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+*** START OF THE PROJECT GUTENBERG EBOOK 40251 ***
+
+Transcriber's note:
+
+    Whole and fractional parts of numbers displayed as: 7-3/4
+    Emphasis notation: =Bold= and _Italic_ text
+
+
+       *       *       *       *       *
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son. Sc.
+
+    Titian
+
+    _Prado Gallery, Madrid_]
+
+
+
+
+  Masterpieces of Art
+
+
+  TITIAN
+
+  A COLLECTION OF FIFTEEN PICTURES
+
+  AND A PORTRAIT OF THE PAINTER
+
+  WITH INTRODUCTION AND
+
+  INTERPRETATION
+
+
+  BY
+
+
+  ESTELLE M. HURLL
+
+
+  BOSTON AND NEW YORK
+  HOUGHTON MIFFLIN COMPANY
+
+  COPYRIGHT, 1901, BY HOUGHTON, MIFFLIN & CO.
+  ALL RIGHTS RESERVED
+
+
+
+
+PREFACE
+
+To give proper variety to this little collection, the selections are
+equally divided between portraits and "subject" pictures of religious or
+legendary character.
+
+The Flora, the Bella and the Philip II. show the painter's most
+characteristic work in portraiture, while the Pesaro Madonna, the
+Assumption, and the Christ of the Tribute Money stand for his highest
+achievement in sacred art.
+
+                                 ESTELLE M. HURLL.
+
+  New Bedford, Mass.
+   March, 1901.
+
+
+
+
+CONTENTS AND LIST OF PICTURES
+
+                                                                PAGE
+
+  Portrait of Titian. Painted by himself.              _Frontispiece._
+      Picture from Carbon Print by Braun, Clément & Co.
+
+  Introduction
+       I. On Titian's Character as an Artist                       vii
+      II. On Books of Reference                                     xi
+     III. Historical Directory of the Pictures of this Collection  xii
+      IV. Outline Table of the Principal Events in Titian's Life   xiv
+       V. Some of Titian's Contemporaries                         xvii
+
+     I. The Physician Parma                                          1
+          Picture from Photograph by Franz Hanfstaengl
+
+    II. The Presentation of the Virgin (Detail)                      7
+          Picture from Carbon Print by Braun, Clément & Co.
+
+   III. The Empress Isabella                                        13
+          Picture from Carbon Print by Braun, Clément & Co.
+
+    IV. Madonna and Child with Saints                               19
+          Picture from Photograph by Franz Hanfstaengl
+
+     V. Philip II                                                   25
+          Picture from Carbon Print by Braun, Clément & Co.
+
+    VI. St. Christopher                                             31
+          Picture from Photograph by D. Anderson
+
+   VII. Lavinia                                                     37
+          Picture from Photograph by Franz Hanfstaengl
+
+  VIII. Christ of the Tribute Money                                 43
+          Picture from Carbon Print by Braun, Clément & Co.
+
+    IX. The Bella                                                   49
+          Picture from Carbon Print by Braun, Clément & Co.
+
+     X. Medea and Venus                                             55
+          Picture from Carbon Print by Braun, Clément & Co.
+
+    XI. The Man with the Glove                                      61
+          Picture from Carbon Print by Braun, Clément & Co.
+
+   XII. The Assumption of the Virgin                                67
+          Picture from Carbon Print by Braun, Clément & Co.
+
+  XIII. Flora                                                       73
+          Picture from Carbon Print by Braun, Clément & Co.
+
+   XIV. The Pesaro Madonna                                          79
+          Picture from Photograph by D. Anderson
+
+    XV. St. John the Baptist                                        85
+          Picture from Photograph by D. Anderson
+
+   XVI. The Portrait of Titian                                      91
+
+        Pronouncing Vocabulary of Proper Names and Foreign Words    95
+
+
+
+
+INTRODUCTION
+
+
+I. ON TITIAN'S CHARACTER AS AN ARTIST.
+
+"There is no greater name in Italian art--therefore no greater in
+art--than that of Titian." These words of the distinguished art critic,
+Claude Phillips, express the verdict of more than three centuries. It is
+agreed that no other painter ever united in himself so many qualities of
+artistic merit. Other painters may have equalled him in particular
+respects, but "rounded completeness," quoting another critic's phrase,
+is "what stamps Titian as a master."[1]
+
+To begin with the qualities which are apparent even in black and white
+reproduction, we are impressed at once with the vitality which informs
+all his figures. They are breathing human beings, of real flesh and
+blood, pulsing with life. They represent all classes and conditions,
+from such royal sitters as Charles V. and Philip II. to the peasants and
+boatmen who served as models for St. Christopher, St. John, and the
+Pharisee of the Tribute Money. They portray, too, every age: the tender
+infancy of the Christ child, the girlhood of the Virgin, the dawning
+manhood of the Man with the Glove, the maidenhood of Medea, the young
+motherhood of Mary, the virile middle life of Venetian Senators, the
+noble old age of St. Jerome and St. Peter, each is set vividly before
+us.
+
+The list contains no mystics and ascetics: life, and life abundant, is
+the keynote of Titian's art. The abnormal finds no place in it. Health
+and happiness are to him interchangeable terms.
+
+Yet it must not be supposed that Titian's delineation of life stopped
+short with the physical: he was besides a remarkable interpreter of the
+inner life. Though not as profound a psychologist as Leonardo or Lotto,
+he had at all times a just appreciation of character, and, on occasion,
+rose to a supreme touch in its interpretation. In such studies as the
+Flora, where he is interested chiefly in working out certain technical
+problems, he takes small pains to make anything more of his subject than
+a beautiful animal. The Man with the Glove stands at the other end of
+the scale. Here we have a personality so individual, and so possessing,
+as it were, that the portrait takes rank among the world's masterpieces
+of psychic interpretation.
+
+In his best works Titian's sense of the dramatic holds the golden mean
+between conventionality and sensationalism. In the group of sacred
+personages surrounding the Madonna and Child there is sufficient action
+to constitute a reason for their presence,--to relieve the figures of
+that artificial and purely spectacular character which they have in
+the earlier art,--yet the action is restrained and dignified as befits
+the occasion. The pose of both figures in the Christ of the Tribute
+Money is in the highest degree dramatic without being in any way
+theatrical. The tempered dignity of Titian's dramatic power is also
+admirably seen in the Assumption of the Virgin. The apostles' action is
+full of passion, yet without violence; the buoyant motion of the Virgin
+is unmarred by any exaggeration.
+
+The same painting illustrates Titian's magnificent mastery of
+composition. Perhaps the Pesaro Madonna alone of all his other works is
+worthy to be classed with it in this respect. It is impossible to
+conceive of anything better in composition than these two works. Not a
+line in either could be altered without detriment to the organic unity
+of the plan.
+
+The crowning excellence of Titian is his color. The chief of the school
+in which color was the characteristic quality, he represents all the
+best elements in its color work. If others excelled him in single
+efforts or in some one respect, none equalled him for sustained
+grandeur. A recent criticism sums up his color qualities succinctly in
+these words: "He had at once enough of golden strength, enough of depth,
+enough of éclat; his color, profound and powerful _per se_, impresses us
+more than that of the others, because he brought more of other qualities
+to enforce it."[2]
+
+Titian's works easily fall into a few groups, according to the subject
+treated. In mythological themes he was in his natural element. Here he
+could express the sheer joy of living which was common to the Venetian
+and the Greek. Here physical beauty was its own excuse for being,
+without recourse to any ulterior significance. Here he could exercise
+unhindered his marvellous skill in modelling the human form along those
+perfect lines of grace which give Greek sculpture its distinctive
+character. It is in his earlier period that his affinity with the Greek
+spirit is closest, and we see it in perfect fruition in the Medea and
+Venus.
+
+Titian's treatment of sacred subjects is in the diverse moods of his
+many-sided artistic nature. The great ceremonial altar pieces, such as
+the Assumption of the Virgin, and the Pesaro Madonna, are a perfect
+reflection of the religious spirit of his environment. Religion was with
+the Venetians a delightful pastime, an occasion for festivals and
+pageants, a means of increasing the civic glory. These great decorative
+pictures are full of the pomp and magnificence dear to Venice, full of
+the joy and pride of life.
+
+Yet in another mood Titian paints the life of the Holy Family as a
+pastoral idyl. A sunny landscape, a happy young mother, a laughing baby
+boy, bring the sacred subject very near to common human sympathies.
+
+Some of Titian's professedly sacred pictures are in the vein of pure
+_genre_, painted in a period when this department of art had not yet
+attained independent existence. We see such works in the St. Christopher
+and the St. John. These direct studies of the people throw an
+interesting light upon the painter of ideal beauty: they show an
+otherwise unsuspected vigor.
+
+The Christ of the Tribute Money stands alone in Titian's sacred art. The
+technical qualities are thoroughly characteristic of his hand, but a new
+note is struck in spiritual feeling. Virile, without coarseness; gentle,
+without weakness, the chief figure is perhaps the most intellectual
+ideal of Christ which has been conceived in art.
+
+Titian's landscapes, though holding an accessory place only in his art,
+are counted by the critical art historian with those of Giorgione, as
+the practical beginning of this branch of art. He knew how to express
+"the quintessence of nature's most significant beauties without a too
+slavish adherence to any special set of natural facts."[3] His
+imagination interpreted many of nature's moods, from the pastoral calm
+environing Medea and Venus to the stormy grandeur of the forest in which
+St. Peter Martyr met his fate.
+
+It is undoubtedly as a portrait-painter that Titian's many great
+qualities meet in their utmost perfection. His feeling for textures, the
+delicacy with which he painted the hair and the hands; his skill in
+modelling; his instinct for pose; the infinite variety of his resources,
+made an incomparable equipment in the secondary matters of portrait
+painting. To these he added, as we have seen, the two highest essentials
+of the art, the power of giving life to his sitter, and the gift of
+insight into character.
+
+Nature made him a court painter; he loved to impart to his sitter that
+air of noble distinction whose secret he so well understood. Yet he was
+too large a man to let this or any other natural preference hamper him.
+Something of himself, it is true, he frequently put into his figures,
+yet he was at times capable of thoroughly objective work. He stands
+perhaps somewhere between the extreme subjectivity of Van Dyck and the
+splendid realism of Velasquez. The noble company of his sitters,
+emperors, kings, doges, popes, cardinals and bishops, noblemen, poets
+and beautiful women, still make their presence felt in the world. Theirs
+was a deathless fame on whom the painter conferred the gift of his art.
+
+Titian's temperament was keenly sensitive to the influences of his
+environment, and in his extraordinary length of days, Venice passed
+through various changes, political, social, artistic and religious,
+which left their mark upon his work. One cannot make a random selection
+from his pictures and pronounce upon the qualities of his art. The work
+of his youth, his maturity, his old age, has each a character of its
+own. It is this rounding out of his art life through successive stages
+of growth and even of decay that gives the entire body of his works the
+character of a living organism.
+
+
+II. ON BOOKS OF REFERENCE.
+
+The original source of biographical material relating to Titian is in
+Vasari's "Lives of the Painters," the best edition of which is the
+Foster translation, annotated with critical and explanatory comments by
+E. H. and E. W. Blashfield and A. A. Hopkins. The most complete modern
+biography is that by Crowe and Cavalcaselle, in two large volumes
+(published in 1877), but as this is now out of print, it can be
+consulted only in the large libraries. Some of the conclusions of these
+writers have been challenged by later critics, Morelli and others, and
+should not be accepted without weighing the new arguments. The volume on
+"Titian: A Study of his Life and Work," by Claude Phillips, Keeper of
+the Wallace Collection, London, is in line with the modern methods of
+criticism, and is written in a delightful vein of appreciation. The two
+parts of the book, The Earlier Work and The Later Work, correspond to
+the two monographs for "The Portfolio," in which the work was first
+published.
+
+In the general histories of Italian art, valuable chapters on Titian are
+contained in Kugler's "Handbook of the Italian Schools" (to be read in
+the latest edition by A. H. Layard) and Mrs. Jameson's "Early Italian
+Painters" (to be read in the latest revision by Estelle M. Hurll). A
+monograph on Titian is issued in the German Series of Art Monographs,
+edited by H. Knackfuss.
+
+Interesting suggestions upon the study of Titian's art will be found in
+the following references: In Mrs. Oliphant's "Makers of Venice;" in
+Berenson's "Venetian Painters of the Renaissance;" in Symonds's volume
+on Fine Arts in the series "Renaissance in Italy." Burckhardt's
+"Cicerone" has some valuable pages on Titian, but the book is out of
+print. A List of Titian's work is given in Berenson's "Venetian
+Painters."
+
+
+III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION.
+
+_Portrait frontispiece._ Probably the portrait mentioned by Vasari as
+painted in 1502. In the Prado Gallery, Madrid. Size: 2 ft. 10 in. by 2
+ft. 1-1/2 in.
+
+1. _The Physician Parma._ It appears that there is no direct testimony
+to prove the authorship of this picture, the attribution to Titian
+having been made by an early director of the gallery, following certain
+evidence from Rudolfi. Herr Wickhoff claims the picture for Domenico
+Campagnola, and the recent biographer of Giorgione (Herbert Cook)
+includes it among the works of that painter. The attribution to Titian
+is, however, not disputed by the two severest of modern critics, Morelli
+and Berenson. In the Vienna Gallery. Size: 3 ft. 6 in. by 2 ft. 7 in.
+
+2. _The Presentation of the Virgin (Detail)._ Painted for the
+brotherhood of S. Maria della Carità, and now in the Venice Academy.
+Date assigned by Berenson 1540. Size of entire picture: 11 ft. 5 in. by
+25 ft. 6-1/2 in.
+
+3. _The Empress Isabella._ Probably one of the two pictures referred to
+in a letter of 1544 from Titian to Charles V. In the Prado Gallery,
+Madrid. Size: 3 ft. 10 in. by 3 ft. 2-1/2 in.
+
+4. _Madonna and Child with Saints._ An early work in the Vienna Gallery,
+similar to a picture in the Louvre, to which it is considered superior
+by Crowe and Cavalcaselle. Called an "atelier repetition" by Claude
+Phillips. Size: 3 ft. 5 in. by 4 ft. 3 in.
+
+5. _Philip II._ Painted 1550, and now in the Prado Gallery, Madrid.
+Size: 6 ft. 4 in. by 3 ft. 7-3/4 in.
+
+6. _St. Christopher._ Painted in fresco on the wall of the Doge's
+Palace, Venice, in honor of the arrival of the French army at San
+Cristoforo (near Milan), 1523. Ordered by the doge Andrea Gritti, who
+was a partisan of the French.
+
+7. _Lavinia._ Painted about 1550, and now in the Berlin Gallery. Size: 3
+ft. 3-1/2 in. by 2 ft. 7-1/2 in.
+
+8. _Christ of the Tribute Money._ According to Vasari, painted for Duke
+Alfonso of Ferrara in 1514 for door of a press. Assigned by Crowe and
+Cavalcaselle to the year 1518, the date accepted by Morelli. In the
+Dresden Gallery. Size: 2 ft. 5-1/2 in. by 1 ft. 10 in.
+
+9. _The Bella._ Painted about 1535. In the Pitti Gallery, Florence.
+Size: 3 ft. 3-1/2 in. by 2 ft. 6 in.
+
+10. _Medea and Venus._ Date unknown, but fixed approximately by Morelli
+between 1510 and 1512. In the Borghese Gallery, Rome. Size: 3 ft. 5 in.
+by 8 ft. 8 in.
+
+11. _The Man with the Glove._ Assigned to Titian's middle period. In the
+Louvre, Paris. Size: 3 ft. 3-1/3 in. by 2 ft. 11 in.
+
+12. _The Assumption of the Virgin (Detail)._ Ordered 1516 for high altar
+of S. Maria Gloriosa de' Frari, Venice. Shown to public, March 20, 1518.
+Now in the Venice Academy. Size: 22 ft. 9 in. by 11 ft. 10-1/2 in.
+
+13. _Flora._ Painted after 1523. In the Uffizi Gallery, Florence. Size:
+3 ft. 8-1/2 in. by 3 ft. 1-1/2 in.
+
+14. _The Pesaro Madonna._ Finished in 1526 after being seven years in
+process. Still in original place in the Church of the Frari, Venice.
+
+15. _St. John the Baptist._ Painted in 1556. In the Venice Academy.
+Size: 6 ft. 5 in. by 4 ft. 5 in.
+
+
+IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN TITIAN'S LIFE.[4]
+
+ 1477. Titian born at Cadore in the Friuli, north of Venice.
+
+ Circa 1488. Removal to Venice.
+
+ Bet. 1507-1508. Work on frescoes of Fondaca de' Tedeschi with
+          Giorgione.
+
+ 1511. In Padua and Vicenza. Frescoes in the Scuola del Santo, Padua.
+
+ Circa 1512. Marriage.
+
+ 1516. Assumption of the Virgin begun for the Church of the Frari,
+          Venice.
+
+       Titian's first connection with Alfonso I. and the Court of
+          Ferrara.
+
+ 1518. Assumption finished.
+
+ 1519. Visit in Ferrara, and the Bacchanal, now in the Madrid Gallery.
+
+ 1522. Altarpiece for Brescia, and short visit there.
+
+ 1523. Visits at Mantua and Ferrara.
+
+ 1524. Visit in Ferrara.
+
+ Circa 1525. Birth of Titian's son Pomponio.
+
+ 1526. Pesaro Madonna.
+
+ 1528. Visit in Ferrara.
+
+ 1530. Visit in Bologna.
+
+       St. Peter Martyr delivered April 27, for Church of SS. Giovanni
+          e Paolo, Venice.
+
+       Death of Titian's wife.
+
+ 1531. Visit in Ferrara.
+
+       Removal from town to suburban residence in Biri.
+
+ 1532. Summons to court of Charles V. at Bologna. Portraits of
+          the Emperor.
+
+ 1536. With the Emperor at Astic.
+
+ 1537. Portraits of Duke and Duchess of Urbino and the Battle of
+          Cadore. Paintings in Hall of Council of Venice (destroyed
+          by fire 1577).
+
+ 1540. Visit to Mantua to attend the funeral of patron Duke Federico
+          Gonzaga.
+
+ 1541. Appointment with Emperor at Milan.
+
+ 1543. Guest of Cardinal Farnese at Ferrara and Brussels.
+
+       Portraits of Cardinal Farnese and Pope Paul III.
+
+ 1544. Two portraits of the dead Empress Isabella sent to Charles V.
+
+ 1545. Visit to Rome, and portraits of Paul III. and his grandsons.
+
+ 1546. Departure from Rome, visit to Florence and return to Venice.
+
+ 1547. Completion of altarpiece of Serravalle.
+
+ 1548. Journey to Augsburg to meet Charles V., and equestrian portrait
+          of the Emperor.
+
+       To Milan to meet Prince Philip and Duke of Alva. Portrait
+          of Alva.
+
+ 1549. Purchase of the house at Biri, formerly rented.
+
+ 1550. Visit to court at Augsburg, and portraits of Philip II.
+
+ 1554. Pictures completed and sent to Charles V. and Philip II.
+          in Spain: The Virgin Lamenting, the Trinity, the Danaë.
+
+       Venus and Adonis sent to London to Philip upon marriage with
+          Mary Tudor.
+
+ 1555. Marriage of Titian's daughter Lavinia.
+
+       Perseus and Andromeda sent to King Philip.
+
+ 1556. St. John the Baptist, painted for S. Maria Maggiore.
+
+ 1559. Entombment sent to Philip.
+
+ 1562. Christ in the Garden, and the Europa. Last Supper begun.
+
+ 1563. Visit to Brescia.
+
+ 1565. Visit to Cadore, and plans for frescoes in the Pieve church.
+
+ 1567. Martyrdom of St. Lawrence, and a Venus sent to Madrid.
+
+ 1572. Visit from Cardinals Granvelle and Pacheco.
+
+ 1574. Visit from Henry III. of France.
+
+       Allegory of Lepanto finished for Philip II.
+
+ 1575. Pieta begun.
+
+ 1576. Death of Titian from plague at Venice.
+
+
+V. SOME OF TITIAN'S CONTEMPORARIES.
+
+ RULERS.
+
+  _Emperors_:--
+
+  Maximilian I. of Germany, 1493-1519.
+  Charles V. of Germany (I. of Spain) crowned Holy Roman Emperor,
+     1520. Died 1558.
+
+  _Kings_:--
+
+  Philip II. son and successor of Charles V., accession, 1556;
+     death, 1598.
+  Henry VIII. of England, reigned     1509-1547.
+  Edward VI.       "         "        1547-1553.
+  Mary Tudor       "         "        1553-1558.
+  Elizabeth        "         "        1558-1603.
+  Francis I. of France,      "        1515-1547.
+  Henry II.      "           "        1547-1559.
+
+  Catherine de' Medici real ruler of France in reigns of Francis II.
+     and Charles IX., 1559-1574.
+
+  _Popes_:--
+
+  Sixtus IV., 1471.            Paul III., 1534.
+  Innocent VIII., 1485.        Julius III., 1550.
+  Alexander VI., 1492.         Marcellus II., 1555.
+  Pius III., 1503.             Paul IV., 1555.
+  Julius II., 1503.            Pius IV., 1559.
+  Leo N., 1513.                Pius V., 1566.
+  Adrian VI., 1522.            Gregory XIII., 1572.
+  Clement VII., 1523.
+
+  _Doges of Venice_:--
+
+  Giov. Mocenigo, 1478.        Francesco Donato, 1545.
+  Marco Barbarigo, 1485.       Marco Trevisan, 1553.
+  Agostino Barbarigo, 1486.    Francesco Venier, 1554.
+  Leonardo Loredan, 1501.      Lorenzo Priuli, 1556.
+  Antonio Grimani, 1521.       Girolamo Priuli, 1559.
+  Andrea Gritti, 1523.         Pietro Loredan, 1567.
+  Pietro Lando, 1528.          Alvise Mocenigo I., 1570.
+
+  _Painters_:--
+
+  Giovanni Bellini, 1428-1516.
+  Perugino, 1446-1523.
+  Leonardo da Vinci, 1452-1519.
+  Michelangelo, 1475-1564.
+  Bazzi (II Sodoma), 1477-1549.
+  Giorgione, 1477-1510.
+  Palma Vecchio, 1480-1528.
+  Raphael, 1483-1520.
+  Sebastian del Piombo, 1485-1547.
+  Andrea del Sarto, 1486-1531.
+  Correggio, 1494-1534.
+  Giorgio Vasari, 1512-1574.
+  Tintoretto, 1518-1594.
+  Paolo Veronese, 1528-1588.
+
+  _Men of Letters_:--
+
+  Ariosto, 1474-1533, poet.
+  Aretino, 1492-1557, poet.
+  Tasso, 1544-1595, poet.
+  Pietro Bembo, 1470-1547, cardinal and master of Latin style.
+  Jacopo Sadoleto, 1477-1547, cardinal and writer of Latin verses.
+  Baldassare Castiglione, 1478-1529, diplomatist and scholar.
+  Aldo Manuzio, 1450-1515, printer; established press at Venice, 1490.
+  Guicciardini, 1483-1540, historian.
+
+
+
+
+I
+
+THE PHYSICIAN PARMA
+
+
+We are about to study a few pictures reproduced from the works of a
+great Venetian painter of the sixteenth century,--Titian. The span of
+this man's life covered nearly a hundred years, from 1477 to 1576, a
+period when Venice was a rich and powerful city. The Venetians were a
+pleasure-loving people, fond of pomp and display. They delighted in
+sumptuous entertainments, and were particularly given to pageants. We
+read of the picturesque processions that paraded the square of St.
+Mark's, or floated in gondolas along the grand canal. The city was full
+of fine buildings, palaces, churches, and public halls. Their richly
+ornamented fronts of colored marbles, bordering the blue water of the
+canals, made a brilliant panorama of color. The buildings were no less
+beautiful within than without, being filled with the splendid paintings
+of the Venetian masters.
+
+The pictures in the churches and monasteries illustrated sacred story
+and the fives of the saints; those in the public halls depicted
+historical and allegorical themes, while the private palaces were
+adorned with mythological scenes and portraits.
+
+Titian engaged in works of all these kinds, and seemed equally skilful
+in each. The great number and variety of his pictures bring vividly
+before us the manners and customs of his times. His art is like a great
+mirror in which Venice of the sixteenth century is clearly reflected in
+all her magnificence. As we study our little prints, we must bear in
+mind that the original paintings glow with rich and harmonious color. As
+far as possible let us try to supply this lost color from our
+imagination.
+
+Nearly all the notable personages of the time sat to Titian for their
+portraits,--emperors, queens, and princes, popes, and cardinals, the
+doges, or dukes, of Venice, noblemen, poets, and fair women. Wearing the
+costumes of a bygone age, these men and women look out of their canvases
+as if they were still living, breathing human beings. The painter
+endowed them with the magic gift of immortality. Though the names of
+many of the sitters are now forgotten, and we know little or nothing of
+their lives, they are still real persons to us, with their life history
+written on their faces.
+
+Such is the man called Parma, who is believed to have been a physician
+of Titian's time, but whose only biography is this portrait. If we were
+told that it was the portrait of some eminent physician now practising
+in New York or London, we should perhaps be equally ready to believe it.
+We might meet such a figure in our streets to-morrow. There is nothing
+in the costume to mark it as peculiar to any century or country. The
+black gown is such as is still worn by clergymen and university men. The
+man would not have to be pointed out to us as a celebrity; we should
+know him at once as a person of distinction.
+
+    [Illustration: Fr. Hanfstaengl, photo.      John Andrew & Son. Sc.
+
+    THE PHYSICIAN PARMA
+
+    Vienna Gallery]
+
+
+The science of medicine was making great progress during the sixteenth
+century. It was then that the subject of anatomy was first developed by
+the celebrated Fleming, Vesalius, court physician to Charles V.[5] In
+this period, also, the science of chemistry first came to be separated
+from alchemy, and progressive physicians applied the new learning to
+their practice.
+
+We may be sure that our Doctor Parma belonged to the most enlightened
+class of his profession. His strong: intellectual face shows him to be
+one who would have little patience with quackery or superstition. He has
+a high, noble forehead, keen, penetrating eyes, and a firm mouth. His
+beautiful white hair gives him a venerable aspect, though he is not of
+great age. It blows about his face as fine and light as gossamer. He is
+an ideal "family physician," of a generation ago. We can imagine how
+children would learn to look upon him with love and respect, perhaps
+also with a little wholesome fear.
+
+The hand which holds the folds of the long, black gown has a character
+of its own as definite as that of the face. It is a strong, firm hand,
+which looks capable of guiding skilfully a surgeon's knife.
+
+Two fine seal rings ornament it. Such rings, sometimes of curious design
+and workmanship, were often bestowed as gifts by wealthy noblemen upon
+those who had done them some service.
+
+The doctor Parma looks as good as he is wise. This benign face would
+grace an assembly of notable clergymen. Indeed, the picture suggests a
+well-known portrait of the great John Wesley, whose features were cast
+in the same strong mould, and who also had an abundance of bushy white
+hair.
+
+By another play of the fancy we could imagine this a portrait of some
+eminent judge. There is that in the face which indicates the calm,
+impartial, deliberate mind that belongs to the character. He might now
+be about to charge the jury, or perhaps even to pronounce sentence.
+
+Still another opinion is that here we have a Venetian senator in his
+official robes. The man is in any case an ideal professional man, a
+person of brains and character, who could fill equally well a position
+of responsibility in medicine, law, administrative affairs, or divinity.
+With a strict sense of justice, a stern contempt for anything mean and
+base, and a fatherly tenderness for the weak and oppressed, he is one in
+whom we could safely put confidence.
+
+
+
+
+II
+
+THE PRESENTATION OF THE VIRGIN
+
+(_Detail_)
+
+
+In the town of Nazareth many centuries ago lived a pious old couple,
+named Joachim and Anna. It is said that they "divided all their
+substance in three parts: " one part "for the temple," another for "the
+poor and pilgrims," and the third for themselves. The delight of their
+old age was their only child Mary, who afterwards became the mother of
+Jesus. She had been born, as they believed, in answer to their prayers,
+and they cherished her with peculiar devotion.
+
+That Mary was a good and lovable child beyond common measure we can have
+no doubt: she was set apart for a strange and holy service. The
+beautiful story of her early life is told in an old Latin book called
+the "Legenda Aurea," or the "Golden Legend." This was a collection of
+old legends written out for the first time by Jacopo de Voragine, an
+Italian archbishop of the thirteenth century. The early English
+translation by Caxton, in which we still read the book, preserves the
+quaint flavor of the original. There is one portion of it describing the
+dedication, or presentation, of the Virgin in the temple. Before Mary
+was born, the mother, Anna, had promised the angel of the Lord that she
+would present the coming child as an offering to the Lord. Long before
+her day, a certain Hannah had made a like vow under similar
+circumstances. Her son Samuel, a "child obtained by petition," was
+"returned," or "lent," to the Lord as long as he lived.[6] A child thus
+dedicated was early carried to the temple to be educated within its
+precincts for special service to God.
+
+The presentation of Mary was on this wise: "And then when she had
+accomplished the time of three years ... they brought her to the temple
+with offerings. And there was about the temple, after the fifteen psalms
+of degrees, fifteen steps or grees to ascend up to the temple, because
+the temple was high set. And nobody might go to the altar of sacrifices
+that was without, but by the degrees. And then our Lady was set on the
+lowest step; and mounted up without any help as she had been of perfect
+age, and when they had performed their offering, they left their
+daughter in the temple with the other virgins, and they returned into
+their place. And the Virgin Mary profited every day in all holiness, and
+was visited daily by angels, and had every day divine visions."[7] We
+see at once the picture there is in the story, the little girl ascending
+alone the long flight of steps, with the fond parents gazing after her
+in wonder. Many artists have put the subject on canvas, and among them
+our Venetian painter Titian. His is an immense picture, from which the
+central figure only is reproduced in our illustration.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son, Sc.
+
+    THE PRESENTATION OF THE VIRGIN (DETAIL)
+
+    _Venice Academy_]
+
+We must imagine ourselves standing with a great throng of people in the
+public square in front of the temple. Men, women and children jostle one
+another near the steps. The old man Joachim and his wife Anna are easily
+singled out among the number. The windows of the adjoining palaces are
+full of faces looking into the square. A group of senators stand
+somewhat apart, looking on. An old peasant woman with a basket of eggs
+sits in the shadow of the steps. All eyes are turned towards the little
+child who is walking alone up the great stone staircase. On the topmost
+step the high priest advances to meet her, resplendent in his rich
+priestly garments.
+
+The figure of the little Virgin is very quaint in a long gown made of
+some shimmering blue stuff. The golden hair is brushed back primly and
+woven into a heavy braid, whence it at last escapes in beautiful
+profusion. It would be hard to guess the child's age, for her demeanor
+is that of a little woman as she gathers her long skirt daintily in her
+right hand. She carries herself erect in the new dignity of the great
+moment, and advances with perfect self-confidence. The face, however, is
+quite childlike and innocent, and is lifted to the priest's with a
+happy smile. The left arm is raised in a gesture of wonder and delight.
+
+The whole figure is surrounded by a halo of golden light. This is the
+oval-shaped glory which the Italians call the _mandorla_, from the word
+meaning "almond." It is of course the symbol of the virgin's peculiar
+sanctity. The painter has not tried to make the little girl particularly
+pretty, but he gives her the indescribable charm which we call
+winsomeness. She is perhaps one of the most lovable children art has
+ever produced.
+
+As we study the artist's method of work in the picture we see how very
+simply the figure is drawn. Titian was fond of rich and voluminous
+draperies, as we shall learn from several examples which are to follow.
+Here, however, he draws a dress with tight sleeves and scanty skirt
+absolutely without decoration of any sort. It is this simplicity which
+gives the childlike appearance to the figure.
+
+There is a pathos in the little figure which we cannot altogether
+appreciate in our illustration. We have to remember that the whole
+picture measures twenty-five feet in width by eleven in height, and then
+imagine how tiny the child looks ascending alone the great staircase in
+the centre of this vast panorama. The isolation of the figure suggests
+the singular destiny of Mary, set apart from others in the loneliness of
+a unique service.
+
+
+
+
+III
+
+THE EMPRESS ISABELLA
+
+
+The most illustrious of Titian's many patrons was the Emperor Charles
+V., whose wife was the Empress Isabella of our portrait. This powerful
+monarch had inherited from one grandfather, Ferdinand, the kingdom of
+Spain, and from another, Maximilian, the empire of Germany. His marriage
+was arranged chiefly for political reasons, but proved to be a happy
+one.
+
+Isabella was the daughter of Emmanuel the Great, late King of Portugal,
+and the sister of John III., the reigning king. She was a princess of
+uncommon beauty and accomplishments. The Portuguese government bestowed
+a superb dowry of nine hundred thousand crowns upon her, and the
+marriage was celebrated in Seville in 1526. The ceremony was splendid,
+and there were great festivities following.
+
+Soon after, the emperor travelled with his bride through Andalusia and
+Granada that he might see his new kingdom. Called at last to other parts
+of his dominion, he left Isabella as regent in Spain, and went to Italy,
+where in 1532 he first called Titian into service to paint his portrait.
+In the years that followed the painter found the emperor a constant and
+generous patron, and was frequently summoned to meet the court at
+various places. In the meantime, however, the lovely empress never had
+had a sitting to the first painter of the day. She stayed quietly at
+home and had her portrait painted by such inferior artists as were at
+hand.
+
+When she died in 1539 Charles was left disconsolate, without any
+satisfactory portrait of her beloved face. He accordingly sent to Titian
+a portrait of her painted at the age of twenty-four, and required him to
+use it as the basis of a picture. The painter obeyed, and soon sent, his
+royal patron two canvases, begging him to return them with criticisms if
+he wished any changes made. As they were never sent back we infer that
+Charles found them as much like the original as could have been
+expected. The fame of Isabella's beauty and goodness had of course come
+to the painter's knowledge, and this was perhaps a better inspiration
+than the old portrait which was his guide. Certainly the picture he
+produced shows a winning personality.
+
+The empress is seated near a window, holding a little book open in one
+hand, probably a prayer-book or Book of Hours. The lady is not reading,
+but gazes somewhat pensively before her, as if thinking over the
+familiar words. The face is gentle and refined, and has an innocent
+purity of expression like that of a child.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son. Sc.
+
+    THE EMPRESS ISABELLA
+
+    _Prado Gallery, Madrid_]
+
+The features are small, and modelled with an almost doll-like
+regularity. Yet the mouth is set firmly enough to indicate a strong will
+behind it. Isabella was indeed a woman of remarkable self-control. A
+story is told that once when ill and in great pain she turned her face
+in the shadow that none might see her suffer, and uttered no sound of
+complaining. Her nurses remonstrated, but she replied firmly, "Die I
+may, but wail I will not."
+
+The costume of a Spanish queen of the sixteenth century naturally
+interests us. Apparently Spanish Court etiquette of the period dictated
+a dress made with high neck and long sleeves. The bodice is of red
+velvet, the loose sleeves lined with satin. The under bodice, which we
+should call a _guimpe_, is of white muslin with gold fillets. A jewel
+adorns the red hair, and a long necklace of pearls is caught on the
+bosom with a pendant of rubies and emeralds. The careful dressing of the
+hair, the strict propriety of the gown, and the attitude of the queen
+herself suggest the regard of conventionality which governed the great
+lady.
+
+What the portrait lacks is the quality of lifelikeness which makes other
+pictures by Titian so wonderful.[8] Naturally the painter could not so
+easily impart vitality to the picture when not working directly from the
+living model. To make up, as it were, for this defect, he painted the
+various textures of the dress with marvellous skill. Satin, velvet, and
+muslin, each is distinguished by its own peculiar lustre.
+
+The bit of landscape seen through the window is another beautiful part
+of the picture. The distance gives depth to the composition and avoids
+the crowded effect it might otherwise have. We shall see a similar
+setting again in the portrait of Lavinia.
+
+The Emperor had been very fond of his wife, and an old historian says
+that "he treated her on all occasions with much distinction and regard."
+If this seems nothing surprising to note, we must remember that at the
+same period Henry VIII. of England was treating his queens quite
+differently.
+
+In the last years of his life Charles V., weary of the cares of
+government, relinquished his kingdom to his son. He retired to the
+convent of Yuste to end his days, taking with him this portrait of his
+wife. When he lay on his death-bed he asked to see the picture, and when
+at last he died his body was laid to rest beside Isabella. Their son,
+Philip II., whose portrait we are presently to study, succeeded to a
+portion of his father's dominion.
+
+
+
+
+IV
+
+MADONNA AND CHILD WITH SAINTS
+
+
+There was never a child so longed for as the Child Jesus, and none whose
+infancy has been held in such loving remembrance. Centuries before his
+birth the prophets of Israel preached to the people of his coming. Year
+after year men waited eagerly for One who would teach them the way of
+righteousness. On the night when he was born the angels of heaven
+appeared in the sky with the glad tidings. His birthday ushered in a new
+era.
+
+We all know the story of his infancy in the Bethlehem manger, of his
+boyhood in the little town of Nazareth, of the years of his ministry
+throughout Judea, and of his crucifixion on Calvary. The narrative of
+his life was written by the four evangelists, and has been told in
+nearly every part of the world.
+
+Many of the great painters have drawn the subjects of their best
+pictures from the story in the Gospels. A favorite subject has been the
+mother Mary holding the Babe in her arms, as in our illustration. To
+understand why the other figures are included in the scene, a few words
+of explanation are necessary.
+
+In the early days of Christianity the followers of the new faith had to
+endure great persecutions, and many laid down their lives for their
+Master. The religious liberty we enjoy to-day is due to the courage and
+loyalty of these early saints and martyrs. Much, too, is due to the work
+of those teachers who are called the Fathers of the church. These saints
+and heroes of the olden time have been honored in art and song and
+story. It is fitting to associate their memory with that of him to whom
+they gave their lives. This is the reason why in pictures of the Mother
+and Child Jesus we often see them standing by.
+
+Such pictures do not represent any actual historical event. The various
+persons represented may not even be contemporaries. It is in a
+devotional and not a literal sense that they worship the Christ child
+together.
+
+In our picture the Mother tends her Babe at one side while three saints
+form an attendant company. The nearest is St. Stephen, the young man
+"full of faith and power," who did "great wonders and miracles among the
+people" of Jerusalem in the apostolic days. When false witnesses accused
+him of blasphemy his face was like "the face of an angel." Nevertheless,
+when his accusers heard his defence they were angry at his frank
+denunciations, and casting him out of the city, stoned him to death.[9]
+
+    [Illustration: Fr. Hanfstaengl, photo.
+            John Andrew & Son. Sc.
+
+    MADONNA AND CHILD WITH SAINTS
+
+    _Vienna Gallery_]
+
+The old man standing next is St. Jerome, one of the Latin fathers of the
+fourth century. He was both a preacher and a writer, and his greatest
+service to the world was his translation of the Bible into Latin (the
+Vulgate). This is the book from which he is now reading, and St. George
+seems to look over his shoulder. St. George is the hero saint who
+rescued the princess Cleodolinda from the dragon. He suffered many
+tortures at the orders of the Emperor Diocletian, and was finally
+beheaded for his faith.[10]
+
+We learn to identify these and other saints in the old pictures by
+certain features which the masters long ago agreed upon as appropriate
+to the characters. St. Stephen we recognize here because he is young,
+and carries a palm as the symbol of his martyrdom. St. Jerome is always
+an old man and is known here by his book, and St. George is
+distinguished by his armor.
+
+The three make an interesting group as they represent three ages of
+man,--youth, maturity, and old age. They stand, too, for distinctly
+different temperaments. St. Stephen has the ardent imaginative nature of
+a dreamer, St. George the active prosaic temper of the warrior, and St.
+Jerome the grave contemplative mind of the scholar. Each serves the
+Christ with his own gift.
+
+In the picture the three seem to be reading together some passage
+referring to the birth of Christ, perhaps that glorious verse from the
+prophet Isaiah, "Unto us a child is born, unto us a son is given."
+Coming to the words "Wonderful, Counsellor," St. Stephen lifts his face
+adoringly.
+
+The Child is innocently unconscious of his grave guests. He lies across
+his mother's lap kicking his feet gleefully and looking up to her with a
+playful, appealing gesture. She bends over him smiling, and the two seem
+to talk together in the mystic language of babyhood. The artist, we see,
+painted the mother as beautiful and the child as winsome as he could
+well imagine them. He did not try to discover how a woman of Judea was
+likely to have looked centuries before. He preferred to think of Mary as
+one of the beautiful Venetian women of his own day. He may have seen
+some real mother and babe who suggested the picture to him, but in that
+case he painted them largely according to his own fancy. The Madonna's
+dress is not according to any Venetian fashions, but in the simple style
+chosen as most appropriate by old masters. Red and blue were the colors
+always used in her draperies, and it was also an ancient custom to
+represent her as wearing a veil over her head as befitting her modesty.
+
+The mother has the fresh comely look of perfect health, yet with much
+delicacy and refinement in her gentle face. Both she and the babe seem
+to rejoice in abounding health and vitality. The picture is full of the
+joy of life.
+
+
+
+
+V
+
+PHILIP II
+
+
+Philip II. was the son of the Emperor Charles V. and the Empress
+Isabella, whose portrait we have seen. He had therefore, like most
+princes, a union of several nationalities in his lineage. Upon his birth
+in 1527, all Spain rejoiced that there was now an heir to the throne.
+Charles himself counted eagerly upon the help his son would give him in
+the administration of his vast dominions.
+
+From the first Philip was a grave and thoughtful child, pursuing his
+studies first with his mother and then with a tutor. When he was twelve
+years old his mother died; and two years later his father, who had
+scarcely seen the boy, returned to Spain, and devoted himself for a
+while to teaching him the principles of government. Philip was an apt
+pupil, and showed great fondness for statesmanship.
+
+At the age of sixteen a great responsibility fell upon the young prince.
+Charles was called to Germany and left Philip as regent of Spain. A
+marriage had already been arranged between the youth and his cousin Mary
+of Portugal, and this took place soon after the Emperor's departure.
+Philip's regency was eminently successful, and he won the lasting
+affection and loyalty of the Spanish people.
+
+The Emperor now planned that the prince should make a journey through
+the empire to become acquainted with his future subjects. The Spanish
+parted with him reluctantly, and he set forth accompanied by a great
+train of courtiers. Six months he was on his way, everywhere greeted by
+festivals, banquets and tourneys. Philip, being of a reticent and sombre
+nature, had little taste for these festivities, but having political
+ambition, submitted as gracefully as possible. At length he made a state
+entry into Brussels. This was in 1548; and in the two years that
+followed, the emperor and prince were together, planning their future
+policy of government. The lessons which Charles most deeply impressed
+upon Philip were those of self-repression, patience and distrust. The
+leading element in his policy was to be absolute ruler.
+
+It was at the close of these two years, that is, in 1550, that the
+emperor, attending a diet in Augsburg, summoned thither Titian to paint
+the portrait of Philip. The prince was now in his twenty-fourth year,
+and stood, as it were, on the threshold of his great career. There could
+scarcely be a more unattractive subject for a portrait. Philip had a
+poor figure, with narrow chest and large ungainly feet, and his features
+were exceedingly ill-formed. His eyes were large and bulging, he had a
+projecting jaw and full fleshy lips which his scanty beard could not
+conceal. Titian, however, had the great artist's gift of making the most
+of a subject. We forget all Philip's defects when we look at this
+magnificent portrait.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son, Sc.
+
+    PHILIP II.
+
+    _Prado Gallery, Madrid_]
+
+The skill with which the splendid costume is painted would alone make
+the picture a great work of art. Philip wears a breastplate and hip
+pieces of armor, richly inlaid with gold, slashed embroidered hose, as
+the short trousers are called, white silk tights and white slippers. The
+collar of the Golden Fleece is the crowning ornament.
+
+The attitude of the prince is full of dignity. He stands in front of a
+table on which his helmet and gauntlets are laid. The right hand rests
+on the helmet, and the left holds the hilt of the rapier which hangs at
+his side.
+
+The most remarkable quality in the portrait is the impression of royalty
+it conveys. Though Philip has little to boast of in good looks, he has
+inherited from generations of royal ancestors that indefinable air of
+distinction which belongs to his station. It is this which the painter
+has expressed in his attitude and bearing.
+
+Young as the face is, with little of life's experience to give it
+individuality, the painter makes it a revelation of the leading elements
+in Philip's character. The seriousness of the boy has developed into the
+habitual gravity of the man. Already we see how well the father's
+lessons have been learned, how self-contained and cautious the prince
+has become. The affairs of state seem to weigh heavily upon him.
+
+The proportions of the figure to the size and shape of the canvas add
+something to the apparent height of Philip. Titian has done everything a
+painter could do to give an ill-favored prince an appearance befitting
+his royal prestige: it is a kingly portrait.
+
+Three years after it was painted, the picture was sent to England to be
+shown to Queen Mary. Philip, now a widower, had become a suitor of the
+English queen. The report came that Mary was "greatly enamoured" of the
+portrait, and the marriage was soon after effected. Philip, however, did
+not win great favor with the English, and after Mary's death he chose a
+French princess for his next wife, and spent his life in Spain.
+
+Upon the abdication of his father, he became the most powerful monarch
+in Europe, and had the best armies of his time. He was constantly at war
+with other nations, usually two or more at a time, and by undertaking
+too many schemes often failed. It was during his reign that the
+Netherlands were lost to Spain, and the famous Spanish Armada was
+destroyed by the English.
+
+
+
+
+VI
+
+SAINT CHRISTOPHER
+
+
+There was once in the land of Canaan a giant named Offero, which means
+"the bearer." His colossal size and tremendous strength made him an
+object of terror to all beholders, and he determined to serve none but
+the most powerful being in the world.
+
+He accordingly joined the retinue of a great king, and for a while all
+went well. One day while listening to a minstrel's song, the king
+trembled and crossed himself every time the singer mentioned the Devil.
+"Then," thought Offero, "there is one more powerful than the King; and
+he it is whom I should serve." So he went in search of the Devil, and
+soon entered the ranks of his army.
+
+One day as they came to a wayside cross he noticed his master tremble
+and turn aside. "Then," thought Offero, "there is one more powerful than
+the Devil, and he it is whom I should serve." He now learned that this
+greater being whom the Devil feared was Jesus, who died on the cross,
+and he earnestly sought to know the new Master.
+
+An old hermit undertook to instruct him in the faith. "You must fast,"
+said he. "That I will not," said Offero, "lest I lose my strength."
+"You must pray," said the hermit. "That I cannot," said Offero. "Then,"
+said the hermit, "go to the river side and save those who perish in the
+stream." "That I will," said Offero joyfully.
+
+The giant built him a hut on the bank and rooted up a palm tree from the
+forest to use as a staff. Day and night he guided strangers across the
+ford and carried the weak on his shoulders. He never wearied of his
+labor.
+
+One night as he rested in his hut he heard a child's voice calling to
+him from the shore, "Offero, come forth, and carry me over." He arose
+and went out, but seeing nothing returned and lay down. Again the voice
+called, "Offero, come forth and carry me over." Again he went out and
+saw no one. A third time the voice came, "Offero, come forth, and carry
+me over."
+
+The giant now took a lantern, and by its light found a little child
+sitting on the bank, repeating the cry, "Offero, carry me over." Offero
+lifted the child to his great shoulders, and taking his staff strode
+into the river. The wind blew, the waves roared, and the water rose
+higher and higher, yet the giant pushed bravely on. The burden which had
+at first seemed so light grew heavier and heavier. Offero's strong knees
+bent under him, and it seemed as if he would sink beneath the load. Yet
+on he pressed with tottering steps, never complaining, until at last the
+farther bank was reached. Here he set his precious burden gently down,
+and looking with wonder at the child, asked, "Who art thou, child? The
+burden of the world had not been heavier." "Wonder not," said the Child,
+"for thou hast borne on thy shoulders him who made the world." Then a
+bright light shone about the little face, and in another moment the
+mysterious stranger had vanished. Thus was it made known to Offero that
+he had been taken into the service of the most powerful being in the
+world. From this time forth he was known as Christ-offero, or
+Christopher, the Christ-bearer.[11]
+
+    [Illustration: D. Anderson, photo.
+
+    SAINT CHRISTOPHER]
+
+With this story in mind we readily see the meaning of our picture. The
+giant has reached mid-stream, with his tiny passenger perched astride
+his shoulders. Already the burden has become mysteriously heavy, and
+Offero bends forward to support the strain, staying himself with his
+great staff. He lifts his face to the child's with an expression of
+mingled anguish and wonder.
+
+The situation is full of strange pathos. The babe seems so small and
+helpless beside the splendid muscular strength of the brawny giant. Yet
+he is here the leader. With uplifted hand he seems to be cheering his
+bearer on the toilsome way.
+
+The figures in the picture seem to be taken from common every-day life.
+Some Venetian boatman may have been the painter's model for St.
+Christopher, whose attitude is similar to that of a gondolier plying his
+oar. The child, too, is a child of the people, a sturdy little fellow,
+quite at ease in his perilous position. We shall understand better the
+range of Titian's art by contrasting these more commonplace figures
+with the refined and elegant types we see in some of our other
+illustrations.
+
+The picture of St. Christopher is a fresco painting on the walls of the
+palace of the doges or dukes in Venice. It was originally designed to
+celebrate the arrival of the French army in 1523, at an Italian town
+called San Cristoforo. It is so placed that it might be the first object
+seen every morning when the doge left his bed-chamber. This was on
+account of an old tradition that the sight of St. Christopher always
+gives courage to the beholder. "Whoever shall behold the image of St.
+Christopher, on that day shall not faint or fail," runs an old Latin
+inscription.
+
+As fresco painting was a method of art comparatively unfamiliar to
+Titian, it is interesting to know than an eminent critic pronounces our
+picture "broad and solid in execution, rich and brilliant in color."[12]
+We see from our reproduction that the paint has flaked from the wall in
+a few places.
+
+
+
+
+VII
+
+LAVINIA
+
+
+Something of the home life of Titian must be known in order to
+understand the loving care which he bestowed upon this portrait of his
+daughter Lavinia. The painter's works were in such demand that he could
+afford to live in a costly manner. He had a true Venetian's love of
+luxury, and liked to surround himself with elegant things. His society
+was sought by rich noblemen, and he himself lived like a prince.
+
+When somewhat over fifty years of age Titian removed to a spot just
+outside Venice in the district of Biri, where he laid out a beautiful
+garden. The view from Casa Grande, as the house was called, was very
+extensive, looking across the lagoon to the island of Murano and the
+hills of Ceneda. Here Titian entertained his guests with lavish
+hospitality. A distinguished scholar of that time, one Priscianese, who
+had come to Venice in 1540 to publish a grammar, describes how he was
+entertained there: "Before the tables were set out," he writes, ... "we
+spent the time in looking at the lively figures in the excellent
+pictures, of which the house was full, and in discussing the real beauty
+and charm of the garden.... In the meanwhile came the hour for supper,
+which was no less beautiful and well arranged than copious and well
+provided. Besides the most delicate viands and precious wines, there
+were all those pleasures and amusements that are suited to the season,
+the guests and the feast.... The sea, as soon as the sun went down,
+swarmed with gondolas, adorned with beautiful women, and resounded with
+the varied harmony of music of voices and instruments, which till
+midnight accompanied our delightful supper."
+
+The darling of this beautiful home at Casa Grande was the painter's
+daughter Lavinia, and the portrait shows how she looked in 1549. Her
+mother had died before the removal of the family to Biri, and the aunt,
+who had since tried to fill the vacant place, died about the time this
+portrait was painted. A new responsibility had therefore fallen upon the
+young girl, and she was now her father's chief consolation. It is
+thought that the picture was painted for Titian's friend Argentina
+Pallavicino of Reggio. As a guest at her father's house this gentleman
+must often have seen and admired the charming girl, and the portrait was
+a pleasant souvenir of his visits.
+
+Lavinia is seen carrying a silver salver of fruit, turning, as she goes,
+to look over her shoulder. The open country stretches before her, and it
+is as if she were stepping from a portico of the house to the garden
+terrace to bring the fruit to some guest. She is handsomely dressed, as
+her father would like to see his daughter. The gown is of yellow
+flowered brocade, the bodice edged with jewelled cording. Over the neck
+is thrown a delicate scarf of some gauzy stuff, the ends floating down
+in front. An ornamental gold tiara is set on the wavy auburn hair, an
+ear-ring hangs from the pretty ear, and a string of pearls encircles the
+neck. Imagine the figure against a deep red curtain, and you have in
+mind the whole color scheme of this richly decorative picture.
+
+    [Illustration: Fr. Hanfstaengl, photo.      John Andrew & Son. Sc.
+
+    LAVINIA
+
+    _Berlin Gallery_]
+
+Lavinia, however, would be attractive in any dress, with her fresh young
+beauty and simple unconscious grace. Her features are not modelled in
+classic lines: the charm of the face is its fresh color, the pretty
+curves of the plump cheek, and, above all, the sweet open expression.
+The hands are delicate and shapely, as of one well born and gently
+reared. Lavinia is perhaps not a very intellectual person, but she has a
+sweet sunny nature and is full of life and spirits. It would seem
+impossible to be sad or lonely in her cheery company. She holds her
+precious burden high, with an air of triumph, and turns with a smile to
+see it duly admired. The delicious fruit certainly makes a tempting
+display. The girl's innocent round face and arch pose remind one of a
+playful kitten.
+
+The painter has chosen a graceful and unusual attitude. The curves of
+the outstretched arms serve as counterbalancing lines to the main lines
+of the figure. The artist himself was so pleased with the pose that he
+repeated it in another picture, where Lavinia assumes the gruesome rôle
+of Salome, and carries in her salver, in place of the fruit, the head of
+St. John the Baptist!
+
+A few years after our portrait was painted, Lavinia was betrothed to
+Cornelio Sarcinelli, of Serravalle, and a new portrait was painted in
+honor of the event. When the marriage settlement was signed Lavinia
+brought her husband a dowry of fourteen hundred ducats, a royal sum in
+those days. The wedding was on the 19th of June, 1555.
+
+Some years after her marriage Lavinia again sat to her father for her
+portrait. Her beauty, as we have noted, was not of a lasting kind, and
+in the passing years her fresh color faded, and she became far too stout
+for grace. Yet the frank nature always made her attractive, and it is
+pleasant to see in the kindly face the fulfilment of the happy promise
+of her girlhood.
+
+
+
+
+VIII
+
+CHRIST OF THE TRIBUTE MONEY
+
+
+During the three years of Christ's ministry, his words and actions were
+closely watched by his enemies, who hoped to find some fault of which
+they could accuse him. Not a flaw could be seen in that blameless life,
+and it was only by some trick that they could get him into their power.
+
+One plan that they devised was very cunning. Palestine was at that time
+a province of the Roman empire, and the popular party among the Jews
+chafed at having to pay tribute to the emperor Cæsar. On the other hand
+the presence of the Roman governor in Jerusalem made it dangerous to
+express any open rebellion. Jesus was the friend of the people, and many
+of his followers believed that he would eventually lead them to throw
+off the Roman yoke. As a matter of fact, however, he had taken no part
+in political discussions.
+
+His enemies now determined to make him commit himself to one party or
+the other. If he declared himself for Rome, his popularity was lost; if
+against Rome he was liable to arrest. The evangelists relate how
+shrewdly their question was framed to force a compromising reply, and
+how completely he silenced them with his twofold answer. This is the
+story:--
+
+"Then went the Pharisees, and took counsel how they might entangle him
+in his talk. And they sent out unto him their disciples with the
+Herodians, saying, Master, we know that thou art true, and teachest the
+way of God in truth, neither carest thou for any man: for thou regardest
+not the person of men. Tell us therefore, What thinkest thou? Is it
+lawful to give tribute unto Cæsar, or not?
+
+"But Jesus perceived their wickedness, and said, Why tempt ye me, ye
+hypocrites? Shew me the tribute money. And they brought unto him a
+penny. And he saith unto them, Whose is this image and superscription?
+They say unto him, Cæsar's. Then saith he unto them, Render, therefore,
+unto Cæsar the things which are Cæsar's; and unto God the things that
+are God's. When they had heard these words, they marvelled and left him,
+and went their way."[13]
+
+That was indeed a wonderful scene, and it is made quite real to us in
+our picture: Christ and the Pharisee stand face to face, engaged in
+conversation. A wily old fellow has been chosen spokesman for his party.
+His bronzed skin and hairy muscular arm show him to be of a common class
+of laborers. The face is seamed with toil, and he has the hooked,
+aquiline nose of his race. As he peers into the face of his supposed
+dupe, his expression is full of low cunning and hypocrisy. He holds
+between thumb and forefinger the Roman coin which Christ has called for,
+and looks up as if wondering what that has to do with the question.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son. Sc.
+
+    CHRIST OF THE TRIBUTE MONEY
+
+    _Dresden Gallery_]
+
+Christ turns upon him a searching glance which seems to read his motives
+as an open page. There is no indignation in the expression, only
+sorrowful rebuke. His answer is ready, and he points quietly to the coin
+with the words which so astonish his listeners.
+
+The character of Christ is so many-sided that any painter who tries to
+represent him has the difficult task of uniting in a single face all
+noble qualities of manhood. Let us notice what elements of character
+Titian has made most prominent, and we shall see how much more nearly he
+satisfies our ideal than other painters.
+
+Refinement and intellectual power impress us first in this countenance:
+the noble forehead is that of a thinker. The eyes show penetration and
+insight: we feel how impossible it would be to deceive this man. It is a
+gentle face, too, but without weakness. Here is one who would sympathize
+with the sorrowing and have compassion on the erring, but who would not
+forget to be just. Strength of character and firmness of purpose are
+indicated in his expression. The highest quality in the face is its
+moral earnestness. Its calm purity contrasts with the coarse, evil face
+of the questioner as light shining in the darkness. There is, perhaps,
+only one other head of Christ in art with which it can properly be
+compared, and this is by Leonardo da Vinci, in the Last Supper at
+Milan. The two painters have expressed, as no others have been able to,
+a spiritual majesty worthy of the subject.
+
+The early painters used to surround the head of Christ with a circle of
+gold, which was called a nimbus, a halo, or a glory. The custom had been
+given up by Titian's time, but we see in our picture the remnant of the
+old symbol in the three tiny points of light which shine over the top
+and sides of the Saviour's hair. They are a mystic emblem of the
+Trinity.
+
+The artistic qualities of the picture are above praise. There are few,
+if any, of Titian's works executed with so much care and delicacy of
+finish, but without sacrificing anything in the breadth. We recognize
+the painter's characteristic touch in the disposition of the draperies,
+in the delicacy of the hair, the modelling of the hands, and the pose of
+Christ's head. The figures have that quality of vitality which we
+observe in Titian's great portraits. The color of Christ's robe is red,
+and his mantle a deep blue.
+
+
+
+
+IX
+
+THE BELLA
+
+
+Among Titian's wealthy patrons was a certain Duke of Urbino, Francesco
+Maria della Rovere, who, as the general-in-chief of the Venetian forces,
+came to Venice to live when our artist was at the height of his fame.
+From this time till the Duke's death the painter was brought into
+relations with this noble family. This was the period when the Bella was
+painted, and the picture has, as we shall see, an intimate connection
+with these patrons.
+
+The Duke's wife was Eleanora Gonzaga, sister of the Duke of Mantua,
+celebrated for her beauty and refinement. A contemporary (Baldassare
+Castiglione) writing of the lady, says: "If ever there were united
+wisdom, grace, beauty, genius, courtesy, gentleness, and refined
+manners, it was in her person, where these combined qualities form a
+chain adorning her every movement."
+
+The Duke himself was deeply in love with his wife. A week after his
+marriage he wrote that "he had never met a more comely, merry, or sweet
+girl, who to a most amiable disposition added a surprisingly precocious
+judgment, which gained for her general admiration." Eleanora, on her
+part A showed an undeviating affection for her husband, and they lived
+together happily.
+
+From the date of her marriage, we can reckon that the Duchess must have
+been well into her thirties when she came to Venice to live. From a
+portrait Titian painted of her, when she was about forty, we see that
+much of the fresh beauty of her girlhood had faded. She had, however,
+good features, with large, fine eyes and arching brows. Her figure was
+graceful and her neck beautiful: the head was particularly well set.
+
+All these qualities kindled the artistic imagination of Titian. In the
+matron of forty his inner eye caught a vision of the belle of twenty.
+Thereupon, he wrought an artist's miracle: he painted pictures of
+Eleanora as she had looked twenty years before. One of these, and
+perhaps the most famous, is the Bella of our illustration.[14] The
+identity of the original is hidden under this simple title, which is an
+Italian word, meaning the Beauty. An ancient legend tells of a wonderful
+fountain, by drinking of which a man, though old, might renew his youth
+and be, like the gods, immortal. There were some who went in quest of
+these waters, among them, as we remember, the Spanish knight, Ponce de
+Leon, who, thinking to find them north of Cuba, discovered our Florida.
+The Duchess of Urbino found such a fountain of youth in the art of
+Titian. Comparing her actual portrait with the Bella, painted within a
+few years, it seems as if the lady of the former had quaffed the magic
+draught which had restored her to her youthful beauty.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son. Sc.
+
+    THE BELLA
+
+    _Pitti Gallery, Florence_]
+
+The Bella is what is called a half length portrait, the figure standing,
+tall, slender, and perfectly proportioned. The lady turns her face to
+meet ours, and whether we move to the right or the left, the eyes of the
+enchantress seem to follow us. We fall under their spell at the first
+glance; there is a delightful witchery about them.
+
+The small head is exquisitely modelled, and the hair is coiled about it
+in close braids to preserve the round contours corresponding to the
+faultless curves of cheek and chin. The hair is of golden auburn, waving
+prettily about the face, and escaping here and there in little tendrils.
+Over the forehead it forms the same perfect arch which is repeated in
+the brows. The slender throat is long and round, like the stalk of a
+flower; the neck and shoulders are white and firm, and shaped in
+beautiful curves.
+
+The rich costume interests us as indicating the fashions in the best
+Venetian society of the early 16th century. Comparing it with that of
+the Empress Isabella in our other picture,[15] we notice that at the same
+period the Venetian styles differed considerably from the Spanish, to
+the advantage of the former. Instead of the stiff Spanish corset which
+destroyed the natural grace of the figure, the Bella wears a comfortably
+fitting bodice, from which the skirt falls in full straight folds. The
+dress is of brownish purple velvet, combined with peacock blue brocade.
+The sleeves are ornamented with small knots pulled through slashes. A
+long chain falls across the neck, and jewelled ear-rings hang in the
+ears.[16]
+
+It is pleasant to analyze the details of the figure and costume, but
+after all the charm of the picture is in the total impression it
+conveys. Applied to this lovely vision of womanhood the words of
+Castiglione seem no flattery. In her are united "grace, beauty,
+courtesy, gentleness, and refined manners." The essence of aristocracy
+is expressed in her bearing: the pose of the head is that of a princess.
+There is no trace of haughtiness in her manner, and no approach to
+familiarity: she has the perfect equipoise of good breeding.
+
+The picture gives us that sense of a real presence which it was the
+crowning glory of Titian's art to achieve. The canvas is much injured,
+but the Bella is still immortally young and beautiful.
+
+
+
+
+X
+
+MEDEA AND VENUS
+
+(_Formerly called Sacred and Profane Love_)
+
+
+A charming story is told in Ovid's "Metamorphoses" of Jason's adventures
+in search of the golden fleece, and of his love for Medea.[17] Jason was
+a Greek prince, young, handsome, brave, and withal of noble heart. He
+had journeyed over seas in his good ship Argo, and had at last come to
+Colchis to win the coveted treasure.
+
+The King Æëtes had no mind to give up the fleece without a struggle, and
+he set the young hero a hard task. He was ordered to tame two bulls
+which had feet of brass and breath of flame. When he had yoked these, he
+was to plough a field and sow it with serpent's teeth which would yield
+a crop of armed men to attack him. While Jason turned over in his mind
+how he should perform these feats, he chanced to meet the king's
+beautiful daughter Medea. At once the two fell in love with each other,
+and Jason's fortunes took a new turn. Medea possessed certain secrets of
+enchantment which might be of practical service to her lover in his
+adventure. She had a magic salve which protected the body from fire and
+steel. She also knew the charm--and it was merely the throwing of a
+stone--which would turn the "earth-born crop of foes" from attacking an
+enemy to attack one another. Finally she had drugs which would put to
+sleep the dragon guarding the fleece.
+
+To impart these secrets to Jason might seem an easy matter, but Medea
+did not find it so. She was a loyal daughter, and Jason had come to take
+her father's prized possession. She would be a traitor to aid a stranger
+against her own people. The poet tells how in her trouble the princess
+sought a quiet spot where she might take counsel with herself.
+
+                    "In vain," she cried,
+  "Medea! dost thou strive! Some deity
+   Resists thee! Ah, this passion sure, or one
+   Resembling this, must be what men call love!
+   Why should my sire's conditions seem too hard?
+   And yet too hard they are! Why should I shake
+   And tremble for the fate of one whom scarce
+   These eyes have looked on twice? Whence comes this fear
+   I cannot quell? Unhappy! from thy breast
+   Dash out these new-lit fires!--Ah! wiser far
+   If so I could!--But some new power constrains,
+   And reason this way points, and that way, love."
+
+The struggle goes on for some time, and the maiden's heart is torn with
+conflicting impulses. Summoning up "all images of right and faith and
+shame and natural duty," she fancies that her love is conquered. A
+moment later Jason crosses her path and the day is lost. Together they
+pledge their vows at the shrine of Hecate, and in due time they sail
+away in the Argo with the golden fleece.
+
+    [Illustration: From a carbon print by Braun, Clément & Co.
+            John Andrew & Son, Sc.
+
+    MEDEA AND VENUS
+
+    _Borghese Gallery, Rome_]
+
+
+Our picture illustrates the scene of Medea's temptation at the fountain.
+The tempter is love, in the form of Venus, the Greek goddess represented
+in the old mythology as the inspirer of the tender passion. She is
+accompanied by the little love-god Cupid, the mischievous fellow whose
+bow and arrow work so much havoc in human hearts. The perplexed princess
+sits beside the fountain, holding her head in the attitude of one
+listening. Venus leans towards her from the other side and softly pleads
+the lover's cause. Cupid paddles in the water as if quite unconcerned in
+the affair, but none can tell what mischief he is plotting.
+
+We notice a distinct resemblance between the faces of the two maidens,
+and perhaps this is the painter's way of telling us that Venus is only
+Medea's other self: the voice of the tempter speaks from her own heart.
+The expression is quite different on the two faces, tender and
+persuasive in Venus, dreamy and preoccupied in Medea. If we turn again
+to Ovid for the interpretation of the picture, we may fancy that Venus
+is describing the proud days when, as Jason's bride, Medea would journey
+with him through the cities of Greece. "My head will touch the very
+stars with rapture," thought the princess.
+
+The dress of Medea is rich and elegant, but quite simply made; the heavy
+folds of the skirt describe long, beautiful lines. In one gloved hand
+she holds a bunch of herbs, and the other rests upon a casket.
+
+The figure of Venus is conceived according to classic tradition,
+undraped, as the goddess emerged from the sea-foam at her birth. In the
+Greek religion the human body was honored as a fit incarnation for the
+deities. Sculptors delighted in the long flowing lines and beautiful
+curves which could be developed in different poses. Titian's picture
+translates the spirit of Greek sculpture, so to speak, into the art of
+painting. The figure of Venus may well be compared with the marble Venus
+of Milo, in the pure beauty of the face, the exquisite modelling of the
+figure, and the sweeping lines of grace described in the attitude.[18]
+The painter contrasts the delicate tint of the flesh with the rich
+crimson of the mantle which falls from the shoulder.
+
+The landscape is a charming part of the picture, stretching on either
+side in sunny vistas, pleasantly diversified with woods and waters,
+hills and pasture lands, church and castle.[19] Sunset lights the sky,
+and lends its color to the glowing harmonies of the composition.
+
+
+
+
+XI
+
+THE MAN WITH THE GLOVE
+
+
+The Man with the Glove is so called for lack of a more definite name.
+Nothing is told by Titian's biographers about the original of the
+portrait, and the mystery gives a certain romantic interest to the
+picture. Not being limited by any actual facts we can invent a story of
+our own about the person, or as many stories as we like, each according
+to his fancy.
+
+The sitter certainly makes a good figure for the hero of a romance. He
+is young and handsome, well dressed, with an unmistakable air of
+breeding, and singularly expressive eyes. Such eyes usually belong to a
+shy, sensitive nature, and have a haunting quality like those of some
+woodland creature.
+
+The title of The Man with the Glove is appropriate in emphasizing an
+important feature of the costume. In the days of this portrait, gloves
+were worn only by persons of wealth and distinction, and were a
+distinguishing mark of elegance. Though somewhat clumsily made,
+according to our modern notions, they were large enough to preserve the
+characteristic shape of the hand, and give easy play to the fingers.
+They formed, too, a poetic element in the social life of the age of
+chivalry. It was by throwing down his glove (or gauntlet) that one
+knight challenged another; while a glove was also sometimes a love-token
+between a knight and his lady.
+
+The glove has its artistic purpose in the picture, casting the left hand
+into shadow, to contrast with the ungloved right hand. The texture of
+the leather is skilfully rendered, and harmonizes pleasantly with the
+serious color scheme of the composition.
+
+Besides the gloves, the daintily ruffled shirt, the seal ring, and the
+long neck chain, show the sitter to be a young man of fashion. Not that
+he is in the least a fop, but he belongs to that station in life where
+fine raiment is a matter of course, and he wears it as one to the manner
+born. His hands are delicately modelled, but they are not the plump
+hands of an idler. They are rather flexible and sensitive, with long
+fingers like the hands of an artist.
+
+The glossy hair falls over the ears, and is brushed forward and cut in a
+straight line across the forehead. The style suits well the open
+frankness of the countenance. We must note Titian's rendering of both
+hair and hands as points of excellence in the portrait. There is a great
+deal of individuality in the texture of a person's hair and the shape of
+his hands, but many artists have apparently overlooked this fact. Van
+Dyck, for instance, used a model who furnished the hands for his
+portraits, irrespective of the sitter. Titian, in his best work, counted
+nothing too trivial for faithful artistic treatment.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son, Sc.
+
+    THE MAN WITH THE GLOVE
+
+    _The Louvre, Paris_]
+
+If we were to try to explain why The Man with the Glove is a great work
+of art we should find the first reason, perhaps, in the fact that the
+man seems actually alive. The portrait has what the critics call
+vitality, in a remarkable degree. Again, the painter has revealed in the
+face the inner life of the man himself; the portrait is a revelation of
+his personality.
+
+It has been said that every man wears an habitual mask in the presence
+of his fellows. It is only when he is taken unaware that the mask drops,
+and the man's real self looks out of his face. The portrait painter's
+art must catch the sitter's expression in such a moment of
+unconsciousness. The great artist must be a seer as well as a painter,
+to penetrate the secrets of human character.
+
+The young man of our picture is one of those reticent natures capable of
+intense feeling. In this moment of unconsciousness his very soul seems
+to look forth from his eyes. It is the soul of a poet, though he may not
+possess the gift of song. He has the poet's imagination as a dreamer of
+noble dreams.
+
+The time seems to have come when he is just awakening to the
+possibilities of life. He faces the future seriously, but with no
+shrinking. One recalls the words of Gareth, in Tennyson's Idyll:
+
+  "Man am I grown, a man's work must I do.
+         *       *       *       *       *
+  Live pure, speak true, right wrong, follow the king--
+  Else wherefore born?"[20]
+
+The lofty ideals of the knights of King Arthur's
+Round Table are such as we feel sure this gentle spirit
+would make his own:--
+
+  "To reverence the king as if he were
+   Their conscience, and their conscience as their king,
+   To break the heathen and uphold the Christ,
+   To ride abroad redressing human wrongs,
+   To speak no slander, no nor listen to it,
+   To lead sweet lives in purest chastity,
+   To love one maiden only, cleave to her,
+   And worship her by years of noble deeds
+   Until they won her."[21]
+
+It may be of these "noble deeds" of chivalry that our young man is
+dreaming, or it may be of that "one maiden" for whose sake they are to
+be done. Certainly these candid eyes see visions which we should be glad
+to see, and show us the depths of a knightly soul.
+
+
+
+
+XII
+
+THE ASSUMPTION OF THE VIRGIN
+
+(_Detail_)
+
+
+The Virgin Mary, mother of Jesus, has for over nineteen centuries
+represented to Christendom all the ideal qualities of womanhood. In her
+character, as revealed in St. Luke's gospel, we read of her noble,
+trustful humility in accepting the message of the Annunciation; of her
+decision and prudence shown in her visit to Elizabeth; of her
+intellectual power as manifested in the song of the Magnificat; of the
+contemplative nature with which she watched the growth of Jesus; of her
+maternal devotion throughout her son's ministry,--and of her sublime
+fortitude and faith at his crucifixion.[22] Such was the woman so highly
+favored of God, she whom the angel called "blessed among women."
+
+Art has pictured for us many imaginary scenes from the life of Mary. The
+most familiar and best loved subject is that of her motherhood, where
+she is seen with her babe in her arms. There are other subjects, less
+common, showing her as a glorified figure in mid-air as in a vision. One
+such is that called the Immaculate Conception, which the Spanish
+painter Murillo so frequently repeated.[23] Another is the Assumption,
+representing her at her death as borne by angels to heaven.
+
+The "Golden Legend" relates how "the right fair among the daughters of
+Jerusalem ... full of charity and dilection" was "joyously received"
+into glory. "The angels were glad, the archangels enjoyed, the thrones
+sang, the dominations made melody, the principalities harmonized, the
+potestates harped, cherubim and seraphim sang laudings and praisings."
+Also, "the angels were with the apostles singing, and replenished all
+the land with marvelous sweetness."[24]
+
+The Assumption of the Virgin is the subject of a noble painting by
+Titian, one of the most celebrated pictures in the world. A group of
+apostles stand on the earth gazing after the receding figure of the
+Virgin as she soars into the air on a wreath of cloud-borne angels. From
+the upper air the Heavenly Father floats downward with his angels to
+receive her. As the canvas is very large, over twenty-two feet in
+height, a small reproduction of the entire picture is unsatisfactory,
+and our illustration gives us the heart of the composition for careful
+study.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son. Sc.
+
+    THE ASSUMPTION OF THE VIRGIN (DETAIL)
+
+    _Venice Academy_]
+
+The Virgin rises buoyantly through the air, and the figure is so full
+of life and motion that it seems as if it would presently soar beyond
+our sight. The heavy folds of the skirt swirl about the body in the
+swiftness of the ascent. The rushing air fills the mantle like the sail
+of a ship. Yet the source of motion is not within the figure itself, for
+we see the feet resting firmly on the cloud. It is as if she were borne
+aloft in a celestial chariot composed of an angelic host.
+
+The face is lifted with a look of rapture; the arms are extended in a
+gesture of exultation. The pose of the head displays the beautiful
+throat, strong and full like that of a singer. The features are cast in
+a large, majestic mould. The hands, turned palm outward, are large and
+flexible, but with delicate, tapering fingers.
+
+We have already seen in other pictures what was Titian's conception of
+the Virgin in her girlhood and motherhood. We find little of the
+ethereal and spiritual in his ideal, and nothing that would in any way
+suggest that true piety is morbid or sentimental. Other painters have
+erred in this direction, but not Titian. To him the Virgin was no angel
+in disguise, but a strong, happy, healthy woman, rejoicing in life. But
+though a woman, she was in the poet's phrase "a woman above all women
+glorified." She possessed in perfection all the good gifts of human
+nature. Titian's ideal coincided with the old Greek formula, "A sound
+mind in a sound body." The Virgin of the Assumption is in fact not
+unlike a Greek goddess in her magnificently developed physique and
+glorious beauty.
+
+Our illustration includes a few of the baby angels from the wreath
+supporting the Madonna. They are packed so closely together in the
+picture that their little limbs interlace like interwoven stems in a
+garland of flowers. Yet the figures are cunningly arranged to bring into
+prominence a series of radiating lines which flow towards a centre in
+the Madonna's face. We see in the corner of our print a little arm
+pointing to the Virgin, and above it is a cherub's wing drawn in the
+same oblique line.
+
+Frolicsome as is this whole company of angels, they are of an almost
+unearthly beauty. A poetic critic has told of standing before the
+picture contemplating these lovely spirits one after another, until, as
+she expresses it, "A thrill came over me like that which I felt when
+Mendelssohn played the organ and I became music while I listened." She
+sums up the effect of the picture as "mind and music and love, kneaded,
+as it were, into form and color."[25]
+
+When we analyze the drawing of the Madonna's figure we see that it is
+drawn in an outline of long, beautiful curves. The principle of
+repetition is skilfully worked into the composition. The outer sleeve
+falls away from the right arm in an oval which exactly duplicates that
+made by the lower portion of the mantle sweeping out at one side. By
+tracing the main lines of the drapery one will find them running in
+parallels.
+
+
+
+
+XIII
+
+FLORA
+
+
+Besides the portraits intended as actual likenesses of the sitters,
+Titian was fond of painting what may be called ideal portraits, or fancy
+pictures. While real persons furnished the original models for these,
+the painter let his imagination have free play in modifying and
+perfecting form and feature. We have seen an illustration of this
+process in the picture called the Bella, an idealized portrait of
+Eleanora Gonzaga. The Flora is another example.
+
+We do not know the name of the original, but we may be sure that it
+represents an actual person. There is a tradition that she was the
+daughter of one of Titian's fellow-painters, Palma, with whom he was in
+love. As a matter of fact, Palma had no daughter, and the young woman
+was doubtless only a favorite Venetian model whom both painters
+employed. Apparently it was she who posed for both figures in the
+picture of Medea and Venus which we have studied.[26]
+
+Flora's hair is of that auburn tint which the Venetians loved, and
+which, it is believed, was artificially produced. It is looped into
+soft, waving puffs over the ears, and gathered back by a silken cord,
+below which it falls like a delicate veil thinly spread over the
+shoulders. The skin is exquisitely white and soft, and the thin garment
+has been allowed to slip from one shoulder so that we may see the full,
+beautiful neck.
+
+We notice with what art the painter has arranged the draperies. From the
+right shoulder the garment falls in delicate, radiating folds across the
+figure. Over the garment is thrown a stiff, rose-colored brocade mantle,
+contrasting pleasantly with the former both in color and texture. A
+glimpse of this mantle is seen at the right side and above the left
+shoulder and arm, over which the hand gathers it up to prevent it from
+slipping. This action of the left hand introduces a new set of lines
+into the picture, breaking the folds of the drapery into eddying circles
+which offset the more sweeping lines of the composition.[27]
+
+The drawing here is well worth studying, and we may give it more
+attention since we must lose the lovely color of the painting in the
+reproduction. The main lines flow in diagonals in two opposite
+directions. There is the long line of the right arm and shoulder drawn
+in a fine, strong curve across the canvas. Parallel with it is the edge
+of the brocade mantle as it is held in the left hand. The counter lines
+are the curve of the neck and left shoulder, with which the upper edge
+of the undergarment runs parallel. The wide spaces between these
+enclosing lines are broken by sprays of radiating lines, one formed by
+the folds of the undergarment, and the other smaller one by the locks of
+hair on the left shoulder.
+
+    [Illustration: Picture from Carbon Print by Braun, Clément & Co.
+            John Andrew & Son. Sc.
+
+    FLORA
+
+    _Uffizi Gallery, Florence_]
+
+The graceful pose of the head, inclined to one side, suggests the soft
+languor of a southern temperament. It was often adopted by Titian, and
+we see another instance in the attitude of the Venus. We fancy that the
+painters liked particularly the long curve thus obtained along the neck
+and shoulder. The angle made on the other side between head and shoulder
+is filled in with the falling hair.
+
+The title of Flora is given to the picture after the fashion of Titian's
+time for drawing subjects from mythology. The revival of classic
+learning had opened to Italian art a delightful new field of
+illustration. We see how Titian took advantage of it in such pictures as
+Medea and Venus. In England the love of the classics was seen in the
+poetry which took much the same place there that painting held in Italy.
+Flora was the ancient goddess of flowers and is made much of in
+Elizabethan verse.[28] Some pretty lines by Richard Carlton describe
+
+  "When Flora fair the pleasant tidings bringeth
+   Of summer sweet with herbs and flowers adorned."
+
+In our picture the goddess holds a handful of flowers, roses, jessamine
+and violets, as a sign of her identity. We confess that her type of
+beauty hardly corresponds to our ideal of Flora. She is a gentle,
+amiable creature, but not ethereal and poetic enough for the goddess
+of flowers. Were we to choose a character for her from mythology it
+would be Juno, the matronly "ox-eyed" goddess, who presided over
+marriage and whose emblem was the productive pomegranate.
+
+As we compare Flora with the other fair women of our collection, we see
+that her beauty is of a less elegant and aristocratic type than that of
+the Bella, and less delicate and refined than that of the Empress
+Isabella. Her face is perhaps too broad to satisfy a connoisseur of
+beauty, and she is quite plainly of plebeian caste. Like Lavinia her
+charm is in the healthy vitality which was the special characteristic of
+the Venetian beauties of the time. The figure glows with warm pulsing
+life.
+
+
+
+
+XIV
+
+THE PESARO MADONNA
+
+
+High on a great marble pedestal, between the stately pillars of a
+temple, sits the mother Mary with her child Jesus, receiving
+worshippers. Beyond the pillars is seen the blue sky veiled with fleecy
+clouds. A tiny cloud has floated within the enclosure, bearing two
+winged cherubs, who hold a cross between them, hovering over the group
+below.
+
+The company of worshippers kneel on the tessellated pavement: we see
+from their dress that they are wealthy Venetians of the sixteenth
+century. It is the family group of a certain Jacopo Pesaro, who was at
+that time bishop of Paphos. He is known by the familiar nickname of
+"Baffo," and played an important part in Venetian history.
+
+When the Venetians went forth in the New Crusade to attack the Turks,
+Pesaro or "Baffo" was the commander of the galleys sent by the Borgia
+pope Alexander VI. The expedition being successful, the bishop wished to
+show his gratitude for the divine favor. Accordingly, in the course of
+time, he ordered this picture as a thank-offering commemorative of his
+victory. He comes with his kinsman Benedetto and other members of his
+family to consecrate the standards taken from the enemy.
+
+The bishop himself has the most prominent place among the worshippers at
+the foot of the throne steps, while Benedetto, with a group behind him,
+kneels opposite. The victorious commander is accompanied by St. George,
+who carries the banner inscribed with the papal arms and the Pesaro
+escutcheon. He leads forward two Turkish captives to whom he turns to
+speak. St. George was a warrior saint, and being besides the patron of
+Venice his appearance in this capacity is very appropriate here.
+
+There are other saints to lend their august presence to the ceremony. As
+the picture was to be given to a church dedicated to the Franciscan
+friars or "Frari," two of the most celebrated members of this order are
+represented. They are St. Francis, the founder, and St. Anthony, of
+Padua, the great preacher, and they stand in the habits of their order
+beside the throne. Midway on the steps St. Peter is seated reading a
+book from which he turns to look down upon Jacopo. The key, which is the
+symbol of his authority in the church, stands on the step below. The
+saints, we see, form a connecting link between the exalted height of the
+Madonna and Child and the worshippers. St. Peter introduces the bishop,
+and St. Francis seems to ask favor for the group with Benedetto.
+
+The scene is full of pomp and grandeur. The superb architecture of the
+temple, the rich draperies of the sacred group, the splendid dresses of
+the worshippers, the red and gold banner, all contribute to the
+impression of magnificence which the picture conveys. The colossal scale
+of the composition gives us an exhilarating sense of spaciousness. The
+color harmony is described as glorious.
+
+    [Illustration: D. Anderson, photo.         John Andrew & Son. Sc.
+
+    THE PESARO MADONNA
+
+    _Church of the Frari, Venice_]
+
+Though the bishop of Paphos comes to render thanks, his attitude is far
+from humble. There are no bowed heads in the kneeling company. These
+proud Pesari all hold themselves erect in conscious self-importance. It
+is as if they were taking part in some pageant. Only the face of the
+youth in the corner relaxes from dignified impassivity and looks
+wistfully out at us.
+
+The Madonna leans graciously from her high throne and looks into the
+face of the bishop. She, too, has the proud aspect and demeanor which
+these haughty Venetians would demand of one whom they were to honor. Her
+splendid vitality is what impresses us most forcibly. The child is a
+merry little fellow who does not concern himself at all with the
+ceremony. He has caught up his mother's veil in the left hand, drawing
+it over his head as if in a game of hide and seek with St. Francis. The
+little foot is kicked out playfully as he looks down into the good
+saint's face.
+
+Let us consider a moment the skill with which Titian has united the
+various parts of his picture. The canvas was of an awkward shape, being
+of so great height. To fill the space proportionately, the Virgin's
+throne is placed at a height which divides the picture. The little
+cloud-borne cherubs break the otherwise undue length of the temple
+pillars. The composition of the group is outlined in a rather
+odd-shaped triangle. All its main lines flow diagonally toward a focus
+in the face of the Virgin, who is of course the dominant figure in the
+company.
+
+Notice the continuous line extending from the top to the bottom of the
+group. The folds of the Madonna's drapery are ingeniously carried on in
+the rich velvet throne hanging; and St. Peter's yellow mantle falls well
+below, where the bishop's robe takes up the lines and carries them to
+the pavement. There is a veritable cascade of draperies flowing
+diagonally through the centre of the picture. The staff of the banner
+describes a line cutting this main diagonal at exactly the same angle,
+and thus avoiding any one-sided effect in the picture. In the right of
+the composition the outline of the Christchild's figure, the arm of St.
+Francis, and the stiff robe of Benedetto make a series of lines which
+enclose the triangle on that side.
+
+The critic Ruskin has enunciated a set of laws of composition nearly all
+of which find illustration in this painting.[29] _Principality_ is well
+exemplified in the prominence of the Virgin's position and the flow of
+the lines toward her. _Repetition_, _Contrast_, and _Continuity_, are
+seen in the drawing of the compositional lines, as has been indicated.
+Finally, the picture is perfect in _Unity_, which is the result of
+masterly composition, its many diverse parts being bound closely
+together to form a harmonious whole.
+
+
+
+
+XV
+
+ST. JOHN THE BAPTIST
+
+
+St. John the Baptist was the cousin of Jesus, and was the elder of the
+two by about six months. Before his birth the angel Gabriel appeared to
+his father, Zacharias, and predicted for the coming child a great
+mission as a prophet. His special work was to prepare the way for the
+advent of the Messiah.
+
+Zacharias was a priest and a good man, and both he and his wife
+Elizabeth were deeply impressed with the angel's message. Not long
+after, their cousin Mary came from Nazareth to bring them news of the
+wonderful babe Jesus promised her by the same angel. He was to be the
+Messiah whom John was to proclaim. The two women talked earnestly
+together of the future of their children, and no doubt planned to do all
+in their power to further the angel's prediction. The time came when all
+these strange prophecies were fulfilled. As John grew to manhood he
+showed himself quite different from other men. He took up his abode in
+the wilderness, where he lived almost as a hermit. His raiment was of
+camel's hair fastened about him with a leathern girdle; his food was
+locusts and wild honey. At length "the word of God came unto him," and
+he began to go about the country preaching. His speech was as simple and
+rugged as his manner of life. He boldly denounced the Pharisees and
+Sadducees as "a generation of vipers," and warned sinners "to flee from
+the wrath to come." The burden of all his sermons was, "Repent, for the
+kingdom of heaven is at hand."
+
+The fame of his preaching reached Jerusalem, and the Jews sent priests
+and Levites to ask him, "Who art thou?" His reply was in the mystic
+language of the old Hebrew prophet Isaiah, "I am the Voice of one crying
+in the wilderness, Make straight the way of the Lord."
+
+It was a part of John's work to baptize his converts in the river
+Jordan. He explained, however, that this baptism by water was only a
+symbol of the spiritual baptism which they were to receive at the hands
+of the coming: Messiah. "One mightier than I cometh," he said, "the
+latchet of whose shoes I am not worthy to unloose: he shall baptize you
+with the Holy Ghost and with fire."[30]
+
+At last Jesus himself sought to be baptized by John. The Baptist
+protested his unworthiness, but Jesus insisted, and the ceremony was
+performed. And "it came to pass that ... the heaven was opened, and the
+Holy Ghost descended in a bodily shape like a dove upon him, and a voice
+came from heaven, which said, Thou art my beloved son; in thee I am well
+pleased."[31] This was the promised sign by which John knew Jesus as the
+Messiah, and he straightway proclaimed him to his disciples.
+
+    [Illustration: D. Anderson, photo.         John Andrew & Son. Sc.
+
+    ST. JOHN THE BAPTIST
+
+    _Venice Academy_]
+
+His life work was now consummated, but he was not permitted to see the
+fruits of his labors. For his open denunciation of King Herod he was
+cast into prison, and was soon after beheaded.
+
+In our picture St. John stands in a mountain glen preaching. As his
+glance is directed out of the picture it is as if his audience were in
+front, and we among their number. His pointing finger seems to single
+out some one to whom he directs attention, and we know well who it is.
+This must be that day when seeing Jesus approach the prophet exclaimed,
+"Behold the Lamb of God which taketh away the sin of the world. This is
+he of whom I said, After me cometh a man which is preferred before me;
+for he was before me."[32] The lamb which lies on the ground beside him
+is the outward symbol of his words. The slender reed cross he carries is
+an emblem of his mission as the prophet of the crucified one.
+
+From head to feet the Baptist impresses us with his muscular power.
+There is no hint of fastings and vigils in this strong athletic figure.
+Here, as elsewhere. Titian will have nothing of that piety which is
+associated with a delicate and puny physique. He is the art apostle of
+that "muscular Christianity" of which Charles Kingsley used to preach.
+The Baptist's skin is bronzed and weather-beaten from his active
+out-of-door life. Yet the face shows the stern and sombre character of
+the prophet. There are traces of suffering in the expression, as of one
+who mourns profoundly the evil in the world. Something of the fanatic
+gleams in the eyes, and the effect is heightened by the wild masses of
+unkempt hair which frame the countenance.
+
+Nature too seems to be in a somewhat wild and sombre mood in this spot.
+A dark bank rises abruptly at the side, and St. John stands in its
+shadow, just under a tuft of coarse grass and bushes jutting from its
+upper edge. The sky is overcast with clouds. A narrow stream falls over
+a rocky bed, and in the distance slender trees lift their feathery
+branches in the air. In Titian's time landscape painting had not
+developed into an independent art, but was an important part of figure
+compositions. Our painter always took great pains with his landscapes,
+making them harmonize, as does this, with the character of the figures.
+
+The picture reminds us of the St. Christopher which we have examined,
+being, like it, a study direct from the life of some athletic model. Yet
+here we see to better advantage Titian's work in modelling the nude
+figure. We can understand that one reason why he could make a draped
+figure so lifelike was because he studied the anatomy of the human body
+in undraped models. The figure here stands out almost as if it were done
+in sculpture.
+
+
+
+
+XVI
+
+PORTRAIT OF TITIAN
+
+
+Probably no other painter in the world's history was ever granted so
+long a life in which to develop his art as was Titian. He was a mere boy
+when he began to paint, and he was still busy with his brush when
+stricken with plague at the age of ninety-nine.
+
+The years between were full of activity, and every decade was marked by
+some specially notable work as by a golden milestone. The Assumption of
+the Virgin was painted at the age of forty, the Pesaro Madonna at fifty,
+the Presentation of the Virgin in his early sixties, the portrait of
+Philip II. at about seventy, and St. John the Baptist at eighty. How
+interesting it would be if we could have a portrait of the man himself
+painted at each decade!
+
+Titian, however, seems to have been quite lacking in personal vanity.
+Though a handsome and distinguished-looking man, a fine subject for a
+portrait, he seldom painted his own likeness. We value the more the fine
+portrait of our frontispiece painted at the age of eighty-five. The
+years have dealt so gently with him that we may still call him a
+handsome man. Yet the face has the shrunken look of old age, there are
+deep hollows about the eyes, and the features are sharpened under the
+withered skin. There is an expression which seems almost like awe in
+the eyes. The painter gazes absently into space as if piercing beyond
+the veil which separates this world from the next. The mood does not
+seem to be one of reminiscence, but rather of grave anticipation.
+
+As we study the face we are interested to read in it what we know of the
+man's character and history. Titian was, as we have seen, a man who
+enjoyed very much the good things of life, and passed most of his days
+in luxurious surroundings. He was thoroughly a man of the world, at ease
+in the society of princes and noblemen, and a princely host in his own
+house. Our portrait shows that his courtly bearing did not fail him in
+his old age: we can fancy the ceremonious courtesy of his manner. The
+figure is extended well below the waist, perhaps that we may see how
+erect the old man is.
+
+Titian, too, had not a little taste for literature and the society of
+the learned. His fine high brow and keen eyes are sufficient evidence
+that he was a man of intellect. That he was a fond father we have no
+doubt, and we like to trace the lines of kindliness in the fine old
+face.
+
+Age cannot quench the old man's ardor for his art. The brush is still
+his familiar companion, and will go with him to the end. He holds it
+here in his right hand, in the attitude of a painter pausing to get the
+effect of his work. It may be from this that he would have us think that
+his glance is directed toward his canvas. In that case, the serious
+expression would indicate that the subject is a solemn one, perhaps the
+Ecce Homo, or the Pieta, which he painted in his later years.
+
+We see that his hand had not lost its cunning in summoning before us the
+real presence of a sitter, and that he could paint his own likeness as
+readily as that of another. The portrait shows us the best elements in a
+man of a many-sided nature. This is Titian the master, whom the world
+honors as one of the greatest of his kind.
+
+
+
+
+PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS
+
+
+The Diacritical Marks given are those found in the latest edition of
+Webster's International Dictionary.
+
+
+EXPLANATION OF DIACRITICAL MARKS.
+
+    A Dash ([=_]) above the vowel denotes the long sound, as in f[=a]te,
+       [=e]ve, t[=i]me, n[=o]te, [=u]se.
+
+    A Dash and a Dot ([.=_]) above the vowel denote the same sound, less
+       prolonged.
+
+    A Curve ([)_]) above the vowel denotes the short sound, as in
+       [)a]dd, [)e]nd, [)i]ll, [)o]dd, [)u]p.
+
+    A Dot ([._]) above the vowel a denotes the obscure sound of a in
+       p[.a]st, [.a]bate, Americ[.a].
+
+    A Double Dot ([:_]) above the vowel a denotes the broad sound of a
+       in fäther, älma.
+
+    A Double Dot ([_:]) below the vowel a denotes the sound of a in
+       b[a:]ll.
+
+    A Wave ([~_]) above the vowel e denotes the sound of e in h[~e]r.
+
+    A Circumflex Accent ([^_]) above the vowel o denotes the sound of o
+       in bôrn.
+
+    A dot ([_.]) below the vowel u denotes the sound of u in the French
+       language.
+
+    [N] indicates that the preceding vowel has the French nasal tone.
+
+    th denotes the sound of th in the, this,
+
+    ç sounds like s.
+
+    [/c] sounds like k.
+
+    [g=] sounds like z.
+
+    [=g] is hard as in get.
+
+    [.g] is soft as in gem.
+
+
+  Æëtes ([.=e][=e]'t[.=e]z).
+  Andalusia ([)a]n-d[.a]-l[=o][=o]'z[)i]-[.a]
+    _or_ än-dä-l[=o][=o]-th[=e]'ä).
+  Anthony ([)a]n't[)o]-n[)i]).
+  Argo (är'[=g][=o]).
+  Armada (är-mä'dä _or_ är-m[=a]'d[.a]).
+  Augsburg (owgs'b[=o][=o]rG).
+
+  Baffo (bäf'f[.=o]).
+  Bäldässä'r[)e].
+  B[)e]l'lä.
+  Belvedere (b[)e]l-v[)e]-d[=a]'r[)e] _or_ -d[=e]r').
+  Benedetto (b[=a]-n[=a]-d[)e]t't[=o]).
+  B[)e]th'l[=e]h[=e]m.
+  Biri (b[=e]'r[=e]).
+  Borgia (bôr'jä).
+  Brussels (br[)u]s'[)e]lz).
+
+  Cæsar (s[=e]'z[.a]r).
+  Calvary (k[)a]l'v[.a]-r[)i]).
+  Canaan (k[=a]'n[.a]n _or_ k[=a]'n[.=a]-[.a]n).
+  Carlton (kärl't[)u]n).
+  Casa Grande (kä'sä grän'd[.=a]).
+  Castiglione (käs-t[=e]l-y[=o]'n[.=a]).
+  Caxton (k[)a]ks't[)u]n).
+  Ceneda (ch[=a]-n[=a]'dä).
+  Christopher (kr[)i]s't[.=o]-f[)e]r).
+  Cleodolinda (kl[.=a]-[.=o]-d[.=o]-l[)i]n'dä).
+  Cl[)o]s's[)o]n.
+  Colchis (k[)o]l'k[)i]s).
+  Cornelio (k[.=o]r-n[=a]'l[.=e]-[.=o]).
+  Cristoforo (kr[.=e]s-t[=o]'f[.=o]-r[=o]).
+  C[=u]'p[)i]d.
+
+  Diocletian (d[.=i]-[.=o]-kl[=e]'sh[)i]-[.a]n).
+
+  Ecce Homo ([)e]k'k[)e], _or_ [)e]k's[=e], h[=o]'m[=o]).
+  Eleanora ([.=a]-l[.=a]-[.=o]-n[=o]'rä).
+  Elizabeth ([.=e]-l[)i]z'[.a]-b[)e]th).
+  Emmanuel ([)e]m-m[)a]n' [.=u]-[)e]l).
+
+  F[=e]r'd[)i]n[)a]nd.
+  Fl[)e]m'[)i]ng.
+  Flôr[)e]nce.
+  Francesco (frän-ch[)e]s'k[=o]).
+  Franciscan (fr[)a]n-s[)i]s'k[)a]n).
+  Frari (frä'r[=e]).
+
+  G[=a]br[)i][)e]l.
+  G[=a]'r[)e]th.
+  Giorgione (jôr-j[=o]'n[.=a]).
+  G[)o]nzä'gä.
+  Gr[)a]nä'd[.a].
+  guimpe ([=g][)a][N]p).
+  Guinevere (gw[)i]n'[)e]-v[=e]r).
+
+  Hebrew (h[=e]'br[=o][=o]).
+  Hecate (h[)e]k'[.=a]-t[.=e]).
+  Herod (h[)e]r'[)u]d).
+  Herodians (h[)e]r-[=o]'d[)i]-[.a]nz).
+
+  Isabella ([)i]z-[.a]-b[)e]l'[.a]).
+  Isaiah (i-z[=a]'y[.a]).
+  Israel ([)i]z'r[.=a]-[)e]l).
+
+  Jacopo (yä'k[=o]-p[=o]).
+  Jameson (j[=a]'m[)e]-s[)u]n).
+  Jason (j[=a]'s[)u]n).
+  Jerome (j[.=e]-r[=o]m' or j[)e]r'[)u]m).
+  J[)e]r[=u]s[.a]l[)e]m.
+  Joachim (j[=o]'ä-k[)i]m).
+  Jôrd[.a]n.
+  Jud[=e]'[.a].
+  J[=u]'n[=o].
+
+  Kingsley (k[)i]ngz'l[)i]).
+
+  Läv[)i]n'[)i][.a].
+  Legenda Aurea (l[)e][=g]-[)e]n'dä ow'r[)e]-ä
+    _or_ l[=e]-j[)e]n'd[.a] [a:]'r[.=e]-[.a]).
+  Leon, Ponce de (p[=o]n'th[=a] d[=a] l[=a]-[=o]n').
+  Leonardo (l[=a]-[=o]-när'd[=o]).
+  Levites (l[=e]'v[=i]tz).
+  L[)o]t't[=o].
+  Lynette (L[)i]-n[)e]t').
+
+  M[.a]d[)o]n'n[.a].
+  M[)a]gn[)i]'f[)i]c[)a]t.
+  mandola (män-d[=o]'lä).
+  M[)a]n't[.=u][.a].
+  Maximilian (m[)a]k-s[)i]-m[=i]l'[=i]-[.a]n).
+  M[=e]d[=e]'[.a].
+  M[)e]n'd[)e]lss[=o]hn.
+  M[)e]ss[=i]'[.a]h.
+  M[)e]t[.a]môrph[=o]s[=e][s=].
+  Milan (m[)i]l'[.a]n _or_ m[)i]-l[)a]n').
+  M[=i]'l[=o].
+  Murano (m[=o][=o]-rä'n[=o]).
+  Murillo (m[=o][=o]-r[=e]l'y[=o]).
+
+  Naz'areth.
+  Netherlands (n[)e]th'[~e]r-l[.a]ndz).
+
+  Offero ([)o]f'f[.=e]-r[=o]).
+  Ovid ([)o]v'[)i]d).
+
+  P[)a]d'[.=u][.a].
+  P[)a]l[)e]st[=i]ne.
+  Pallavicino, Argentina
+    (är-[.g][)e]n-t[=e]'nä päl-lä-v[=e]-ch[=e]'n[=o]).
+  Päl'mä.
+  P[=a]'ph[)o]s.
+  Pär'mä.
+  Pesari (p[=a]-sä'r[=e]).
+  Pesaro, Jacopo (yä'k[=o]-p[=o] p[=a]-sä'r[=o]).
+  Pharisee (f[)a]r'[)i]-s[=e]).
+  Pieta (p[.=e]-[=a]'tä).
+  Portugal (p[=o]r't[.=u]-g[.a]l).
+  Portuguese (p[=o]r't[.=u]-g[=e]z).
+  Priscianese (pr[)i]s-ch[=e]-ä-n[=a]'s[.=a]).
+
+  Reggio (r[)e]d'j[=o]).
+  Rovere, Francesco Maria della (frän-ch[)e]s'k[=o]
+    mä-r[=e]'ä d[)e]l'lä r[=o]-v[=a]'r[=a]).
+  R[)u]s'k[)i]n.
+
+  Sadducees (s[)a]d'[.=u]-s[=e]z).
+  Salome (s[)a]-l[=o]'m[.=e]).
+  Sarcinelli, Cornelio
+    (k[=o]r-n[=a]'l[.=e]-[=o] sär-ch[.=e]-n[)e]l'l[.=e]).
+  Serravalle (s[)e]r-rä-väl'l[.=a]).
+  Seville (s[.=e]-v[)i]l').
+
+  Titian (t[)i]sh'[.a]n).
+
+  Uffizi ([=o][=o]f-f[=e]t's[.=e]).
+  Urbino ([=o][=o]r-b[=e]'n[.=o]).
+
+  Van Dyck (v[)a]n d[=i]k').
+
+  Vasari (vä-sä'r[=e]).
+  Velasquez (v[=a]-läs'k[=a]th).
+  Venetian (v[.=e]-n[=e]'sh[.a]n).
+  Venice (v[)e]n'[)i]s).
+  V[=e]'n[)u]s.
+  Veronese (v[=a]-r[=o]-n[=a]'z[.=a]).
+  V[)e]s[=a]'l[)i][)u]s.
+  Vi[)e]n'n[.a].
+  Vinci, Leonardo da (l[=a]-[=o]-när'd[=o] da v[)i]n'ch[=e]).
+  Voragine, Jacopo de (yä'k[=o]-p[=o] d[.a] v[=o]-rä-j[=e]'n[.=a]).
+  V[)u]l'g[=a]te.
+
+  Wesley (w[)e]s'l[)i]).
+
+  Yuste (y[=o][=o]s't[=a]).
+
+  Zacharias (z[)a]k-[.a]-r[=i]'[.a]s).
+
+
+
+FOOTNOTES
+
+
+  [1]  See notes on Titian in Vasari's _Lives of the Painters_,
+       edited by E. H. and E. W. Blashfield and A. A. Hopkins.
+
+  [2]  Notes on Titian in Vasari's _Lives of the Painters_, by E. H.
+       and E. W. Blashfield and A. A. Hopkins.
+
+  [3]  Claude Phillips.
+
+  [4]  Compiled from the Index to _Titian: His Life and Times_,
+       by Crowe and Cavalcaselle.
+
+  [5]  As the various so-called portraits of Vesalius are said to
+       have little in common upon which to base a resemblance, one is
+       almost tempted to set up a theory that this portrait may be
+       that of the great anatomist.
+
+  [6]  1 Samuel, chapter i., verses 11, 24-28.
+
+  [7]  _The Golden Legend_, in Caxton's translation, edited by F. S.
+       Ellis (Temple Classics, vol. v., pp. 101, 102). The story is
+       retold in Mrs. Jameson's _Legends of the Madonna_, p. 197.
+
+  [8]  For instance, Lavinia, Flora, and the Man with the Glove.
+
+  [9]  See the Acts of the Apostles, chapters vi. and vii.
+
+  [10] The lives of St. Jerome and St. George are related in detail
+       in _The Golden Legend_. See Caxton's translation edited by
+       F. S. Ellis (Temple Classics), vol. v., pages 199-208, for
+       St. Jerome, vol. iii., pages 125-134, for St. George. Mrs.
+       Jameson's _Sacred and Legendary Art_ contains condensed
+       accounts of the same two saints. See page 280 for St. Jerome
+       and page 391 for St. George.
+
+  [11] See the story as related in Mrs. Jameson's _Sacred and
+       Legendary Art_, page 433, and in H. E. Scudder's _Book
+       of Legends_.
+
+  [12] Claude Phillips.
+
+  [13] Matthew, chapter xxii., verses 34-40.
+
+  [14] Others are the Venus of the Uffizi Gallery, Florence, and the
+       Girl in the Fur Cloak in the Belvedere, Vienna.
+
+  [15] See page 15.
+
+  [16] In the later Venetian art, as in the pictures by Veronese,
+       we see more elaborate costumes.
+
+  [17] See Book VII. in Henry King's translation, from which the
+       quotations here are drawn. The same story is delightfully
+       modernized in Hawthorne's _Tanglewood Tales_ and Kingsley's
+       _Greek Heroes_.
+
+  [18] See the volume on _Greek Sculpture_ in the Riverside Art
+       Series, chap. xiii.
+
+  [19] In our reproduction a small portion of the landscape is cut
+       off at each end.
+
+  [20] From _Gareth and Lynette_.
+
+  [21] From _Guinevere_.
+
+  [22] This analysis of Mary's character is suggested in the
+       Introduction to Mrs. Jameson's _Legends of the Madonna_,
+       p. 28.
+
+  [23] See the volume on _Murillo_ in the Riverside Art Series,
+       Chapter I.
+
+  [24] See _The Golden Legend_, in Caxton's translation, edited by
+       F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.
+
+  [25] Mrs. Jameson in _Sacred and Legendary Art_, page 74.
+
+  [26] See page 57.
+
+  [27] This feature of the picture is pointed out by John Van Dyke
+       in his notes on Closson's engraving of the subject.
+
+  [28] It should be remembered that a portion of Elizabeth's reign
+       (1538-1603) fell within Titian's lifetime.
+
+  [29] See _Elements of Drawing_, Lecture III.
+
+  [30] Luke, chapter iii., verse 6.
+
+  [31] Luke, chapter iii., verses 21, 22.
+
+  [32] John, chapter i., verses 29-30.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Titian; a collection of fifteen
+pictures and a portrait of the painter, by Estelle Hurll
+
+*** END OF THE PROJECT GUTENBERG EBOOK 40251 ***