y, keen to learn
his chosen art. He was apprenticed to Titian and, immediately after,
summarily ejected from that master's workshop, on account, it seems
probable, of the independence and innovation of his style, which was
of the very kind most likely to shock and puzzle Titian's courtly,
settled genius. After this he painted when and where he could, pursuing
his artistic studies with the headlong ardour which through life
characterised his attitude towards art. Mr. Berenson thinks he may have
worked in Bonifazio's studio. He formed a close friendship with Andrea
Schiavone,[4] he imported casts of Michelangelo's statues, he studied
the works of Titian and Palma. Over his door was written "the colour of
Titian and the form of Michelangelo." All his energies were for long
devoted to the effort to master that form. Colour came to him naturally,
but good drawing meant more to him than it had ever done to any
Venetian. Long afterwards, to repeated inquiries as to how excellence
could be best ensured, he would give no other advice than the
reiterated, "study drawing." He practised till the human form in every
attitude held no difficulties for him. He suspended little models by
strings, and drew every limb and torso he could get hold of over and
over again. He was found in every place where painting was wanted,
getting the builders to let him experiment upon the house-fronts. To
master light and shade he constructed little cardboard houses, in which,
by means of sliding shutters, lamplight and skylight effects could be
arranged. It is particularly interesting to hear of this part of his
education, as in the end the love of shine and shadow was the most
victorious of all his inspirations.

[4] Andrea Meldola, the Sclavonian, a native of Dalmatia,
landing in Venice, had a great struggle for existence. He drew from
Parmegianino, and studied Giorgione and Titian. He was probably an
assistant of Titian, and helped him, as in the "Venus and Adonis" of the
National Gallery, which owes much to his hand. He fails conspicuously in
form, his shadows are black, and his figures often vulgar, but he has a
fine sense of colour, and a free, crisp touch. He was one of the young
masters who flooded Venice with light, sketchy wares.

The chief events in Tintoretto's life are art-events. For some years he
frescoed the outside of houses at a nominal price, or merely for his
expenses. He decorated household furniture and everything he coul