es in the gymnasium of the arts; and the crowd of the
circus cannot take its eyes away from them, while the Venetian walks or
rests with the simplicity of a wild animal; is scarcely noticed in his
occasionally swifter motion; when he springs, it is to please himself;
and so calmly, that no one thinks of estimating the distance covered.

I do not praise him wholly in this. I praise him only for the
well-founded pride, infinitely nobler than Michael Angelo's. You do not
hear of Tintoret's putting any one into hell because they had found
fault with his work. Tintoret would as soon have thought of putting a
dog into hell for laying his paws on it. But he is to be blamed in
this--that he thinks as little of the pleasure of the public, as of
their opinion. A great painter's business is to do what the public ask
of him, in the way that shall be helpful and instructive to them. His
relation to them is exactly that of a tutor to a child; he is not to
defer to their judgment, but he is carefully to form it;--not to consult
their pleasure for his own sake, but to consult it much for theirs. It
was scarcely, however, possible that this should be the case between
Tintoret and his Venetians; he could not paint for the people, and in
some respects he was happily protected by his subordination to the
Senate. Raphael and Michael Angelo lived in a world of court intrigue,
in which it was impossible to escape petty irritation, or refuse
themselves the pleasure of mean victory. But Tintoret and Titian, even
at the height of their reputation, practically lived as craftsmen in
their workshops, and sent in samples of their wares, not to be praised
or caviled at, but to be either taken or refused.

225. I can clearly and adequately set before you these relations between
the great painters of Venice and her Senate--relations which, in
monetary matters, are entirely right and exemplary for all time--by
reading to you two decrees of the Senate itself, and one petition to it.
The first document shall be the decree of the Senate for giving help to
John Bellini, in finishing the compartments of the great Council
Chamber; granting him three assistants--one of them Victor Carpaccio.

The decree, first referring to some other business, closes in these
terms:[44]

"There having moreover offered his services to this effect our
most faithful citizen, Zuan Bellin, according to his agreement
employing his skill and all speed and diligence