was JACOPO DA
PONTE, called from his birthplace BASSANO, who was working in Venice
under Bonifazio as early as 1535. He afterwards returned to Bassano, and
selecting those scenes in which he could most extensively introduce
cottages, peasants, and animals, he connected them with events from
sacred history or mythology. A peculiar feature by which his pictures
may be known is the invariable and apparently intentional hiding of the
feet of his figures, for which purpose sheep and cattle and household
utensils are introduced. He confines himself to a bold, straightforward
imitation of familiar objects, united, however, with pleasing
composition, colour, and chiaroscuro. His colours, indeed, sparkle like
gems, particularly the greens, in which he displays a brilliancy quite
peculiar to himself. His lights are boldly infringed on the objects,
and are seldom introduced except on prominent parts of the figures. In
accordance with this treatment his handling is spirited and peculiar,
somewhat in the manner of Rembrandt; and what on close inspection
appears dark and confused, forms at a distance the very strength and
magic of his colouring. The picture of the _Good Samaritan_ in the
National Gallery is a good example, and was formerly in the collection
of Reynolds, who it is said always kept it in his studio. The _Portrait
of a Man_ (No. 173) is excelled by that of an _Old Man_ at Berlin.

III

PAOLO VERONESE AND IL TINTORETTO

It cannot be said that the Venetian artists of the second half of the
sixteenth century equalled in their collective excellence the great
masters of the first, but in single instances they are frequently
entitled to rank beside them. At the head of these is JACOPO ROBUSTI
(1518-1594), called IL TINTORETTO (the dyer), in allusion to his
father's trade. He was one of the most vigorous painters in all the
history of art; one who sought rather than avoided the greatest
difficulties, and who possessed a true feeling for animation and
grandeur. If his works do not always charm, it should be imputed to the
foreign and non-Venetian element which he adopted, but never completely
mastered; and also to the times in which he lived, when Venetian art had
fallen somewhat into the mistaken way of colossal and rapid
productiveness. His off-hand style, as Kugler calls it, is always full
of grand and significant detail, and with a few patches of colour he
sometimes achieves the liveliest forms and expressions.