diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-08 00:11:12 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-08 00:11:12 -0800 |
| commit | c5bb3cc034883375b6b77399fb6fab43c1d5e021 (patch) | |
| tree | b67ac990af9bbb8e8c1ce9f8962c232a556a63d5 | |
| parent | d7130f4cafd1d5e76584e8fd56b94c8ef9f64f81 (diff) | |
| -rw-r--r-- | 42528-0.txt (renamed from 42528.txt) | 397 | ||||
| -rw-r--r-- | 42528-8.txt | 1330 | ||||
| -rw-r--r-- | 42528-8.zip | bin | 27504 -> 0 bytes | |||
| -rw-r--r-- | 42528-h.zip | bin | 1537744 -> 0 bytes | |||
| -rw-r--r-- | 42528-h/42528-h.htm | 423 | ||||
| -rw-r--r-- | 42528.zip | bin | 27487 -> 0 bytes |
6 files changed, 7 insertions, 2143 deletions
@@ -1,38 +1,4 @@ -The Project Gutenberg EBook of Tintoretto, by Samuel Levy Bensusan - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Tintoretto - -Author: Samuel Levy Bensusan - -Editor: T. Leman Hare - -Release Date: April 14, 2013 [EBook #42528] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK TINTORETTO *** - - - - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 42528 *** Transcriber's Note: Table of Contents added by transcriber. @@ -89,7 +55,7 @@ IN THE SAME SERIES FRAGONARD. HALDANE M'FALL. HOLBEIN. S. L. BENSUSAN. BOUCHER. HALDANE M'FALL. - VIGEE LE BRUN. HALDANE M'FALL. + VIGÉE LE BRUN. HALDANE M'FALL. WATTEAU. LEWIS HIND. MURILLO. S. L. BENSUSAN. @@ -970,361 +936,4 @@ list was well-printed. End of the Project Gutenberg EBook of Tintoretto, by Samuel Levy Bensusan -*** END OF THIS PROJECT GUTENBERG EBOOK TINTORETTO *** - -***** This file should be named 42528.txt or 42528.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/5/2/42528/ - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 42528 *** diff --git a/42528-8.txt b/42528-8.txt deleted file mode 100644 index 30b8742..0000000 --- a/42528-8.txt +++ /dev/null @@ -1,1330 +0,0 @@ -The Project Gutenberg EBook of Tintoretto, by Samuel Levy Bensusan - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Tintoretto - -Author: Samuel Levy Bensusan - -Editor: T. Leman Hare - -Release Date: April 14, 2013 [EBook #42528] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TINTORETTO *** - - - - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - -Transcriber's Note: Table of Contents added by transcriber. - - - - - MASTERPIECES - IN COLOUR - EDITED BY - T. LEMAN HARE - - - TINTORETTO - - - - -IN THE SAME SERIES - - - ARTIST. AUTHOR. - - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - - - _In Preparation_ - - VAN DYCK. PERCY M. TURNER. - FRANZ HALS. T. E. STALEY. - WHISTLER. J. MARTIN WOOD. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - J. F. MILLET. PERCY M. TURNER. - LUINI. JAMES MASON. - CHARDIN. PAUL G. KONODY. - FRAGONARD. HALDANE M'FALL. - HOLBEIN. S. L. BENSUSAN. - BOUCHER. HALDANE M'FALL. - VIGÉE LE BRUN. HALDANE M'FALL. - WATTEAU. LEWIS HIND. - MURILLO. S. L. BENSUSAN. - - AND OTHERS. - -[Illustration: PLATE I.--A KNIGHT OF MALTA. Frontispiece (From Hampton -Court) - -This portrait (note the Maltese crosses on the cloak) is a splendid -example of Tintoretto's gifts as a portrait painter. It should be -remembered that three or four hundred years have helped the restorer's -arts to spoil much of the painter's work.] - - - - - TINTORETTO - - BY S. L. BENSUSAN - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - [Illustration: IN SEMPITERNUM.] - - LONDON: T. C. & E. C. JACK - NEW YORK: FREDERICK A. STOKES CO. - - - - -CONTENTS - - - I. 9 - - II. 32 - - III. 68 - - - - -LIST OF ILLUSTRATIONS - - - Plate - I. A Knight Of Malta Frontispiece - From Hampton Court - - Page - II. The Doge Alvise Mocenigo 14 - In the Venetian Academy - - III. The origin of "The Milky Way" 24 - In the National Gallery - - IV. St. George and the Dragon 34 - In the National Gallery - - V. The Procurator Battista Morosini 40 - In the Venetian Academy - - VI. Queen Esther Fainting before Ahasuerus 50 - In Hampton Court Palace - - VII. The Risen Christ blessing three Senators 60 - In the Venetian Academy - - VIII. Adam and Eve 70 - In the Venetian Academy - - - - -[Illustration] - - -I - - -Sometime in the second decade of the sixteenth century there was born -to one Battista Robusti, cloth-dyer of Venice, a boy to whom the name -Jacopo was given. We know nothing of the childhood of the lad who, -because his father's business was that of a "tintore" or dyer, was -known to his companions as Tintoretto. But one, Carlo Ridolfi, who -was born about the time when Tintoretto died, towards the close of -the sixteenth century, tells us that the "little dyer," whose name is -written so large in the history of sixteenth-century art, started very -early to practise drawing, and used his father's working material in -order to give his productions the colour they seemed to need. That he -must have shown signs of uncommon talent at an early age is shown by -the fact that he found his way to the studio or workshop of Titian, the -greatest painter in the Venice of his time; a man whose position enabled -him to require, from all who sought to become his pupils, a measure of -proficiency that promised to make their work useful when the demands -of patrons were more than one painter could hope to satisfy unaided. -Only the lad who possessed undeniable gifts or powerful patrons could -find a place in the workshop of the greatest painter of the day, and -Tintoretto was quite without patronage. The story-tellers of the period -assure us that pupil and master quarrelled, they even hint that Titian -was jealous of the young student, and this of course is not impossible -because we have plenty of instances on record in which jealousy has -been found thriving within the studio. Then, again, clever lads are not -always tactful, and an unbridled tongue may make hosts of enemies, and -destroy the atmosphere of repose in which alone good work is possible. A -brilliant painter might well have been a little intolerant of precocious -pupils. - -Entering into detail, Ridolfi tells us in his life of the painter that -when Tintoretto was at work in Titian's studio he copied some of the -master's pictures so cleverly that Titian told one of his other pupils -to send the boy away, and Robusti was dismissed from the studio without -explanation. It is a significant fact, at the service of those who -accept the theory of jealousy, that throughout the years when Tintoretto -was struggling for recognition Titian had no eyes for his young pupil's -work, and was only led to praise a picture by seeing it unsigned and -exhibited in the open. There were times when the elder painter could -have placed commissions in the young man's way, but he seems to have -preferred to help others, of whom Paolo Cagliari, known as the Veronese, -is the only man whose work retains a large place in the public eye. But -clearly Titian must have had some other motive as well as jealousy, -for he himself had more work than he could possibly do, and the help -of a clever pupil like Tintoretto would have been valuable in times of -great stress when patrons were waxing impatient. Whatever the other -motive may have been it escaped Ridolfi, and no other record of the -early days is extant. - -[Illustration: PLATE II.--THE DOGE ALVISE MOCENIGO - -This portrait, to be seen to-day in the Accademia at Venice, is one of -the most striking of the long series of the leading citizens of the -Republic. Tintoretto painted many of these portraits, for he was for -many years one of the official painters to the Republic. Venice holds -the best of this work.] - -Looking at the work of the "little dyer" it seems reasonable to suggest -that he acted as all great painters before and after him have done--that -is to say, he sought what was best in the work around him, and having -collected all the material he required, evolved his own artistic -personality from a judicious selection. Artists do not come into this -world ready made, and the period of the making depends upon the man. -For many, life is not long enough, and it is one of the tragedies of -art work that the mastery over technical difficulties is sometimes -delayed until the eye is becoming dim and the hand uncertain. From the -very first we find that Tintoretto was immersed in the affairs of his -art, that he could not hold his hand, that he laboured with feverish -energy, that no commission was despised, and that nothing was too large -or too small for him to undertake. Throughout the days of his youth his -industry was devoted entirely to mastering the difficult technique of -his work, until foreshortening, perspective, correct anatomy, relative -values, light, shadow, and relief, were his subjects rather than his -masters. Then he was prepared to begin where so many great Venetian -artists had left off. - -It had been a reproach to the Venetians that for all their colour they -were poor draughtsmen. Needless to add that this rebuke came from the -schools of Florence, where men were more concerned with correct drawing -than rich colour. But Tintoretto removed the reproach from Venice, and, -while he learned to draw in fashion that left the Florentine schools -nothing to teach, he followed Gian Bellini and Titian into the domain -of colour, and his work to-day reveals many of the best qualities -of the two Italian schools of art in happy combination. When he was -fully equipped according to his lights, and was prepared to enter -into competition with the men around him, Tintoretto set out boldly -to achieve the best results--he knew what he could do even if he did -not know what the accomplishment was worth. It was not a part of his -mental attitude to rest content with work done for those who sought the -service of second-class men. "The form of Michelangelo, the colour of -Titian;" these were the achievements he sought to realise, and he wrote -these words on the wall of his workshop in the same spirit as that in -which pious Hebrews still put the declaration of their faith upon the -doorposts of their houses. He understood that Michelangelo Buonarotti -had said the last word in form, and that Titian had gone as far in the -direction of colour. Not until he was armed with patiently acquired -skill, extraordinary natural aptitude, and a temperament that could -not be satisfied with anything less than complete success, did he feel -prepared to take the world of art by storm, and then he had put to the -credit of his record a measure of hard work that no other painter could -show. - -For the first few years Tintoretto had to strive in the ranks of men -who, whatever their gifts, had more chances than he. Venice was full -of artists; commissions did not always depend upon merit, influence -and favour counted for a great deal, and the clever son of an obscure -dye-worker could hardly reach the goal of his ambitions without a long -period of waiting. Things had altered from the days when Titian came -from the mountains of Cadore to the studio of Gian Bellini, there was -now so much talent in Venice that a man might have good gifts and yet go -hungry. Art had widened its boundaries, developed the importance of its -expression and the scope of its appeal, offering wealth and reputation -to those who could succeed in impressing the statesman, churchman, or -conqueror who held the patronage of the arts to be one of the special -privileges of their state. - -In Florence the tendency was to treat art as one branch of the -many-sided profession of life. The artist of the day was sculptor and -architect as well; sometimes he was engineer and statesman, he took -every field of activity for his labours, and certainly the success of -the great men whose range of endeavour was so wide was quite remarkable. -Happily the Venetians were less ambitious. Bellini, who is, in the -colour sense, the father of Venetian art, had a comparatively restricted -outlook. Titian, his pupil, went farther afield and divorced art from -the church, doubtless Giorgione had he lived would have helped to make -that divorce more effective. Tintoretto, who was Titian's pupil, just -as Titian had been Bellini's, was content to give all his energies, his -extraordinary industry, and his great gifts to the service of painting. -He could not enlarge the boundaries because Titian had carried them -already into the domain of mythology, allegory, and portrait painting, -and the time had not yet come when landscape could stand by itself. But -Tintoretto, though he could not develop the theme, managed to develop -the treatment, and became in a sense to be discussed later on the -"father" of impressionism. This was his special service to art, and -must be regarded as a remarkable discovery when we see how firmly fixed -were the ordinary painters' conventions in handling subjects. Titian -had broken away from the restrictions on subject matter, it was left to -Tintoretto to revolt against the conventional handling, but this revolt -was of course the product of late years. He began where his masters were -leaving off, and he ended by being a law to himself. It will be seen, -judging by the statements of his biographers, and particularly that -of Ridolfi to whom we have referred, that the young painter's gifts -and his habit of thinking for himself and following his theories into -the realm of practice were in the way of his advancement. He worked so -rapidly that the people to whom he applied in the first instance for -commissions were a little suspicious. They could not understand how a -man who painted with lightning rapidity and was prepared to sell his -labour for any price, however small, could claim to be taken seriously. -His cleverness made them afraid. They do not seem to have understood the -type of artist that works because work is the very first law of life, -and is content with a small return, knowing that when once the proper -chance has come it will be possible to command a better price. - -[Illustration: PLATE III.--THE ORIGIN OF "THE MILKY WAY" - -This extraordinary painting to be seen to-day at the National Gallery -reveals not only the artist's vivid imagination but the wonderful -skill with which he can present a flying figure and leave it as though -supported in mid air. Students of Tintoretto will not fail to note the -resemblance between the flying figure here and the one in "The Miracle -of the Slave" in the Venetian Academy.] - -The general feeling about Jacopo Robusti is perhaps summed up by Giorgio -Vasari in his "Lives." "He is a great lover of the arts," says our -gossip; "he delights in playing on various musical instruments; he is -a very agreeable person, but as far as painting is concerned he has -the most capricious hand, and the boldest, most extravagant, and most -obstinate brain that ever belonged to painter. Of this the proof lies in -his works and in their fantastic composition so different from the usage -of other painters. Indeed, Robusti becomes more than ever extravagant in -his recent inventions, and the strange fancies that he has executed as -it were almost without design, as though he aimed to show that art is -but a jest. He will sometimes present as finished, sketches which are -just such mere outlines that the spectator sees before him pencil marks -made by chance, the result of a bold carelessness rather than the fruits -of design and judgment." - -These are significant words only when we consider that they were written -at a time when Tintoretto was alive, and Vasari must have been moved to -great excess of zeal to have gone so far in the painter's dispraise. -Indeed he closes his little sketch by remarking that Tintoretto after -all is a very clever man and a highly commendable painter. The special -interest of the criticism lies in its revelation of the attitude of his -contemporaries towards Tintoretto. For more than a century art had been -moving, pictures had ceased to be flat, the difficulties of chiaroscuro -were being faced rather than shirked. Atmosphere was growing, the -problems of perspective were deemed worthy of careful study. Colour was -not only brilliant, but the secret of mixing colours long since lost and -apparently irrecoverable was known in the studios of the leading men. -But the very earliest lessons of impressionism had yet to be taught, and -realism had rendered dull and lifeless pictures that were hung rather -beyond the reach of the spectator's close scrutiny. Tintoretto saw that -work must be handled in such a fashion that the spectator who stood -some distance away could get an impression of the whole of the subject -treated. He knew that if objects were painted with equal values and the -meticulous care of the miniaturist the canvas would only yield its fruit -to those who could stare right into it. These facts were a pleasant -revelation to him and an unpleasant one to his contemporaries. His work -was destined to influence Velazquez--Velazquez influenced Goya, the -mantle of Goya fell upon Edouard Manet, and Manet founded the great -impressionist school of France that has been doing work of extraordinary -merit and enduring interest while schoolmen of contemporary generations -have been concerned with telling stories in terms of paint and harking -back to the pre-Raphaelities. - -The modern work suffers more from neglect and disregard than that of the -great masters of old time, because nowadays it is possible to multiply -the lowest and most popular class of picture and scatter it broadcast -among those who have no knowledge of the aims and objects of art. They -think that a picture is bound to be a good one if it should chance to -appeal to them, forgetful that their lack of taste may have as much -as anything to do with the appeal of the work. A picture may please -an observer because the picture is great or because the observer is -small, but the latter alternative is hardly popular with those who go -conscientiously to galleries. - -Vasari tells us many stories of Tintoretto's inexhaustible activity. -Ridolfi does the same, and it is easy to understand why a man who could -not keep his brush from his hand for any length of time, and would -accept any price or any commission rather than remain idle, was rather -a terror to his contemporaries, and earned the title of "Il Furioso" -by which he was widely known. Few artists in the world's history have -achieved so much, for although we know of countless frescoes and -pictures that have perished utterly, we still have something like six -hundred works left to stand for the seventy-five years of the painter's -life, and some of these, such as the works in the Doges' Palace, are -crowded with figures. Indeed the work in the Doges' Palace might well -stand for the life's monument of any artist however long-lived and -industrious. - -It is no fault of Tintoretto that his work baffles the tired eye. He -cannot be studied in a day, or two days, or even three; you cannot go -to him from other painters. He demands the closest and most enduring -attention together with some expert guidance on the occasion of the -first visit in order that the countless points in crowded canvas may not -be overlooked. He was a man of such breadth of vision, his conceptions -were so magnificent that he must be approached with something akin -to reverence. We cannot go to him as to Titian or Bellini and feel -that we can bring to the merit of each canvas the necessary amount -of appreciation. While the "Paradiso" took years to complete, some of -Tintoretto's smaller canvases took many months in the making, although -the painter has never been excelled in the rapidity of execution. He -who hopes to digest in half-an-hour the work that took Tintoretto half -a year imagines a vain thing. To read some of the criticism that has -been meted out to Tintoretto is to realise that their own limitations -have given serious trouble to some of his critics, because he is so -vast and so splendid in his themes, and so extraordinarily brilliant in -his treatment, he has baffled one generation after another. His theory -of relative values has been misunderstood and misinterpreted, but to -see him in his true light it is necessary to consider how many of his -successors could paint a large figured picture on anything approaching -the same scale with an equal measure of intelligence. Nowadays we do -not look for heroic achievement; and it is perhaps as well, seeing that -there is none to be had. - -[Illustration: PLATE IV.--ST. GEORGE AND THE DRAGON - -(National Gallery, London) - -This remarkable work is one of the finest examples of Tintoretto in -England. Composition and colouring are alike masterly and though some of -the beauty of paint has passed, the St. George and the Dragon remains a -striking work.] - - - - -II - - -Thanks to Carlo Ridolfi we can form a fairly correct idea of the -conditions under which young Tintoretto lived in the early days. The -expulsion from Titian's studio must have been a very serious blow to -his hopes and ambitions, but he did not repine unduly--he was made of -sterner stuff. He took a small apartment and began those unremitting -labours that were to land him in the first rank of draughtsmen. Through -Daniele da Volterra, a pupil of Michaelangelo, he secured the models of -the master's work that were to teach him so much about anatomy, and -were to be used for experiments in foreshortening, and the treatment -of light and shade. He had one friend, an artist known as Schiavone, -a man almost as poor as himself in those first days of struggle and -disappointment--a man who had likewise sought instruction in Titian's -studio but had left it without incurring that great master's ill-will. -One of the earliest commissions that fell to Schiavone was for the -decoration of St. Mark's Library, but Tintoretto had to wait longer for -work, and some years would seem to have passed before he realised his -ambition and received a commission to paint altar-pieces. There are some -workers to whom enforced idleness would be fatal, and Tintoretto might -have been one of them, but for the fact that he had no capacity for -indolence, and would work even though he worked for nothing. - -The first church to give him a commission would seem to be that of Santa -Maria del Carmine, and the impression that he gave to his masters must -have been a very favourable one, for we find that the churches of St. -Benedetto and Santo Spirito gave him orders soon after. Then the Scuola -della Trinita recognised his talent, and gave him an order for certain -pictures, including the famous "Death of Abel" and the equally famous -"Adam and Eve," of which John Ruskin said, "this in absolute power -of painting is the supremest work in all the world." These Scuoli or -confraternities were both wealthy and powerful bodies, able and eager to -give valuable commissions to artists. They would often grant permanent -pay and regular work to the man whose accomplishment satisfied their -requirements, and the work that remains to us shows that the directors -of the Scuoli were men of taste and discretion. - -As soon as Tintoretto felt that he was within sight of the goal of his -ambitions he married, choosing for his wife one Faustina of Vescovi, the -daughter of a patrician house, and a woman who seems to have realised -that her husband's devotion to the ideals of art were likely to make him -a very bad business man. Like many of the wives of clever men she played -the tyrant in matters that did not concern the studio, and the painter -would seem to have evaded some of her regulations for his comfort by -saying the thing that was not. We would not say that he originated the -habit, but it is said to have become popular and traces of it are still -found among husbands in the twentieth century. Tintoretto took a house -in the west end of Venice on the Fondamenta dei Mori overlooking Murano, -and there he worked hard and lived simply. He must have been a man of -engaging manner and amusing conversation, because Ridolfi has recorded -many amusing little facts about him in his famous volume of biographies. - -[Illustration: PLATE V.--THE PROCURATOR MOROSINI - -(From the Venetian Academy) - -This is another of Tintoretto's official pictures. The Procurator, a man -whose singular dignity is not affected by his rather coarse and heavy -features, is wearing beautiful robes that are now beginning to fade.] - -Clearly Tintoretto believed that Titian was his enemy, although we -do not find that the younger man took any steps to demonstrate his -ill-will. It would seem that many men who came to Tintoretto's studio -could talk of nothing but Titian's virtues, and that this conversation -tired the younger man, who at last put an end to the gossip very -cleverly. He secured an incomplete canvas by Titian and painted a -figure into it, then he sent the picture to the house of his friend -Contarino, where the gossips who dabbled in literature and art were -accustomed to assemble. All who saw the picture praised it to the -skies, and when they had finished chattering Tintoretto remarked that -the work they admired so much was painted partly by himself. Thereafter -the gossips seem to have found some other topics of conversation, and -Tintoretto was able to pursue his paths in peace without suffering from -comparisons that must have been odious. - -The painter's union was blessed with children, of whom his daughter -Marietta was perhaps his favourite. Until she was fifteen years of age -she used to accompany her father through Venice dressed as a boy. She -learned a great deal from him, and became a portrait painter, dying -some little time before her father, to his great grief. Some few of -Tintoretto's remarks have come down to us. He is said to have held that -black and white are the most beautiful colours, and with the record -of this opinion it becomes curious to see in Tintoretto's pictures -how the splendid colouring that was needed to express his work in the -days when he was young grew more and more sombre as time passed on, -until the dominant tone became the golden brown that is familiar to -students of his pictures. As a young man he revelled in bright colours, -but in middle and old age their charm passed. There is something very -human about this attitude towards externals. Tintoretto placed a very -great importance upon drawing, more importance indeed than any of the -Venetians had placed upon it before his time. He thought very little of -copies from the nude, being no believer in the beauty of the average -nude form, and holding that the hand of the artist is necessary in order -to express to the full the beauty that the lines of the body suggest. -One pauses to wonder how he would have regarded Schopenhauer's criticism -of the female form. - -Tintoretto had two sons, who became his pupils when they were old -enough; he was more fortunate in his family than was his great master -and rival, and his home life would seem to have been a tranquil one, -because we have learned from Vasari that he was a good musician, and -played well on several instruments. Music does not flourish in unhappy -homes. He could not have entertained as Titian did, because throughout -his life he was a comparatively poor man, but he gathered round him -some of the most interesting people in his native city and, with the -exception of Titian and Aretino, all seemed to have been well pleased -with him. Aretino, of course, being the greatest gossip of his century, -could not keep his tongue quiet under any circumstances, and never -hesitated to say an unpleasant thing as long as it had wit or humour. -Tintoretto bore with his old master's factotum as long as he could, and -then his patience giving out, invited him to the studio and proceeded -to take his measure with a naked dagger, recording it as though he was -going to paint a portrait. Aretino, who seems to have been an arrant -coward, took the hint and controlled his unruly tongue. Perhaps he -realised that it was unnecessary as well as unwise to provoke a man who -asked for nothing better than to be allowed to spend his life in hard -work free from interruption. - -It is quite likely that Tintoretto's amazing gifts, together with his -capacity for hard work, would have brought him very rapidly to the -front, had not Titian been the pride of the Venetians, but while the -great painter from Cadore dominated the City of the Lagoons no other man -could hope to stand beside him, and certainly Tintoretto did not improve -his own chances by his violent early search for work, and his startling -offers to paint pictures of any size for any price. Inasmuch as he -did not place a high value upon his own work, it was unreasonable to -expect that his patrons would fall into the error of over-praising it. -In setting a value upon their own work most men remember that they are -sellers, nor is it the business of buyers to raise the price. - -It is no easy task to hunt out Tintoretto's countless pictures in -Venice. Including panels, altar-pieces, and portraits, the work in -the Doges' Palace, in the Accademia, and the collections of private -owners, there must be of this painter's work well-nigh three hundred -examples whose authenticity is beyond dispute, while, needless to say, -there are plenty of pictures to be found in the collections of dealers -and amateurs that have rather more than a suspicion of Robusti's hand, -though they can hardly claim to be painted by him alone. Like all -other masters Tintoretto had his pupils, and his children and pupils -between them would appear to be very largely responsible for some of -the pictures that bear his name. To add to the difficulties of the -visitor, Tintoretto has suffered more than most men from exposure, -neglect, and repainting. The salt-savoured air of Venice is by no means -the best in the world for pictures; and candles, though they may save -their pious purchasers from many years' suffering in Purgatory, have -an awkward habit of smoking and spoiling the altar pictures that stand -before them. Candle smoke respects neither madonna nor saint, and though -raised with the best intentions, will destroy masterpiece or daub with -equal certainty and indifference. In Tintoretto's time piety was more -fashionable than art criticism, and his pictures have suffered very much -from the devotion they have inspired in the breasts of those to whom -candles were a short-cut to salvation. Happily the Scuola of St. Roque, -with its countless beautiful works of the master on panel and ceiling -and staircase, still preserves a great deal of its original beauty. The -Doges' Palace has a splendid collection, including the famous "Paradise" -in the Hall of Council, while other apartments in the palace boast -specimens of the master's most inspired work. The Royal Palace, and -that of Prince Giovanelli, are very rich in the fruit of Tintoretto's -labours, while the Academy of Fine Arts from which a part of the -pictures given here were taken, holds some of the painter's masterpieces -in really favourable positions. - -In the Doges' Palace the neck and back of the man who wishes to study -Tintoretto must endure constant strain, and the great compositions are -so hard to understand that headache often anticipates comprehension, and -appreciation gets no chance. The Academy is not too crowded, save at the -season of the great American invasion, and there it is possible to enjoy -Tintoretto quietly. - -[Illustration: PLATE VI.--QUEEN ESTHER FAINTING BEFORE AHASUERUS - -(Hampton Court Palace) - -Here we have one of Tintoretto's spirited compositions in which he makes -no attempt to adapt his costumes to the period of the Bible story. One -and all the figures are sixteenth-century Venetians.] - -The more we study Tintoretto the more his mastery for every branch -of his art becomes apparent. His composition is the more marvellous -because he had not had the advantage of receiving inspiration from -other masters. He carried composition farther than it had gone before, -bringing to his aid in that work a certain dramatic instinct that does -not seem to have been associated with the painter's workshop before -his time. He redeemed Venetian painting from the charge of bad drawing -that had been levied against it by the Florentines, and when we come to -colour we find that Tintoretto has little or nothing to yield in this -department even to Titian himself, and that he gets many of his finest -effects from lower tones than those that appealed to his master. Some of -his colour effects are less daring, less theatrical, less immediate in -their appeal than those of Titian, but when they are understood they -are hardly to be less admired, although we have to admit that in many -cases they have been restored, and retouched by many well-meaning fools -who did not understand the extraordinary delicacy of treatment that gave -the canvas its pristine quality. A picture by Tintoretto in which the -rich golden brown tints have survived the passages of the years and the -hand of the restorer, is at once a thing to wonder at and be grateful -for. - -Like all great painters Tintoretto had little use for drawings. He did -not believe in making elaborate studies; we can learn this from his -first work for the Scuola of St. Roque, when he entered into competition -with several big painters, and managed to present a finished picture -to his startled patrons and competitors in the shortest possible -time. Vasari tells the story, how the brotherhood decided to have some -"magnificent and honourable work" on the ceiling of the Scuola, and -asked Salviati, Zucchero, Paolo Cagliari (Veronese), and Tintoretto -to prepare a design. "While the artists were giving themselves with -all diligence to the preparations of their designs," writes Vasari, -"Tintoretto made an exact measurement of the space for which the picture -was required, and taking a large canvas he painted it at his usual -speed, without taking any one into his confidence, and fixed it in -the place destined to receive it. On the morning when the brotherhood -assembled to see the designs and determine the matter, they found that -Tintoretto had completed his work, that he had even fixed it in its -place. At this they were very angry, saying that they desired designs, -and had not commissioned him to do more than prepare one. Robusti -replied that this was his method of preparing designs, and that he knew -no other, that all designs and models for a work should be executed in -this fashion to the end that persons interested might see what would be -offered to them, and might not be deceived. Finding the brethren were -still displeased, Tintoretto added that if they did not think fit to pay -for the work, he would make a present of it to them for the sake of the -saint from whom he had received much kindness. The brotherhood could say -no more, for they dare not refuse a gift offered to their patron, and so -the picture was accepted, and the brethren had to make their peace as -best they could with the angry and disappointed competitors." - -It would be pleasing to write at length about the work that Tintoretto -contributed to the buildings of the brotherhood, but in the appendix -to his third volume of the "Stones of Venice," John Ruskin has dealt -so completely and so admirably with the master that those who are -interested will find all they seek in his pages. In the lower hall are -an "Annunciation," an "Adoration of the Magi," an "Assumption of the -Virgin," a "Presentation of Jesus," and several others. In the upper -hall there is the wonderful masterpiece of "St. Roque in Heaven," -together with many pictures of the great heroes of Bible History, and -the "Last Supper" that Velazquez copied. The refectory holds the great -"Crucifixion," and eleven panels devoted almost entirely to single -figures. - -Tintoretto had a hard struggle to become the painter for the wealthy -brotherhood, which had already commissioned work from Titian, Giorgione, -Schiavone, and other men of light and leading, but when he had once -secured a footing he did not lose the confidence of the brethren. They -realised that the master was second to none in the honourable ranks of -their painters, and indeed the brotherhood is best remembered to-day -because it chose Tintoretto to paint so many of its masterpieces. It -would have been a pleasant task to reproduce some of these works here, -but it would have been impossible to put on a small page, with any -hope of conveying a fair idea of their extraordinary fascination, the -"Massacre of the Innocents," "Christ before Pilate," the "Crucifixion," -or other pictures of that size. It has seemed better on this account to -rest content for the most part with single figures, and to emphasise -the one aspect of the painter's many merits. His mastery of composition -must be left for those who go to Venice or to some other of the cities -wherein the work is seen in all its glory. - -[Illustration: PLATE VII.--THE RISEN CHRIST APPEARING TO THREE SENATORS - -(In the Venetian Academy) - -This is a curious work remarkable for the splendid handling of the -figure of Christ. The three Senators are so obviously standing for their -portraits that they do not interest us.] - -Some five years would seem to have elapsed between the time when -Tintoretto forced his picture of St. Roque upon the astonished -brotherhood, and the time when he painted the "Crucifixion" for the -Scuola in return for a fee of 250 ducats, becoming thereafter a -member of the brotherhood. He worked for them for ten years or more, -leaving the question of terms to their judgment, but receiving a very -fair price. By the middle of the 'sixties his position in Venice -was assured. He was accepted on every hand as a man who honoured the -churches and brotherhoods, civil or religious, that employed him. -Unlike Titian he was very reliable, and does not seem to have accepted -commissions and then to have ignored them because better work came along -unexpectedly. His work in the churches is very varied and is scattered -throughout Venice. Ridolfi refers to his early pictures in the Church -of St. Benedict, but they are not to be found there now. Santa Maria -dell 'Orto, which was one of the first to employ his brush, holds his -famous "Last Judgment," a composition of singular nobility, painted with -great technical skill, and the wonderful imagination that inspired all -the painter's efforts. Unfortunately the details on the canvas are not -easily seen, and the whole work would appear to have been handed -over more than once to the renovator whose tender mercies, like those of -the wicked, are cruel. In the same church there are two "Martyrdoms," -one of St. Paul or St. Christopher, and another of St. Agnes, and there -is the fascinating "Presentation of the Virgin," which ranks side by -side with Titian's masterpiece in the Venetian Academy. Tintoretto's -colour scheme is more subdued, but the composition is singularly -attractive, and the painter's knowledge of perspective, his gift of -conveying atmosphere, his skill in handling the human figure in any -position have hardly been seen to greater advantage than in this master -work. Perhaps because the church Santa Maria dell 'Orto received the -artist's earliest work he loved it above all other churches, for it held -the vault of the Vescovis and he chose to be buried there. Clearly he -was one for whom his wife's family held no terrors. Many other painters -figure in this church, which lies well away from the city's main -thoroughfares, by the canal Rio della Madonna dell 'Orto. Palma Vecchio -is to be seen there and that Girolamo who is said to have acted for -Titian when he wished to expel Tintoretto from his workshop. The church -also has a "Pieta" by Lorenzo Lotto, and a "Madonna" by Gian Bellini. -Tintoretto's burial in the church is recorded on a tablet. - -The church of San Cassiano has two or three pictures by Tintoretto, and -that of San Francisco della Vigna is said to have another, but it is not -to be seen, and the brethren of St. Francis who pace to and fro along -the broken-down cloisters can give no information to intruders armed -with red guide-books. San Giorgio Maggiore is rich in Tintorettos, -and has one or two attractive works by Bassano. A very famous "Last -Supper" was painted for this church, but the work will not vie with much -that Tintoretto did elsewhere. Santa Maria dei Frari has a beautiful -"Massacre of the Innocents." San Marziale has an "Ascension," and -two "Annunciations," together with a work that the painter did not -live to finish. On the Giudecca in the old Franciscan Church of the -Redentore, where a famous water festival is held throughout one night -in the summer, there are two splendid examples of the painter's work, -and in the church of the Madonna della Salute there is a "Marriage of -Cana." This church holds several pictures by Titian and other masters -of renown. Santo Stefano is said to have some famous pictures by -Tintoretto in the sacristy, but the writer has not seen them. - -The list of church pictures is by no means exhausted. It would not -be easy to deal with them without giving these pages a suspicious -resemblance to a catalogue. The visitor to Venice may be well advised to -visit as many churches as he can, and to remember that many a building -of little latter-day significance holds priceless work belonging to the -sixteenth century. In Florence there are a score or more of Tintoretto's -pictures in the galleries of the Uffizi and the Pitti Palace; in the -former there is a striking replica of the "Wedding at Cana" in the -Venetian church of the Madonna della Salute, but all these have their -crowd of admirers; they are catalogued and clearly seen. In Venice, on -the other hand, many a church from which the hurried tourist turns -aside holds one or more of Tintoretto's masterpieces, and if it is -well hung and has escaped the troublesome attentions of restorer and -candle-burner, it will well repay quiet study. - -The story that a great picture has to tell travels far beyond its own -subject-matter, and the quality of that imagination which is associated -with all great work is seen in a very high degree in many a church -picture by the great Venetian master. Perhaps he owes his heroic -achievements to Michelangelo. The full story of his indebtedness has -been treated at length by John Ruskin, for whom the painter's work held -great attractions; but it may be said, without fear of contradiction, -that where a picture has survived its surroundings, the vigour of mind, -the breadth of view, the dramatic sense of the painter, his splendid -power of seeing the great stories of Old or New Testament in their -most dramatic aspect, will satisfy the most critical sense of the -onlooker almost as much as the conquest of difficulties in light, shade, -foreshortening, composition, and graded tones please the man who has -mastered the technicalities of the painter's art. - -Looking at Tintoretto's work and remembering that he hardly stirred -beyond the limits of the Republic, it is impossible not to reflect -upon the chance and luck that beset the lives of men. Tintoretto, with -his splendid gifts, his rapid accomplishment, his courteous manner, -remains in Venice; his fame suffering because he could see far beyond -the limits that beset the view of his great and popular master. Had -Tintoretto not been able to see quite so clearly, had he not alarmed -contemporary criticism by groping successfully after the first truths -of impressionism, he might have been in the fulness of time the court -painter of popes and emperors. His splendour might have been diffused -throughout Italy; it might have travelled to Spain, then the greatest of -all world powers. Titian, for all his extraordinary gifts, had certain -conventional limitations. Tintoretto, equally gifted, could see more -deeply into the truths that underlie painting, so he did not prosper -in like degree. Happily for him he was a man who worked for work's -sake, as long as his hands were full and he could labour from morning -until night, the pecuniary and social results hardly seemed worth -bothering about. We know that Titian, whose income was much larger than -Tintoretto's, was loud in his complaints of bad times and inadequate -payments, but if Tintoretto complained, Ridolfi has forgotten to -record the fact. There is no attempt here to belittle Titian or to -praise Tintoretto; each was a man for whom the sixteenth century and -its successors must need be grateful. The difference between them was -temperamental, and is worth recording, though it is not set down in any -spirit of unfriendly criticism. - -[Illustration: PLATE VIII.--ADAM AND EVE - -(From the Venetian Academy) - -This picture, representing Eve in the act of offering the apple to Adam, -is remarkable for the beauty of the flesh painting. John Ruskin was -moved to express his admiration for it in terms of enthusiasm.] - - - - -III - - -It would seem that the pictures for the brotherhood of St. Roque secured -for Tintoretto the crowning honour of his life, the commission to bring -his brush to the service of the Doges' Palace. It is hardly too much to -say that just as the Doges' Palace is the most remarkable monument of -the Venetian Republic left in Venice to-day, so Tintoretto's pictures -are the most remarkable decorations in the palace itself. There -must be fifty or more of them, if we include the Hall of Grand Council, -the Hall of Scrutiny, the College, the Entrance and the Passage to the -Council of Ten, the Ante-room to the Chapel, the Senate and the Salon -of the Four Doors; but the task of painting fifty pictures, stupendous -though it may seem, is not realised until we remember the size and -quality of some of these works. The "Paradise," for example, in the -Council Hall, is more than twenty-five yards long, and is such a work -as many a painter would have given the greater part of his life to; but -Tintoretto had little more than six years to live when he undertook the -work, and there is no doubt that while the brain behind the picture was -always his, the hand was sometimes that of his son or one of his pupils. - -It may be supposed that most painters, who have reached Tintoretto's -age when they received their commission for the Ducal Palace, would -have hesitated to begin work on such a colossal scale. They would have -felt that the span of their life could hardly stretch much farther, -and knowing that much was to be done in the way of portraits and small -pictures, would have been content with these. It was characteristic of -Tintoretto that he should at once undertake pictures on the largest -scale known to painters. Not only did he undertake the work, but he -accomplished it. - -The student of Tintoretto who finds himself in Venice should, we think, -endeavour to leave the Doges' Palace alone until he has watched the -painter's development in the various Venetian churches. Then he should -study the work done for the brotherhood of St. Roque, and finally -should go to St. Mark's to see the crowning achievement of one of the -greatest men who ever took a paint-brush in hand. Students of opera -will have noticed how a great singer will sometimes keep his voice back -until the work is nearly over, in order to put all his energy into the -last act, and so leave an impression that will not be forgotten easily. -So it was with Tintoretto. He did splendid work in many directions, -but saved himself for the last act, and the crowning achievement of -his life was reserved for the Doges' Palace. There all the inspiration -that had blossomed in the Venetian churches, and budded in the Scuola -of St. Roque, came suddenly into flower, and the visitor to the palace -will look in vain throughout the civilised world for an equally enduring -monument to any one man. Other great artists have left their traces in -many cities, but it may be doubted whether Michelangelo and Raphael in -the Vatican have left a more enduring record than Tintoretto gave to -the Palace of the Doges. So vast was his achievement, so brilliant was -his imagination, that our eyes, trained down to see small things, and -unaccustomed to realise the full idea underlying great pictures, tremble -before the "Paradise" and "Venice with the Gods and the Doge Nicolo da -Ponte," or the "Capture of Zara," or "St. Mark Introducing the Doge -Mocenigo to Christ," or the splendid "Descent from the Cross," in the -Senate, or the Pagan picture in the Salon of the Four Doors, in which -Jupiter gives Venice the Empire of the Sea. Any one of these pictures -might have been regarded as the crowning achievement in the life of a -very considerable painter. Before them all imagination stops. Certainly -Tintoretto was a long time coming into his kingdom, but there could have -been few to dispute his supremacy when he arrived. - -In 1574 Tintoretto applied to the Fondaco de Tedeschi for a broker's -patent, and thus history repeated itself, for it will be remembered -that Titian had endeavoured to secure Bellini's place in the great -house of the German merchants, and now Tintoretto was supplanting -Titian. The application seems to have been quite successful. The house -to-day serves as a general post-office, and still shows some slight -trace of the frescoes of Giorgione and Titian. There does not seem to -be any record of work that Tintoretto did for the German merchants, -but the appointment was largely an honorary one as far as the work -went, although it brought a certain income to the fortunate owner of -the office. Tintoretto had now reached the time when his work could no -longer be ignored, and even Florence which looked askance at art in -Venice elected the painter a member of its Academy, an honour that was -conferred also upon Titian, Paul Veronese, and a few smaller men. - -Throughout all the years in which the painter's art was maturing, and -the circle of his patrons was widening, he seems to have lived a quiet -and uneventful life in Venice, seeking friends in his own circle, -labouring diligently in his studio, and never permitting the claims of -affairs lying outside his work to tempt him to be idle. A man of happy -disposition, with no vices, and no extravagant tastes, he would seem -to have found his earning sufficient for his need, and to have been -happy in his home life, although we have already recorded the fact upon -Ridolfi's authority that like so many other good men Tintoretto was in -the habit of telling lies to his wife. Signora Robusti must have been a -little trying when she sought to regulate her husband's expenditure, the -times of his going out and coming in, and other trifles of the sort that -good women delight to take an interest in. - -The great grief of Tintoretto's life was happily delayed until 1590, -when the well-beloved Marietta, who had been her father's friend and -companion for so long, died. The shock must have been a very serious -one, for Tintoretto himself was well over seventy, but it does not seem -to have diminished his activity. He would appear to have given all his -days to his own labour, or the superintendence of the labours of others, -and so the years crept on uneventfully for him, until the last day -of May 1594 when his strenuous, vigorous, and brilliant career found -its closing hour, and those whom he left behind, together with a great -concourse of admiring citizens, took him to the tomb of his wife's house -in the Church of the Madonna dell 'Orto, which he had enriched with so -much fine painting. His daughter, having predeceased him--as we have -seen, she was a portrait painter, and her father's dearest friend--his -son Domenico carried on the family work, and completed his father's -commissions, but neither brain, nor hand, nor eye could compare with -those that were now at rest, and the younger Tintoretto makes small -claim upon the attention of artist or historian. - -So a very great man passed out of the life of Venice, and for a brief -while his fame slumbered, but in years to come great artists, Velazquez -foremost among them, made the great city of the Adriatic a place of -pilgrimage for his sake. His influence, travelling on another road, -extended as far as Van Dyck. We have already traced the descent to the -modern school of impressionism, but he would be a bold man who would -say that the influence of Tintoretto is exhausted, or holds that he has -nothing to teach the twentieth century. His light will hardly grow dim -as long as his painting has a claim upon the attention of civilised men. - - - The plates are printed by BEMROSE DALZIEL, LTD., Watford - The text at the BALLANTYNE PRESS, Edinburgh - - - - -Transcriber's Notes: - - -Simple typographical errors were corrected. - -Defective printing of names of authors of some other titles in the -Series was remedied by reference to another title in the Series, whose -list was well-printed. - - - - - - - - -End of the Project Gutenberg EBook of Tintoretto, by Samuel Levy Bensusan - -*** END OF THIS PROJECT GUTENBERG EBOOK TINTORETTO *** - -***** This file should be named 42528-8.txt or 42528-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/5/2/42528/ - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/42528-8.zip b/42528-8.zip Binary files differdeleted file mode 100644 index 47b30a0..0000000 --- a/42528-8.zip +++ /dev/null diff --git a/42528-h.zip b/42528-h.zip Binary files differdeleted file mode 100644 index c121e4e..0000000 --- a/42528-h.zip +++ /dev/null diff --git a/42528-h/42528-h.htm b/42528-h/42528-h.htm index f661502..e0786b2 100644 --- a/42528-h/42528-h.htm +++ b/42528-h/42528-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Tintoretto, by S. L. Bensusan. @@ -271,46 +271,7 @@ a.ref {text-decoration: none;} </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Tintoretto, by Samuel Levy Bensusan - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Tintoretto - -Author: Samuel Levy Bensusan - -Editor: T. Leman Hare - -Release Date: April 14, 2013 [EBook #42528] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TINTORETTO *** - - - - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42528 ***</div> <hr /> @@ -376,7 +337,7 @@ higher-quality format.</p> <tr><td class="tdl">FRAGONARD.</td><td class="tdl nopadrt"><span class="smcap">Haldane M'Fall.</span></td></tr> <tr><td class="tdl">HOLBEIN.</td><td class="tdl nopadrt"><span class="smcap">S. L. Bensusan.</span></td></tr> <tr><td class="tdl">BOUCHER.</td><td class="tdl nopadrt"><span class="smcap">Haldane M'Fall.</span></td></tr> -<tr><td class="tdl">VIGÉE LE BRUN.</td><td class="tdl nopadrt"><span class="smcap">Haldane M'Fall.</span></td></tr> +<tr><td class="tdl">VIGÉE LE BRUN.</td><td class="tdl nopadrt"><span class="smcap">Haldane M'Fall.</span></td></tr> <tr><td class="tdl">WATTEAU.</td><td class="tdl nopadrt"><span class="smcap">Lewis Hind.</span></td></tr> <tr><td class="tdl">MURILLO.</td><td class="tdl nopadrt"><span class="smcap">S. L. Bensusan.</span></td></tr> <tr class="taller"><td> </td></tr> @@ -1762,382 +1723,6 @@ other titles in the Series was remedied by reference to another title in the Series, whose list was well-printed.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Tintoretto, by Samuel Levy Bensusan - -*** END OF THIS PROJECT GUTENBERG EBOOK TINTORETTO *** - -***** This file should be named 42528-h.htm or 42528-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/5/2/42528/ - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 42528 ***</div> </body> </html> diff --git a/42528.zip b/42528.zip Binary files differdeleted file mode 100644 index 069c441..0000000 --- a/42528.zip +++ /dev/null |