PAOLO CALIARI (called VERONESE) 1528-1588 Italian School of Venice
JACOPO ROBUSTI (called TINTORETTO) 1518-1594 Italian School of Venice
THE art of Venice, it has been said, "was late in its appearance, the last to come, the last to die, of all the great Italian schools." It reached its culmination in Titian, whom we have already considered, and in Paul Veronese and Tintoretto, his contemporaries. Most characteristically, perhaps, in the last two.
For the grandeur of Venetian art does not consist in its representation of the motives which exercised the other schools of Italian art. It was not saturated with the religious motive, or with the classical; nor intent on realistic representation. It combined something of each, but only as a means to its purpose of making art contributory to the joy and pageantry of life. While the searching spirit of the Renaissance was reflected in Da Vinci, its soul in Michelangelo, and the Christian faith and classical lore united in Raphael, the motive of the Venetians was the pride of life: pride particularly in the communal life of Venice, in her institutions, in her unsurpassed beauty, in her royal magnificence as the Queen City of the East and West.