TINTORETTO 



5817 



TIPPECANOE 



i table mines in Spain, Portugal, Russia and the 

 German Empire, especially in Saxony. Im- 

 portant mines exist in Bolivia. Alaska is 

 known to possess the metal, and there are de- 

 posits in North Carolina, South Dakota, Texas 

 and California which yet await exploitation. 



How Prepared for Use. The metal after leav- 

 ing the mines undergoes five important proc- 

 esses before it is a commercial product. The 

 ore contains arsenic and sulphur, and this is 

 burned out in a furnace or in a roasting ma- 

 chine. If copper sulphide is present, as is often 

 the case, it is converted into copper sulphate 

 by this first process, and is drawn off by leach- 

 ing. Next, the ore is smelted in a reverberatory 

 furnace; it is heated for about six hours, after 

 which the slag is removed, and then it is heated 

 again for a similar period. The tin, in heated, 

 liquid form, sinks to the bottom of the con- 

 tainer and is drawn off and run into molds to 

 cool. 



It must be purified to a yet greater extent, 

 so the ingots, as the cooled bars are called, are 

 again placed in the reverberatory furnace and 

 heated; the pure tin melts at reasonably low 

 temperature (455 F.) and runs into a con- 

 tainer, leaving the final impurities behind. It 

 is then stirred until all gases escape, after which 

 it is cooled. In the process of cooling, the 

 purest tin, being lightest, rises to the top of 

 the mass, the more inferior quality being in the 

 center, while the lower layer is so impure that 

 it must again be put through the purifying 

 process. The pure tin ingots are sent to the 

 rolling mill to be pressed into sheets. E.D.F. 



Consult Fawns's Tin Deposits of the World; 

 Louis's Metallurgy of Tin. 



TINTORETTO, teen toh ret' toh (1518-1594), 

 a celebrated master of the Venetian Renais- 

 sance, one of the world's greatest painters. His 

 real name was JACOPO ROBUSTI; Tintoretto 

 (meaning little dyer) was applied because of 

 the fact that his father was a dyer by trade. 

 The elder Robusti, impressed by his son's at- 

 tempts to decorate the walls of his shop, took 

 him to Titian, then in the height of his fame, 

 and requested that the latter become the boy's 

 instructor. For some reason Tintoretto did 

 not remain long in Titian's studio, and the two 

 never were close friends. At the same time, the 

 younger artist appreciated the master's genius. 



By the time he had reached the age of 

 twenty-eight Tintoretto was painting some of 

 his greatest religious works. Among these was 

 a Last Judgment, made for the Church of the 

 Madonna dell' Orto.. In 1548 he began work on 



four pictures for the guild house of San Marco, 

 a group which includes the celebrated Miracle 

 of Saint Mark. This picture, which the French 

 critic Taine called Italy's greatest painting, is 

 now one of the treasures of the Venetian Acad- 

 emy. It is especially admired for its dramatic 

 action, a quality which Tintoretto was highly 

 successful in expressing. In 1560 he began a 

 new labor the decoration of the Ducal Palace 

 in Venice and about the same time com- 

 menced work on the adornment of the walls 

 and ceiling of the guild house of San Rocco. 

 For this edifice he painted one of his master- 

 pieces, a magnificent Crucifixion. This paint- 

 ing, which contains over eighty individual fig- 

 ures and is forty-four feet long, portrays with 

 wonderful realism a group of women, horsemen 

 and soldiers gathered about the Cross. The 

 two ceiling panels of the hall he adorned with 

 the Paschal Feast and Moses Striking the Rock. 



In 1577 the guild commissioned him to paint 

 for the hall and adjoining church three pictures 

 a year, and the two structures to-day constitute 

 a museum of his works, for he faithfully per- 

 formed this task until his death. The culmina- 

 tion of his activity, however, was the comple- 

 tion of a colossal Paradise covering an entire 

 wall of the Hall of the Grand Council. This 

 wonderful canvas, the largest oil painting in the 

 world, is seventy-four feet long and thirty feet 

 wide, and contains over four hundred life-size 

 figures. Unfortunately its original splendor has 

 been dimmed by neglect and unskilful attempts 

 to retouch it. The Paradise was his last im- 

 portant achievement. 



In the art of Tintoretto we see the combina- 

 tion of a number of tendencies of the Renais- 

 sance. He was probably the equal of Titian as 

 a portraitist, and in some respects the latter's 

 equal as a colorist. His imaginative powers 

 were remarkable, and in his ability to express 

 dramatic action he ranks second only to Michel- 

 angelo. Hundreds of his works are preserved in 

 the galleries of Europe, and America also pos- 

 sesses a few examples. Among these are the 

 Doge in Prayer before the Redeemer and 

 Miracle of the Loaves and Fishes, in the Metro- 

 politan Museum, New York, and a Senator, in 

 the Gardner Collection, Boston. R.D.M. 



Consult Vasari's Lives of the Most Eminent 

 Painters, Sculptors and Architects, translation by 

 Blashfleld and Hopkins. 



TIPPECANOE, tipekanoo'., BATTLE OF, a 

 conflict between a force of .800 American mili- 

 tiamen commanded by William Henry Harri- 

 son, and about 6,000 Indians under the com- 



