Tintoret, then, had at last earned the privilege of consecrating his genius to Venezia. His first work for her seems to have been a portrait of the reigning Doge.[8] Then he painted two historical subjects,--“Frederick Barbarossa being crowned by Pope Adrian,” and “Pope Alexander III excommunicating Frederick Barbarossa;” and “The Last Judgment,” destroyed by the fire of 1557. Not long thereafter began his employment by the brothers of the confraternity of San Rocco. For their church, about 1560, he painted two scenes in the life of St. Roch, and then he joined in competition for a ceiling painting for the Salla dell’ Albergo in the School itself. The brothers called for designs, and upon the appointed day Paul Veronese, Andrea Schiavone, Giuseppe Salviati, and Federigo Zuccaro submitted theirs. But Tintoret had outsped them, and when his design was asked for he caused a screen to be removed from the ceiling, and lo! there was a finished picture of the specified subject. Brothers and competitors were astonished, and not greatly pleased. “We asked for sketches,” said the former. “That is the way I make my sketches,” replied Tintoret. They demurred; but Tintoret presented the picture to the School, one of whose rules made it obligatory that all gifts should be accepted. The displeasure of the confraternity soon passed away, and Tintoret was commissioned to furnish whatever paintings should be required in future. An annual salary of one hundred ducats was bestowed upon him, in return for which he was to give at least one painting a year. Generously did he fulfil the contract; for at his death the School possessed more than sixty of his works, for which he had been paid but twenty-four hundred and forty-seven ducats. [8] It is interesting to know that the price regularly paid to Titian and Tintoret for state portraits was twenty-five ducats (about thirty-one dollars). Painters who have not a hundredth part of the genius of either Titian or Tintoret now receive one hundred times that sum.