[7] If Tintoret shines thus in the shades of night, what will he do when radiant day has risen? Soon after, he displayed on the Rialto bridge another picture, by which the surprise already excited was increased, and he began thenceforward to get employment in the smaller churches and convents. Important commissions which brought wealth and honors were reserved for Titian and a few favorites; but Tintoret rejected no offer. Only let him express those ideas swarming in his imagination: he asked no further recompense. He seems to have been early noted for the practice of taking no pay at all, or only enough to provide his paints and canvas,--a practice which brought upon him the abuse of his fellows, who cried out that he would ruin their profession. But there was then no law to prohibit artist or artisan from working for any price he chose, and Tintoret, as usual, took his own course. At last a great opportunity offered. On each side of the high altar of the Church of Sta. Maria dell’ Orto was a bare space, nearly fifty feet high and fifteen or twenty feet broad. “Let me paint you two pictures,” said Tintoret to the friars, who laughed at the extravagant proposal. “A whole year’s income would not suffice for such an undertaking,” they replied. “You shall have no expense but for the canvas and colors,” said Tintoret. “I shall charge nothing for my work.” And on these terms he executed “The Last Judgment” and “The Worship of the Golden Calf.” The creator of those masterpieces could no longer be ignored. Here was a power, a variety, which hostility and envy could not gainsay: they must note, though they refused to admire. It was in 1546, or thereabouts, that Tintoret uttered this challenge. In a little while he had orders for four pictures for the School of St. Mark; one of which, “St. Mark Freeing a Fugitive Slave,” soon became popular, and has continued so. “Here is coloring as rich as Titian’s, and energy as daring as Michael Angelo’s!” visitors still exclaim. Other commissions followed, until there came that which the Venetian prized above all others,--an order to paint for the Ducal Palace.