bore him several See also:

• CHILDREN, LAW RELATING TO

children, probably two sons and five daughters . The next conspicuous event in the professional See also:

• LIFE

life of Tintoret is his enormous labour and profuse self-development on the walls and ceilings of the Scuola di S .

Marco, a See also:

• BUILDING

building which may now almost be regarded as a See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine reared by Robusti to his own See also:

• GENIUS (from Lat. genere, gignere)

genius . The building had been begun in 1525 by the Lombardi, and was very deficient in See also:

• LIGHT

light, so as to be particularly See also:

• ILL

ill-suited for any great See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of pictorial adornment . The See also:

• PAINTING

painting of its interior was commenced in 156o . In that See also:

• YEAR

year five See also:

• PRINCIPAL

principal painters, including Tintoret and See also:

• PAUL
• PAUL (PAULUS)

Paul Veronese, were invited to send in trial-designs for the centre-piece in the smaller See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall named See also:

• SALA, GEORGE AUGUSTUS HENRY (1828-1895)

Sala dell' Albergo, the subject being S . Rocco received into See also:

• HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

Heaven . Tintoret produced not a See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch but a picture, and got it inserted into its See also:

• OVAL (Lat. ovum, egg)

oval . The competitors remonstrated, not unnaturally; but the artist, who knew how to See also:

• PLAY

play his own See also:

• GAME

game, made a See also:

• FREE

free See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of the picture to the saint, and, as a by-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law of the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation prohibited the rejection of any gift, it was retained in situ—Tintoret furnishing gratis the other decorations of the same ceiling . (This is one version of the See also:

• ANECDOTE (from av-, privative, and isSLSwµu, to give out or publish)

anecdote: there is another version, which, though differing in incident, has the like general bearing.) In 1565 he resumed work at the scuola, painting the magnificent " Crucifixion," for which a sum of 250 ducats was paid . In 1576 he presented gratis another centre-piece—that for the ceiling of the great hall, representing the " See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

Plague of Serpents "; and in the following year he completed this ceiling with pictures of the " See also:

• PASCHAL (Paschalis)

Paschal Feast " and " See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses striking the See also:

• ROCK
• ROCK (O.Fr. rake, Sp. rota, Ital. rocca; possibly from a Lat. form rupica, from rupes, rock)
• ROCK, DANIEL (1799–187t)

Rock "—accepting whatever See also:

• PITTANCE (through O. Fr. pitance, from Lat. pietas, loving-Kindness)

pittance the confraternity See also:

• CHOSE (Fr. for " thing ")

chose to pay . Robusti next launched out into the painting of the entire scuola and of the adjacent church of S . Rocco . He offered in See also:

• NOVEMBER (Lat. novem, nine)

November 1577 to execute the works at the See also:

• RATE

rate of too ducats per annum, three pictures being due in each year .

This proposal was accepted and was punctually fulfilled, the painter's death alone preventing the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of some of the ceiling-subjects . The whole sum paid for the scuola throughout was 2447 ducats . Disregarding some See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor performances, the scuola and church contain fifty-two memorable paintings, which may be described as vast suggestive sketches, with the mastery, but not the deliberate precision, of finished pictures, and adapted for being looked at in a dusky See also:

• HALF

half-light . " Adam and Eve," the " Visitation," the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi," the " See also:

• MASSACRE

Massacre of the Innocents," the " Agony in the See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden," " Christ before See also:

• PILATE, PONTIUS

Pilate," " Christ carrying His See also:

• CROSS

Cross," and (this alone having been marred by restoration) the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin " are leading examples in the scuola; in the church, " Christ curing the Paralytic." It was probably in 156o, the year in which he began working in the Scuola di S . Rocco, that Tintoret commenced his numerous paintings in the ducal palace; he then executed there a portrait of the See also:

• DOGE

doge, See also:

• GIROLAMO (1450-1486)

Girolamo Priuli . Other works which were destroyed in the great See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire of 1577 succeeded—the " See also:

• EXCOMMUNICATION (Lat. ex, out of, away from; communis, common)

Excommunication of See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• BARBAROSSA ("Redbeard")

Barbarossa by See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander III." and the " Victory of See also:

• LEPANTO

Lepanto." After the fire Tintoret started afresh, Paul Veronese being his colleague; their works have for the most See also:

• PART

part been disastrously and disgracefully retouched of See also:

• LATE

late years, and some of the finest monuments of pictorial See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power ever produced are thus degraded to See also:

• COMPARATIVE

comparative unimportance . In the Sala dello Scrutinio Robusti painted the " See also:

• CAPTURE (from Lat. capere, to take; Fr. prise maritime; Ger. Wegnahme)

Capture of See also:

• ZARA (Serbo-Croatian Zadar)

Zara from the Hungarians in 1346 amid a See also:

• HURRICANE

Hurricane of Missiles "; in the hall of the See also:

• SENATE (Lat. senatus, from root sen-, as in senex, old; the root is the Sanskrit sana, cf. Gr. 'vos; the same element appears in senor, seigneur, seneschal)

senate, " Venice, See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea "; in the hall of the See also:

• COLLEGE (Collegium)

college, the " Espousal of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine to Jesus "; in the Sala dell' Anticollegio, four extraordinary masterpieces—" Bacchus, with See also:

• ARIADNE (in Greek mythology)

Ariadne crowned by See also:

• VENUS

Venus," the " Three See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

Graces and See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

Mercury," " See also:

• MINERVA

Minerva discarding See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars," and the " Forge of See also:

• VULCAN (Volcanos)

Vulcan "—which were painted for fifty ducats each, besides materials, towards 1578; in the Antichiesetta, " St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George and St See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas, with St See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret " (the See also:

• FEMALE

female figure is sometimes termed the princess whom St George rescued from the See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

dragon), and " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome and St See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew "; in the hall of the great See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council, nine large compositions, chiefly See also:

• BATTLE

battle-pieces . We here reach the crowning production of Robusti's life, the last picture of any considerable importance which he executed, the vast " See also:

• PARADISE (Gr. lrap6BEwos)

Paradise," in See also:

• SIZE

size 74 ft. by 30, reputed to be the largest painting ever done upon See also:

• CANVAS

canvas . It is a work so stupendous in See also:

• SCALE
• SCALE (1) A

scale, so See also:

• COLOSSAL

colossal in the sweep of its power, so reckless of ordinary See also:

• STANDARDS

standards of conception or method, so pure an See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration of a soul burning with passionate visual imagining and a See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand magical to work in shape and colour, that it has defied the connoisseurship of three centuries, and has generally (though not with its first Venetian contemporaries) passed for an See also:

• ECCENTRIC (from Gr. F,c, out of, and Kivrpov, centre)

eccentric failure; while to a few eyes (including those of the present writer) it seems to be so transcendent a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument of human See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty applied to the art pictorial as not to he viewed without See also:

• AWE, LOCH

awe nor thought of without amazement . While the See also:

• COMMISSION (from Lat. commissio, committere)

commission for this huge work was yet pending and unassigned Robusti was wont to tell the senators that he had prayed to See also:

• GOD

God that he might be commissioned for it, so that. paradise itself might perchance be his recompense after death . Upon eventually receiving the commission in 1588 he set up his canvas in the Scuola della Misericordia and worked indefatigably at the task, making many alterations and doing various heads and costumes See also:

• DIRECT

direct from nature . When the picture had been brought well forward he took it to its proper See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place and there finished it, assisted by his son Domenico for details of drapery, &c .

All Venice applauded the superb achievement, which has in more See also:

• RECENT

recent times suffered from neglect, but fortunatelyhardly at all from restoration . Robusti was asked to name his own See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price, but this he See also:

• LEFT

left to the authorities . They tendered a handsome amount; Robusti is said to have See also:

• ABATED

abated something from it, which is even a more curious instance of ungreediness for See also:

• PELF

pelf than earlier cases which we have cited where he worked for nothing at all . After the completion of the " Paradise " Robusti rested for a while, and he never undertook any other work of importance, though there is no reason to suppose that his energies were exhausted had his days been a little prolonged . He was seized with an attack in the See also:

• STOMACH (Gr. vrbsaxos from arbga, a mouth)

stomach, complicated with See also:

• FEVER (Lat. febris, connected with fervere, to burn)

fever, which prevented him from sleeping and almost from eating for a fortnight, and on the 31st of May 1594 he died . A contemporary See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record states his age to have been seventy-five years and fifteen days . If this is accurate, the 16th of May 1519 must have been the day of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth; but we prefer the authority of the See also:

• REGISTER

register of deaths in S . Marciliano, which states that Tintoret died of fever, aged seventy-five years, eight months and fifteen days—thus bringing us to the 16th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1518 as the true date of his birth . He was buried in the church of the Madonna dell' Orto by the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of his favourite daughter See also:

• MARIETTA

Marietta, who had died in 1590, aged See also:

• THIRTY

thirty; there is a well-known tradition that as she See also:

• LAY

lay dead the See also:

• HEART
• HEART, LUNG

heart-stricken father painted her portrait . Marietta had herself been a portrait-painter of considerable skill, as well as a musician, vocal and instrumental; but few of her works are now traceable . It is said that up to the age of fifteen she used to accompany and assist her father at his work, dressed as a boy; eventually she married a jeweller, See also:

• MARIO, GIUSEPPE, COUNT OF CANDIA (1810-1883)

Mario See also:

• AUGUSTA

Augusta . In 1866 the See also:

• GRAVE

grave of the Vescovi and Robusti was opened, and the remains of nine members of the See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint families were found in it; a different locality, the See also:

• CHAPEL

chapel on the right of the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir, was then assigned to the grave .

Tintoret painted his own portrait at least twice, one of the heads being in the Uffizi See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence and the other, done when his age was advanced, in the Louvre . It is a very serious See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face, somewhat See also:

• BLUNT, JOHN HENRY (1823–1884)
• BLUNT, JOHN JAMES (1794–1855)
• BLUNT, WILFRID SCAWEN (184o— )

blunt and rugged, but yet refined without the See also:

• VARNISH

varnish of elegance—concentrated and resolute, its native ardours of frankness and See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy welded down into lifelong laboriousness, with a pent look as of smouldering fire . The eyes are large, dark and round; the grizzled See also:

• HAIR (a word common to Teutonic languages)

hair See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close and compact . The face has been held to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear some resemblance to that of Michelangelo, but this does not go very far . Robusti appears also as one of the figures in the two vast pictures by Paul Veronese—the " See also:

• MARRIAGE

Marriage in See also:

• CANA

Cana " and the " Feast in the House of See also:

• LEVI, HERMANN (1839-1900)
• LEVI, LEONE (1821-1888)

Levi." Audacious and intrepid, though not constantly correct, as a draughtsman, majestically great as a colourist, prodigious as an executant, Tintoret was as See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute a type of the born painter as the See also:

• HISTORY

history of art registers or enables us to conceive . Whatever he did was imaginative—sometimes beautiful and suave (and he was eminently capable of painting a lovely female countenance or an heroic man), often imposing and romantic, fully as often turbulent and reckless, sometimes trivial, never unpainter-like or prosaic . When he chose—which was not always—he painted his entire personages characteristically; but, like the other highest masters of Venice, he conceded and attended little to the expression of his faces as evincing incidental emotion . In several of his works—as especially the great " Crucifixion " in S . Rocco—there is powerful central thought, as well as inventive detail; but his See also:

• IMAGINATION

imagination is always See also:

• CONCRETE
• CONCRETE (Lat. concretes, participle of concrescere, to grow together)

concrete: it is essentially that of a painter to whom the means of art—the See also:

• FORM (Lat. forma)

form, colour, See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro, manipulation, scale, See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution—are the typical and necessitated realities . What he imagines is always a visual integer, a picture—never a See also:

• TREATISE

treatise, however thoughtfully planned or ingeniously detailed . Something that one could see—that is his ideal, not something that one could narrate, still less that one could deduce and demonstrate . In his treatment of See also:

• ACTION

action or gesture the most See also:

• CONSTANT, BENJAMIN (1845-1902)

constant peculiarity is the sway and swerve of his figures: they See also:

• BEND

bend like saplings or rock like See also:

• FOREST

forest-boughs in a See also:

• GALE
• GALE, THEOPHILUS (1628-1678)
• GALE, THOMAS (?1636-17o2)

gale; stiffness or immobility was entirely See also:

• FOREIGN

foreign to his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, which has therefore little of the monumental or severe See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character .

Perhaps he See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt that there was no other way for combining " the colour of Titian with the design of Michelangelo." The knitted strength and the transcendent fervour of energy of the supreme Florentine might to some extent be emulated; but, if they were to be See also:

• UNITED

united with the glowing See also:

• FUSION

fusion of See also:

• HUE

hue of the supreme Venetian, this could only be attained by a See also:

• PROCESS

process of relaxing the excessive tension and modifying See also:

• MUSCULAR

muscular into elastic force . In this respect he was a decided innovator; but he had many imitators, comparatively feeble if we except Paul Veronese . Tintoret scarcely ever travelled out of Venice . He loved all the arts, played in youth the See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute and various See also:

• INSTRUMENTS

instruments, some of them of his own invention, and designed theatrical costumes and proper-ties, was versed in See also:

• MECHANICS

mechanics and See also:

• MECHANICAL

mechanical devices, and was a very agreeable See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion . For the See also:

• SAKE

sake of his work he lived in a most retired See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, and even when not painting was wont to remain in his working See also:

• ROOM

room surrounded by casts . Here he hardly admitted any, even intimate See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, and he kept his modes of work See also:

• SECRET (Lat. secretum, hidden, concealed)

secret, See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save as regards his assistants . He abounded in pleasant witty sayings whether to great personages or to others, but no smile hovered on his lips . Out of doors his wife made him See also:

• WEAR

wear the robe of a Venetian See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen; if it rained she tried to indue him with an See also:

• OUTER

outer garment, but this he resisted . She would also when he left the house wrap up See also:

• MONEY

money for him in a handkerchief, and on his return expected an account of it; Tintoret's accustomed reply was that he had spent it in See also:

• ALMS

alms to the poor or to prisoners . In 1574 he obtained the reversion of the first vacant See also:

• BROKER (according to the New English Dictionary, from Lat. brocca, spit, spike, broccare, to broach "—another Eng. form of the same word; hence O. Fr. vendre d broche, to retail, e.g. wine, from the tap, and thus the general sense of dealing; see also for

broker's patent in a fondaco, with power to bequeath it—an See also:

• ADVANTAGE

advantage granted from time to time to pre-eminent painters . For his phenomenal energy in painting he was termed " II Furioso." An agreement is extant showing that he undertook to finish in two months two historical pictures each containing twenty figures, seven being portraits . The number of his portraits is enormous; their merit is unequal, but the really See also:

• FINE

fine ones cannot be surpassed .

Sebastiano del Piombo remarked that Robusti could paint in two days as much as himself in two years; Annibale See also:

• CARACCI, LODOVICO, AGOSTINO

Caracci that Tintoret was in many pictures equal to Titian, in others inferior to Tintoret . This was the general See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of the Venetians, who said that he had three pencils—one of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold, the second of See also:

• SILVER

silver and the third of See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron . The only pictures (if we except his own portrait) on which he inscribed his name are the " Miracle of Cana " in the church of the Salute (painted originally for the brotherhood of the Crociferi), the " Miracle of the Slave," and the " Crucifixion " in the Scuola di S . Rocco; the last was engraved in 1589 by See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino Caracci . Generally he painted at once on to the canvas without any preliminary . Some of his dicta on art have been recorded as follows by Ridolfi: " the art of painting remains increasingly difficult "; " painters in youth should adhere to the best masters, these being Michelangelo and Titian, and should be strict in representing the natural forms "; " the first glance at a picture is the See also:

• CRUCIAL (from Lat. crux, a cross)

crucial one "; " See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white, as developing form, are the best of See also:

• COLOURS, MILITARY

colours "; " See also:

• DRAWING

drawing is the foundation of a painter's work, but drawing from life in the nude should only be essayed by well-practised men, as the real is often wanting in beauty." Of pupils Robusti had very few; his two sons and See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin de Vos of See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp were among them . Domenico Robusti (1562-1637), whom we have already had occasion to mention, frequently assisted his father in the groundwork of great pictures . He himself painted a multitude of works, many of them on a very large scale; they would at best be mediocre, and, coming from the son of Tintoret, are exasperating; still, he must be regarded as a considerable sort of pictorial practitioner in his way . We conclude by naming a few of the more striking of Tintoret's very numerous works not already specified in the course of the See also:

• ARTICLE (from Lat. articulus, a joint)

article . In Venice (S . Giorgio See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore), a See also:

• SERIES (a Latin word from serere, to join)

series of his later works, the " Gathering of the See also:

• MANNA

Manna," " Last Supper," " Descent from the Cross," " Resurrection," " Martyrdom of St See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen," " See also:

• CORONATION (Lat. corona, crown)

Coronation of the Virgin," " Martyrdom of St Damian "; (S . See also:

• FRANCESCO
• FRANCESCO, 210

Francesco del Vigna) the " Entombment "; (the Frari) the " Massacre of the Innocents "; (S .

See also:

• CASSANO

Cassano) a " Crucifixion," the figures seen from behind along the See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

hill slope; (St Mark's) a See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic of the " See also:

• BAPTISM

Baptism of Christ "—the oil-painting of this See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition is in See also:

• VERONA
• VERONA, CONGRESS OF

Verona . In See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan (the Brera), " St See also:

• HELENA
• HELENA, ST (c. 247-c. 327)

Helena and other, See also:

• SAINTS, BATTLE OF THE

saints." In Florence (Pitti Gallery), " Venus," " Vulcan " and " See also:

• CUPID (Cupido, " desire ")

Cupid." In See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne (Wallratf-Richarts Museum), " See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid and See also:

• CORINNA

Corinna." In Augsberg (the See also:

• TOWN

town-hall), some historical pictures, which biographers and tourists alike have unaccountably neglected—one of the See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of a fortified town is astonishingly fine . In See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England (See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton See also:

• COURT
• C