Beneath the filtered light of a room whose layout subtly echoes that of an Italian cathedral-long and rectangular, with window-shaped ceiling tiles diffusing fluorescent lights-one experiences momentary escape and is transported back to an age when artists were just beginning to explore the breathtaking potentials of canvas as a medium for large-scale, permanent oil paintings. To see the intricate diamond weave in the deliberately creased and starched linen tablecloth in Titian's "Supper at Emmaus," a detail only achievable with canvas, one must lean close enough to the painting to make the museum guards nervous. Hidden treasures such as this abound in "Titian, Tintoretto, Veronese: Rivals in Renaissance Venice,"a collection of works from three master Venetian painters during the Italian Renaissance. This is a unique exhibit in which the paintings were grouped to showcase three artists' mutual influence and interaction. Here, Frederick Ilchman, assistant curator of paintings at Boston's Museum of Fine Arts, explores nearly three decades of artistic rivalry.

Titian (né Tiziano Vecellio), the oldest of the three and born just north of Venice, arrived in the "City of Water" at the start of the 16th century. After studying under influential Italian Renaissance painter Giovanni Bellini, Titian established himself as a frontrunner in the Venetian school by his early 20s, receiving a salary from the city's senate. Although well-known for his landscapes and portraits, Titian's paintings in this exhibit focus on a variety of themes he shares with Tintoretto and Veronese.

Jacopo Robusti was nearly 30 years younger than Titian. The son of a cloth dyer, Robusti became known as "little dyer," or "Tintoretto." Tintoretto, the sole native Venetian of the exhibit, inextricably linked his career to his rivalry with Titian.

Paolo Caliari, widely known as Veronese (a native son of the city of Verona), did not arrive in Venice until Titian was more than 60 years old and Tintoretto had garnered fame and commissions to rival the older master. The young Veronese surpassed his teachers in Parma and brought with him considerable talent and training.

The exhibit juxtaposes works from each artist in thematically-centered groupings. Unlike most exhibits, the paintings are not chronological, but rather grouped by subject matter, allowing the viewer to compare influence and technique among the three contemporaries.

From nude mythological icons to tunic-clad religious images, Titian, Tintoretto and Veronese created masterpieces featuring creamy-fleshed goddesses and Biblical figures robed in garments richly detailed with highlights, mimicking many fabrics, including linens, satins and silks.

Details such as these elevate the enjoyment and clarity of the exhibit's purpose. Reading a little about the artists or the exhibit ahead of time or getting an audio tour may increase your attention to detail and thus your understanding of the display's goal.

By positioning works in this manner, each grouping encourages the viewer to seek and appreciate elements that they otherwise may not have noticed. Comparing the rivals' commonalities and differences invites the viewer to interact with the paintings. Just as part of the collection's intent is to provide a new perspective on an old rivalry, so too have the restorations necessary for several of the paintings unearthed new discoveries.

Nearly halfway through the exhibit is a room dedicated to a scientific theme-the science of using X-rays and infrared light to look beneath layers of centuries-old oil paints. Previously unseen images appear, revealing, among other secrets, that Tintoretto's "The Nativity" was constructed from previously used canvases, which were cut, resewn and repainted to create the work seen today. In keeping with the exhibit's theme of rivalry, Titian and Veronese are not to be overlooked-each artist has a featured painting that revealed hidden mysteries.

Organized by the Museum of Fine Arts, Boston and the Musée du Louvre, Paris, Titian, Tintoretto and Veronese can be seen at the MFA from March 15 through August 16 in the MFA's Gund Gallery. Ticket and visiting information can be found at the exhibit's Web site: http://www.mfa. org/venice/visit.html.