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diff --git a/40251-8.txt b/40251-8.txt deleted file mode 100644 index e7c2695..0000000 --- a/40251-8.txt +++ /dev/null @@ -1,2905 +0,0 @@ -The Project Gutenberg EBook of Titian; a collection of fifteen pictures -and a portrait of the painter, by Estelle Hurll - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Titian; a collection of fifteen pictures and a portrait of the painter - -Author: Estelle Hurll - -Release Date: July 16, 2012 [EBook #40251] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TITIAN; A COLLECTION OF *** - - - - -Produced by Tom Cosmas (This file was produced from images -generously made available by The Internet Archive) - - - - - - - - - -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 THIS PROJECT GUTENBERG EBOOK TITIAN; A COLLECTION OF *** - -***** This file should be named 40251-8.txt or 40251-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/2/5/40251/ - -Produced by Tom Cosmas (This file was produced from images -generously made available by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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