T I N 



T I P 



went of Venire, Ixith in oil and fresco ; a- 

 i\ -'uity. perseverance, and success, that 1 to be 



' orked 



with iiupled rapidiu tha 



11 1'' .a del Piombo said that Tin' 



could do as much in two days as lie could do i 

 IK- jointed for the senate, in the council-hall, the C Corona- 

 lion of Frederick Barbarossa, by Pope Adi i Uome ; 

 ami in consequence of 1'aul Veronese painting n pit turc in 

 the same half, Tintoretto procured i it an- 

 olher, in which lie reprcM'ntc ier 111. sur- 

 rounded by cardinals and .i:iii;nieling the 

 > me emperor: the pope was represented throwing the ex- 

 tinguished candle amount the populace, and a crowd of 

 ing forward to endeavour to catch it. He 

 pain'. 'In- senate, in the hall dello Sciiitiuio, the. 

 celelir.ited naval victory of the Venetians orec the Turks in 

 1.171. He painted many other works in the ducal palace, 



.ical and allegorical, commemorating the history of 

 Venice, of which the most famous arc the capture of Zara 

 by storm; and the great picture of Paradise, upon can\as, 

 74 feet liy .HJ. containing a surprising numbti 

 This was his last great work ; he comiuenceil it in 

 pieces in the Scuola Vecchia della Misericordia, and 

 finished it, with the help of his son, in its place on the 

 ceiling of the great council-hall of the Senate, now the 

 libra 



Tintoretto painted at Venice eight friezes for the duke of 

 Mantua, recording the duke's feats, to be placed in his 

 castle, and he \i-itcd the duke at Mantua, with all his 

 family, and was splendidly entertained by him. He painted 



the portrait of Henry III. of France and Poland, 

 when that king visited Venice ; of which picture Hidolfi 

 relates a curious history. Tintoretto was engaged with Paul 



nese in painting xmie figures in chiar'oscuro upon the 

 arch of triumph erected !>v Palladia at Venice in honour 

 of the landing of Henry III., king of Finnic and Poland ; 

 but wishing to take a portrait of the king as he landed, he 

 prevailed upon Paul \ eronese to complete the arch ; und 

 he dressed himself as one of the doge's attendants, anil went 

 in the Hucintoro, the state barge, with the others to 



e the king, whose portrait he drew in small, in 

 crayons, unknown to the king, whilst he was pn ".-ceding 

 in the barge to the landing-place. This portrait he- after- 

 wards enlarged in oils, and procured permission from tin- 

 king to retouch it from life. The king exprcs-e.l him-cif 



:!\uch pleased with the po -H-ccplcd it from 



. whom he wished to en-ate acavaliere; but 

 Tint'.! :|ie honour, upon the plea that ', 



ut with his habits. Henry III. aftcr- 



- presented the portrait to the doge Luigi Mocenigo. 

 Tintoretto painted many portraits, all in a remarkably 

 bold style ; he painted several of the series of doges' por- 



.dong the frieze of the great council-hall. 

 It has been said above that Tintoretto was a remarkably 

 iapid painter: he was however as careless about tin- i 

 lion of the parts as he wa> bold. There are pictures by him 

 painted in his youth thai are extiemely carefully 1'u 



.v : Susanna at the Bath with the two 

 . i> of thin cla of his large pictures are 



.! coloured, and many of them were painted oil' 

 without th , . ; : 



'. pioductiniis v. ijiieiit 



source of complaint to his fello Upon one occa- 



liocco reqi 



us lor a picture of t!i< Apolln 

 -, that they mi..' -t of iliem, Tin, 



sent his finished - soon as the others ei-nt in (heir 



i-, uffirmin had no other way of diawing; 



and to ensure it* being rived in its de . he made' 



the institution a present of the work. Although Tintoretto 

 professed to draw in the style of Michel Angclo, and to 

 colour like Titian, there are few traces of either quality in 

 the great majority of his works; they are however all 



his own peculiar style 



which it frequently both heavy and cold. In his larger 

 principal < the number of 



figure*, which are often crowd ,d the 



;n vain for a spot of . the 



not the case with such pictures as 

 i.r.o and other 

 ..id C'arracci feM eloquently expressed the i; 



tlu's great paint, r that if he wa-. 

 he was ofte: 



say that he had three pen 



and the other of iron. In his design . 



eular, but lean, and often i 



his draperies frequently mean an 



wait not gaudy, like that of ma:: 



ollen e\en cold, and shadow pi. 



lures. He was once asked win 



colours, and he answered 'black and while.' It was : 

 maxim of his that none but . i inii-'- 



draw from the living model, as they Vr ere not cap:.; 

 distinguishing between the .';id the inij 



of an individual model. Tintoretto painted Aretin's por- 



-.!id Kidolfi relates the following am.' 

 with it : Aretin nd of Titian's, and v. 



the habit of abusing Tintoretto oeca.-ionaliy : the latt. 

 day meeting the poet, invited him to com . i'im 



for his portrait, to which Aretin 

 sooner seated himself in the paint 

 pulled out with great violence a pistol from i 



! and came towards him : up jum, 

 great fright, and cried out ' .Tacopo, what 

 Oh! don't alarm yourself.' t,aid Tintoretto. ' I am 

 to measure you;' and suiting the action to th- 

 said, 'you are just two pistols and a half.' \'. 

 mountebank you are ! ' returned Aretin ; ' you are alw . 

 to some frolic.' The por' 



and they became friends. Kidolfi records a few . 

 whimsical feats of Tintoretto's. He di 

 aged eighty-two. He had two children a SOL, Dorn 

 and a daughter, Marietta who both practised pai 

 Domenico was born in 15G2, and died in 10:i7. He fol- 

 lowed in the steps of his father both in history and por- 

 trait ; but, says Lan/i, as Ascanius did those of . i 

 passihus acqnis. Marietta \-..is Lorn in 1500. and died be- 

 fore her father, in 1590. She painted very excellent por- 

 traits. 



(Kidolfi, I." Murariglif i/<>!' Arl<\ urnm I,- ]'<!, 



i 1'ittori Veneti, e dello Stato ; Xanctti. . 

 turn Veneziana, e delle Opcre pubbliche de' ]'fin';iani 



'n'. &c.) 



TIOO.MKN. [Su.ERi.v.] 

 TIPEKAH MOUNTAINS. [HINDI-STAN, p. 216; SIL- 



HKT.] 



TIPPKKAKY. an inland county of the province of Mnn- 

 Ireland. It is on the northern border of the pro- 



ndcd on the north-east by Ki- 



and Queen's County, and on the r. count v of 



Kilkenny, all in the" province of Leinster. On the south- 



i.ita it ij bounded by the count- 

 on the south-west by that of Cork, and on t: 

 of Limerick and Clare, all in Mnn-tcr. O.i the nort'li 

 i! is bir.inded by the county of Galway in Conn: 

 which, as well as from Cln pnraled I 



Shannon or th>- lakes through which it I'.. 

 of tin- i' the Irish ' only 







iiiaught, and Donegal in l~ -ill is 



from north to south, from the junction of the Lower Hi 

 with the Shannon to the Arm glen, (is mi! 

 breadth is from the border of I he eou i ;ty of Li ; 

 Tipperary and iimii' in i lo the border oi 



county of Kilkenny, north of Cr.rriek-on-Suir, aboi 



The area , lifted. In the Pojiulii- 



ID ICnglish ; 



on Tithe Lordt' Sessional Papert, 

 acres (=1583 square miles : con 



- -timate H19,(ii)8 acres f = 12-. 

 of cultivated land . IS'J. 117 a. 



of unimproved mountain or bog, and II. 18 



square mil -. The c 



above the ] lemarknblc, and won'.! 



it liable to suspicion if it v. less 



eminent authority. The population, in ls;ti. v. 



.'or 254 i-ihnhitantx toasijuaic in 



. 

 ('lonmell orClonmel. ' on thcSuir, 'JOmilei 



