of Michael Angelo
and the color of Titian; but without reaching up to either of his
models he produced a powerful amalgam of his own.

He was one of the very great artists of the world, and the most rapid
workman in the whole Renaissance period. There are to-day, after
centuries of decay, fire, theft, and repainting, yards upon yards of
Tintoretto's canvases rotting upon the walls of the Venetian churches.
He produced an enormous amount of work, and, what is to be regretted,
much of it was contract work or experimental sketching. This has given
his art a rather bad name, but judged by his best works in the Ducal
Palace and the Academy at Venice, he will not be found lacking. Even
in his masterpiece (The Miracle of the Slave) he is "Il Furioso," as
they used to call him; but his thunderbolt style is held in check by
wonderful grace, strength of modelling, superb contrasts of light with
shade, and a coloring of flesh and robes not unworthy of the very
greatest. He was a man who worked in the white heat of passion, with
much imagination and invention. As a technician he sought difficulties
rather than avoided them. There is some antagonism between form and
color, but Tintoretto tried to reconcile them. The result was
sometimes clashing, but no one could have done better with them than
he did. He was a fine draughtsman, a good colorist, and a master of
light. As a brushman he was a superior man, but not equal to Titian.

Paolo Veronese (1528-1588), the fourth great Venetian, did not follow
the line direction set by Tintoretto, but carried out the original
color-leaning of the school. He came a little later than Tintoretto,
and his art was a reflection of the advancing Renaissance, wherein
simplicity was destined to lose itself in complexity, grandeur, and
display. Paolo came on the very crest of the Renaissance wave, when
art, risen to its greatest height, was gleaming in that transparent
splendor that precedes the fall.

[Illustration: FIG. 50.--P. VERONESE. VENICE ENTHRONED. DUCAL PAL.,
VENICE.]

The great bulk of his work had a large decorative motive behind it.
Almost all of the late Venetian work was of that character. Hence it
was brilliant in color, elaborate in subject, and grand in scale.
Splendid robes, hangings, furniture, architecture, jewels, armor,
appeared everywhere, and not in flat, lustreless hues, but with that
brilliancy which they possess in nature. Drapery gave way to clothing,
and texture-painti