Like every other great worker of the Renaissance, almost without exception, he had a passion for work and has left us an enormous amount of finished painting. Some of his paintings, as, for instance, the "Bacchus and Ariadne," are looked upon as the greatest of their kind. Some of his great paintings in the palace of the doges at Venice have been a favorite study of artists ever since his time. Ruskin considered him one of the greatest painters who ever lived and has made his name and work familiar to English-speaking peoples. Probably no one has ever dared to attempt the solution of so many {69} problems in painting as Tintoretto, and no one has solved them better. He deeply influenced his own generation and has influenced every generation since that has had true critical spirit and appreciation for art. It has been well said of him, and without exaggeration, that he mastered every detail of his art. Ridolfi tells us his two favorite subjects of study were the works of Titian and the reliefs of Michelangelo. He wrote on the wall of his studio these words, _Il disegno di Michelangelo é il colorito di Titiano_ (the drawing and composition of Michelangelo and the coloring of Titian). These were his ambitions. He as nearly accomplished this transcendent purpose as perhaps it is possible to be done. An eminent painter of the Venetian school at this time, who is usually thought of as belonging to a later period, is Paolo Cagliari, better known as Veronese. He was twenty-two years of age, however, before Columbus' Century closed, and as he began his work very early in life he had received some important commissions before he was twenty-five years of age. He owes all his training to the great period at least. His greatest picture, the "Marriage at Cana," was painted practically within the decade after the close of our period. He was very fond of huge compositions, and Tintoretto alone outdid him in the conception of large pictures and the filling of large canvases. Like most of the painters of the Renaissance, he was a man of tireless energy, as well as sharing the facility that so many of them possessed; his very large pictures did not serve to limit the number of his paintings to the extent that might otherwise be expected. He was a master of decoration and of the use of the sumptuous color that the Venetians had invented because of their familiarity with pigments and the making of glass, and no great decorative painter has equalled him in the effect produced by this wealth of color. Already the decadence is beginning and his great paintings lack feeling, and above all exhibit no trace of religious feeling, though many of them are on religious subjects, but they are splendid, unexcelled, cold triumphs of composition.