After these works, having received from the Patriarch Grimani the commission for a chapel in S. Francesco della Vigna, which is the first on the left hand entering into the church, Battista set his hand to it and began to make very rich designs in stucco over the whole vaulting, with scenes of figures in fresco, labouring there with incredible diligence. But--whether it was his own carelessness, or that he had executed some works, perchance on very fresh walls, as I have heard say, at the villas of certain gentlemen--before he had that chapel finished, he died, and it remained incomplete. It was finished afterwards by Federigo Zucchero of S. Agnolo in Vado, a young and excellent painter, held to be among the best in Rome, who painted in fresco on the walls at the sides Mary Magdalene being converted by the Preaching of Christ and the Raising of her brother Lazarus, which are pictures full of grace. And, when the walls were finished, the same Federigo painted in the altar-piece the Adoration of the Magi, which was much extolled. Extraordinary credit and fame have come to Battista, who died in the year 1561, from his many printed designs, which are truly worthy to be praised. In the same city of Venice and about the same time there lived, as he still does, a painter called Jacopo Tintoretto, who has delighted in all the arts, and particularly in playing various musical instruments, besides being agreeable in his every action, but in the matter of painting swift, resolute, fantastic, and extravagant, and the most extraordinary brain that the art of painting has ever produced, as may be seen from all his works and from the fantastic compositions of his scenes, executed by him in a fashion of his own and contrary to the use of other painters. Indeed, he has surpassed even the limits of extravagance with the new and fanciful inventions and the strange vagaries of his intellect, working at haphazard and without design, as if to prove that art is but a jest. This master at times has left as finished works sketches still so rough that the brush-strokes may be seen, done more by chance and vehemence than with judgment and design. He has painted almost every kind of picture in fresco and in oils, with portraits from life, and at every price, insomuch that with these methods he has executed, as he still does, the greater part of the pictures painted in Venice. And since in his youth he proved himself by many beautiful works a man of great judgment, if only he had recognized how great an advantage he had from nature, and had improved it by reasonable study, as has been done by those who have followed the beautiful manners of his predecessors, and had not dashed his work off by mere skill of hand, he would have been one of the greatest painters that Venice has ever had. Not that this prevents him from being a bold and able painter, and delicate, fanciful, and alert in spirit. [Illustration: THE LAST JUDGMENT