diff options
Diffstat (limited to '40251-0.txt')
| -rw-r--r-- | 40251-0.txt | 2512 |
1 files changed, 2512 insertions, 0 deletions
diff --git a/40251-0.txt b/40251-0.txt new file mode 100644 index 0000000..706171d --- /dev/null +++ b/40251-0.txt @@ -0,0 +1,2512 @@ +*** 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 *** |