This essay publishes four drawings as belonging to Domenico Tintoretto’s youthful period when, alternatively, he collaborated with his father or worked independently. The author substantiates assigning the first of the four sheets to Domenico (its current whereabouts unknown) as first advanced by Hans Tietze and Erika Tietze-Conrat who recognized its connection with Joachim Expelled from the Temple in San Trovaso. Similarly, the altarpiece of the Coronation of the Virgin in San Giorgio Maggiore is also entirely by Domenico, and a drawing in the Uffizi (Gabinetto dei disegni e stampe) can be associated with him. The third sheet (Besançon, Musée des Beaux-Arts) is Domenico’s study of a head dating to the 1590s and characterized by the intense facial expressivity typical of the artist. The last drawing (Rotterdam, Museum Boijmans-van Beuningen) once bore an attribution to Veronese, but it is here given to Domenico as a preparatory study for his portraits of seated women which were among his greatest successes of the 1590s. Domenico continued to produce such sheets for the rest of his career, but rarely were they as successful as this one.