Of Jacopo di Battista Robusti, called Tintoretto (the "little dyer," from his father's trade as a dyer2), there are only a few certain facts and a few dated pictures. His paintings indicate a unique and somewhat disquieting personality, with a bias for flashing impressions. There is doubtless something in Vasari's unauthenticated story of his apprenticeship to Titian, his rebellious temper, his ambition and arrogance, his furious studies of move- ment with suspended manikins, and of chiaroscuro with artificial lights. Titian's bottega received most young Venetian artists of the period. Tintoretto's work indicates Titian's influence and Giorgione's. But to account for him some other influence is needed. Mr. Berenson gives him Bonifazio, Palma's pupil, as a possible teacher, and suggests a relation to Parmigianino, Correggio's follower. Certainly there is a general resemblance at times to the style of Bonifazio's backgrounds, but ultimately Tintoretto owes little to him.3 We hear of his early search for employment; of his offer (which was accepted) to decorate the Scuola di S. Rocco for the cost of materials,4 and of his finally receiving recognition and State commissions. Venice is filled with his enormous canvases, covering a great range of subject, in churches, scuole, and other public buildings, including the Ducal Palace. Numerous portraits and some smaller canvases are scattered in various European galleries. His valid reputation rests mainly upon these smaller pictures. His great compositions, though daring, and sometimes tremendous in conception, are uneven and often inferior.
His works may be classed in three periods: 1, the Early____________________