It was in 1548, when he was thirty, that Tintoretto's real chance came, for he was then invited to contribute to the decoration of the Scuola of S.Marco, and for it he produced one of his greatest works, "The Miracle of S.
Mark," now in the Accademia.

The novelty of its vivid force and drama, together with its power and assurance, although, as I have said, at first disconcerting to the unprepared critics, soon made an impression; spectators were carried off their feet; and Tintoretto's fame was assured.

See opposite page 170.
I have not counted the Venetian churches with examples of Tintoretto's genius in them (it would be simpler to count those that have none); but they are many and his industry was enormous.

One likes to think of his studio being visited continually by church patrons and prelates anxious to see how their particular commission was getting on.
Tintoretto married in 1558, two years after Shakespeare's birth, his wife being something of an heiress, and in 1562 his eldest son, Domenico, who also became an artist, was born.

We have seen how in 1560 Tintoretto competed for the S.Rocco decorations; in 1565 he painted "The Crucifixion"; and he was working on the walls of the Scuola until 1588.