98 THE FINE ARTS. 
period, Tintoretto painted two enormous pictures in the church of Maria dell’ 
Orto; in one of which, the Last Judgment, his study of Michael Angelo 
is perfectly obvious. The composition is very fine; but some of the fore- 
shortenings are too daring, and in many of the figures the centre of gravity 
is unsupported. The other picture was the Worsh¢p of the Golden Calf ; 
and in both pictures, which are 50 feet in height by a comparatively narrow 
width, the master succeeded in suitably filling out the space. In the same 
church, in the chapel of St. Agnes, is a picture by Tintoretto which Pietro 
da Cortona valued so highly that he copied it for his private study. This 
picture and a S¢. Mark delwering a Slave from the Rack are regarded as 
works worthy of a Titian. Another famous picture is that of the Adultress 
before Christ, of which we have given a sketch (pl. 17, jig. 4), and in 
which we cannot but admire the graceful grouping of the figures, although 
here too some bold attitudes are to be found, witness the two figures to the 
right and left in the foreground. That of the adulteress is rather colossal. 
The rapidity with which Tintoretto worked is evinced by the following 
anecdote. The first painters were invited to a trial of skill in furnishing 
designs for a ceiling-painting, the execution of which was promised to him 
who produced the best. While other painters were making their sketches 
and drawings, Tintoretto painted his picture out and out, and on the day of 
adjudication caused it to be secretly fixed in its destined place; so that 
when the prize was awarded him, the work was already done. In conse- 
quence of his great fertility, almost all good galleries possess pictures from 
his hand. His son Domenico and his sister Maria have likewise a good 
reputation in the pictorial art. 
Paolo Cagliari, called from his birthplace Paolo Veronese, was born in 
1532. His works soon became so distinguished in point of coloring as to be 
mentioned with applause along with those of Titian, Palma Vecchio, and 
Tintoretto. Titian honored the young artist highly, and when he was to select 
the artists to paint St. Mark’s Library, his first choice fell on Paul Veronese. 
Paul afterwards went for a while to Rome, in order to impress upon his mind 
the beauties of art collected there. It is difficult to say which of his numerous 
works is the best; still four great paintings representing ‘‘ Suppers” doubt- 
less merit the preference. One of these, in the refectory of San Giorgio 
Maggiore, is about 40 feet long and represents the Marriage at Cana. The 
picture exhibits as many as 120 beautiful figures, many of which are 
portraits of contemporaries; these, collected as they are from far and near, 
are very curiously grouped. A party of musicians are likenesses of painters : 
Titian is playing the double bass, Paul Veronese the violoncello, ‘Tintoretto 
the viol di gamba, &c. The other Suppers are the Feast of Simon and 
the Penitent Magdalen (twice) (Matt. xxvi. 7); and the Feast of Lew 
(Luke v. 29). Paul painted several other feasts; but he also knew how to 
handle serious and sacred subjects with equal skill. Great fertility of imagi- 
nation and great facility of execution joined to a good knowledge of the 
technics of his art, were the distinguishing qualities of this artist; on which 
account he often allowed himself in his pictures to be led away into episodes 
which, together with the introduction of costumes from different ages in one 
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