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diff --git a/43988-8.txt b/43988-8.txt deleted file mode 100644 index df85697..0000000 --- a/43988-8.txt +++ /dev/null @@ -1,1358 +0,0 @@ -The Project Gutenberg EBook of Titian, by Samuel Levy Bensusan - -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 - - -Title: Titian - -Author: Samuel Levy Bensusan - -Editor: T. Leman Hare - -Release Date: October 21, 2013 [EBook #43988] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TITIAN *** - - - - -Produced by Sandra Eder, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - - - MASTERPIECES - IN COLOUR - EDITED BY - - - T. LEMAN HARE - - - TITIAN - - 1477 (?)-1576 - - - - - "MASTERPIECES IN COLOUR" SERIES - - - ARTIST. AUTHOR. - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - VAN DYCK. PERCY M. TURNER. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - WHISTLER. T. MARTIN WOOD. - HOLBEIN. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - VIGÉE LE BRUN. C. HALDANE MACFALL. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - MEMLINC. W. H. J. & J. C. WEALE. - CONSTABLE. C. LEWIS HIND. - RAEBURN. JAMES L. CAW. - JOHN S. SARGENT. T. MARTIN WOOD. - LAWRENCE. S. L. BENSUSAN. - DÜRER. H. E. A. FURST. - MILLET. PERCY M. TURNER. - WATTEAU. C. LEWIS HIND. - HOGARTH. C. LEWIS HIND. - MURILLO. S. L. BENSUSAN. - WATTS. W. LOFTUS HARE. - INGRES. A. J. FINBERG. - - _Others in Preparation._ - - - - -[Illustration: PLATE I.--THE DUCHESS OF URBINO. Frontispiece - -(In the Uffizi Gallery, Florence) - -This portrait of the Duchess of Urbino from the Uffizi must not be -confused with the portrait of the Duchess in the Pitti Palace. The -sitter here is Eleonora Gonzaga, Duchess of Urbino, and the portrait -was painted somewhere between the years 1536 and 1538 at a period when -the master's art had ripened almost to the point of its highest -achievement.] - - - - - TITIAN - - BY S. L. BENSUSAN - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - [Illustration: IN SEMPITERNUM.] - - LONDON: T. C. & E. C. JACK - NEW YORK: FREDERICK A. STOKES CO. - - - - - LIST OF ILLUSTRATIONS - - - Plate - I. The Duchess Of Urbino Frontispiece - In the Uffizi Gallery, Florence - - Page - II. La Bella 14 - In the Pitti Palace, Florence - - III. The Entombment 24 - In the Louvre - - IV. The Holy Family 34 - In the Uffizi Gallery, Florence - - V. The Marriage of St. Catherine 40 - In the Pitti Palace, Florence - - VI. Flora 50 - In the Uffizi Gallery, Florence - - VII. Sacred and Profane Love 60 - In the Borghese Palace, Rome - - VIII. The Holy Family 70 - In the National Gallery, London - - - - -I - - -Titian Vecelli, undeniably the greatest Venetian painter of the -Renaissance, leaps into the full light of the movement. To be sure he -appears full-grown, as Venus is said to have done when she appeared -above the foam in the waters of Cythera, or Pallas Athene when she -sprang from the brain of Zeus, but happily he was destined to live to a -great age. - -We have few and scanty records to tell of the very early days. So wide -was his circle of patrons in after life, so intimate his acquaintance -with the leading men of his generation, that it is not difficult to -find out what manner of man he was without the aid of his pictures, -even though they have a very definite story to tell the painstaking -student. - -There are well over one hundred important works, dealing with the life -and art of Titian, written by enthusiasts in half-a-dozen languages, -for of all the artists of the Renaissance he makes perhaps the most -direct appeal to the man _moyen sensuel_. - -[Illustration: PLATE II.--LA BELLA - -(In the Pitti Palace, Florence) - -This wonderful example of Titian's portrait painting may be seen in the -Pitti Palace to-day, and was probably commissioned by the Duke of -Urbino somewhere about the year 1536. It will be noticed by students of -Titian that the model for this portrait appears in some of the master's -pictures as Venus.] - -Fearless and unashamed, he gave the world pagan pictures, entering into -the joy of their creation with the enthusiasm of a schoolboy who has -found an orchard gate unlocked. To be sure the spirit of joy and of -youth passed with the years, even this most fortunate of painters knew -trouble, domestic and financial, but the beauty remained, expressing -the fullest vigour of the Renaissance movement, the supreme achievement -of human loveliness, the splendour of men and women. - -Fortune was kind to Titian in many ways, and not in the least degree by -driving to the sheltering fold of the Venetian Republic the great men -of all lands who were hurrying to safety before the destroying advance -of Spain. It is right, at the same time, to remember that the leaders -of the destroying legions were the friends and patrons of the painter, -that the greatest of them all desired to be buried in the shadow of the -master's picture "La Gloria," now in the Prado. The time called for a -supremely gifted artist to render its great men immortal, or at least -to give them what we call immortality in the days when we forget that -if modern science be correct man has existed for some 250,000 years and -has not yet reached mental adolescence. Perhaps when he has developed -his brain, and can control the march of this planet and the duration of -his own life, he will not make half so attractive a subject for the -painters as did those men and women of the fifteenth and sixteenth -century whose beauty casts a spell over us to-day. - -Titian was born at Pieve among the mountains of Cadore where the Tyrol -and Italy meet. His statue in bronze looks out towards Venice to-day -from the market-place of his native town, and the landscape that the -painter knew best, and gave time out of mind to his pictures, has -altered but little. He was a second son, and would seem to have been -born about the year 1480, but there was no registrar of births, -marriages, and deaths in Pieve and, while some authorities place the -date at 1477, the year that he himself favoured, others advance it as -far as 1482. There has been a great controversy about this birth date, -but it might be safe to place it rather later still. - -Titian was the son of one Gregorio Vecelli, who seems to have been a -soldier and a man who held high position in the little town which, in -the early days of the fifteenth century, had cast in its lot with the -Venetian Republic. Nothing is known of his mother except her name, but -his elder brother named Francesco followed art until he was middle -aged, and there were two sisters Ursula and Katherine, of whom the -former kept house for the painter for many years in Venice, after the -death of his wife. - -Francesco and Titian Vecelli developed at an early age a marked -feeling for painting, and in order that they might have every chance of -developing their gifts to the best advantage, Gregorio Vecelli took -them to Venice, which lay some seventy miles from Pieve, and left them -with a brother who had sufficient influence to secure for Titian -admission to the studios of the brothers Bellini, who then shared with -the Vivarini family the highest position in the art world of the -Republic. Gian Bellini, then a man past middle age, had in his studio -several pupils who were destined to achieve distinction. Palma Vecchio, -Sebastian del Piombo, and Giorgione of Castelfranco were among them, -and of these the last named was certainly the greatest. It is probable -that, had he lived, even Titian Vecelli must have toiled after him in -vain, for he influenced his fellow-student to an extent that is very -clearly revealed in the early pictures, and has even led to confusion -between the work of the two men, a confusion greatly increased by the -fact that Titian completed some of the pictures that Giorgione left -unfinished. Happily perhaps for Titian, though unfortunately for the -world at large, Giorgione was destined to fall a victim to one of the -plagues that ravaged Venice from time to time, and he died soon after -completing his thirtieth year, leaving Titian undisputed master of -Venetian painting. - -Like all great men Titian was an assimilator. In his early days he -started out under the influence of Bellini. Then he surrendered, as -even his aged master did, to the strange, rare, and beautiful spirit of -poetry and romance that Giorgione brought into art. He may have helped -to develop and strengthen it, for he and Giorgione worked and lived -together. Finally when outside influences had died down Titian found -himself, and this was the greatest discovery of his life. - -In the last years of Giorgione's short career he and Titian, both young -men, were engaged to decorate the great Commercial House of the -Germans, rebuilt upon the site of the older building that had been -destroyed by fire about the beginning of the year 1505. The work would -appear to have been started two years later. This united effort, purely -decorative, must have been worthy of its surroundings at a time when -Venice and beauty were almost synonymous terms; the greater part is -lost to us to-day. - -Serious troubles were upon the Republic. The League of Cambrai, one of -the least scrupulous political arrangements in European history, had -resulted in an attack upon the Venetian domains that had been entirely -successful, though statecraft was destined to recover from the -Philistines of Europe a part at least of what they had taken, and -finding that the Republic was too beset to give much thought to art or -artists Titian left Venice for Padua. This must have been very shortly -after the completion of his work with Giorgione. His hand is to be seen -in the very pleasant and learned city of Padua among the frescoes in -the Scuola del Santo, and he may have been within its walls when the -plague, on one of its periodical visits to Venice, added his friend and -fellow-worker Giorgione to a heavy list of victims. - -[Illustration: PLATE III.--THE ENTOMBMENT - -(In the Louvre) - -This world-famous canvas hangs in the Salon Carré of the Louvre. It is -considered to be one of the masterpieces among the religious subjects -painted by the great Venetian artist.] - -On Titian's return to the headquarters of the Republic only Palma -Vecchio was left among the great men of his own age, and it would seem -that Titian's rising fame had already spread beyond the borders of -Venice, because in 1513, when he petitioned the Council of Ten for -a broker's patent to work in the Hall of the German Merchants, he -stated that he had been invited by the Pope (Leo X.) to come to Rome, -and that he wished to leave a memorial in Venice. It is clear from the -correspondence that he had an eye upon a post held by the aged Gian -Bellini. This was the office of painter in the Hall of the Great -Council, a coveted position for which Carpaccio, one of Bellini's less -distinguished pupils, is said to have been among the claimants. -Although Titian was a remarkable and rising man the Council hesitated -to grant his request, partly because times were bad with the State and -money was scarce. He was compelled to wait, and it would appear that -his application was opposed both by the friends of Bellini and the -supporters of Bellini's older pupils; but as soon as Bellini died, -towards the close of 1516, Titian came to his desire and undertook to -paint the great battle of Cadore in the Hall of the Great Council. -Having secured his patent, work increased, his brush was in request -in many quarters, and he did as so many other painters in the State -employment of Venice had done--he left his official work for such spare -time as more remunerative employment left him--to the great scandal of -the Councillors whose angry protests are on record. His early portraits -seem to have been of men; the women, in whose treatment he was perhaps -less happy, sought him in later life, and his other early commissions -were very largely for altar-pieces. Titian had powerful friends and -patrons at an early age, for we see that he had been recommended to the -Pope by Cardinal Bembo before he returned to Venice from Padua, and his -pictures attracted the attention of that splendid patron of art Alfonso -of Ferrara. This great connoisseur sent for and entertained him at his -castle, and even offered to take him to Rome when Leo X. died, and his -successor, after the fashion of Popes, would be likely to give some -liberal commissions to the greatest artists of his time. In return for -these kindnesses, and in consideration of a splendid fee, Titian -painted the great picture of Alfonso of Ferrara of which a copy is to -be seen in Florence. The original went to Madrid and has been lost. For -the same generous master he painted his "Bacchus and Ariadne," his -"Venus with the Shell," and a Bacchanal, and it is generally agreed -that he painted a part at least of the picture called "The Bacchanal," -now in the possession of the Duke of Northumberland. - -Several of the works painted in Ferrara were taken in later days to -Madrid, and it might be said in this place that it is almost as -necessary to go to the Prado to see the Titians as it is to see the -great works of Velazquez. "The Bacchanal" is there, and the "Worship -of Venus" is there, and we find many others of the first importance, -some two dozen, perhaps, whose authority is beyond dispute. This -collection in the Prado is the more valuable because it represents -Titian not only in the early days, but when he was at the zenith of his -powers. The pictures range in date over a period of nearly seventy -years, from the "Madonna with St. Bridget and St. Ulphus" (circa 1505) -down to the "Allegory of the Battle of Lepanto," which was sent to -Spain in 1575, a commission from Philip II. whose love for allegorical -pictures is well known. Charles V. and his son Philip II. are to be -seen in the Prado through the medium of Titian's brush, and, although -many of the works have suffered from restoration, which is one of the -vices associated with the great Spanish picture galleries, there are -several that show few signs of an alien brush and are, for pictures by -Titian, in first-class order. - -Students of the Renaissance know that art was accepted by all the great -rulers of Europe as something lying outside the boundaries of ambition -and strife. It was one of the rewards of a great conqueror that he -could have his portrait painted by the first painter of his day, and -patriotism was kept outside the studio, to the great benefit of art and -rulers alike. Venice offended Spain in many ways, and even offended the -Church by laying a restraining hand upon the Holy Inquisition, but -Popes and Spanish kings were proud, nevertheless, to be numbered among -the patrons of the greatest artist of their time, they seemed to know -that his brush would do more than immortalise their progress--that it -would outlive it. The attention that Titian received from the Court of -Ferrara did much to develop the esteem in which Venice held him, and -Titian was requested to paint his famous "Assumption" for the great -Church of Santa Maria de' Frari. To-day no more than a copy hangs in -the church, the picture having been long ago transferred to the -Accademia. It is very properly regarded by the authorities as one -of the first very great pictures of Titian's life, marking as it does -the entrance of living interests into sacred painting. The bustle and -movement that earlier masters had not ventured to present are seen here -to the greatest advantage, and although there must have been many to -declare that its conception was wicked and irreligious and quite -outside the thought of such acknowledged masters as Beato Angelico and -Gian Bellini, it is likely that such criticism would have very little -effect upon Titian, because he went on painting altar-pieces without -reverting in any instance to the methods of his predecessors. - -He painted a "Madonna" for the Church of St Nicholas, an "Assumption" -for Verona's Cathedral, an "Entombment of Christ," now in Paris, and it -could have surprised nobody when the Doge Andrea Gritti commissioned -the artist to decorate the Church of St. Nicholas in the Ducal Palace. -These frescoes have disappeared, but a picture by Titian preserves the -patron for us, and this is something to be grateful for, because the -head is full of interest. Titian continued to paint ecclesiastical -subjects until pressure from the world beyond forced him to turn his -brush to other purposes, and then he came under the patronage of -Frederic Gonzaga, Duke of Mantua, son of that Isabella d'Este, who had -commissioned Titian's old master, Gian Bellini, to paint a secular -picture for her _camerino_ and was in the next few years to have her -own portrait painted by Bellini's young pupil. In addition to an -original picture he copied a portrait painted when she was young, and -doubtless he was sufficiently a courtier to paint it in fashion that -merited her approval and consoled her for having grown old. - -The instinct for the fine arts had descended to Isabella's son, and -when Titian went to work in Mantua he painted pictures that extended -his European fame, because as the western world was situated in those -days Mantua had a word to say in its affairs, entertaining foreign -potentates and receiving foreign ambassadors. In those days, too, -ambassadors took note of art movements, knowing that in so doing they -were bound to please their masters; the political correspondence of the -times includes a very considerable amount of art gossip. It is certain -that Titian worked in Mantua for the Duke, and painted many pictures -including the "Eleven Cæsars," but unhappily the greater part of all -his labour is lost. Perhaps some canvases await the discerning critic -in half-forgotten gallery or lumber-rooms; it is not likely that all -have been destroyed. - -[Illustration: PLATE IV.--THE HOLY FAMILY - -(In the Uffizi Gallery, Florence) - -Sometimes known as the Virgin with the Holy Child and Saints. Here -we find Titian dealing with a religious subject with the restraint, -dignity, and sense of beauty that proclaim him a master among painters. -The motherly love of the Virgin, the solicitude of St. Joseph on the -right, and the childish innocence of the two children are most -effectively expressed and contrasted. The picture may be seen in the -Uffizi Gallery.] - -The next great Italian house with which Titian seems to have entered -into relations was that of Urbino whose Duke was nephew of that Pope -Julius II. who was known to his contemporaries as "the Terrible -Pontiff" because of his uncontrollable temper. He was the Pope who gave -Michelangelo the commission to paint the ceiling in the Sistine Chapel. -This artist was at least as bad-tempered as the Terrible Pontiff and -the "I'm not a painter" with which he greeted the Pontiff's demand that -he should paint when he preferred to practise sculpture has echoed down -the ages. It is worth remembering that when the work was done, and -Pope Julius came to see the result, he suggested that the scaffolding -should be re-erected and the work decorated afresh with ultramarine and -gold-leaf! Although Pope Julius bought the "Apollo" and the "Laocoon," -Michelangelo was his adviser, but his nephew Francesco Maria della -Rovere had sound instinct, and his connection with Titian lasted as -long as he lived. - -In the early years of this connection Titian painted the Duke and -Duchess and the famous "Bella," which is reproduced in these pages and -is reckoned, in spite of repainting, to be one of the most notable -works from Titian's hand in this period of his career. Many portraits -painted for the Court of Urbino are mentioned by Vasari; we cannot find -any traces of them to-day. As one of them was of the Turkish Sultan, -and it is not on record that Titian ever went to Turkey, it is -reasonable to suppose that some at least of these pictures were copies -of portraits that other men had painted. It was the custom for foreign -potentates to have their portrait painted by the best man in their own -capital and then to send the portrait to be copied by some artist of -world-wide repute. - -In the Uffizi Gallery in Florence there are portraits of the Duke of -Urbino (which are signed) and his Duchess; they were kept at Urbino -until the early part of the seventeenth century, and were then brought -to their present resting-place. The picture of the Duke is a very -striking one. He had made a great reputation in fighting against the -Turks, and the emblems of his high office are seen in the picture. The -Duchess is painted in repose; like so many of Titian's portraits of -women this one has a rather listless expression. When the Duke died his -son Guidobaldo continued relations with the painter, who painted the -Duchess Julia just before her death. It seems likely that she never -saw the picture, which is now in the Pitti at Florence. The portrait of -the husband is lost. - - - - -II - -MIDDLE AGE - - -This brief and rather hurried review of Titian's life and work has -brought us to his middle age and we find him now almost at the zenith -of his fame, though his powers have not yet reached their ripest and -fullest expression. Venice, Mantua, and Urbino have acknowledged his -talent, while if Pope and Sultan have not actually sat to him for their -portraits they have sent him other men's work to copy. The great -Charles V., who seemed bent upon holding all western and central Europe -in the hollow of his hand, was his friend and patron, and we see what -manner of man he was from the pictures in the Prado. The first, painted -in the very early years of their acquaintance, shows Charles with a -great hound by his side. His right hand rests on his dagger, his left -on the dog's collar, he wears the chain of the Golden Fleece, and seems -a man born to command. Belonging, of course, to a much later date is -the other portrait of Charles at the Battle of Mühlburg, perhaps even -less a monument of Titian's skill than an enduring record of the -terrible craze for repainting that beset Spain until recent years, and -is not unknown to-day, though public opinion has had some effect even -in Madrid. It is not generally known that there is a Spanish official -who has a salaried engagement to assist the old masters whose work -shows signs of fading, and without wishing to be hypercritical it is -reasonable to remark that these officials in a laudable anxiety to -earn their stipend have done irreparable damage to much work that -they were not fit to approach. - -[Illustration: PLATE V.--THE MARRIAGE OF ST. CATHERINE - -(In the Pitti Palace, Florence) - -This fine work is in the Pitti Palace, and is a triumph of harmony in -colour and lines. The drawing of the arms of the Infant Christ is the -one point that may be said to justify hostile criticism in a work of -extraordinary beauty. A somewhat similar picture is in the National -Gallery.] - -In spite of the imminence of the political scheme that occupied the -mind of Charles V. he was able to spare time to consider the affairs of -art, and his attitude towards Titian seems to have been that of one -friend towards another rather than that of an emperor towards a foreign -painter. It is interesting in this connection to remember that his son -Philip II., who succeeded to the throne of Spain, was a patron of the -arts, that Philip III. was not indifferent to them, that Philip IV. was -the friend as well as the patron of Velazquez, and that Velazquez -admired Titian above all the other Venetians, and is said to have -copied many of his pictures. - -Charles proceeded to put the crown upon Titian's reputation by sending -him in 1533 a patent of nobility, and making him a Knight of the Order -of the Golden Spur. Among the stories that receive a sort of sanction -from age is one to the effect that Charles V. once picked up a brush -that Titian had dropped, and said to his astonished courtiers that such -a man was worthy of having an emperor to serve him. Stories of this -kind seem to flourish in Spain. Students of the life of Velazquez will -not forget the legend that Philip IV. painted the cross of St. Iago -upon the painter's cloak when he saw the famous picture "Las Meniñas," -in order to give the most fitting expression of his admiration. This -story contrasts strangely with the true facts of the case. Charles went -even further than to give the patent of nobility to Titian, he made a -determined effort to persuade him to live in Madrid altogether. Very -wisely Titian refused the offers; he was a Venetian at heart, and a -free man. To be a citizen of Venice was an honour for which even a -Charles V. could hardly find an effective substitute. - -There is no reason to believe that Titian would have fared any better -in the wind-swept, heat-stricken capital of Spain than Velazquez fared -in the years that brought Philip IV. to the throne. At the splendid -court of Charles V. Titian would soon have become a mere official -painter, he would have been compelled to paint to order and endure the -snubs and buffets of the blue-blooded, but uncultivated courtiers -attached to the royal establishment. Moreover, the Venetians did not -like Spanish methods of dealing with matters of art and faith; to -Titian their attitude would have appeared intolerable. - -Although he was a painter, Titian had little of the temperament that is -generally associated with artists. His genius was allied to sound -commercial instincts, and he chose for intimates and advisers men whose -practical experience of the world and of affairs was at least as great -as his own, in some cases even greater. Of these Pietro Aretino, father -of modern journalists, was one of the most sagacious and quite the most -remarkable. His voluminous letters tell us a great deal about Titian to -whom he played the part of mentor, and they reveal the writer as a man -of great shrewdness who moved in the highest circles in many cities, -living largely by his wits, and wielding a pen that was often sharper -than a sword and was certainly more feared. He found Titian as valuable -to him as he was useful to Titian, and, when any delicate negotiations -were to the fore Aretino's large circle of friends and patrons, his -ready tongue and fluent pen were at the service of the painter. His -portrait painted by Titian was till recently in Rome and reveals a man -with massive head, sagacious expression, and a curious likeness to Dr. -Hans Richter the famous musician. His letters are still read with -interest by those who like to look back over the course of life in the -sixteenth century. - -At a time when he had passed middle age, Titian would seem to have -exhausted for the moment the possibilities of Venice. We have seen that -the Fathers of the City had been a little vexed with his delay in -painting the "Battle of Cadore" in the Hall of the Grand Council. He -had received a State allowance in order to enable him to paint it, and -twenty years had not sufficed him for the completion of the commission. -When he was threatened with the loss of his money and dignities by the -indignant Councillors, whose patience at the end of two decades was -quite stale, he did set to work, and satisfied them that the picture -was worth the waiting. But they could hardly have been inclined to -extend much more patronage to a man who allowed the rulers of other -States to turn his attention from commissioned work, and never -hesitated to leave it for years at a time when other and more -remunerative orders came to hand. Moreover the great churches were -fairly well filled, and the smaller ones could hardly afford to employ -the greatest master of the day. So Pietro Aretino, perhaps casting -about to do his friend a good turn, bethought him of his influence in -Rome, and addressed certain letters to the leading lights of Mother -Church who were to be found there. These letters were doubtless -supervised by Titian himself, because they bear a striking likeness in -phraseology to the petition the painter had addressed to the Council of -Ten in the days when he was little known, and Gian Bellini was still -working for the State. Then, it will be remembered, the painter -declared that he had been asked to go to Rome but preferred to stay in -Venice; now Aretino told the Romans that Titian had been invited to go -to Madrid but preferred to work in Rome. So it happened early in the -'forties that, through the useful Aretino, Titian entered into -relations with the Farnese family, who were represented in the Papal -Chair by Pope Paul III. The result was that Titian was invited to -Ferrara, where he met the Pope and painted his portrait. - -The whole correspondence, so far as it can be seen, would seem to -suggest that Titian and Aretino managed this business exceedingly well. -When the painter found that his ambition was within measurable distance -of being gratified, and that his graceless elder son for whom he had -entered a special plea, was to receive a benefice, he seems to have -remembered that Venice held many attractions for him, and that he could -not leave it in a hurry. Not until the close of 1545 did he visit the -Eternal City, only to regret that the greater part of his life had been -passed outside its walls. - -As soon as he was established in Rome, Titian found himself received by -princes and prelates in fashion befitting his age and reputation. And -Giorgio Vasari, the author of the great work on Italian artists, was -commissioned, by one of the heads of the house of Farnese, to show the -painter the wonders of the city. - -[Illustration: PLATE VI.--FLORA - -(In the Uffizi Gallery, Florence) - -The famous Flora of Titian's reproduced here is in the Uffizi Gallery -and was painted somewhere about 1515. In the seventeenth century it was -engraved by one of the greatest engravers of the day, Sandrart. The -picture was publicly exhibited in Florence towards the stormy close of -the eighteenth century, and although people in those years had small -leisure to concern themselves about works of art, it created a great -sensation.] - -To the Farnese family Titian's visit was of the first importance -because its Pope and Cardinal were his first patrons, and he painted -many pictures for them. Paul III. was no more than ten years older than -the painter and had not long to live. He sat to Titian several -times; two of the portraits are to be seen in Naples and there are -others to be seen elsewhere. In addition to the fine memorials of the -Farnese Pope, Naples holds several of Titian's masterpieces, including -the splendid "Danäe," a "Philip II.," and a "Mary Magdalen." Those who -are fortunate enough to obtain access to the really remarkable -collection of pictures at Naples will not forget readily the striking -portraits of the old Pope. - -Titian stayed less than a year in the Eternal City in spite of the -preparations he had made before undertaking the journey, and then -returned to Venice with many honours, but without the long desired post -for his son. Perhaps his departure gave offence to people in high -places, perhaps his stay there had not been altogether as satisfactory -as he had expected it to be, for despite flattering offers, despite the -honour of Roman citizenship conferred upon him before he went home, he -refused to return. He might have gone in the end in consideration of -the preferment granted to Pomponio Vecelli his scapegrace son, but -Charles V. sent for him, and he went instead to Augsburg, where the -Emperor who had seen the fulfilment of so many of his hopes was living -in great state, surrounded by as brilliant a court as the sixteenth -century knew. In Augsburg Titian painted his most famous portrait of -Charles V., the one showing the Emperor on horseback, which as has been -stated, is to be seen to-day in the Prado in Madrid. - -Titian remained in Augsburg for the greater part of a year before he -returned to Venice, to find his studio, or work-shop as it would have -been called in those days besieged by the envoys of the various -European rulers who were all clamouring for portraits. From Venice the -painter went to Milan at the invitation of Prince Philip of Spain -(afterwards Philip II.) and at the close of 1550 he was back in -Augsburg where he painted several portraits of Prince Philip of which -perhaps the best is in the Prado. By the time he returned to Venice he -would have been in the immediate neighbourhood of his eightieth year. -His brush was never idle, and if the fruit of his labours could have -been preserved in fire-proof galleries the gain to the world would have -been enormous. Unfortunately we have to face the unpleasant truth that -considerably more than half his life work has been lost. - - - - -III - -THE LAST DECADES - - -Titian's last work for Charles V. was the famous "Gloria." This was -painted at a time when Charles had decided to end his days in the -shadow of the Church, and is to be seen to-day in the Prado, a -composition of amazing strength and wonderful inspiration. The Father -and the Son are seen enthroned, with the Virgin Mary at the feet of -Christ, and the Patriarchs grouped in the background. Charles himself -in his shroud is pleading for forgiveness, an angel by his side -encourages him and supports his appeal. The lighting of the picture is -masterly, and so impressed the Emperor that he took it with him into -retirement, and directed that it should be placed above his tomb. - -Philip II. has no enviable reputation in this country, but his position -as patron of the arts stands far above criticism. Though he was a sober -ascetic upon whom the authority of the Church weighed very heavily, he -did not ask Titian to devote himself entirely to religious pictures. -In matters of art he saw his way to making a considerable concession -to the spirit of the Renaissance, and when he took over the burden -of empire he commissioned several mythological subjects from the old -painter. Among them were the "Venus and Adonis" now in the Prado, the -"Diana surprised by Actaeon" in Bridge-water House, and the "Jupiter -and Antiope" in the Louvre. The allegorical pictures, the latest work -of the painter's life, were commissioned later. - -Strangely enough the years had done little or nothing to dim the lustre -of the painter's work, his colour was still supremely beautiful, his -feeling for landscape more intense than it had ever been, while his -capacity for striking and novel composition remained a thing to wonder -at. Of course Philip was not content with secular subjects, and Titian -was required to paint a certain number of pictures for the Escorial, -but he is best represented by his mythological subjects. Perhaps they -made a more direct appeal to him because by their side the religious -pictures were a little old-fashioned, and he does not seem to have -faced allegorical subjects with enthusiasm. - -It is interesting to turn to Vasari and read some of the things he has -to say about the painter at this period of his life, for although the -old chronicler is not the most accurate of writers, he is at least a -very interesting one and he knew Titian intimately. He says of the -famous "Gloria" picture to which reference has been made--"The -composition of this work was in accordance with the orders of his -Majesty, who was then giving evidence of his intention to retire, as he -afterwards did, from mundane affairs, to the end that he might die in -the manner of a true Christian, fearing God and labouring for his own -salvation." It is not difficult to imagine the emotion that this -picture must have roused among those who were privileged to see it, -when it came fresh from the painter's studio, to impress an age that -had not forgotten to be devout. - -Again Vasari says, "In the year 1566 when I, the writer of the present -history, was in Venice, I went to visit Titian as one who was his -friend, and found him, although then very old, still with the pencils -in his hand painting busily." The old gossip goes on to say that Paris -Bordone, who "had studied grammar and become an excellent musician," -had set himself to imitate Titian, who did not love him on that -account, and had sought to keep him from getting commissions. Bordone -persevered and went to Augsburg, where he painted pictures, now lost, -for some of the great German merchants. This little glimpse of rivalry -suggests to us that Titian was jealous of his reputation, although -Vasari tells us elsewhere that he was kind and considerate to his -contemporaries, and free from uneasiness, because he had gained a fair -amount of wealth, his labours having always been well paid. Vasari -hints, too, that he kept his brush in hand too long; he must have -written this when he remembered that, for all his many excellences, -Titian was a Venetian. "Titian has always been healthy and happy," he -writes; "he has been favoured beyond the lot of most men, and has -received from Heaven only favours and blessings. In his house he -has always been visited by whatever princes, literati, or men of -distinction have gone to Venice, for in addition to his excellence in -art he has always distinguished himself by courtesy, goodness, and -rectitude." Perhaps his remark that Titian's reputation would have -stood higher if he had finished work earlier may be no more than a -veiled comment upon the indiscriminate misuse of the labours of pupils. - -[Illustration: PLATE VII.--SACRED AND PROFANE LOVE - -(In the Borghese Palace, Rome) - -This most beautiful work of Titian's is one belonging to his early -days. It was probably commissioned in 1512 by the Chancellor of Venice, -and we find that it was in the possession of Cardinal Scipione Borghese -at the beginning of the seventeenth century. It may be seen to-day in -the Borghese Palace of Rome.] - -In the latter years of his sojourn in Venice the artist lived in a -house towards Murano, between the Church of San Giovanni de Paolo and -the Church of the Jesuits. He entertained very largely, giving supper -parties from which no seasonable delicacy was lacking, and gathering -round him distinguished men and women who were far less celebrated for -their morals than for their attractions. His gossip Aretino was -generally of the party, and it is to him that we owe so much of our -intimate knowledge of the painter's home life and troubles. Aretino's -death in 1556 must have been a great blow to Titian. - -Vasari tells us that the painter's income was considerable. Charles V. -paid a thousand gold crowns for every portrait of himself and, when he -conferred the patent of nobility upon the painter, he accompanied it -with an annual gift of two hundred crowns. Philip II., son of the great -Emperor, added another two hundred annually, the German merchants gave -him three hundred, so that he had seven hundred crowns a year without -taking into account the commissions that came to him on every side, -and, as he was painting for the richest and most generous people of his -generation, his annual income must have been very considerable. And yet -Titian's own correspondence, of which a part has been preserved, shows -that the State grants were not always paid regularly. It is of course -far more easy for an arbitrary ruler to make gifts to his favourites -than it is for the State Treasury to respond to the demands that must -needs follow each grant, and Spanish finances have always been -difficult to administer. - -As he grew older and his hand lost part at least of its cunning, Titian -depended more and more upon pupils, but in this he was only following -the custom of his time. It is said that a clever German artist, who -worked in his studio, was responsible for the greater part of several -of the later pictures. The Council of Ten though they had taken from -him the office of Painter of Doges and had given it to Tintoretto, -offered him a commission in the late 'sixties; even if they had a -grievance against him they could not afford to nourish it. Then again -if Titian was not always prompt in doing the work for which he was -paid, even if he employed pupils to a greater extent than seemed -necessary to those who had to pay for the finished canvas, it must have -been hard to quarrel with him, for his personality would seem to have -been most engaging. He was an excellent musician as well as a good -host, Paolo Veronese has included him in the famous "Marriage in Cana" -(Louvre) playing a double bass. Moreover Titian was a courtier whose -correspondence, although it dealt so largely with matter of finance, -lacks none of the stilted graces of the time, and these may have helped -to conciliate angry patrons. He seems to have been an affectionate -father, and if he had any besetting sin it was love of money, his -anxiety in this respect being increased by the fact that he was not -always able to collect the accounts due to him. Yet he saved enough to -buy land round his birthplace and it is reported that he went to Cadore -whenever he had the opportunity. Clearly an appreciative sense of the -perennial peace of the Dolomites never left him. - -By his wife, to whom he was not married until two sons had been born, -Titian had four children of whom two grew up. Pomponio, to whom we -have referred, was the eldest; and he came to a bad end, being a -dissipated man. Orazio, who was the second son, became a painter. One -daughter died young, and there was another, Lavinia, portraits of whom -may be seen at Dresden and Berlin. His great friends were Pietro -Aretino, poet and gossip, who laid half Europe under contribution, and -was almost as unscrupulous as he was clever, and the sculptor -Sansovino. - -Whatever Titian's faults were as a man, they may fairly be forgotten in -his merits as an artist, and it is not the least of these merits that -he worked from the time when he was a boy to the hour when his brush -seemed falling from his hands, unsparing in his devotion to his task. -He has left a legacy to the civilised world that compels a measure of -admiration equal to that which is paid to Velazquez. Titian was the -supreme master of colour, but, unfortunately, few of his pictures have -escaped the restorer's hand, and a great many have been damaged in -their journeys from city to city in an age when the art of picture -packing was still unknown. Exposure to all sorts of weather, long -periods of neglect, careless restoration, and reckless repainting would -have been enough to destroy the reputation of most painters, but -Titian's work has not suffered to the extent that might have been -expected. Enough remains of the master to make us not a little envious -of the happy patrons of the arts who knew his work in all its glory. - -It is hard to say when Titian's life would have come to an end in the -ordinary course of events, but it is not unreasonable to suppose that -he would have lived to be a centenarian had he retired from Venice -when he was ninety and gone to live in Pieve, the well-beloved city -that gave him birth. But he would not leave his workshop, and in 1575 -the plague paid another visit to Venice. It will be remembered that -soon after the League of Cambrai when Titian was in Padua, a visitation -had devastated Venice and carried off Giorgione among thousands of -lesser men. The Venetians were never free from fear of the plague's -return. In 1575 the hand of the plague lay heavy upon the City of -Lagoons, where sanitation was unknown, and isolation and disinfection -were not practised properly. Historians tell us that some 40,000 people -perished, the greatest panic prevailed, and while the plague was at its -height Titian died. If his own insinuation of the year of his birth be -correct he must have been in his ninety-ninth year, but even if we -accept the date given by those who believe that he was born as late as -1482, he would have been within seven years of his centenary. The -epidemic is recorded in the famous Church of the Redentore on the -Giudecca, dedicated to Christ by the Doge Mocenigo, whose portrait -painted by Tintoretto may be seen in the Accademia to-day. - -[Illustration: PLATE VIII.--THE HOLY FAMILY - -(In the National Gallery, London) - -This superb painting is one of the gems of our National Gallery, and -represents Titian at his best as a great colourist. It is painted in -oil on canvas.] - -In spite of the distress prevailing in the city some effort was made -to give the great painter a State funeral, but under the conditions -existing, it was impossible to carry out the programme, and he was -buried with comparatively little ceremony in the great Church of the -Frari which, in addition to having one of the finest works of his hand, -is further enriched by the famous altar-piece by his old master Gian -Bellini. They say that his residence was entered shortly after his -death by some of the riff-raff of Venice, to whom the plague had given -a welcome measure of licence, and was despoiled of many of its -treasures. Doubtless the painter's house held much that was worth the -small risk involved in an hour when the authorities were hardly able to -cope with duties to the sick and the disposal of the dead. - -In considering the life of Titian we see that much good-fortune went to -its making. He was born at the best period of the Renaissance, he was -the inheritor of the freedom for which other painters had striven. He -painted a world that was as new to artists as were the far-off realms -to the Spanish adventurers who were discovering new countries and new -trade routes, and paving the way for the ultimate decline of Venice. At -the outset of his career Titian's work was full of the joy of life, -it was the expression of an age that seemed to have come of age, of a -city that had turned to canvas and marble rather than to books for a -reflection of the new life. While the painter progressed, overcoming -the various difficulties of expression that confronted him, making -daring and successful experiments in composition, handling colour as it -had never been handled before, this feeling of enthusiasm that belonged -to the age was expressed in all his work. Then again he had the great -advantage of claiming for sitters the most distinguished men of his -time, the statesmen and rulers who were making history at the expense -of the map of Europe, the men who held spiritual or temporal power, and -the women they delighted to honour. Naturally enough these conditions -gave added scope to the painter's talent; and his subjects were worthy -of his brush. He could seek out what was best and most characteristic -in his sitters, and express through the medium of his art not only the -likeness but the personality underlying it. Had his work been more -fortunate, had it been preserved in anything like its entirety, we -should be able to read the history of his times in a clearer light, for -though the written word can tell us much, the cleverly wrought picture -has still more to say, and we can rely upon canvas, if Titian painted -it, to refute or to confirm the verdict of the historian. - -Happily, too, Titian's art grew with his age. Practice and experience -ripened it, and some of his finest pictures were painted when he was -past the span of life that the Psalmist has allotted to man. He covered -every field, no form of painting seems to have come amiss to him. -Altar-pieces, portraits, historical pictures, mythological and -allegorical subjects, one and all claimed his attention from time to -time, and though we are all entitled to express our preference, there -will be few to say that he failed in any style of work. Perhaps he was -least successful in allegorical subjects, and in the portraits of -women, but, if this be so, his failure is merely relative, he attained -such heights in mythological subjects and men's portraits, that the -other work is not so good by comparison. If he gave us no picture -devoted entirely to landscape it is worth remarking that the appeal -of nature was an ever growing one. The impression given him by the -mountains round Cadore was never lost. From the time when he completed -Gian Bellini's last picture down to the time when the plague came to -Venice and found him with an unfinished picture on his easel, the -attraction of the countryside he knew so well was always with him, and -he lost no opportunity of expressing it. Gian Bellini had opened the -walls that shut in the Madonna and the Saints of the earlier masters, -he had given the world glimpses of exquisite landscape through which -the romance woven round his figures seemed to spread. Titian opened the -gates still further, giving a larger, wider, and more splendid view, -convincing his contemporaries and successors that landscape could never -more be overlooked. - -He would seem to have made few studies, a sketch by Titian is one of -the rarest things in art, he did not see in line but in colour. With -Titian as with Velazquez after him it is hard to separate colour from -line, and in colour he was the acknowledged master of his own time and -the guide of the ages after him. Some of his great contemporaries, not -Venetians of course, declared that Titian was a poor draughtsman, but -it is well to remember that among the Venetians, art was an affair of -painting, among the Florentines it embraced sculpture and architecture; -the mere handling of paint, however splendid the results, would not -suffice Florentine ambitions. It might even be said that much -Florentine painting is little more than tinted drawing. We go to Titian -for colour even to-day, when time and exposure and repainting have -taken so much from the wealth that he gave to his pictures, and we can -see that as he grew to ripe age he sought to obtain his colour effects -by less obvious means than those that served him at the outset. It is -hard for any but an artist to realise the secret of the cause that -produced the later results, but, if it be left for the artist to -explain it is easy for the layman to appreciate. With Titian, Venetian -painting reached the zenith of its achievement, after him through -Tintoretto and Veronese, the descent is slow but sure, and we are left -wondering whether any fresh revival of the world's enthusiasm, any new -discovery of the world's youth is destined to bring into art the -spirit of enthusiasm that gave a Titian to the world. There are few -signs in our own time, but then we do not live in an age of great -crises religious or political, or, if we do, we are too near to the -changes to recognise them. - -Perhaps there are some who find amusement in the suggestion that -Titian's action emancipating art from the thraldom of the Church was a -great and glorious one, not unattended by danger and difficulties. To -these sceptics one can but reply by quoting the decree of the Council -of Nicaea dated A.D. 787 and never repealed. Here we find the attitude -of Authority towards art set out in plainest fashion. "It is not the -invention of the painter which creates a picture," says this remarkable -decree, "but the inviolable law and tradition of the Church. It is not -the painter but the Holy Fathers who have to invent and dictate. To -them manifestly belongs the composition, to the painter only the -execution." - -A few great artists in later times had made their protest, definite or -indefinite, against the attitude of the Church, but Titian rescued art -as Perseus rescued Andromeda. - - -The plates are printed by BEMROSE & SONS, LTD., Derby and London - -The text at the BALLANTYNE PRESS, Edinburgh - - - - -Transcriber's note: - -Italics is represented with underscore _ and small caps with ALL CAPS. -Illustrations were moved to paragraph breaks, everything else -(including inconsistent hyphenation and spelling) has been retained as -printed. - - - - - -End of the Project Gutenberg EBook of Titian, by Samuel Levy Bensusan - -*** END OF THIS PROJECT GUTENBERG EBOOK TITIAN *** - -***** This file should be named 43988-8.txt or 43988-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/9/8/43988/ - -Produced by Sandra Eder, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (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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