In sixteenth-century Venice, Tintoretto, helped by his studio assistants, produced work so quickly that he was nicknamed ‘Il Furioso’ (“The Furious”) by his contemporaries. He had received almost no formal training. Without the benefit of an apprenticeship in the studio of a major artist he had to find work the hard way: by under-cutting prices and delivering faster than his competitors (who included Titian and Veronese). The scourge of the Venetian art market, Tintoretto would obtain commissions by either working for no fee or charging only for the cost of materials. His work, characterised by muscular figures, dramatic gestures and movement takes the art of the Mannerist period into the excitement of the Baroque. By the end of his life, he was working for the wealthiest in Venice and for international patrons. Yet he never forgot his roots and the poorer churches and scuole which had supported him in his early days. What might have driven his ambition, and why might he have given so much of his work away?