Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/298

 eighty talents, and placed them in the Temple of Venus Genetrix. The Ajax depicted the hero in his madness, in a sitting posture, contemplating suicide (Philos., Vit. Apol., ii. 10; Ovid., Trist., ii. 525). In the other, which is highly praised by the ancient writers, Medea was represented meditating the murder of her children, but hesitating between the impulses of revenge for her wrongs and of pity for her offspring. Other works of Timomachus mentioned by Pliny (l. c.) are an Orestes (Anthol. Gr., iv. 183, 306), an Iphigenia in Tauris, a Lecythion, and the Gorgon (Medusa slain by Perseus).

TIMOTEO DA URBINO. See Vite, Timoteo.

TIÑOSO, EL. See Elizabeth of Hungary, St.

TINTI, GIAMBATTISTA, born in Parma about 1560, died before 1620. Lombard school; pupil of Orazio Sammacchini, but studied Pellegrino Tibaldi, and when he returned to Parma took as his models the works of Correggio and of Parmigianino. He was the last of the painters of the old school at Parma. Works: Magdalen, Parma Gallery; Mystery of the Passion, Louvre.—Lanzi, ii. 412; Ch. Blanc, École lombarde; Lavice, 256.

TINTORETTA, LA, born in 1560, died in 1590. Venetian school. Marietta Robusti, daughter and pupil of Jacopo Robusti, called Tintoretto. Acquired a considerable reputation as a portrait painter.—Ridolfi, Marav., ii. 259; Ch. Blanc, École vénitienne.

TINTORETTO, DOMENICO, born in Venice in 1562, died there in 1637. Venetian school; son and pupil of Jacopo Robusti, called Tintoretto. Followed in his father's footsteps, but was inferior to him in invention and in colouring. More successful in portraits than in historical painting, but executed some large commissions in the Palazzo Ducale, Venice; among them, Naval Battle at Salvore, Conquest of Constantinople by Crusaders (1204), and Surrender of Zara.—Ch. Blanc, École vénitienne.

TINTORETTO, JACOPO, born in Venice, Sept. 29, 1518, died there, May 31, 1594. Venetian school. Real name Jacopo Robusti; son of a silk dyer (tintore), whence called Il Tintoretto. Pupil of Titian, who is said to have discharged him because he feared in him a future rival; but this is not probable, as Titian was nearly sixty years old at the time. Adopting as his motto Titian's colouring and Michelangelo's drawing, Tintoretto won a reputation second to none in his time; but whether he actually attained the high standard of excellence which he had set for himself is a question on which critics are divided. All, however, unite in regarding him as one of the greatest of masters in composition, drawing, and colour, and Ruskin places him above Titian and beside Michelangelo. Recognizing the unequal merit of his works, the Venetians said that there were three Tintorettos—one of bronze, one of silver, and one of gold; and Annibale Carracci said that, if sometimes equal to Titian, he was often inferior to Tintoretto. With a rapidity of execution which procured him the nickname of Il Furioso, he covered walls and ceilings with vast compositions, some of which are so slight in treatment and wanting in finish that they are little more than decorations, though often grand in design and marvellous in effects of light and shade. His Paradise, Palazzo Ducale, is the largest picture on canvas in existence. One of his most famous pictures is the Miracle of St. Mark, in the Venice