nt
pictures of hers still exist, and her portraits of Marco dei Vescovi and
the antiquarian Strada were celebrated pictures. When the Emperor
Maximilian and the Archduke Ferdinand, each in turn, desired her presence
at their courts, her father hastened to marry her to Mario Augusti, a
wealthy German jeweller, upon the condition that she should remain in her
father's house. She was celebrated for her beauty, had fine musical
talents, and was sprightly and enthusiastic; her father was so fond of
having her with him that he sometimes allowed her to dress as a boy, and
go with him to study where young girls were not admitted.

When but thirty years old Marietta Robusti died; she was buried in the
Church of Santa Maria dell Orto, where are several works by her father.
Both he and her husband mourned for her all their remaining days. Many
pictures of Tintoretto painting his daughter's portrait after her death
have been made by later artists.

PAOLI CAGLIARI, or CALIARI, called PAUL VERONESE (1528-1588), was born at
Verona, but as he lived mostly at Venice, he belongs to the school of that
city. He was an imitator of Titian, whom he did not equal; still he was a
fine painter. His excellences were in his harmonious color, his good
arrangement of his figures in the foreground, and his fine architectural
backgrounds. He tried to make his works magnificent, and to do this he
painted festive scenes, with many figures in splendid costumes. He is
buried in the Church of St. Sebastian, where there are many of his works.

In the gallery of the Louvre is his "Marriage at Cana." It is thirty by
twenty feet in size, and many of its figures are portraits. His pictures
are numerous and are seen in the European galleries. The "Family of
Darius," in the National Gallery, London, cost that institution the
enormous sum of thirteen thousand six hundred and fifty pounds; it was
formerly in the Pisani Palace, Venice, and was said to have been left
there by Veronese as payment for his entertainment during a visit he had
made in the palace. In 1868, at the Demidoff sale, a portrait of his
daughter sold for two thousand five hundred and twenty-four pounds.

At the close of the sixteenth century a family of a father and four sons
were busy painting what may rightfully be termed the earliest _genre_
pictures of Italy. This term is used to denote pictures that stand
between historical and utterly imaginary subjects; that is to say, the
representation