Tintoretto painted his own portrait at least twice (Uffizi, Flor ence and Louvre, Paris). It is a face somewhat blunt and rugged, but yet refined—concentrated and resolute, its native ardours of frankness and energy welded down into lifelong laboriousness, with a pent look as of smouldering fire. The eyes are large, dark and round; the grizzled hair close and compact.
In 1574 he obtained the reversion of the first vacant broker's patent in a fondaco, with power to bequeath it—an advantage granted from time to time to pre-eminent painters. For his phenomenal energy in painting he was termed "Il 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 fine ones cannot be surpassed. The Venetians said that he had three pencils—one of gold, the second of silver and the third of 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 Agostino Caracci.
Of pupils Robusti had very few; his two sons and Martin de Vos of Antwerp were among them. Domenico Robusti (156o 1635) whom we have already had occasion to mention, frequently assisted his father in the groundwork of great pictures. Some of his works are to be seen in the academy at Venice and in S. Maria degli Angeli at Murano.
We conclude by naming a few of the more striking of Tintoret to's very numerous works not already specified in the course of the article. In Venice (S. Giorgio Maggiore), a series of his later
works, the "Gathering of the Manna," "Last Supper," "Entomb ment," "Resurrection"; (S. Cassiano) a "Crucifixion," the figures seen from behind along the hill slope; (St. Mark's) a mosaic of the "Baptism of Christ." In Milan (the Brera), "St. Helena and other saints." In Florence (Uffizi) three fine portraits including that of the sculptor Jac. Sansovino ; (Pitti Gallery), "Venus," "Vulcan" and "Cupid." In Dresden "The Rescue." In Cologne (Wallraff-Richarts Museum), "Ovid and Corinna." In Munich (Pinakothek) eight paintings executed (1579-158o) for the Duke of Mantua, illustrating historical scenes—one of the siege of a for tified town is astonishingly fine. In England (Hampton Court), "Esther and Ahasuerus," and the "Nine Muses"; (the National Gallery), "The Origin of the Milky Way," a memorable tour de force, "Christ washing Peter's Feet," also a spirited smallish work, "St. George and the Dragon." A fine portrait of a Doge has recently been acquired by the Melbourne Gallery from Prince Lichnowski's collection. In the Ca d'oro museum, Venice, are a number of distinguished portraits of Venetian Senators. Tintoret to's unparalleled mastery of the human form is revealed in his drawings of which a volume has recently been published (D. von Hadeln, Handzeichnungen des Tintoretto, 1922).
See C. Ridolfi, Meraviglie dell Arte (ed. by D. v. Hadeln 1924) ; Ruskin, Stones of Venice (1863) ; F. Preston Stearns, The Life and Genius of T. (1894) ; H. Thode, Tintoretto (Leipzig, 19o1) ; J. B. Stoughton Holborn, Jacopo Robusti (1903) ; E. M. Phillipps, Tin toretto (1911) ; F. P. B. Osmaston, The Art and Genius of Tintoret (1915) ; Ev. d. Becken and A. L. Meyer, Jacopo Tintoretto (Munich