and adopt a better manner of study."

By this it appears that the principal attention of the Venetian painters,
in the opinion of Michael Angelo, seemed to be engrossed by the study of
colours, to the neglect of the ideal beauty of form, or propriety of
expression. But if general censure was given to that school from the
sight of a picture of Titian, how much more heavily, and more justly,
would the censure fall on Paulo Veronese, or more especially on Tintoret?
And here I cannot avoid citing Vasari's opinion of the style and manner
of Tintoret. "Of all the extraordinary geniuses," says he, "that have
ever practised the art of painting, for wild, capricious, extravagant,
and fantastical inventions, for furious impetuosity and boldness in the
execution of his work, there is none like Tintoret; his strange whims are
even beyond extravagance; and his works seem to be produced rather by
chance than in consequence of any previous design, as if he wanted to
convince the world that, the art was a trifle, and of the most easy
attainment."

For my own part, when I speak of the Venetian painters, I wish to be
understood to mean Paulo Veronese and Tintoret, to the exclusion of
Titian; for though his style is not so pure as that of many other of the
Italian schools, yet there is a sort of senatorial dignity about him,
which, however awkward in his imitators, seems to become him exceedingly.
His portraits alone, from the nobleness and simplicity of character which
he always gave them, will entitle him to the greatest respect, as he
undoubtedly stands in the first rank in this branch of the art.

It is not with Titian, but with the seducing qualities of the two former,
that I could wish to caution you, against being too much captivated.
These are the persons who may be said to have exhausted all the powers of