In criticising Tintoretto, men seem often unable to discriminate between the turgid and melodramatic, and the spontaneous and temperamental. The first all must abhor, but the last is sincere and deserves to be respected. It is by his best that we must judge a man, and taking his best and undoubtedly authentic work, no one has left a larger amount which will stand the test of criticism. As an exponent of lofty and elevated central ideas, which unify all parts of his composition, Tintoretto stands with the greatest imaginative minds. The intellectual side of life was exemplified in Florentine art, but the Renaissance would have been a one-sided development if there had not arisen a body of men to whom emotion and the gift of sensuous apprehension seemed of supreme value, and at the very last there arose with him one who, to their philosophy of feeling and the mastery of their chosen medium, added the crowning glory of the imaginative idea. PRINCIPAL WORKS Augsburg. Christ in the House of Martha and Mary. Berlin. Portraits; Madonna and Saints; Luna and the Hours; Procurator before S. Mark. Dresden. Lady in Black; The Rescue; Portraits. Florence. Pitti: Portraits of Men; Luigi Cornaro; Vincenzo Zeno. Uffizi: Portrait of Himself; Admiral Venier; Portrait of Old Man; Jacopo Sansovino; Portrait. Hampton Court. Esther before Ahasuerus; Nine Muses; Portrait of Dominican; Knight of Malta. London. S. George and the Dragon; Christ washing Feet of Disciples; Origin of Milky Way. Bridgewater House: Entombment; Portrait. Madrid. Battle on Land and Sea; Solomon and the Queen of Sheba; Susanna and the Elders; Finding of Moses; Esther before Ahasuerus; Judith and Holofernes. Milan. Brera: S. Helena, Saints and Donors; Finding of the Body of S. Mark (E.). Paris. Susanna and the Elders; Sketch for Paradise; Portrait of Himself. Rome. Capitol: Baptism; Ecce Homo; The Flagellation. Colonna: Adoration of the Holy Spirit; Old Man playing Spinet; Portraits. Turin. The Trinity. Venice. Academy: S. Giustina and Three Senators; Madonna with Saints and Treasurers, 1566; Portraits of Senators; Deposition; Jacopo Soranzo, 1564 (still attributed to Titian); Andrea Capello (E.); Death of Abel; Miracle of S. Mark, 1548; Adam and Eve; Resurrected Christ blessing Three Senators; Madonna and Portraits; Crucifixion; Resurrection; Presentation in Temple. Palazzo Ducale: Doge Mocenigo commended to Christ by S. Mark; Doge da Ponte before the Virgin; Marriage of S. Catherine; Doge Gritti before the Virgin. Ante-Collegio: Mercury and Three Graces; Vulcan's Forge; Bacchus and Ariadne; Pallas resisting Mars, abt. 1578. Ante-room of Chapel: SS.