Tintoretto aimed rather at liveliness than at grace, and from the studied observation of the people of his native state, perhaps the most spirited in Italy, he drew models for his heads, as well as his attitudes, sometimes applying them to the most important subjects. In a few specimens of his Suppers, the Apostles might occasionally be taken for gondoliers, just when their arm is raised, ready to strike the oar, and with an air of native fierceness they raise the head either to look out, to ridicule, or to dispute. He likewise varied Titian's method of colouring, making use of primary grounds no longer white, and composed of chalk, but shaded; owing to which his Venetian pictures have felt the effects of time more than the rest. Neither were the choice, nor the general tone of his colouring the same as Titian's; the blue, or the ash coloured, being that which predominates; one which assists the effect of the chiaroscuro, as much as it diminishes the amenity of the whole. In his fleshes there appears a certain vinous colour, and more particularly in his portraits. The proportions of his bodies are also different; he does not affect the fulness of Titian; he aims more at lively action than the latter, and sometimes attenuates his figures too much. The least correct portion of his pictures is the drapery; few of them being free from those long and straight folds, or flying abroad, or in some other way too common and obvious. It would be useless to insist upon his want of judgment, or rather his pictorial extravagances, Vasari having already said too much of them, upon the subject of his Universal Judgment, at Santa Maria dell'Orto.