2 10 16 https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace/35/1200px-Jacopo_Tintoretto_-_Minerva_Sending_Away_Mars_from_Peace_and_Prosperity_-_WGA22619.jpg 80afb82095cb64ab8fcf6d358ba5a57f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Minerva Sending Away Mars from Peace and Prosperity Description An account of the resource Jacopo Tintoretto was an Italian painter born in Venice whose art was characterized by uniqueness in composition and handling. His painting “Minerva Sending Away Mars from Peace and Prosperity” is part of a group of four extraordinary square paintings that include “Bacchus, Venus, and Adriane,” “Vulcan’s Forge,” and “Mercury and the Graces.” These four paintings were made to celebrate the successful government of Doge Girolamo Priuli. The paintings include mythological and allegorical figures that are meant to emphasize ideas of prosperity and power during Doge Girolamo Priuli’s reign. The four paintings were originally on the walls of the Atrio Quadrato in the Palazzo Ducale, but they are now arranged symmetrically in the Sala dell'Anticollegio in the Palazzo Ducale. In “Minerva Sending Away Mars from Peace and Prosperity,” Tintoretto uses contrasting colors and mythological figures to depict his story. Minerva is seen protecting Peace (wearing an olive wreath crown) and Prosperity (who is partially appearing in the scene to fill her bowl with fruit) from Mars (God of War). As one can see, Tintoretto makes the left side of the painting that includes Minerva, Peace, and Prosperity bright by using light colors in skin, clothes, and accessories. Meanwhile, Tintoretto depicts the right side of the painting that includes Mars as dark, which can be seen through the black armor and lack of bright paint colors. The painting is showing how Minerva is shielding Venice from war in order to keep peace and prosperity in Venice. The lightness on the left side of the painting displays the serene nature of Venice and its success. Peace and Prosperity appear to be glowing in the picture, and this glow can be associated with the thriving nature of Venice under Doge Girolamo Priuli. Creator An entity primarily responsible for making the resource Tintoretto, Jacopo Source A related resource from which the described resource is derived Tintoretto, Jacopo (Venetian painter, 1519-1594). Work: 1576 - 1577, Era: CE, Image: 1967. Minerva Sending Away Mars from Peace and Prosperity, Peace, Harmony and Minerva banishing Mars, general view. painting (visual works). https://library.artstor.org/asset/SS7730878_7730878_10448088. "A Portrait by Jacopo Tintoretto." The Burlington Magazine for Connoisseurs 83, no. 487 (1943): 254-56. Accessed September 14, 2020. http://www.jstor.org/stable/868738. Rearick, W. R. "Venice. Palazzo Ducale and Libreria Marciana." The Burlington Magazine 123, no. 944 (1981): 699-703. Accessed September 14, 2020. http://www.jstor.org/stable/880557. Brooke, Caroline. "The Re-Use of Drawings in the Workshop of Jacopo Tintoretto." The Burlington Magazine 150, no. 1267 (2008): 677-80. Accessed September 14, 2020. http://www.jstor.org/stable/40479903. Cessi, Roberto, and Denis E. Cosgrove. “Cultural Heritage: the Myth of Venice,” April 23, 2020. Accessed September 14, 2020. https://www.britannica.com/place/Venice/Cultural-heritage-the-myth-of-Venice. Publisher An entity responsible for making the resource available Doge Girolamo Priuli Date A point or period of time associated with an event in the lifecycle of the resource 1576 - 1577 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource © Rector and Visitors, University of Virginia Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148 x 168 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sala dell’Anticollegio, Ducal Palace, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Return_of_Jacob_with_His_Family/12jacob1.jpg 3a514023d55669e4d60dd86790d01297 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Return of Jacob with His Family Creator An entity primarily responsible for making the resource Jacopo Bassano Date A point or period of time associated with an event in the lifecycle of the resource Circa 1580 Contributor An entity responsible for making contributions to the resource Olivia Migli Format The file format, physical medium, or dimensions of the resource Oil on canvas, 150 x 205 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice Source A related resource from which the described resource is derived Nichols, Tom. “Jacopo Bassano, Regionalism, and Rural Painting.” Shibboleth Authentication Request. Accessed September 14, 2020. https://web-a-ebscohost-com.proxy.lib.duke.edu/ehost/detail/detail?vid=30. Christiansen, Keith. “Jacopo Dal Ponte, Called Bassano (Ca. 1510–1592).” metmuseum.org, March 2009. https://www.metmuseum.org/toah/hd/bass/hd_bass.htm. Web Gallery of Art, searchable fine arts image database. Accessed September 14, 2020. https://www.wga.hu/index1.html. Description An account of the resource This painting was painted by Jacopo Bassano, a young man who trained at the cosmopolitan workshop of Bonifacio de’Pitati, circa 1580. This particular painting is apart of the collection of the Sala del Anticollegio in the Palazzo Ducale. Seen in the painting is the biblical story of Jacob, later renamed Israel, and his family's journey back to Canaan. Bassano was known to use the allegory of biblical travel to describe the wandering in search of salvation which is exemplified in the Return of Jacob and His Family. Bassano uses light colors to shine a light on the foreground of the painting. The herd of animal and people are the spotlight along with a brightly lit sky behind a mountain off in the distance. The herd consist of sheep, mule, a horse, and some cow. Darker colors make up the middle ground and edges of the rural landscape in the painting. The trees and forest are all very dark browns, grays, and black. The simplicity of the background makes the detail of the people and animals even more prominent. The sky surrounding the one bright spot looks stormy and cloudy. The contrasting colors lead the gaze of the audience through the painting, which allowed Bassano to effectively tell this story. It is showing the journey of Jacob and his family and of the salvation waiting ahead of them in Canaan, symbolized by the bright spot in the distance, as if salvation is lying ahead waiting for them. The rural landscape is very similar to his other works, as he’s well known for his depiction of domestic animals and peasant-like people at work. The collection of house hold items cluttered around the image are also a telltale sign of Bassano’s work. Publisher An entity responsible for making the resource available https://www.wga.hu/art/b/bassano/jacopo/2/12jacob1.jpg https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/The_Lion_of_the_St._Mark/Lion_of_St._Mark.jpeg 41a00b5b0b29fdf01b6aebe515cce364 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Lion of the St. Mark Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Benezit Dictionary of Artists. "Carpaccio, Vittore." Last modified October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00032555. Cook, Albert. "Carpaccio's Animals." The Centennial Review 27, no. 4 (1983): 224-43. http://www.jstor.org/stable/23739724. Fortini-Brown, Patricia. Venetian Narrative Painting in the Age of Carpaccio. New Haven: Yale University Press, 1994. Grasman, Edward. "A Salute to You: Expansion under the Wings of Saint Mark." Artibus Et Historiae 33, no. 66 (2012): 121-31. http://www.jstor.org/stable/23509747. Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Date A point or period of time associated with an event in the lifecycle of the resource 1516 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Tempera on canvas, 130.0 x 368.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed September 15, 2020. https://library.artstor.org/asset/ARTSTOR_103_41822000478501. Description An account of the resource Vittore Carpaccio (c. 1465 – c. 1520) painted The Lion of St. Mark in 1516 on commission for the Palazzo dei Camerlenghi near the Rialto district [1]. It features a large lion in its center––which represents the Republic’s patron saint St. Mark and therefore the Republic itself––holding a book inscribed with the message “Peace unto you, Mark my evangelist” [2]. Behind the beast is a detailed landscape of Venice, showing key centers of power like the Ducal Palace (home of Venice’s leader, the Doge), St. Mark’s Campanile, and the Arsenal of the city. This painting serves a two-fold purpose, which we can analyze with aid from the location at which it was originally displayed as well as the historical context. Its first layer of meaning comes from its placement in the Palazzo dei Camerlenghi. The large building was not a personal residence but rather a set of offices used for clerical purposes. Thus, the vast size of the work gave all visitors an impression of the sheer power of the family that commissioned it––and whose coat of arms can be seen clearly below the lion’s front foot. The self-promotion of power, however, was not limited to just that of the administrative sense. It also projected the power of Venice. To understand the true intent of Carpaccio’s piece, we have to look at the events directly preceding it. In 1509, several political and religious powers formed the League of Cambrai to counter Venice’s growing influence in the region [3]. Through a series of wars, the Republic had lost much of its territorial holdings and so desperately needed to reassert its dominance or risk collapse [4]. Thus, the Lion of St. Mark––which appears to be coming out of the sea (its traditional area of strength) and onto the land––expresses its desire to have dominion over both. It at the same time reinforces the myth of Venice: although the ships behind it flex its military might, the book’s inscription emphasizes its divine protection as the holiest city in Italy. [1] "Carpaccio, Vittore," Benezit Dictionary of Artists, last modified October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00032555. [2] Albert Cook, "Carpaccio's Animals," The Centennial Review 27, no. 4 (1983): 238. [3] Edward Grasman, "A Salute to You: Expansion under the Wings of Saint Mark," Artibus Et Historiae 33, no. 66 (2012): 122. [4] Patricia Fortini-Brown, Venetian Narrative Painting in the Age of Carpaccio (New Haven: Yale University Press), 1994, 54. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Scala_dei_Giganti/Scala_dei_Giganti.jpg 1c44e5e8cff95742bfc25f4e762cad06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scala dei Giganti Creator An entity primarily responsible for making the resource Antonio Rizzo Source A related resource from which the described resource is derived Fenlon, Iain, Piazza San Marco, (Cumberland: Harvard University Press, 2009), Accessed September 13, 2020, ProQuest Ebook Central. Muir, Edward, "Images of Power: Art and Pageantry in Renaissance Venice," The American Historical Review 84, no. 1 (1979): 16-52, doi:10.2307/1855658. Rizzo, Antonio, (Italian architect and sculptor, born before 1440, died 1499 or after) sculptors. 1486-1497 (creation). Scala dei Giganti, View: full, View from inside the passage. stairs. Place: Palazzo Ducale (Venice, Italy)Venice, Venezia, Veneto, Italy. https://library.artstor.org/asset/HUCB_SHARE_109913123485. Wiebke Pohlandt, "Antonio Rizzo," Jahrbuch Der Berliner Museen 13, (1971): 162-207, doi:10.2307/4125724. Wolters, Wolfgang, "Rizzo, Antonio," Grove Art Online, 2003; Accessed 13 Sep. 2020. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000072338</a>. Publisher An entity responsible for making the resource available Doge Foscari Date A point or period of time associated with an event in the lifecycle of the resource c. 1486-1497 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource © Loren Partridge Format The file format, physical medium, or dimensions of the resource Limestone and colored marble, originally partially gilt Type The nature or genre of the resource Sculpture/Architecture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Description An account of the resource The Scala dei Giganti, which is depicted, is an entrance to the Doge’s Palace. Made of limestone and marble, this staircase is one of many representations of Venetian power and wealth. Although the staircase itself was commissioned to Antonio Rizzo, it is important to recognize that its title is derived from the two sculptures that stand tall at the top of the staircase. Translated into English, Scala dei Giganti literally means “staircase of giants” and refers to the two mythological figures at the top. Standing at the base of the staircase, immediately the quatrefoil design in the base in front of the steps is noticed. When approaching the staircase as depicted in the image, it is important to recognize the role of the two statues at the top: Mars and Neptune. While their symbolic meaning is important, we shall focus on the image for now. Both sculptures create vertical lines, creating a space in between in which the viewer’s eyes follow. As the viewer climbs the steps, the eyes follow the railing of the staircase (which are embedded with high relief imagery) to the two arches flanking the staircase that are below the feet of the sculptures. In their own niches, a coat of arms is shown on each arch, with two divine figures pointing to the coat of arms in high relief. Upon reaching the top of the flight, the viewer is overcome by the two sculptures, Mars (left) and Neptune (right), which stand in contrapposto, another characteristic of Roman art that had made its way into Venetian culture. Mars, the Roman god of war, is depicted as muscular, with a shield behind his right leg and a Roman war helmet on his head. Adjacent to him stands Neptune, the god of the sea, who is also depicted as muscular, with great detail being put into his hair, almost giving the sculpture and sense of animation and fluidity. Both vertical lines of the sculptures lead up to a sculpture of St. Mark’s lion, embedded into the arcade behind the two Roman gods. Each arch has a mixture of high and low relief motifs that lead down towards the doric pilasters which are assimilated into the facade. Given that Venice was an expanding state, with its foreign interests ranging from Milan to the Eastern Mediterranean, it was important that Venice built on this concept of power and righteousness. By incorporating the Roman gods--Mars and Neptune--not only does Venice make the statement that they are powerful on both land and sea, but Venice also makes the statement that they have a seat at the international table with just as much, if not more, authority and power than Rome. This, in conjunction with the fact that this staircase was used for royal processions as well as welcoming honorary guests from foreign lands, serves as strong evidence for the self-promotion of the Venetian state. https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/download-2.jpg 44b9cebfa23ee64f570914413a52a7d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Minerva Sending Away Mars from Peace and Prosperity Description An account of the resource Painted by Jacopo Tintoretto for Doge Priuli, "Minerva Sending Away Mars from Peace and Prosperity" was created in 1576 and is located in the Room dell'Anticollegio. This painting is part of four paintings in a series by Tintoretto that additionally includes "Bacchus, Venus, and Ariadne", "Vulcan's Forge", and "Mercury and the Graces", and is meant to celebrate and draw attention to the prestigious government of Doge Gerolamo Priuli. Jacopo Tintoretto's art is known for its dramatic lighting and animation between characters interacting. Influenced by Titian's use of color, Tintoretto uses bright and dark colors to contrast moods, personalities, and more. In this painting, Minerva can be seen shielding Peace and Prosperity from Mars. Minerva is portrayed in light hues, with a halo-like aura around her, contrasted severely against Mars, who is dressed in dark armor and appears agitated. This painting signifies Minerva, the Virgin, as the protector of Venice and the serenity of the city, sending Mars, who signifies battle, far away from her guarded nation. In the left of the image, Peace can be seen holding Minerva's arm, while Prosperity's head pokes out in the corner. Both Peace and Prosperity are surrounded by the white glowing hue, and appear healthy and well, signifying Venice's thriving nature under Doge Priuli's rule. Tintoretto's original four canvases in this collection were created for Atrio Quadrato of the Doge's Palace, and meant to accompany Tintoretto's portrait of Doge Priuli. In Atrio Quadrato, the paintings would have been met with reverence from all foreign leaders and ambassadors who came to the palace. These paintings were eventually moved to the Sala dell'Anticollegio, where they hang today. Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived Tintoretto, Jacopo (Venetian painter, 1519-1594). Work: 1576 - 1577, Era: CE, Image: 1967. Minerva Sending Away Mars from Peace and Prosperity, Peace, Harmony and Minerva banishing Mars, general view. painting (visual works). Accessed September 13, 2020. https://library.artstor.org/asset/SS7730878_7730878_10448088 “Save Venice Inc.: Dedicated to Preserving the Artistic Heritage of Venice.” Accessed September 13, 2020. https://www.savevenice.org/project/mercury-and-the-three-graces-the-forge-of-vulcan-minerva-mars-and-peace-bacchus-ariadne-and-venus. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” n.d. Www.Archiviodellacomunicazione.It. Accessed September 13, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE. Minerva Sending Away Mars from Peace and Prosperity by TINTORETTO. Accessed September 14, 2020. https://www.wga.hu/html_m/t/tintoret/4a/1antico2.html. Publisher An entity responsible for making the resource available Doge Girolamo Priuli Date A point or period of time associated with an event in the lifecycle of the resource 1576-1577 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148cm x 168cm Type The nature or genre of the resource Oil Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Room dell'Anticollegio, Ducale Palace, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Paradise/SCALA_ARCHIVES_10310195577.jpg c14883bc07d012d93ad0988caa514ea8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paradise Creator An entity primarily responsible for making the resource Jacopo Tintoretto (1518-1594) and Domenico Tintoretto (1560-1635) Publisher An entity responsible for making the resource available Signoria of Venice Image Source: Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577. Date A point or period of time associated with an event in the lifecycle of the resource 1588-1592 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 700.0 cm x 2200.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Description An account of the resource The Venetian government, the Signoria, created a contest to see who would create a painting modeled after Dante’s Paradise on the wall of the Great Council Hall after the destruction of the fire of 1577. At first, Veronese was chosen to create the new artwork, but as a result of his death, Tintoretto was placed in charge of the commission. Tintoretto, a Venice native, was born into a family of textile workers. It is unclear who he trained under, however, it is noted that his techniques draw inspiration from Michelangelo and Titian [1]. While creating Paradise, Tintoretto suddenly died from a fever, leading to his son Domenico to continue the painting his father started along with the rest of the workshop. As mentioned previously, Paradise was modeled after Dante’s work and depicts over 800 figures, including the Four Evangelists, Archangels Michael and Gabriel, the Four Doctors of the Church, Old Testament figures, Saints, and Jesus and the Virgin Mary on top. Tintoretto and his son composed the piece to draw the viewer’s attention to Mary and Christ at the top. The painting curves with the center focusing on the two figures. As Kinga Lipinska points out, Tintoretto designed Paradise in a linear fashion, with rows of biblical figures forming an arc [2]. The characters are painted as if they are floating in midair, like they are in heaven. The painting is composed to be chaotic with free space only existing around Mary and Christ in order to focus on them. The father and son utilized a dark and subdued color palette for the painting in order to draw the viewer’s attention to the source of light at the top radiating from the two figures’ heads. Tintoretto and his son aimed to depict the ideal state of heaven, or in other words, paradise. They utilize light, an arc structure, and a busy composition to create the feeling as if one is in heaven. He creates this painting with the idea of inviting the viewer to this ideal state. As Tom Nichols puts it, Paradise fuses the concepts of government and heaven to create the sense that the Venetian Senate was created under divine forces [3]. Venice, in the eyes of Tintoretto, is a result of God and heaven above. [1] "Cavallini to Veronese - Italian Renaissance Art", Accessed September 10, 2020, https://cavallinitoveronese.co.uk/general/view_artist/79. [2] Kinga Lipinska, “Tintoretto's Vision of Paradise,” Liturgical Arts Journal, June 11, 2019, https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html [3] Tom Nichols, "Tintoretto: Tradition and Identity," London: Reaktion Books, 1999 Source A related resource from which the described resource is derived Lipinska, Kinga. “Tintoretto's Vision of Paradise.” Liturgical Arts Journal, June 11, 2019. https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html. Nichols, Tom. Tintoretto: Tradition and Identity. London: Reaktion Books, 1999. "Tintoretto.” Cavallini to Veronese - Italian Renaissance Art. Accessed September 10, 2020. https://cavallinitoveronese.co.uk/general/view_artist/79. Tietze, Hans. "The Tintoretto Exhibition at Venice." The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 133-35. Image Source: Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo Ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577.