here and there his Christianity as Old as the Creation; or, the | of October 1839, was the daughter of Philip F. Tinné, a Dutch Gospel a Republication of the Religion of Nature (London, 1730, merchant who settled in England during the Napoleonic wars, 2nd ed., 1731; 3rd, 1732; 4th, 1733), which was regarded as the but afterwards returned to his native land, and of his wife, "Bible" of deism. It was really only the first part of the whole Baroness Van Steengracht-Capellan. Her father died when she work, and the second, though written and entrusted in manu- was five years old, leaving her the richest heiress in the Nether script to a friend, never saw the light. The work evoked many lands. After travelling in Norway, Italy and the East, and replies, of which the ablest were by James Foster (1730), John visiting Egypt, when she ascended the Nile to near Gondokoro, Conybeare (1732), John Leland (1733) and Bishop Butler (1736). Miss Tinné left Europe again in 1861 for the Nile regions. AcIt was translated into German by J. Lorenz Schmidt (1741), and companied by her mother and her aunt, she set out from Cairo from it dates the influence. of English deism on German theology. on the 9th of January 1862. After a short stay at Khartum the Tindal had probably adopted the principles it expounds before party ascended the White Nile to a point above Gondokoro, and he wrote his essay of 1697. He claimed the name of "Christian explored a part of the Sobat, returning to Khartum in November. deist," holding that true Christianity is identical with the eternal Baron Theodor von Heuglin (q.v.) and Dr H. Steudner having religion of nature. He died at Oxford on the 16th of August meantime joined the ladies at Khartum, the whole party set 1733out in February 1863 for the Bahr-el-Ghazal. The intention was to explore that region and ascertain how far westward the Nile basin extended; also to investigate the reports of a vast lake in Central Africa eastwards of those already known-reports referring in all probability to the lake-like expanses of the middle Congo.

The religious system expounded in Christianity as Old as the Creation, unlike the earlier system of Lord Herbert of Cherbury, was based on the empirical principles of Locke. It assumed the traditional deistic antitheses of external and internal, positive and natural, revelations and religions, and perpetuated at the same time the prevalent misconceptions as to the nature of religion and revelation. The system was worked out by the a priori method, with an all but total disregard of the facts of religious history. It starts from the assumptions that true religion must, from the nature of God and things, be eternal, universal, simple and perfect; that this religion can consist of nothing but the simple and universal duties towards God and man, the first consisting in the fulfilment of the second-in other words, the practice of morality. The author's moral system, somewhat confused and inconsistent, is essentially utilitarian. True revealed religion is simply a republication of the religion of nature or reason, and Christianity, if it is the perfect religion, can only be that republication, and must be as old as creation. The special mission of Christianity, therefore, is simply to deliver men from the superstition which had perverted the religion of nature. True Christianity must be a perfectly "reasonable service," reason must be supreme, and the Scriptures as well as all religious doctrines must submit; only those writings can be regarded as divine Scripture which tend to the honour of God and the good The strength of Tindal's position was the conviction of the essential harmony between man's religious and rational nature. Its weakness from the standpoint of modern theology was that, like the whole religious philosophy of the time, it was founded on a misconception of religion and revelation, and on a disregard of the course of man's religious development.

of man.

See works quoted under DEISM.

TINDER (O. Eng. lyndre, from tindan, tendan, to kindle, cf. Dan. tonder, Ger. anzünden), a term applied to any dry substance that will readily take light from a spark and so be used for kindling a fire. Before the invention of matches (see MATCH) fire or light was procured by the ignition of tinder through sparks obtained by the striking of flint against steel, the whole apparatus of tinder, flint and steel being contained in a metal box, which was an essential utensil of all households and was also carried on the person of everyone who might require a light in an emergency. The usual material of "tinder" was a mass of charred linen, but the term was also applied to "touchwood," or wood converted into an easily ignitible consistency by the action of certain fungi. Another form of "tinder was touchpaper," paper dipped in nitre and used as a slow-match for igniting gunpowder. In both these words "touch" stands for an earlier tach, tache or tasshe, tinder, of which the origin is unknown. It may be related to Du. tak, bough, twig, and would thus mean dried twigs used as tinder.

"

TINEO, a town of northern Spain, in the province of Oviedo; on a small tributary of the river Narcea, among the northern outliers of the Cantabrian Mountains, and on the high road from Cangas de Tineo to the Biscayan port of Cudillero. Pop. (1900), 21,865. Mining, agriculture and stock-rearing are the principal industries.

TINKER, an itinerant mender of kettles, pots, pans, &c. The name means simply one who makes a tinkling sound as he mends the vessels, and the word is found as "tinkler" in the 16th century. From early times" tinkers" were looked on as vagabonds, and were so classed in the act of Elizabeth against

Ascending the Bahr-el-Ghazal the limit of navigation was reached on the roth of March. From Meshra-er-Rck a journey was made overland, across the Bahr Jur and south-west by the Bahr Kosango, to Jebel Kosango, on the borders of the NiamNiam country. During the journey all the travellers suffered severely from fever. Steudner died in April and Madame Tinné in June, and after many fatigues and dangers the remainder of the party reached Khartum in July 1864, where Miss Tinné's aunt died. Miss Tinné returned to Cairo by Berber and Suakin. The geographical and scientific results of the expedition were highly important, as will be seen in Heuglin's Die Tinnesche Expedition im westlichen Nilgebiet (1863-1864 (Gotha, 1865), and Reise in das Gebiet des Weissen Nils Leipzig, 1869). A description, by T. Kotschy and J. Peyritsch, of some of the plants discovered by the expedition was published at Vienna in 1867 under the title of Plantes Tinnéennes. At Cairo Miss Tinné lived in Oriental style during the next four years, visiting Algeria, Tunisia and other parts of the Mediterranean. In January 1869 she started from Tripoli with a caravan, intending to proceed to Lake Chad, and thence by Wadai, Darfur and Kordofan to the upper Nile. On the 1st of August, however, on the route from Murzuk to Ghat, she was murdered, together with two Dutch sailors, by Tuareg in league with her escort, who believed that her iron water tanks were filled with gold.

See John A. Tinné's Geographical Notes of an Expedition in Central Africa by three Dutch Ladies (Liverpool, 1864), and Sir H. H. Johnston, The Nile Quest, ch. xvi. (London, 1903).

TINNEVELLY, a town and district of British India, in the Madras presidency. The town is on the left bank of the Tambraparni river, on the other side of which is Palamcottah, the administrative headquarters of the district. Pop. (1901), 40,469. It is the terminus of a branch of the South Indian railway, 444 m. S.W. of Madras. Its most noteworthy building is a beautifully sculptured temple of Siva.

The DISTRICT OF TINNEVELLY has an area of 5389 sq. m.' It is for the most part a plain with an average elevation of 200 ft., sloping to the east with slight undulations. It is watered by numerous short streams, the principal being the Tambraparni with a length of 80 m. The chief irrigation work is the Srivaikuntam anicut or dam on this river. In the north the scenery is unattractive and the soil poor; in the south red sandy soil prevails in which little save the Palmyra palm will grow. This palm yields toddy as well as a coarse sugar. Along the banks of the rivers are rice-fields and a variety of trees and crops; and coffee is grown on the slopes of the Travancore hills. The district contains many ancient and magnificent buildings. But the most interesting antiquities are the large sepulchral earthen urns of prehistoric races, which have been found at several places, especially along the course of the Tambraparni; they contain bones, pottery, beads and bronze ornaments, iron weapons, implements, &c. The South Indian railway has its maritime terminus at Tuticorin, the chief seaport. The

principal exports are rice to Ceylon and cotton to Japan and Europe. In 1901 the population was 2,059,607, showing an increase of 8% in the decade. The number of native Christians was 159,213, Tinnevelly being the most Christian district in India. The Society for the Propagation of the Gospel and the Church Missionary Society have important and flourishing stations at Tinnevelly town and Palamcottah, as also have the Jesuits. It was here that St Francis Xavier began his preaching in India. The Shanans, or caste of toddy-drawers, have supplied many converts to Christianity. In 1899 their treatment by the Vellalars, or cultivating caste, led to serious riots and

bloodshed.

The early history of Tinnevelly is mixed up with that of Madura and Travancore. Down to 1781 it is a confused tale of anarchy and bloodshed. In that year the nawab of Arcot assigned the revenues to the East India Company, which then undertook the internal administration. Several risings subsequently took place, and in 1801 the whole Carnatic, including Tinnevelly, was ceded to the British.

TIN-PLATE and TERNE-PLATE. Tin-plate consists of sheets of iron or steel which have been thinly coated with tin by being dipped in a molten bath of that metal. Terne-plate is a similar product, but the bath is not of tin, but of tin and lead mixed, the latter metal constituting from 75-90% of the whole; it has not the bright lustre of tin-plate, whence its name, from terne, dull, tarnished. The sheets employed in the manufacture are known as "black plates," and are now of steel, either Bessemer or open-hearth. Formerly iron was used, and was of two grades, coke-iron and charcoal-iron; the latter, being the better, received a heavier coating of tin, and this circumstance is the origin of the terms "coke plates" and "charcoal plates by which the quality of tin-plate is still designated, although iron is no longer used. Tin-plate is consumed in enormous quantities for the manufacture of the tin cans in which preserved meat, fish, fruit, biscuits, cigarettes and numerous other products are packed, and also for the household utensils of various kinds made by the tinsmith or silversmith; terne-plates, which began to be produced in England about the middle of the 19th century, are widely employed in America for roofing purposes.

"

palm oil to remove all traces of acid and water are dipped into a bath of molten tin, covered with oil to prevent oxidation. They After this they are scoured with a hempen rubber and dipped in a are then taken to a second bath containing purer tin than the first. third bath containing the purest tin of all; then they are passed through rolls to finish the surface and regulate the thickness of the coating. As the tin in the third bath becomes alloyed with iron being substituted; and similarly the metal of the second, as the from the operation, it is removed into the second, pure fresh tin amount of iron in it increases, is removed to the first. In the "acid process" only a single bath of tin is required. The molten metal is covered with a layer of muriate of zinc, which acts as the flux, and by means of rolls the plates are passed through this down into the tin, to be brought out at another point in the bath where there is a layer of oil on the surface.

TINTAGEL, or TREVENA, a village in the Launceston parliamentary division of Cornwall, England, on the north coast, 4 m. from Camelford. Pop. (1901), 868. It stands on a bare upland, close to the sea; and below it is Tintagel Haven, or Porth, a small cove surrounded by cliffs of almost black slate. The scanty ruins of a castle are built partly on the mainland, partly on a rugged promontory spoken of as the Island, but united by a narrow peninsula to the shore. They have been celebrated as the birthplace of King Arthur, or as the stronghold of King Mark, in a host of medieval romances, and in the poems of Tennyson and Swinburne. The Norman walls are so darkened and weathered that, from a little distance, they seem a part of the rock itself. Portions of a chapel remain, dating from the 13th century, and including a porch and a stone altar; while beside it are traces of a tomb hewn out of the slate, and of some domestic building which had a staircase and a pointed arch above the door. The cruciform parish church of St Marcelliana stands on a high cliff, west of the castle. Although it has been restored, there remain traces of Saxon workmanship in the chancel, besides two Norman doorways, a font of the same period, a stone altar bearing five crosses and a fine 15th-century brass. In the churchyard the graves are buttressed, storms being frequent and violent on this unprotected coast. For a time the church belonged to Fontevrault Abbey in Normandy; but it was made over by Edward IV. to the collegiate church of Windsor. A 9th-century roodstone stands in the village. Portions of the vicarage date from the 14th century, and in its garden there is a stone dovecote of great age. A little slate is quarried, being taken from the rocks below the church, and exported in the small vessels which can visit Tintagel Haven in calm weather. The magnificence of the coast has inspired more than one famous painting.

Tintagel (Tintajol, Dundagel) is a parish a portion of which appears in the Domesday Survey as Bossiney (Botcinnu). The latter was held in the time of the Confessor by a thegn of St Petrock and at the time of the survey by Robert, count of Mortain, of the same saint. The castle probably existed in pre-Saxon times. Under the Norman carls of Cornwall this was rebuilt, embattled and furnished with munitions of war. Its officers included a constable and a chaplain. It was in a ruinous condition in Leland's time (c. 1540). Queen Elizabeth abolished the office of constable. In the parish of Tintagel is the hamlet of Bossiney which under the name of Tintagel received a charter (undated) from Richard king of the Romans, granting freedom to the borough and to the burgesses freedom from pon

The manufacture of tin-plate was long a monopoly of Bohemia, but about 1620 the industry spread to Saxony. In 1665 Andrew Yarranton (1616-1684?), an English engineer and agriculturist, was commissioned to go to Saxony and if possible discover the methods employed. According to his own account (England's Improvement, pt. ii. 1681), he was very civilly treated" and was allowed to see the whole process. On his return to England his friends undertook the manufacture on an experimental scale, but though they were successful they had to abandon it, because their method became known and a patent for it was "trumpt up" by a rival, who, however, from lack of technical skill was unable to work it. Half a century later the manufacture was revived by Major John Hanbury (1664-1734) at Pontypool; the "method of rolling iron plates by means of cylinders," said to have been devised by him, enabled more uniform black plates to be produced than was possible with the old plan of hammering, and in consequence the English tin-plate became recognized as superior to the German. During the next hundred years or so the industry spread steadily in England and Wales, and after 1834 its expansion was rapid, especially in Wales, Great Britain becoming the chief source of the world's supply. In that year her total production was 180,000 boxes of 108 lb each (in America a box is 100 lb), in 1848 it wastage and stallage throughout Cornwall, a market on Wednesdays 420,000 boxes, in 1860 it reached 1,700,000 boxes, in 1870 nearly 3.460,000 boxes, and in 1890 it exceeded 9,500,000 boxes. In the United States the manufacture of tin- and terne-plates did not make much way until about 1890, and up to 1892 the bulk of the supply was imported from Great Britain. But subsequently the advance was rapid, and the production, which was about 2,236,000 lb in 1891, had by 1900 increased to more than 849,000,000 lb, of which over 141,000,000 lb were terne-plates. The total imports in that year were only 135,264,881 b. In later years, again, there was a decline in the American production, and in 1907 only 20% of the American tin-plate mills were at work, while the British production reached 14 million boxes.

There are two processes for the tinning of the black plates. In the "palm-oil" process, which is the older, the plates, after being properly annealed, are scoured with sand and water and pickled in dilute sulphuric acid alternately until they are perfectly clean and bright. They are then washed in water, and after being boiled in

and a three days' fair at Michaelmas. This charter was confirmed in 1386. In 1333 the burgesses, those who held tenements within the borough, numbered 100. The borough, which apparently owed its existence to the castle, shared its fortunes.

Leland calls attention to the decay of a great number of houses. Its charter was surrendered to Charles II. and a new one obtained from his brother in 1685. Under the latter a mayor, recorder, six common councillors, a coroner, six freemen and a common clerk were to constitute the corporation. For supplying vacancies in it the votes of those only who were members of it were required. Provision was made for the administration of the borough. Bossiney acquired the right of electing two members of parliament in 1553, the franchise being originally vested in the freeholders within the borough. By the middle of the

18th century the franchise had become restricted to the freemen | of himself and his brother-the latter playing a guitar-with a or burgesses. In 1784 the vicar of Tintagel, as mayor and only qualified elector, enjoyed the probably unique privilege of returning two members to the House of Commons. In 1832 there were ten resident legal voters within the borough and nine out-voters. The Reform Act transferred their votes to the county. There is now no market, and the only fair is held on the 21st of October. See Victoria County History: Cornwall, Sir J Maclean, History of Trigg Minor.

TINTERN ABBEY, in Monmouthshire, one of the most famous ecclesiastical ruins in England It is beautifully situated on the right bank of the river Wye The abbey was founded by Walter de Clare in 1131 for Cistercian monks. The existing church, however, dates from the later part of the 13th century; it is unroofed, and the nave is imperfect, but many of the finest details of a style transitional from Early English to Decorated are preserved. The church is cruciform. Cloisters and other monastic buildings, of which there are considerable remains, lay to the north of the church. The foundation was dissolved by Henry VIII. At the neighbouring village of Tintern Parva there is a station on a branch of the Great Western railway. TINTORETTO, JACOPO ROBUSTI (1518-1594), one of the greatest painters of the Venetian school, was born in Venice in 1518, though most accounts say in 1512. His father, Battista Robusti, was a dyer, or "tintore "; hence the son got the nickname of "Tintoretto," little dyer, or dyer's boy, which is Englished as Tintoret. In childhood Jacopo, a born painter, began daubing on the dyer's walls; his father, noticing his bent, took him round, still in boyhood, to the studio of Titian, to see how far he could be trained as an artist. We may suppose this to have been towards 1533, when Titian was already (according to the ordinary accounts) fifty-six years of age. Ridolfi is our authority for saying that Tintoret had only been ten days in the studio when Titian sent him home once and for all. The reason, according to the same writer, is that the great master observed some very spirited drawings, which he learned to be the production of Tintoret; and it is inferred that he became at once jealous of so promising a scholar. This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Robusti, although he might become a painter, would never be properly a pupil. From this time forward the two always remained upon distant terms-Robusti being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turning the cold shoulder to Robusti. Active disparagement also was not wanting, but it passed unnoticed by Tintoret. The latter sought for no further teaching, but studied on his own account with laborious zeal; he lived poorly, collecting casts, bas-reliefs, &c., and practising by their aid. His noble conception of art and his high personal ambition were evidenced in the inscription which he placed over his studio-" Il disegno di Michelangelo ed il colorito di Tiziano" (Michelangelo's design and Titian's colour). He studied more especially from models of Michelangelo's "Dawn," "Noon," "Twilight" and "Night," and became expert in modelling in wax and clay-a method (practised likewise by Titian) which afterwards stood him in good stead in working out the arrangement of his pictures. The models were sometimes taken from dead subjects dissected or studied in anatomy schools; some were draped, others nude, and Robusti was wont to suspend them in a wooden or cardboard box, with an aperture for a candle. Now and afterwards he very frequently worked by night as well as by day. The young painter Schiavone, four years Robusti's junior, was much in his company. Tintoret helped Schiavone gratis in wall-paintings; and in many subsequent instances he worked also for nothing, and thus succeeded in obtaining commissions. The two earliest mural paintings of Robusti-done, like others, for next to no pay-are said to have been "Belshazzar's Feast" and a "Cavalry Fight," both long since perished. Such, indeed, may be said to have been the fate of all his frescoes, early or later. The first work of his which attracted some considerable notice was a portrait-group |

nocturnal effect; this also is lost. It was followed by some historical subject, which Titian was candid enough to praise. One of Tintoret's early pictures still extant is in the church of the Carmine in Venice, the "Presentation of Jesus in the Temple "; also in S. Benedetto are the "Annunciation" and "Christ with the Woman of Samaria." For the Scuola della Trinità (the scuole or schools of Venice were more in the nature of hospitals or charitable foundations than of educational institutions) he painted four subjects from Genesis. Two of these, now in the Venetian Academy, are "Adam and Eve " and the "Death of Abel," both noble works of high mastery, which leave us in no doubt that Robusti was by this time a consummate painter-one of the few who have attained to the highest eminence by dire study of their own, unseconded by any training from some senior proficient

Towards 1546 Robusti painted for the church of the Madonna dell' Orto three of his leading works-the " Worship of the Golden Calf," the " Presentation of the Virgin in the Temple," and the "Last Judgment "--now shamefully repainted, and he settled down in a house hard by the church. It is a Gothic edifice, looking over the lagoon of Murano to the Alps, built in the Fondamenta de' Mori, still standing, but let out cheap to artisans. In 1548 he was commissioned for four pictures in the Scuola di S. Marco-the "Finding of the body of St Mark in Alexandria" (now in the church of the Angeli, Murano), the "Saint's Body brought to Venice," a Votary of the Saint delivered by invoking him from an Unclean Spirit" (these two are in the library of the royal palace, Venice), and the highly and justly celebrated "Miracle of the Slave." This last, which forms at present one of the chief glories of the Venetian Academy, represents the legend of a Christian slave or captive who was to be tortured as a punishment for some acts of devotion to the evangelist, but was saved by the miraculous intervention of the latter, who shattered the bone-breaking and blinding implements which were about to be applied. These four works were greeted with signal and general applause, including that of Titian's intimate, the too potent Pietro Aretino, with whom Tintoret, one of the few men who scorned to curry favour with him, was mostly in disrepute. It is said, however, that Tintoret at one time painted a ceiling in Pietro's house, at another time, being invited to do his portrait, he attended, and at once proceeded to take his sitter's measure with a pistol (or a stiletto), as a significant hint that he was not exactly the man to be trifled with. The painter having now executed the four works in the Scuola di S. Marco, his straits and obscure endurances were over. He married Faustina de' Vescovi, daughter of a Venetian nobleman. She appears to have been a careful housewife, and one who both would and could have her way with her not too tractable husband. Faustina bore him several children, probably two sons and five daughters.

The next conspicuous event in the professional life of Tintoret is his enormous labour and profuse self-development on the walls and ceilings of the Scuola di S. Marco, a building which may now almost be regarded as a shrine reared by Robusti to his own genius. The building had been begun in 1525 by the Lombardi, and was very deficient in light, so as to be particularly ill-suited for any great scheme of pictorial adornment. The painting of its interior was commenced in 1560. In that year five principal painters, including Tintoret and Paul Veronese, were invited to send in trial-designs for the centre-piece in the smaller hall named Sala dell' Albergo, the subject being S. Rocco received into Heaven. Tintoret produced not a sketch but a picture, and got it inserted into its oval. The competitors remonstrated, not unnaturally; but the artist, who knew how to play his own game, made a free gift of the picture to the saint, and, as a by-law of the foundation prohibited the rejection of any gift, it was retained in situ-Tintoret furnishing gratis the other decorations of the same ceiling. (This is one version of the anecdote: there is another version, which, though differing in incident, has the like general bearing.) In 1565 he resumed work at the scuola, painting the magnificent "Crucifixion," for which a sum of

handsome amount; Robusti is said to have abated something from it, which is even a more curious instance of ungreediness for pelf than earlier cases which we have cited where he worked for nothing at all.

250 ducats was paid. In 1576 he presented gratis another | hardly at all from restoration. Robusti was asked to name his centre-piece-that for the ceiling of the great hall, representing own price, but this he left to the authorities. They tendered a the "Plague of Serpents "; and in the following year he completed this ceiling with pictures of the "Paschal Feast" and "Moses striking the Rock"-accepting whatever pittance the confraternity chose to pay. Robusti next launched out into the painting of the entire scuola and of the adjacent church of After the completion of the "Paradise" Robusti rested for a S. Rocco. He offered in November 1577 to execute the works while, and he never undertook any other work of importance, at the rate of 100 ducats per annum, three pictures being due though there is no reason to suppose that his energies were exin each year. This proposal was accepted and was punctually hausted had his days been a little prolonged. He was seized with fulfilled, the painter's 'death alone preventing the execution of an attack in the stomach, complicated with fever, which prevented some of the ceiling-subjects. The whole sum paid for the scuola him from sleeping and almost from eating for a fortnight, and on throughout was 2447 ducats. Disregarding some minor per- the 31st of May 1594 he died. A contemporary record states formances, the scuola and church contain fifty-two memorable his age to have been seventy-five years and fifteen days. If this paintings, which may be described as vast suggestive sketches, is accurate, the 16th of May 1519 must have been the day of with the mastery, but not the deliberate precision, of finished his birth; but we prefer the authority of the register of deaths in pictures, and adapted for being looked at in a dusky half-light. S. Marciliano, which states that Tintoret died of fever, aged "Adam and Eve," the "Visitation," the "Adoration of the seventy-five years, eight months and fifteen days-thus bringing Magi," the "Massacre of the Innocents," the "Agony in the us to the 16th of September 1518 as the true date of his birth. Garden," ," "Christ before Pilate," "Christ carrying His Cross," He was buried in the church of the Madonna dell' Orto by the and (this alone having been marred by restoration) the " Assump-side of his favourite daughter Marietta, who had died in 1590, tion of the Virgin" are leading examples in the scuola; in the aged thirty; there is a well-known tradition that as she lay dead church," Christ curing the Paralytic." the heart-stricken father painted her portrait. Marietta had herself been a portrait-painter of considerable skill, as well as a musician, vocal and instrumental; but few of her works are now traceable. It is said that up to the age of fifteen she used to accompany and assist her father at his work, dressed as a boy, eventually she married a jeweller, Mario Augusta. In 1866 the grave of the Vescovi and Robusti was opened, and the remains of nine members of the joint families were found in it; a different locality, the chapel on the right of the choir, was then assigned to the grave.

It was probably in 1560, the year in which he began working in the Scuola di S. Rocco, that Tintoret commenced his numerous paintings in the ducal palace; he then executed there a portrait of the doge, Girolamo Priuli. Other works which were destroyed in the great fire of 1577 succeeded-the "Excommunication of Frederick Barbarossa by Pope Alexander III." and the " Victory of Lepanto." After the fire Tintoret started afresh, Paul Veronese being his colleague; their works have for the most part been disastrously and disgracefully retouched of late years, and some of the finest monuments of pictorial power ever produced are thus degraded to comparative unimportance. In the Sala | dello Scrutinio Robusti painted the "Capture of Zara from the Hungarians in 1346 amid a Hurricane of Missiles "; in the hall of the senate, "Venice, Queen of the Sea "; in the hall of the college, the "Espousal of St Catherine to Jesus "; in the Sala dell' Anticollegio, four extraordinary masterpieces-" Bacchus, with Ariadne crowned by Venus," the " Three Graces and Mercury," "Minerva discarding Mars," and the " Forge of Vulcan "-which | were painted for fifty ducats each, besides materials, towards 1578; in the Antichiesetta, "St George and St Nicholas, with St Margaret" (the female figure is sometimes termed the princess whom St George rescued from the dragon), and "St Jerome and St Andrew "; in the hall of the great council, nine large compositions, chiefly battle-pieces. We here reach the crowning production of Robusti's life, the last picture of any considerable importance which he executed, the vast "Paradise," in size 74 ft. by 30, reputed to be the largest painting ever done upon canvas. It is a work so stupendous in scale, so colossal in the sweep of its power, so reckless of ordinary standards of conception or method, so pure an inspiration of a soul burning with passionate visual imagining and a hand magical to work in shape and colour, that it has defied the connoisseurship of three centuries, and has generally (though not with its first Venetian contemporaries) passed for an eccentric failure; while to a few eyes (including those of the present writer) it seems to be só transcendent a monument of human faculty applied to the art pictorial as not to be viewed without awe nor thought of without amazement. While the commission for this huge work was yet pending and unassigned Robusti was wont to tell the senators that he had prayed to God that he might be commissioned for it, so that paradise itself might perchance be his recompense after death. Upon eventually receiving the commission in 1588 he set up his canvas in the Scuola della Misericordia and worked indefatigably at the task, making many alterations and doing various heads and costumes direct from nature. When the picture had been brought well forward he took it to its proper place and there finished it, assisted by his son Domenico for details of drapery, &c. All Venice applauded the superb achievement, which has in more recent times suffered from neglect, but fortunately

Tintoret painted his own portrait at least twice, one of the heads being in the Uffizi Gallery of Florence and the other, done when his age was advanced, in the Louvre. It is a very serious face, somewhat blunt and rugged, but yet refined without the varnish of elegance-concentrated and resolute, its native ardours of frankness and energy welded down into lifelong laboriousness, with a pent look as of smouldering fire. The eyes are large, dark and round; the grizzled hair close and compact. The face has been held to bear some resemblance to that of Michelangelo, but this does not go very far. Robusti appears also as one of the figures in the two vast pictures by Paul Veronesethe "Marriage in Cana " and the "Feast in the House of Levi."

draughtsman, majestically great as a colourist, prodigious as an
Audacious and intrepid, though not constantly correct, as a
executant, Tintoret was as absolute a type of the born painter as
the history of art registers or enables us to conceive. Whatever
he did was imaginative-sometimes beautiful and suave (and he
was eminently capable of painting a lovely female countenance
or an heroic man), often imposing and romantic, fully as often
turbulent and reckless, sometimes trivial, never unpainter-like or
prosaic. When he chose-which was not always-he painted his
entire personages characteristically; but, like the other highest
of his faces as evincing incidental emotion. In several of his works-
masters of Venice, he conceded and attended little to the expression
as especially the great" Crucifixion " in S. Rocco-there is powerful
central thought, as well as inventive detail; but his imagination
is always concrete: it is essentially that of a painter to whom the
means of art the form, colour, chiaroscuro, manipulation, scale,
distribution are the typical and necessitated realities. What he
imagines is always a visual integer, a picture-never a treatise,
however thoughtfully planned or ingeniously detailed. Something
that one could see-that is his ideal, not something that one could
narrate, still less that one could deduce and demonstrate. In his
treatment of action or gesture the most constant peculiarity is the
sway and swerve of his figures: they bend like saplings or rock like
forest-boughs in a gale; stiffness or immobility was entirely foreign
to his style, which has therefore little of the monumental or severe
ing "the colour of Titian with the design of Michelangelo." The
character. Perhaps he felt that there was no other way for combin-
knitted strength and the transcendent fervour of energy of the
supreme Florentine might to some extent be emulated; but, if they
were to be united with the glowing fusion of hue of the supreme
Venetian, this could only be attained by a process of relaxing the
excessive tension and modifying muscular into elastic force.
this respect he was a decided innovator; but he had many imitators,
comparatively feeble if we except Paul Veronese.

In