Other noted Sargent portraits are "Mr. Marquand" in the Metropolitan Museum of Art, "Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs. Meyer and Children," "Homer St. Gaudens," "Henschel," and "Mr. Penrose." XXXVII TINTORETTO (JACOPO ROBUSTI) _Venetian School_ 1518-1594 _Pupil of Titian_ Tintoretto was born with an ideal. As a young boy he wrote upon his studio wall: "The drawing of Michael Angelo, the colouring of Titian," and that was the end he tried to reach. His father was a "tintore"--a dyer of silk, a tinter--and it was from the character of that work the artist took his name. He helped his father with the dyeing of silks, while he was still a child, and was called "II tintoretto," little dyer. As the little tinter showed great genius for painting, his father placed him in Titian's studio, but for some reason he only stayed there a few days, long enough, however, to permit us to call him a pupil of Titian; especially as he wrote that master's name upon his wall and determined to imitate him. After his few days with Titian, Tintoretto studied with Schiavone and afterward set up a studio for himself. As a determined lad in this studio of his, Tintoretto tried every means of developing his art. He studied the figures upon Medicean tombs made by Michael Angelo, taking plaster casts of them and copying them in his studio. He used to hang little clay figures up by strings attached to his ceiling, that he might get the effect of them high in air. By looking at them thus from below he gained an idea of foreshortening. Although this artist nearly succeeded in getting into line with Michael Angelo, he did not colour after the fashion of his master, Titian. Tintoretto was about twenty-eight years old before he got any very big commission, but at that age a chance came to him. In the church of Santa Maria del Orto were two great bare spaces, unsightly and vast, about fifty feet high and twenty broad. In that day anything and everything was decorated with masterpieces, and it was almost disgraceful for a church to let such a space as that go unfrescoed. Tintoretto saw an opportunity, and finally offered to paint pictures there for nothing if the church would agree to pay for the materials he needed. The church certainly was not going to refuse such an offer, even if Tintoretto was not thought to be much of an artist at the time. If the work was poor, one day they could choose to have it repainted. Thus Tintoretto got his first great opportunity. He painted on those walls "The Last Judgment" and "The Golden Calf." They made him famous, and gained him the commission to paint the picture which is used as an illustration here. The brothers of the Scuola di San Rocco asked him to compete with Veronese, in painting the ceilings after he had done four pictures for their walls.