Next Jacques Robusti presents himself, who, from the profession of his father was surnamed Tintoretto (the Dyer). He was at first a pupil of Titian, who, it is said, from motives of jealousy, dismissed him from his studio; but the fervour of uninterrupted labour was all that Tintoretto required in order to mature the most productive talent. “The drawing of Michael Angelo, and the colouring of Titian”--such was the ambitious motto he wrote over the door of his humble _atelier_, and we are almost justified in stating that he was enabled, by force of study and labour, to fulfil his aspirations, if we look only at some of his pieces executed before a certain fever of exuberant production had seized upon and necessarily weakened his vigorous talents. To form some estimate of the extent to which Tintoretto was impelled by this impulse of creation, we may recollect that even Paul Veronese reproached him with being unable to restrain himself--Veronese, the most indefatigable of producers! With regard to the latter, his works are characterised not only by the number of figures in them, but also by the striking brilliancy of the _mise en scène_. Although he multiplies his actors, they are grouped in perfect order; although he paints a multitude, he knows how to avoid a crowd. Notice how a feeling of life profusely pervades the whole of his vast pictures of important events; an idea of space is everywhere given; everywhere light plays a powerful part, and imagination has full scope. He is the painter _par excellence_ of feasts and ceremonies: at once pompous and natural, his copiousness is only equalled by his dazzling facility; and we are compelled to forgive the errors with which he mingles on the same canvas the religious ideas of sacred subjects and the profane splendour of modern times. What shall we say about Correggio? There is no methodical scale by which to measure grace; and there is no formula laid down of delicious softness. But if, at the Louvre, we examine his “Antiope asleep,” we shall not soon forget the fascinating power of the old Allegri (Correggio).