Der heilige Ludwig und der heilige Georg mit der Prinzessin

In 1552 the salt magistrates of Venice needed a painting for their office in the Palazzo dei Camerlenghi, and the custom was simple. Whoever took up the post commissioned their name-saint, coat of arms attached, to hang on the wall. Here two officials' patron saints share the panel, George the dragon-slayer and Louis of Toulouse in his bishop's robes. What got people talking was the third figure. Tintoretto set the rescued princess not off to the side but astride the dragon's own back, silhouetted against the white horse and even mirrored in George's breastplate. The Venetian writer Lodovico Dolce disliked the invention enough to complain about it in print five years later. Tintoretto was in his thirties and already known for taking the boldest route to a striking image.