224. Both Raphael and Michael Angelo are thus, in the most vital of all points, separate from the great Venetian. They are always in dramatic attitudes, and always appealing to the public for praise. They are the leading athletes in the gymnasium of the arts; and the crowd of the circus cannot take its eyes away from them, while the Venetian walks or rests with the simplicity of a wild animal; is scarcely noticed in his occasionally swifter motion; when he springs, it is to please himself; and so calmly, that no one thinks of estimating the distance covered.
I do not praise him wholly in this. I praise him only for the well-founded pride, infinitely nobler than Michael Angelo's. You do not hear of Tintoret's putting any one into hell because they had found fault with his work. Tintoret would as soon have thought of putting a dog into hell for laying his paws on it. But he is to be blamed in this—that he thinks as little of the pleasure of the public, as of their opinion. A great painter's business is to do what the public ask of him, in the way that shall be helpful and instructive to them. His relation to them is exactly that of a tutor to a child; he is not to defer to their judgment, but he is carefully to form it;—not to consult their pleasure for his own sake, but to consult it much for theirs. It was scarcely, however, possible that this should be the case between Tintoret and his Venetians; he could not paint for the people, and in some respects he was happily protected by his subordination to the Senate. Raphael and Michael Angelo lived in a world of court intrigue, in which it was impossible to escape petty irritation, or refuse themselves the pleasure of mean victory. But Tintoret and Titian, even at the height of their reputation, practically lived as craftsmen in their workshops, and sent in samples of their wares, not to be praised or caviled at, but to be either taken or refused.
225. I can clearly and adequately set before you these relations between the great painters of Venice and her Senate—relations which, in monetary matters, are entirely right and exemplary for all time—by reading to you two decrees of the Senate itself, and one petition to it. The first document shall be the decree of the Senate for giving help to John Bellini, in finishing the compartments of the great Council Chamber; granting him three assistants—one of them Victor Carpaccio.
The decree, first referring to some other business, closes in these terms:[44]
"There having moreover offered his services to this effect our most faithful citizen, Zuan Bellin, according to his agreement employing his skill and all speed and diligence for the completion of this work of the three pictures aforesaid, provided he be assisted by the under-written painters.
"Be it therefore put to the ballot, that besides the aforesaid Zuan Bellin in person, who will assume the superintendence of this work, there be added Master Victor Scarpaza, with a monthly salary of five ducats; Master Victor, son of the late Mathio, at four ducats per month; and the painter, Hieronymo, at two ducats per month; they rendering speedy and diligent assistance to the aforesaid Zuan Bellin for the painting of the pictures aforesaid, so that they be completed well and carefully as speedily as possible. The salaries of the which three master painters aforesaid, with the costs of colors and other necessaries, to be defrayed by our Salt Office with the moneys of the great chest.
"It being expressly declared that said pensioned painters be tied and bound to work constantly and daily, so that said three pictures may be completed as expeditiously as possible; the artists aforesaid being pensioned at the good pleasure of this Council.
"Ayes23
"Noes3
"Neutrals 0"