804 wolfgang wolters
the collaboration of assistants, as in the majority of paintings in the
Doge’s Palace and also in those of the scuole, does not automatically make
these paintings “internship works” or “workshop productions.” thus the
question arises as to whether the design of the workshop director, for
example of tintoretto, is to be seen behind the execution of assistants,
who remain anonymous, and whether the interpretation of the presented
theme reflects a dimension of the director’s own work. thus, Domenico
tintoretto’s images, which are often banal in content, differentiate them-
selves from those of his father in more than just the manner of paint-
ing and composition. the mosaics that Bonifacio de’ Pitati, Giuseppe
Porta (c.1520–c.1575), Jacopo tintoretto, and titian designed for S. Marco
demand a differentiated evaluation of the design which they are based
on and of its implementation by mosaicists. therefore, with regard to
the mosaics of San Marco, one must not forget the stipulations (1566 and
1610) that in renewing the mosaics the old (documents) were to be copied
(transcribed) and the original expression should be preserved in stylisti-
cally new attire.
the recognizability of popular styles (of the manner of painting as well
as the interpretation and selection of themes) brought not only success
to the workshop of Bassano, until well into the 17th century, but also the
interchangeability of the products. even if, and perhaps even because,
someone like Francesco Bassano (1549–92) had earned himself a repu-
tation, above all among collectors, as a painter of animals and “simple
people,” Jacopo tintoretto in his historie repeatedly painted animals and
objects, thus indicating that he had mastered the specialty of his rival.
Since the downfall of the republic (1797), countless artworks whose
home was in Venice were destroyed, sold, stolen, dumped, or displaced.
important works are to be found in museums and collections throughout
the world, and there these have also become an important part of the
respective culture.
A Note on Sourcesthis is a selection of more recent publications that can ease the way to
older, but not less important, research. (Due to lack of space, monographs or
investigations dedicated to single questions or themes are not cited.) these
can be found in handbooks, art lexicons, and electronic catalogues (such as
OPAc of the Kunstbibliotheken Fachverbund Florenz-Munich-Rom).