This article is a postscript on the author’s 2018–2019 exhibition Drawing in Tintoretto’s Venice, reviewing some of the main themes of the exhibition and reinforcing the essential role of drawing in Tintoretto’s artistic practice. The article also includes notes about some discoveries made during the exhibition, after the catalogue had gone to press, regarding the survival and provenance of Tintoretto’s drawings, as well as some preliminary revelations offered by recent technical study. Finally, it offers comments on a handful of drawings at the margins of Tintoretto’s œuvre, works of disputed attribution that may nonetheless provide additional insights about the use of drawing in Tintoretto’s workshop.