A talented pupil of Titian who came under Michael Angelo’s influence was Paris Bordone (1495-1571). He has the distinction of producing the finest of Venetian ceremonial paintings, No. 320 in the Accademia. No picture will evoke in the beholder a deeper sentiment of the peculiar charm of Venice. The magnificent architecture; the dignified Fathers of the State in their rich costumes; the romantic legend it illustrates; the warm, golden, sunny atmosphere in which the whole composition is bathed, make this the most essentially Venetian picture in the world. The Accademia has other works by this artist--the Paradise, No. 322, a poor canvas, and a small panel, No. 311. Two great artists preserved the power and grandeur of the Venetian school during a time when elsewhere in Italy painting had sunk to nerveless mannerism and mawkish sentimentality. [Illustration: _Alinari, Florence_ ACCADEMIA--PRESENTATION OF ST MARK’S RING TO THE DOGE BY BORDONE] Tintoretto (Jacopo Robusti), 1518-94, a pupil of Bonifazio, and much influenced by Titian and Michel Angelo, is a painter who may only be studied at Venice. A fine example of his early work painted under Titian’s influence, is the Adam and Eve, No. 43 in the Accademia. In 1552 he painted two panels for the Palazzo Camerlenghi, in continuation of Bonifazio’s work, now in the Anti-Chiesetta of the Ducal Palace; and, a year later, the dramatic Miracle of St Mark, Accademia No. 42. This central work admirably displays the qualities of his genius. The composition is grandly conceived; the drawing stupendously clever and virile. But the craftsmanship is too insistent. The artist aims at displaying his triumph over difficult but non-essential problems of foreshortening and perspective. The whole scene is characterised by that “bustle and tumult” which Reynolds complains of in his criticism of Tintoretto’s work. Other paintings that may be noted are the Marriage of Cana in the sacristy of the Salute; two large and confused canvases, the Last Judgment and the Golden Calf, in the choir of the Madonna dell’ Orto; the charming Ariadne and Bacchus, with its companion pictures, and the colossal Paradise in the Ducal Palace. His last work, S. Marziale, is in the church of that name. Admirers of Tintoretto may sate themselves at Venice. The Accademia and the Ducal Palace are rich in his works. The Scuola of S. Rocco alone is a veritable Tintoretto museum. The sixty-two compositions there, exhibit the painter’s characteristics fully developed, his weakness as well as his strength. Never had sacred history been treated with such uncompromising realism. No one can contemplate these tremendous scenes without being impressed by the power of the genius that conceived them; none can turn away without a feeling of regret that so greatly endowed an artist should, in his later career at least, have been wanting in reverence and in the _incredibile diligenza_, which Vasari noted in all Titian’s work. He was a