tolerably select, more particularly in the Assumption already mentioned. Moreover, he calls him Callisto da Lodi Bresciano, as if da Lodi were a family name; although in signing his own name, he gave it _Callixtus de Platea_, at the Incoronata, and elsewhere desirous of marking his country, _Callixtus Laudensis_. Ridolfi, too, says little or nothing of the period in which he flourished. Padre Orlandi found, affixed to one of his pictures, at Brescia, the date of 1524. I may add, that in Lodi he gave the years 1527 and 1530; and that, in the Nuptials of Cana, in the refectory of the Padri Cisterciensi, at Milan, he marked 1545. It is truly a surprising production, no less for its boldness of hand than for the number of its figures, although the whole of them are not equally well studied, and a few, among others that seem to breathe and live, are really careless and incorrect.[64] He painted in the same city, within a courtyard, the choir of the muses, including the portraits of the president Sacco, the master of the house, and of his wife; respecting which, writes Lomazzo, I may, without fear of temerity, observe, that it is impossible to produce any thing more perfectly graceful and pleasing, more beautiful in point of colouring, among works in fresco. (_Trat._ p. 598.) We next arrive at the name of Jacopo Robusti, the son of a Venetian dyer, and for this reason surnamed Tintoret. He was pupil to Titian, who, jealous of his talents, soon banished him from his studio. He did not aspire, like the preceding artists, to the name of Titian's follower; for he burned with ambition to become the head of a new school which should carry his manner to perfection, adding to it all that was yet wanting; a vast idea, the offspring of a grand and fervid genius, and as bold as it was great, not even banishment from his master's school being able to damp his ardour. Constrained by circumstances to confine himself to an incommodious apartment, he ennobled it with specimens of his early studies. Over the door of it he wrote, "Michelangiolo's design, and the colouring of Titian;" and as he was an indefatigable imitator of the latter, so he was equally studious, both night and day, in copying the models, taken from the statues in Florence, belonging to the former. To these he added many more of bassi relievi, and of ancient statues. In a catalogue of ancient pieces of sculpture, cited by Morelli, and belonging to the year 1695, is recorded a head of Vitellius, upon which "_Tintoretto was always employed in designing and learning_," (note, p. 152). He was frequently in the habit of designing his models by lamplight, the better to obtain strong shades, and thus acquire skill in the use of a bold chiaroscuro. With the same view he wrought models in wax and chalk, and having clothed them carefully, he adapted them to little houses, composed of pasteboard, and slips of wood, supplying them through the windows with