Der Kaiser im "giardino dell'impero": Zur Rezeption Karls V. in italienischen Bildprogrammen des 16. Jahrhunderts (review)
uncommonly reliable, and readable, narrative account of the painter’s art and career. The ghost at the banquet is Annibale Carracci, one of Tintoretto’s most acute observers, whose art owes so much to him, and who famously wrote to his cousin Ludovico (quoted by Falomir in his introductory essay, 17) that, “I have sometimes seen Tintoretto as equal to Titian, and at other times inferior to Tintoretto.” The comment certainly points to Tintoretto’s fabled speed of execution, and it also raises the question of workshop intervention, especially in the artist’s later years. Lurking beneath it, however, is the further question, not only of Tintoretto and Titian, but also Tintoretto’s rivalry with Veronese. I have myself analyzed Annibale’s study of Tintoretto’s dramatic chiaroscuro, and his assimilation of it to Veronese’s purposefully opposed emphasis on high-key colorism, so naturally I would have liked to see their rivalry explored in closer detail. This quibble aside, I congratulate Falomir and his collaborators on an entirely successful and admirable book. CHARLES DEMPSEY The Johns Hopkins University