a celebrated painter, whose real name was Jacopo Robusti, was born at Venice in 1512. His father, Battista Robusti, was a dyer (in Italian, tintore), for which reason the son was called Il Tintoretto, or "the little dyer," a name by which he has become famous. He entered the school of Titian at an early age, and exhibited proofs of genius by executing some striking drawings; but in ten days he was dismissed by his master for disobedience to his commands, an account by no means improbable, considering his impious and obstinate character; though the conduct of Titian is by some ascribed to jealousy of his pupil's merit. Undaunted by this check, the young painter pursued his art with redoubled energy, and on the wall of his humble lodgings, to which his studies were now confined, he had the hardihood to write, "Michael Angelo's design and Titian's colouring." He procured models of several statues by Michael Angelo, and laboured night and day in his ambitious design of uniting the excellences of the two great masters he had announced as his models. He also studied anatomy, and obtained a thorough knowledge of the human frame and muscles; and he employed many ingenious contrivances for varying the lights and shades of his models, by which he attained great skill in this part of his art. The first thing that brought him into notice was a picture be exhibited, containing portraits of himself and his brother; and a historical piece, which he placed on the Rialto for public inspection, raised him among the first painters of the day. From this time he obtained abundance of employment; and such was his love of art, that he made ample use of his opportunities, seldom refusing any commissions or offers, and painting pictures of all sorts and of all sizes. His rapidity of execution was very great; and sometimes he asked no more for his works than the mere price of the materials. Hence his pictures were very numerous, and hence he has been much censured for carelessness and want of finish; while even his greatest admirers do not altogether acquit him from these faults. Thus, as was remarked by Annibale Caracci, while in many pieces he is equal to Titian, in many he is inferior to Tintoretto. One of his finest pictures, called the "Miracle of the Slave," was painted for the friars of St Mark; and when it was finished and put up, as they could not agree about the price, he settled the matter by ordering it to be taken down and sent back to his studio, saying, that they should not have it at any price. Afterwards, however, he relented; and not only got his own price for Tipperah the picture, but was commissioned to paint three others for the same friars from the life of their saint. On another occasion, the monks of San Rocco requested Tintoretto and four other painters to send them designs for a picture of the Apotheosis of San Rocco, that they might select the best. While the others were preparing designs, Tintoretto was at work on the picture itself; and when the day came for exhibition, the monks found to their surprise that his picture was finished and fixed in its place. On being remonstrated with, Tintoretto replied that that was his way of making a design; that it was the only fair way; and that if they did not choose to pay him, he would make them a present of the picture. It was thus ultimately allowed to remain. The same room contains "The Crucifixion," one of Tintoretto's masterpieces, executed in 1763; and the building in which they are forms a sort of gallery of his paintings. The government of Venice engaged Tintoretto to do many works for them, to adorn the council-hall and other parts of the Doge's palace; among which were one of the Battle of Lepanto, one of the Excommunication of the Emperor Barbarossa, and others. In his private character, Tintoretto seems to have made himself generally liked, though he was somewhat eccentric, and astonished every one by his boldness, originality, and utter disregard of the conventional rules and usages of his art. His enthusiasm was not confined to painting, but extended to all the arts; and he was especially fond of music, in which he was proficient. With Titian, or at least with his followers, he never seems to have been on very friendly terms. On one occasion, meeting Aretino, the satirist, who, in his admiration of Titian, had detracted from Tintoretto, he asked him to sit to him for his portrait. The poet consented, and on the day appointed repaired to his studio; but scarcely had he been seated, when Tintoretto suddenly drew a pistol from his pocket. Aretino started, "Don't be afraid," said the artist, "I only want to measure you. There: you are just two pistols and a half." From that day the two were good friends. Tintoretto died at Venice in 1594, and was buried in the Church of S. Maria dell Orto, where a monument has been erected to his memory. He had two children, a son, Domenico, and a daughter, Maria, surnamed Tintorella, both painters of some merit, especially in portraits, though without the genius of their father. Besides these, Tintoretto had few disciples, though he aspired to found a school of his own. (See Arts, Fine, and Painting.)