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MRs. HOWARD LUCE
MISS MARGARET KNIGHT
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Architectuſ, tº
Library
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IL L USTRA TED E IOGRAPHIES OF
T H E GREA T GARTISTS.
~~
TIZIANO VE CELLI
DA CADORE.
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“A deserving Series, based upon recent German publications.”—Edinburgh Review.
“Most thoroughly and tastefully edited.”—Spectator.
ILLUSTRATED BIOGRAPHIES OF THE
GREAT ARTISTS.
Each volume is illustrated with from 12 to 20 full-page Engravings, printed in the
best manner, and bound in ornamental cloth cover, 3s. 6d.
From a Rezniew in THE SPECTATOR, 9tely 5, 1879.
“It is high time that some thorough and general acquaintance with the works of these
mighty painters should be spread abroad, and it is also curious to think how long their names
have occupied sacred niches in the world's heart, without the presence of much popular know-
ledge about the collective work of their lives. . . . . If the present series of biographies,
which seems to be most thoroughly and tastefully edited, succeeds in responding to the wants
of modest, if ardent, art-knowledge, its aim will be accomplished.”
The following Biographies are now ready :-
LEONARDO. From recent researches in his MSS. at Windsor and South Kensington
Museum. By Dr. J. PAUL RICHTER. With 16 Engravings.
THE FIGURE PAINTERS OF HOLLAND. By Lord RonALD Gower, Trustee of
National Portrait Gallery. With 16 Engravings.
HOGARTH. From recent researches. By AUSTIN DOBson, Author of “Vignettes in
Rhyme.” With 16 Engravings.
RUBENS. From recent authorities. By C. W. KETT, M.A., Hertford College, Oxford.
With 16 Engravings.
TURNER. From recent investigations. By CoSMO MonkHouse, Author of “Studies of
Sir E. Landseer.” With 20 Engravings.
THE LITTLE MASTERS. From recent authorities. By W. B. Scott, Author of “Lec-
tures on Fine Arts.” With 16 Engravings. -
*** An Edition de Zuive, containing 14 extra plates from rare engravings in the British
Museum, is also published. Bound in half morocco, Roxburghe style, price Ios. 6d.
HOLBEIN. From the text of Dr. A. Wolt MANN. By Joseph CUNDALL, Author of “Life
and Genius of Rembrandt.” With 20 Engravings.
TINTORETTO. From recent investigations at Venice. By W. Roscoe Osler, Author of
occasional Essays on Art. With 12 Engravings.
RAPHAEL. From the text of J. D. PASSAv ANT. By N. D’ANVERs, Author of “Elemen-
tary History of Art.” With 20 Engravings.
VAN DYCK and HALS. From recent authorities. By PERCY R. HEAD, Lincoln College,
Oxford. With 16 Engravings,
TITIAN. From the most recent authorities. By RICHARD Ford HEATH, M.A., Hertford
College, Oxford. With 16 Engravings.
REMBRANDT. From the text of C. VosMAER. By J. W. MolleTT, B.A., Brasenose
College, Oxford, Officier de l’Instruction Publique (France). With 16 Engravings.
The Volumes preparing for early £ublication are—
MICHELANGELO. From recent authorities. By CHARLES CLéMENT, Author of “Michel-
Ange, Léonard, et Raphael.”
DELAROCHE and VERNET. From CHARLEs BLANC. By J. RUUTz REEs, Author of
various Essays on Art. -
LANDSEER. A. Memoir, by FREDERIck G. STEPHENs, Author of “Flemish Relics,” &c.
With 16 Illustrations.
GIOTTO. From recent investigations at Padua. By HARRY QUILTER, M.A., Trinity Col-
lege, Cambridge. With Illustrations in colours.
REYNOLDS. From the most recent authorities. By F. S. PULLING, M.A., Exeter Col-
lege, Oxford.
GAINSBOROUGH. From recent authorities. By G. M. BROCK-ARNOLD, M.A., Hertford
College, Oxford. - e
*** Several other Volumes are in preparation.
“The whole world without Art would be one great wilderness.”
T IT I A N
By RICHARD FORD HEATH, B. A.
HERTFORD COLLEGE, OXFORD.
S AE CO AV ZD E ZO / 7" / O M.
NEW YORK :
SCRIBNER AND WELFORD.
L O N D O N :
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON.
I88O.


TIZIANO WECELLI.
From the etching by Agostino Carracci.
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PREFACE.
HILE collecting my materials for this little work
from all available sources, I was weak enough to
fancy that I had done almost enough, before Ibegan to read
the “Life of Titian” by Messrs. Crowe and Cavalcaselle,
or to yield to the fascinations of the author of “Cadore.”
I thought that there was little left to do, save to verify and
correct. But once absorbed in the study of that “Life,”
once under the spell of Mr. Gilbert, who seems to have a
more genuine sympathy with the spirit of Titian than any
other man, I could with difficulty tear myself from these
engaging and exhaustive works. I seemed hardly to have r
power to record in my own language thoughts which I had
shared with them—facts which I had gained from them—
without appearing in the character of a plagiarist. It is idle
to mention other authorities by the side of these names.
There is nothing left to learn elsewhere, except from the
Autobiography which is to be read on the artist’s canvases.
vi PREFACE.
If ever a man's works told the story of his life, surely
Titian's do. I have tried to tell that story as I learn it
from him. If I have failed in this, I shall not, I trust, at
least have lessened the fame of his eminent biographers,
to whom I owe a debt of gratitude for many long days of
uninterrupted enjoyment.
R. F. EI.

CONTENTS.
CHAPTER I.
Titian's Birthplace—Child-work—A. D. 1477 to 1490 & o
CHAPTER II.
Early Life in Venice–The Period of ‘The Tribute Money'—
A. D. 1491 to 1508 e o o e º
CHAPTER III.
Work at Padua—The Period of the ‘Assunta'—A. D. 1509 to
1520
CHAPTER IV.
The Doge Grimani—Period of ‘The Entombment’—A. D. 1520 to
1523
CHAPTER V.
Period of the ‘Peter Martyr’—Titian at Rome—A. D. 1523 to
1536 o e
CHAPTER VI.
Period of the ‘Presentation in the Temple’—“The Battle of
Cadore *-A. D. 1537 to 1540
CHAPTER VII.
Titian's Home in the Biri Grande—Visit to Rome—A. D. 1540 to
1546 e te º
PAGE
11
24
33
39
47
52

viii CONTENTS.
PAGE
CHAPTER VIII.
Visit to Augsburg — Period of the ‘Christ at Emmaus' —
A. D. 1547 to 1563 . © tº e de ſº sº e 64
CHAPTER IX.
Period of the ‘Pieta’—Titian's Death.-A. D. 1564 to 1576 e 76
Events CoNTEMPORARY witH THE LIFE OF TITIAN . ſº 82
LIST of TITLAN’s PAINTINGs . * gº tº tº gº * 83
INDEx . ſº tº tº e tº O º ſº gº • 100
LIST OF ILLUSTRATIONS . e o G tº ū, O ... 103
BIBLIOGRAPHY. º © O º ſº ſº © ſº • 104


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TITIA N.
CEIAPTER I.
CADORE–TITIAN's BIRTHPLACE—CHILD-WORK.
1477 TO 1490.
“T L divino Tiziano | * Only the interpreter of the mys-
teries in Nature, only the poet who takes up the hea-
venly strain to which a busy world is deaf, only the artist
who catches upon his canvas the reflection of the divine—
can merit such a title. Did Titian merit it 2 Whence
did he obtain his inspiration? Did the divine shine
forth in the thousand productions of his skill? The man
whose hand held the pencil almost from his birth for near
a hundred years, until pestilence unnerved the fingers,
was he in truth the “son of his age 2" Was he in ad-
vance of it? The friend of Emperors, of Popes and poets,
whence came the charm that fell on all alike 2 These are
the questions to which this brief record may perhaps give
allSW61”.
Titian was a man whose youth stretched into the period
of ordinary maturity, whose manhood passed beyond the
numbered “days of our years,” who left the world even be-
fore his time at the close of a century of years. He rose
B
2 TITIAN.
as it were upon the wave of the modern spirit. Born at
the moment when the art of Printing was giving a new
birth to letters, he grew with the growth of human thought.
The spirit of man newly freed was casting off, perhaps too
entirely, the fetters of superstition; religious art with its
formal fancies was dying, and Literature reviving before
Titian had hardly become a man. He went with the fore-
most men of the world to listen to the fresh teaching of
Nature, and became pre-eminently her artist.
“Tiziano da Cadore.” If he won his former title “Il
divino” in Venice, it is this “da Cadore” which is the
older and carries us to his own cradle and that of Land-
scape art. The torrent-bed of the Piave—which rushes
down from the Carnic Alps, watering the country of Ca-
dore, three days’ journey from the “Queen of Cities,” and
making its way through the Val di Mel into the Adriatic
at Cortellazzo—has been for ages the passage through
which the tide of war has ebbed and flowed, bearing now
the legions of Old Rome, now the hordes of barbarians, or
again the disturbers of the peace of Italy from Germany
and France.
Yearly did the artist pass this way; and as we shall often
have occasion to allude to these journeys, on which no doubt
he always carried his sketch-book and his brush; as more-
over his pictures abound with the memories of his home
country and the road thither, we shall do well to trace
his route. Crossing the lagoons from Venice, the road leads
from Mestre through Treviso, where he placed his “Annun-
ciation,’ famed for the perfection of the Virgin's form and
the harmonious landscape, but disfigured by the winged
boy, who represents the heavenly messenger.
Passing Conegliano, it goes through Ceneda. Overlook-
THE ROUTE TO CADO.R.E. 3
ing the town is the Bishop's castle, which might have been
for Titian's son. Close by at Serravalle lived his married
daughter Lavinia Sarcinelli, and a little way from the town
on the Manza hill lay his own favourite villa, commanding
a view over all that is beautiful in landscape scenery. It
was probably from this hill that he observed Nature most
closely and learned to express in his landscapes, in a manner
all his own, her “mystery and pathos,” the mingling of wood
and plain, the lines of hills, and the effects of sky and storm.
A mile from Ceneda the pass is entered at Serravalle,
the remains of whose fortifications testify to the purpose
for which the old town was built, and recall some features
in Titian’s works. Here we know he came in 1542 to take
instructions for the picture of the ‘Virgin with St. Andrew
and St. Vincent,’ which was not finished for five years, and
which now adorns the Duomo. In the depths of the vast
beech forest of Consiglio, which lies to the right of the
road, but only seen skirting the lofty hills, it is probable
that the painter found that magnificent gloom in which he
delighted, and there cultivated his feeling for the mighty
contorted forms of trunks and branches with the play of
light among them to be seen specially in the lost ‘Peter
Martyr.’ At Capo di Ponte the road passes again over the
Piave, which it had left below Conegliano at a point where
the stream turns westward to water the lovely Val di Mel,
with its cities of Belluno and Feltre about twenty miles
apart. With the Bellunese families Titian had much to
do, and in the church of San Stefano is an “Adoration of
the Magi’ from his hand. The figures are spoiled, but
the character of the Titian landscape is untouched. There
is the dark blue mountain, with the clouds just lifting at
the approach of dawn, and through them the guiding star
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CADORE AND ITS NEIGHBourhooD.
Treviso is fifteen miles north of Venice.

















THE ROUTE TO CADORE, 5
breaks brightly. The Belluno valley has been despoiled
of its Titians from various causes. One remains, ‘St.
Sebastian and St. Rocco with St. Andrew,’ in the sacristy
of the church at Mel, a village on the southern slopes
which gives the valley its name, a few miles below Bel-
luno. Between this and Belluno lies Titian's mill at
Colontola on the stream of the Ardo, the one scene un-
mistakably identified with his studies. This country too
supplies the home features of his landscape. He rejoices
in the snug homestead and quaint farmyard in the midst
of a smiling valley, with the cloud-capped mountain peak
in the distance for contrast. The peculiar style more-
over of the farmsteads differing from the ordinary Italian
buildings identify his drawings with this neighbourhood.
But it is in the mountain forms, such as are seen in the
“Adoration’ at Belluno, in the ‘Presentation of the Virgin,”
in the “Supper at Emmaus,’ that we chiefly recognize his
association with Belluno. In mountains he was great,
almost the first to appreciate and to render their majesty
and mystery. His was not the isolated form rising into
the deep blue sky with clouds floating above it, but the
jagged peaks soaring fantastically above the dark vapours
which roll slowly around the body and the feet, ever
giving glimpses of the awful forms which they enshroud.
To him “high mountains were a feeling.” He was their
child. Their terror was his joy, and he reposed in their .
guardian might. The forms which he chiefly loved are
those which rise abuptly from the lower hills, “turreted,
sword-bladed ridges,” or standing out like impregnable for-
tresses. This is the character of the genuine dolomites,
to which he was usually true, and with which he is
specially connected. He loved their vigorous and quaint,
6 TITIAN.
bold, sharp lines. He loved the grand shapes that were
imprinted upon his boyish mind.
But we must go back to Capo di Ponte to continue our
road to Cadore. A few miles on, at Longarone, the rugged
character of the scenery increases. Hence branches west-
ward the valley of Zoldo. The mule-path traverses a sub-
lime gorge until it reaches Forno at a fork of the valley. On
the southern branch of this stands the village of Tiziano,
while the northern leads into the presence of Sasso di
Pelmo. Under the precipices of Pelmo cluster the cottages
of Zoppè, which boasts of a Titian altar-piece, one of his few
paintings still existing among his native mountains.
Two or three miles above Longarone the true Cadore
country is entered. Yet along the savage defile for ten
miles the road ascends the right bank of the Piave, foaming
and roaring below, and comes out at Perarolo. Here a
bridge crosses the Boita, which tumbles headlong down a
ravine to the left from the valley of the Ampezzo, guarded
by the spectral Antelao, the presiding genius of the Cadore
country, on the one hand, and by the craggy Pelmo on the
other. Turning northward along the side of Monte Zucco
we gain sight of the Castle of Cadore, hundreds of feet
above the boiling Piave. -
Approaching from the village of Sotto Castello along
the old bridle-road from Venice, on the right hand is the
house within whose humble walls, as an inscription tells,
Tiziano Vecelli began his celebrated life in 1477. It is
only a cottage, and as “L’Anonimo,” the author of a “Life
of Titian,” written less than fifty years after the painter's
death, describes it, stands in “the place called Arse-
nale,” a “place of small circuit, but prettily laid out. In
the centre of the piazza is a fountain of fresh and limpid
THE CADORE COUNTRY. 7
water. Noble palaces are in the neighbourhood.” This
house was identified—as well as the painter's home in
Venice—by the abbate Cadorin in 1833.
We have sketched the country familiar to Titian in his
many journeys; we must be more minute in describing the
scenes among which he spent his boyhood, and which he
kept always fresh in his mind for nearly a hundred years.
From the slope at the back of the house we may watch the
light of the rising or the setting sun upon the fantastic
shapes of his own mountain Marmarolo. Farther up
the Castle hill we may come into the presence of the great
gods of the painter's childhood, holding a mysterious sway
over their own country, and learn to comprehend all their
influence over him.
By far the most interesting point in the beautiful sce-
nery of Cadore and in its history, after the Castle, is the
village of Valle, on the Ampezzo road. Here was fought
in Titian's life-time the battle of Cadore, of supreme im-
portance in the history of the Venetian Republic, and the
subject of his great battle-piece, the central object of which
is the bridge over the Boita. But we should know of
what sort were the “men of Cadore ” to know what Titian
was. They were descendants of independent mountain
tribes, subdued by Rome in the early days of the Empire,
who felt the benefit of her civilization and suffered by her
downfall. Alaric with his Vizigoths, the Huns under
“the scourge of God,” the Ostrogoths, the Franks, swept
at different times through the country, bringing ruin and
distress. Then it submitted to Lombard rule, till Charle-
magne made it a Countship, and the first Count a Frank,
an event which blended together the Lombards and Ca–
dorini, under the common name of Italians. After the
S TITIAN.
dissolution of the Frank empire at the death of Charle-
magne, the men of Cadore were in great peril from
the invading Hungarians, and were roused to fortify them-
selves in those castles, the ruins of which still remain
at Bottestagno and Cadore. The tenth century found the
Cadorine families enriching themselves by a timber trade
with Venice, and the liberties of Cadore rising. The
eleventh saw its privileges so consolidated that it became
virtually a republic with but slight relations with its Count,
who acknowledged the Patriarch of Aquileia as feudal
lord. Its affairs were regulated by an annually elected
council. In the twelfth century the Patriarch was himself
Count of Cadore, but transferred his rights to a nephew,
Count of Camino, and the fortunes of Cadore became those
of the Caminese family. This first Count bore the name
of “Guecello,” which in 1321 descended to the Podesta
of Cadore, of whose family Tiziano Vecelli came. Many
an unhappy contest were the Cadorini drawn into in the
feuds between the Counts and the Patriarchs of Aquileia,
and often when under the rule of the Patriarchs they had
to fight their battles. But their power came to an end.
The Republic of Venice had conquered Friuli. The little
community had to decide to whom they should render
allegiance, whether to the German Emperor or to the great
Republic. They held an assembly. They discussed—but
at length resolved to go for guidance to the chapel of the
Holy Spirit at Valle, two miles away. The procession
went, and on returning to the council-hall at Pieve, there
arose a universal cry, “Det us go to the good Venetians.”
So was the choice made by which Titian became a citizen
of Venice, and the mountain valley was destined to bring
glory to the Queen of Cities in her decline.
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TITIAN’s BIRTHPLACE. 9
“Heir of all the ages' of this little community, always
mixed up in the world tumults, yet ever preserving a
degree of independence,—industrious, thriving in the
midst of its misfortunes;–child of a house distinguished
beyond its mountain settlement, Tiziano was born in the
year 1477. He was the son of Gregorio Vecelli, a dis-
tinguished soldier and wise councillor of Cadore, and
his wife Lucia. The Wecelli had mostly followed the pro-
fession of law or of arms, but Gregorio, having little to
leave his children, of whom he had four, may have thought
art the more profitable. It must be remembered that
Cadore, for all the thrift and energy of its people, was
but a poor country, and the character of the race was
affected by its condition. It was so barren that the pro-
duce of the land was only sufficient for a few months’
supply. It was one of the chief duties of the Council to
buy and store up in the fondachi, and to distribute the
corn supplies for the rest of the year. The produce of
their forests and mines they floated down the Piave to
Venice. The strong-purposed mountaineers descending
to the city came in contact there with the culture and
commerce of the world. The little Alpine community
became one of merchants without losing the virtues of their
hardy life.
Titian's early days were peaceful. There is a story of
the child painting a Madonna upon a house-wall with the
juice of flowers. The fresco is shown in the Casa Sampieri,
representing a sitting Madonna with the infant and a boy-
angel whose wings have almost disappeared, kneeling.
Tradition claims this as the work of the young Titian, and
Gilbert suggests in support of it, that the figure of the
kneeling boy is that of the painter himself under the in-
10 TITIAN.
structions of his first master Rosso, commending himself
to the Divine care before going out into the world. But
the authors of the great “Life of Titian,” while unwilling
to destroy so pretty a story, allow indeed that it is the
work of a boy, but say it is of the sixteenth century, the
work of one of the Vecelli, it may be, but “certainly not
Titian.” Nor will they admit that Rosso influenced the
style of the great artist at so early an age, even if he had
a master at all before he left Cadore.

CHAPTER II.
EARLY LIFE IN VENICE.--THE PERIOD OF THE ‘TRIBUTE MONEY.”
1491 TO 1508.
ITIAN was but a child when he was sent to Venice.
He left behind him, with his parents, his brother
Francesco and his two sisters—Catarina, who was shortly
after married at Pieve, and Orsa, whom we shall find here-
after mistress of his household and the guardian of his
motherless children. The Venice to which he came had
indeed become a centre of Italian culture, but her sun was
setting, though amidst the surrounding glory of Art.
Flying from a barbarian yoke, some nobles of Aquileia
and the neighbouring towns settled on the cluster of islands
at the mouth of the Brenta; and Rivoalto-the modern
Venice—rose in 421. From her independent position upon
the bosom of the waters she early sent forth her merchants
to the utmost known limits of the world. From every
distant region they brought back goods in exchange for .
those which they carried out, and the manufacturers at
home soon learned to rival the foreign producers. Thus
her dyes, her glass, her silks, velvets, and lace became
renowned. Abstaining from territory in the peninsula,
she was content with a naval glory and eastward settle-

12 TITIAN.
ments. Before Genoa or Pisa had entered upon com-
mercial pursuits, she had carried on an extensive trade in
the Greek and Saracen cities of the Levant. The crusades
added to her wealth and grandeur. But her splendour
dates from the time in which Doge Enrico Dandolo fitted
out a hundred galleys in a hundred days to help in the
taking of Constantinople in 1204. Three-eighths of the
Eastern city fell to her lot, and her venerable Doge took
the title of Despot of Romania. When, her power in the
East declining, the republic began to extend it over the
Italian continent, she gradually obtained a supreme
position.
For years the riches of Art had been imported from the
East to Venice; though her nobles, busied in pushing for-
ward her wealth and renown, had neglected to encourage its
highest forms at home. When, however, the period of con-
quest was over, when her trade monopolies were destroyed,
then strangers found their way to Venice, and painting
received a mighty impulse. This was early in the fifteenth
century. From the beginning of the fourteenth the prin-
cipal buildings had been decorated with feeble frescos, and
with such the Hall of Great Council, finished in 1867, WB.S
adorned; and the portraits of contemporary Doges, deemed
of the highest importance, were entrusted to men of in-
ferior skill and education.
About 1400, when these frescos had to be renewed,
Venice, having, no artists of her own, had to entrust the
work to Gentile da Fabriano and Vittore Pisano, under
whom arose the school of Murano, which was all-power-
ful in Venice until the Bellini—Gentile and Giovanni—
produced an entire revolution in the sixteenth century.
Their immediate predecessors had indeed softened the
WITH BELLINI AT VENICE. 13
stiffness and gaudy colouring of Byzantine art, but were
indifferent to the laws of proportion and form, and to the
rules of perspective. The style of the Bellini was real-
istic : every line, every variation in the face was repro-
duced, while the gilded or artificial backgrounds were
exchanged for those which were nearer to nature.
When the new system of painting in oils, which had
already superseded the old process of tempera in the
Florentine school, was introduced into Venice, then the
colours assumed a character which rivalled the celebrated
Venetian dyes. The buildings, the waters, the mountain-
fringed plains, the coasts of the Adriatic provided back-
grounds rich in colour and variety for the Bellini, Car-
paccio, and the painters from the neighbouring mainland
who now came into Venice. They were men from Brescia
and Bergamo, or from the Friulian mountains, bringing
with them their own landscape forms, never forgetting the
inspiration of their native scenery, but gathering a fresh
one from the colour and the splendour of the sovereign
city. What a change for the boy from Cadore to the City
lying upon the seas, from all that was majestic in nature
to all that was softly gorgeous in art—from the peasantry,
stern and full of purpose, to the luxurious and pleasure-
loving citizens !
The fact that Titian was entrusted to his uncle's care in
Venice, and that he was given over to the hands of an art-
teacher is all that is known for certain, the rest is con-
jecture. Sebastiano Zuccato, a mosaicist and no doubt a
painter of note, is spoken of as his first teacher, but no-
thing is known of Zuccato.
Examples of Titian's early style show that he was a care-
ful draughtsman, yet we are told of his leaving Gentile
14 TITIAN.
Bellini, after his probation with Zuccato, because the master
disapproved of his hasty and bold method, and warned him
of failure if he persisted.
With Giovanni Bellini’s workshop he was not more satis-
fied, and it is said that he became a partner with Giorgione.
But we cannot believe that these were his masters to the
exclusion of others equally illustrious, for his style is at
no period absolutely that of the one or the other. If we
cannot trace the steps by which he acquired a noble position
in the early part of the sixteenth century, we must be satis-
fied with knowing that the period of his education was that
of the Bellinis, Carpaccio, Antonello, Palma, and Giorgione,
that he had the last two as companions in study, the others
as models for imitation.
A fresco of ‘Hercules’ on the land side of the Morosini
palace is said to be one of Titian's earliest works. The
Venetians were ford of such ornaments for their houses,
and younger painters, whose means were small, were glad
to undertake the work. As a youth, he was a painter of
Madonnas, in which he exhibited the devout feeling of the
old Venetian school.
He may have visited Cadore and there painted the por-
traits of Gregorio and Trucia Vecelli, which are lost, and
the doubtful “Madonna' for the Genova family at Pieve,
but we must look elsewhere for the works of his youth.
Venice claims many of these, but even the best are doubtful.
The ‘Virgin and Child' at the Belvedere in Vienna is
the truest specimen of his early style, marked by a certain
originality in the tenderness of expression of the Virgin.
She holds a covering round the waist of the Child as He
stands on a stone parapet, gracefully laying His hands on
the mother's fingers. There is a reminiscence of one of
EARLY WORKS AT VENICE. 15
his homeward visits in the charming landscape. But there
are traces of the traditions of his pupil life—of the influence
of the Bellini and Palma. In the foreground is a soldier
after the manner of Giorgione. The effect of the light and
shadow upon the curtain behind, which partially intercepts
the landscape, is young Titian's own. Even thus early he
cannot conceal his individuality; and while there is a ten-
dency to derive something from each source of influence,
he purified it by comparison with nature. .
It is easy to trace the growth of Titian's power in reli-
gious compositions, though difficult to decide the date of
each picture. Its progress is marked by the production of
the “Madonna and two Saints,’ likewise in the Belvedere,
which must have been years after that of the ‘Virgin and
Child,’ by the ‘Man of Sorrows,’ and by the ‘Christ carry-
ing His Cross,’ both at Venice.
In the ‘Man of Sorrows,’ in the Scuola di San Rocco,
the treatment is original. It is a portrayal of the perfec-
tion of resignation, and is to be commended for the finish
and minuteness of detail.
For the brethren of San Rocco he also composed the
second picture mentioned above, which attracted alike ad-
miration and worship, and was a source of wealth to the
community by the miracles which it performed. It has
been assigned to Giorgione, and certainly displays the
touch of an artist not inferior to him. The want of pro-
portion in the head of the Christ is due to the inexperience
of the eager artist.
But his varied power is shown in producing other pic-
tures of different styles at the same time. In the “Two
Maidens at a Fountain' of the Borghese Palace at Rome,
and the ‘Altar Piece of the Bishop of Paphos’ at Antwerp
16 TITIAN.
he is Palmesque. The former picture marks a period in
the growth of Venetian art and reveals Titian as familiar
alike with the Greek ideal and with nature. Here again
we have the scenery of the Venetian provinces. His native
Cadore had not yet given the impress on his mind so clearly
seen hereafter. In “Artless and Sated Love’ are the typical
faces, the fashion of the hair and dress, the mould of form
which rule in Palma's ‘Violante’ at Vienna, and in the
“Bella di Tiziano’ in the Sciarra palace. Hence the source
of the story of Titian's love for Palma's daughter, and the
tendency to confound the works of the two painters.
The close of the fifteenth century finds the artist in some
relations with men who played a part in that memorable
period. It was one in which the nations of Europe, over-
stepping their old limits, seemed to bring their forces into
a common theatre for the display of their political combina-
tions. The most profligate maxims of state policy were
openly avowed, and Italy was the great field for intrigue.
The principal States of Italy were the republics of Venice
and Florence, the duchy of Milan, the Papal see, and the
kingdom of Naples. Venice was the most formidable of
these powers from her wealth and her powerful navy,
“una Italum regina.” Lodovico Sforza was at the head of
the government in Milan. The Medici ruled in Florence.
The Papal chair was filled by the notorious Alexander
Borgia. Ferdinand was king of Naples when Sforza invited
Charles VIII. from France to begin the confusion of Italy.
Venice seemed to offer the most eligible position for the de-
liberation of the envoys of the different European Powers,
who could not look on uninterested. Here in 1495 was
signed that treaty which exhibits the first great combina-
tion of princes for mutual defence. The power of Venice
TIZIANO.
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LA BE
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A rom the painting by 7 itian, in the Sciarra A alace, Rome,


THE PESARO ALTAR-PIECE. e 17
attracted suitors, but her relations were conducted in the
spirit of a trading population. A few years after joining
a league against France, she is warring side by side with
her against the Turks; extending her sway in Italy, but
losing her power in the East.
With the greatest of the schemers and the most unscru-
pulous of the actors Titian had to do. Tradition men-
tions him amongst the eminent men whom Sforza drew
to his Court, and in a picture which Charles I. once pos-
sessed are portraits of the two notorious Borgias, Alexan-
der VI. and Caesar, probably taken at the time when
the ex-cardinal and son of a pope, married to a French
princess, was engaged in courting the alliance of Venice for
the promotion of his own ambitious schemes. Meanwhile,
after two defeats of the Venetians at sea, they joined with
the Pope and the King of Hungary in another crusade
against the Moslems, and Jacopo da Pesaro, a prelate of the
noble and powerful Pesari family of Venice, was appointed
to the command of the papal galleys. He is known by the
name of “Baffo,” from the position which he afterwards
obtained as Bishop of Paphos in Cyprus, in which character
he appears in the great Frari altar-piece at Venice. But
it is probably at the period of his naval appointment that
Titian's likeness of him in the act of adoration of St. Peter
is to be attributed. It adorned a room in Whitehall in the
time of Charles I., and after many vicissitudes, at length
found a home in Antwerp half a century ago. “Baffo” is
kneeling to receive the Apostle's blessing, in the dress of a
Dominican. He holds the Borgia banner in his hand while
the Pope commends him to St. Peter. In the distance are
the galleys riding at anchor. The portrait of Pesaro in his
prime is from life. It is the face of the Frari altar-piece,
C
18 TITIAN.
dignified and determined. That of Alexander is so life-like
in execution that it is difficult to believe it was taken from
a portrait. The carefully studied attitudes remind us of
an older school, but the predominating character is Pal-
mesque. The details of the throne and the imitation of
bas-relief ornaments exhibit Titian as an admirer of the
antique, but are suggestive of an education as yet incom-
plete. He is only revealing a latent power, which is to be
shown in its fulness hereafter.
Titian comes into direct competition with Giorgione, how-
ever, at this early time, and with advantage. The Fondaco
de’ Tedeschi, a Government building which was the resort
of foreign merchants on the Grand Canal and near the
Rialto, was destroyed and a new building erected, upon the
external decoration of which Giorgione, Morto da Feltre,
and Titian were employed in 1507-8. It contained two
Halls, in one of which, the Sala della Pitture, of vast pro-
portions, a collection of frescos and masterpieces of six-
teenth-century artists was formed. Here hung ‘the Re-
deemer” doubtfully assigned to Titian, and now in the
Evangelical Church; together with works of Palma, Tin-
toretto, Paolo Veronese, and other artists.
The State, however, entrusted the decoration of the
Fondaco to Giorgione, who shared the work with Titian,
at this time his assistant. Titian's principal work, above
the southern gateway, was a fresco of ‘Judith’ or ‘Justitia”
(for it is uncertain which), waving a sword in her right
hand, with her left foot on a lifeless head, whilst a soldier
in armour grasps the head and looks up into her face, to-
gether with other groups and figures, fragments of which
are still visible. Zanetti says of these decorations that
Giorgione exhibited an “original spirit” and a “light to
THE EMPEROR MAXIMILIAN, 19
guide posterity.” Titian, at first copying Giorgione, soon
Surpassed him, and showed such a skill in his treatment of
flesh that the “blood seemed to mantle’’ in it. Some
writers say that Giorgione never forgave Titian's superio-
rity; others describe his delight at the success of a friend.
During this period, eminent members of the Vecelli
family had come to Venice, and no doubt helped to further
Titian's interests. He too must have revisited his Alpine
home, and on returning from one of these visits brought
back to the city his brother Francesco, a boy of twelve, to
study drawing.
But events were occurring at Cadore, events interesting
to him, events that hold a curious place in his art-life, and
in which his kinsmen the Wecelli are prominent figures.
We have come to a time in which Venice had to struggle for
existence against France, Spain, Germany, and Italy; and
in which the Cadore dependency had to bear the full force
of the blows which the German Emperor Maximilian aimed
at the Republic. Of old the Emperors had been crowned in
Rome, and Venetian passes lay between him and the Im-
perial City. Bold and enterprising, he had made a name in
Europe, and his picturesque figure, in his “little old green
coat and cap with a great green hat over it,” was familiar
to the Tyrolese. He called upon Venice to let him pass,
and when she refused, he resolved to make his way with
the sword. Cadore was the first bar to his progress. He
took his place in its commanding castle, depending for
supplies on the Ampezzo valley. The Cadorini formed a
committee—of which two Vecellis, one a cousin of Titian,
were prominent members—to unite with the powers at
Venice for the safety of the community.
D’Alviano, a first-rate soldier, who had won a reputa-
20 TITIAN.
tion in the Neapolitan wars, was sent to attack from the Bel-
luno valley; Cornaro, brother of the Queen of Cyprus, was
associated with him as “Proveditore,” and the General
Savorgnano advanced from Friuli to Lorenzago on the
Piave, ten miles above Cadore. He also hemmed in the
Germans by occupying Tre Ponti and Pelos. The two
Wecelli, Andrea and Tiziano, urged D’Alviano to cut off
the Emperor's supplies by moving up the Val di Zoldo.
D’Alviano and Cornaro agreed, and the Wecelli were de-
spatched to Lorenzago to concert a combined movement
with Savorgnano. D'Alviano, with 4,000 troops and a de-
tachment of the celebrated Stradiot horse, made his way up
the defile to Forno, crossed the Boita bridge, which we have
prominently mentioned above, surprised the German gar-
rison at Venas, and took up a strong position at Valle,
about two miles from Cadore. The flames from a house
which the Stradiots had set fire to brought out the Ger-
mans from the castle, in the hope of surprising the Vene-
tian general; but he was ready for them with his men in
line before Valle, himself mounted on a horse. He had
sent forward a Captain Gambara to lie in ambush at Nebbiu
on the slope of Antelao; another force 800 strong, under
Ranieri, to form his right on towards Cadore. The Germans
advanced between to engage the centre, when these troops
swept down upon them from the right and left, and drove
them in heaps over the low walls which intersected the
fields. No quarter was given. Those who did not die
upon the field fell into the hands of the ranging Stra-
diots. A few only reached their native Tyrol. Savorg-
nano was not on the field till the battle was over. In Ti-
tian's picture is introduced the form of a girl struggling
for life—one, perhaps, of those who were found among the
THE BATTLE OF CADORE. 21
slain. D'Alviano took the castle, fired Cadore, and returned
to enjoy a public triumph in Venice. The old war-spirit
of the Vecelliroused once more, diverted Francesco from the
pursuit of art. He joined the army of the Republic, and left
Titian to his Madonnas. We may see them, the ‘Virgin
with the Cherubs, and again with ‘St. Stephen, St. Jerome,
and St. George,’ at Vienna; another, with ‘St. Stephen,
St. Ambrose, and St. Maurice,’ at the Louvre ; and still
farther on in the painter's career, the ‘Virgin with the
Roses,’ in Florence at the Uffizi, and the “Madonna with
St. Bridget,” in Madrid; together with a charming picture
equal to these at Burleigh House, the seat of the Marquis of
Exeter. We may trace in all these a disposition to throw
off the traditions of Greek sculpture and to produce sub-
stance rather than mere form, colouring and texture in dress
rather than drapery. Yet the influence of Dürer is visible.
He visited Venice in 1506, and though taunted with being
an engraver and ignorant of colour, the perfect finish of his
works held back Palma and Titian from a tendency to the
opposite extreme. Titian, however, painted from no pointed
outlines. His figures were put in with the brush dipped
in a brown solution, and then altered and perfected as his
thought changed. The state of the backs of some of his
pictures at the present day has revealed this.
In the Madonnas of this period to which we have al-
luded, we are astonished at the rapid change which is
coming upon Venetian art, from the formal to the natural.
There is all the influence of Palma shown in the treatment
of the subjects, with greater solidity of colouring, a more
perfect combination of tints, and mastery of the effects of
light and shade. In the ‘St. Bridget' of Madrid there is
again the face of Palma's Violante; but Titian is acquiring
22 TITIAN.
a dignity, a grace, and a fresh natural style of colouring
peculiarly his own. The face of the male figure, St.
Hulfus, in this picture is probably a portrait, for thus it
was the habit of people to hand their features down to the
admiration of their descendants. Portraiture, however, in
the form of the bust still prevailed. Giovanni Bellini in
Venice had the privilege of painting the living Doges,
whose likenesses from very early times, as we mentioned
before, were esteemed of the highest value by the Venetians;
but there is a copy in the Vatican of an old Doge, Marcello,
by Bellini’s pupil Titian, who afterwards succeeded to his
office, which is an embodiment of his matchless skill.
There is another too in the possession of Count Barbarigo
at Padua, sold after Titian's death to a member of the
family, which had hung for years in his father's house
and was a copy of an earlier portrait of the Doge Marco
Barbarigo.
We have traced the painter's progress up to a period
which marks his reputation, the period of ‘The Tribute
Money, now at Dresden, formerly in the possession of the
Duke of Ferrara. A story is told of the origin of the
picture, which, if true, confirms what is certainly true, the
influence of Dürer upon Venetian artists. The story runs
that some Germans who visited Titian's studio spoke in
disparagement of Venetian art in comparison with Dürer's
perfection, and that Titian replied with a smile that had
he thought finish was the end and aim of art, he too
would have fallen into Dürer's excesses. Experience, how-
ever, had taught him to prefer a bold to a narrow path; and
that he would show how the most minute detail could
be exhibited without sacrifice of breadth, and so produced
“The Tribute Money,' a picture which has commanded the
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“THE TRIBUTE MONEY.” 23
admiration of nearly four centuries for the unequalled
power which the artist shows of imitating nature and of
treating detail. The “godlike beauty” and calm majesty
of the Christ, as His lips seem to be parting with the
question “Whose is this image and superscription ?” while
the fingers point gracefully to the coin in the rough hand
of his cunning tempter, the low satisfaction on the face
of the Pharisee in the thought that he had outwitted the
“Master,” are perfect both in conception and representation.
The head of Christ is, as Vasari says, “stupendous and
miraculous,” and we may fancy almost that a breath will
disturb the light, separate hairs in the profusion of locks
that fall down upon the shoulders. Nowhere else is so
perfect a contrast worked out as in these two figures.
The one exhibits in delicacy of feature, in the softness
and fairness of the flesh, in the conscious sublimity of ex-
pression, of attitude, and movement, a Being elevated
beyond human life and thought, confessed a God—the
other a sharp and cunning profile, a rough, weather-beaten
surface, an animal vigour, and that coarse delight of a
debased nature when it thinks to have foiled a higher.
In this, the most perfect picture from the easel of Titian,
he snatches what he desires from Palma and refuses the
palm to Dürer. He will be himself, he will surpass all,
and yet recognize all who have helped to make him what
he is.




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CHAPTER III.
THE PERIOD OF THE ‘ASSUNTA.’
1509 TO 1520.
HILE all this work was going on, the painter must
often have been tempted to turn his thoughts to
the fate of his family up in the mountains, or of his
brother Francesco in the service of Venice. The peace
for which Maximilian asked after his defeat in the spring
of 1508, was but a short one. In December of the same
year he joined the league of Cambrai with the Pope,
Spain, and France and the Italian princes to deprive
Venice of the vast influence which former successes and
the favourable turn of events had given her in Italy.
Again D’Alviano takes the head of the army, but on
his defeat at Ghiaradda, the most valuable possessions of
the Republic fell into the hands of her enemies. Among
the mountains lay the scene of Maximilian's part in the
conflict. Cadore was the object of unceasing attack, and as
often saved by the bravery of the people, till at last the
castle was captured, sacked, and burnt; but the Cadorini
were unconquered, though reduced to the most miserable
condition, for every village had perished in flames, and the
inhabitants by the sword. Nor was it till 1512 that the
WORK AT PAIDU A. 25
peace concluded between the Emperor and Venice enabled
the mountaineers to begin the rebuilding of their villages
and the repair of their own losses. When the league of
Cambrai was broken up and the arms of her foes were
turned against each other, Venice recovered a great part of
what she had lost, but the campaign was fatal to her artists.
The insecurity of the provinces drove their painters into
the city, which narrowed the field of profit for all. Pelle-
grino, Pordenone, and Morto came to Venice; Sebastiano del
Biombo withdrew to Rome, Titian to Padua. Since the
beginning of the fifteenth century this city, renowned for
her art school of painting, as well as for her university and
museums, had been subject to Venice, though she was taken
and recovered in the wars to which we have alluded. Her
own masters, however, abandoned her, and she had to
supply her collections from abroad. When Titian came to
her he took up again the work of fresco-painting, in company
with Campagnola, a man whose name is first known in
this connection with Titian. On the back of one of this
artist's sketches is a note to the effect that in 1511 he
painted fresco with Titian in the Scuola del Carmine, and
that they entered the Scuola of Padua together on the
24th of September in the same year.
Visitors to Padua are familiar with the palace which
Cornaro built, and which Titian helped to decorate, though
what he did does not survive. He seems to have left the
work at the Carmine to his assistant Campagnola, and not
have increased his own reputation thereby. In the Scuola
del Santo too, there are signs of weariness in the perfor-
mance of uncongenial work, though the composition of the
designs is vigorous. Had they been carried out on his
canvas the effect would have been different ; but the magic
26 TITIAN.
with which Sir Joshua Reynolds declares Titian capable of
investing the most familiar subjects is wanting here. He
must either have left everything to his assistants or disliked
fresco painting. Returning to Venice, accompanied by Cam-
pagnola, after stopping at Vicenza, where he executed a
fresco, “The Judgment of Solomon,’ which was lost, he
settled down to his own work. His return coincides with
the truce of 1512, which brought peace to his native
home. -
To the rescue of his country from the dangers of the
league of Cambrai and to the devout thankfulness for the
recovery of Padua, we owe the ‘St. Mark’ of the Salute,
which he executed for the Canons of San Spirito in Isola, and
which bears marks of the influence of Giorgione so strongly
that it might be taken for his work. His introduction
of the antique in the chair upon which St. Mark sits, him-
self in imperial greatness, is in striking contrast with the
realistic figures of the Saints Sebastian and Roch in the
foreground, who symbolize the evils which had been over-
come, of war and pestilence, for the plague had carried off
20,000 people in Venice in 1510. St. Cosmo and St. Damian
stand conversing on the left. There is nothing omitted
which can add to the picturesqueness, either in the natural
arrangement of the drapery, or in the effects of floods of
light and broad expanse of shadow, in the variety of move-
ments which distinguish the two Saints, and in the mellow-
ness of tone and polish of surface, producing a picture re-
calling the richness of Giorgione and the tenderness of
Palma, yet showing signs of a perfection which raised the
author above them both.
The position of the artist was improving, and the
Venetian world was being educated to higher apprecia-
WORKSHOP ON THE GRAND CANAL. 27
tion of the beautiful in art as well as in literature. The
Aldine Press was rapidly circulating editions of the old
Greek and Roman classics as well as modern works of every
description. Aldus was giving a literature to Venice. He
founded the Aldine Academy and collected together the
literary men of the age, Venetians and foreigners, Bembo
and Navagero, and Erasmus. The members of the Academy
could not but be in relation with the contemporary artists,
and it is certain that when Bembo became secretary to
Leo X. he offered Titian service under the Pope, which was
declined. He preferred that of the Doge and the Signori.
He petitioned the Council of Ten in May, 1513, “having
studied painting from childhood upward, and desirous of
fame rather than profit,” to employ him in painting a battle-
piece for the Council Hall, and asking for the first vacant
broker's patent in the Fondaco on the same conditions as
Bellini and Carpaccio. It was granted, and he became the
rival of the acknowledged chief of Venetian painters and
superintendent of the Government works.
He was allowed to set up a workshop, on the Grand
Canal at San Samuele. The site is not known, but there
he lived for many years. He began his work in the Hall,
but meanwhile the decree granting his right to the next
patent was revoked, and he was to wait his turn. He
petitioned again, and was promised that which must soon
be vacant by Giovanni's death. But the completion of the
work in the Hall was delayed by the quarrels of the two
great masters, and at last all the artists were dismissed and
an arrangement entered into with Titian, who found himself,
at the close of 1516, after Bellini's death, in possession of all
his privileges. Foreign merchants could only trade through
brokers appointed by the State. The office was a valu-
28 TITIAN.
able one to those who held it, and farmed it, as did Bellini
and now Titian. It produced a good annuity with freedom
from taxation, in return for the likeness of the reigning
Doge at a fixed price. It was, however, revocable at will,
but this did not move Titian for years to complete pictures
for the vacant places in the Hall, though he was fairly
regular with the portraits of the Doges.
Meanwhile as he succeeded to the position of Giovanni
Bellini in Venice, so he did at the Court of Alfonso d’Este
at Ferrara, whose Duchess was the famed Lucretia Borgia.
Alfonso, desirous of collecting in his studio the productions
of the great artists of his time, spared no efforts to induce
or threaten Raphael at Rome and Titian at Venice to con-
tribute. He had before invited Bellini to paint a ‘Bac-
chanal,” the one now at Alnwick, interesting because the
background is put in by Titian from Cadore sketches.
The date of his first journey to Ferrara is early in 1516,
but that of his first association with the Court is unknown.
Numerous pictures, and among them the ‘Tribute Money'
and the portrait of Alfonso, were done at times of which
the record is uncertain. He professes to be, “body and soul,”
given to the Duke in the early part of 1517, and submits to
his rude orders, without, however, satisfying his wishes.
There are no records of his having painted the celebrated
wife of the Duke, the virtues of whose later life were a
theme for poets' praise. It is strange if he did not, but
all we know is from later engravings of what purported to
be original pictures, which may have been portraits of Lu-
cretia Borgia. The portrait of Alfonso, an evidence of the
artist's remarkable dexterity and power, still exists at Ma-
drid. Besides portraits, however, Titian executed religious
and mythological subjects for the Duke, the earliest of
“THE WORSHIP OF VENUS.’ 29
which, “The Worship of Venus,' is now in the Museum of
the Spanish capital. Two lovely nymphs are at the foot
of a marble statue of Aphrodite, offering gifts to the goddess.
Swarms of winged Cupids are scrambling up and down
the orchard trees and plundering the sacred apples, while
they hang their bows and quivers on the boughs. They are
the offspring of nymphs, full of lusty life, dancing, running,
pelting each other with the fruit, rolling on the soft sward,
fighting and embracing each other in turn, hunting a hare
which has been eating the apples under the trees, laugh-
ing and tumbling over each other in their zeal to catch the
animal for an offering to Venus. They are “playing with
love that is dawning,” vanishing, coming back again as
we look. There is a dam in the middle distance, and a
background of foliage and sunlit meadow, while far away
the favourite mountain form completes the picture.
But before this fine painting was produced there were
many others, and among them the portrait of Ariosto,
between whom and Titian there was an intimate acquain-
tance, though there is no proof of their dependence upon
each other for inspiration, as stories tell. The artist took at
least two portraits of the poet; one a drawing for a woodcut
for the last author’s edition of the “Orlando Furioso,” the
other a painting of uncertain history. There were in the
middle of the seventeenth century, however, two paintings
assigned to Titian, one of which Ridolfi describes, and which
answers to that in the National Gallery, the other that now
in Lord Darnley's possession at Cobham Hall. They differ
from each other. The latter is the likeness acknowledged
in Italy, the finest creation of this period of Titian's life, re-
presenting a man dignified and serene—a portrait of Ariosto,
conveying at the same time an ideal poet. The former is
30 TITIAN,
attractive, but somewhat sensual in expression, and upon
close inspection suggesting another hand than Titian's. Yet
the same face at different times and on different persons
produces a variety of impressions. His later portrait re-
sembles the Furioso woodcut, which is the profile of a
shrewd and penetrating man towards the decline of life.
Whether or not Ariosto recognized the poetry of Titian's
nature is a matter of indifference. It breathes in every
landscape, and will not be hidden under any form. Hence
was born at this time the idyll of the ‘Three Ages,’ painted
for a gentleman of Faenza, and now in the Ellesmere Col-
lection. A shepherd-lover beneath a tree obeying the in-
nocent teaching of a maiden, who places his fingers on the
reed-pipe—two children in the middle distance sleeping by
the side of a stump while Cupid gently steps over them; in
the repose of the distance an old man is dreaming over a pair
of skulls upon the ground, while, far behind, a shepherd
tends his flock upon a hill-bounded plain. It cannot be
denied that the hand of Giorgione is here, but it is the
voice of Titian that sings the touching strain.
The National Gallery offers us two revelations of the
artist's religious feeling, though he was not a religious
painter, “The Riposo’ and the “Noli me Tangere.” In one
of the “bosky shades" of the Ceneda scenery, of which we
have before spoken, St. Catharine is gazing in rapture upon
the infant Saviour, resting in the lap of the Virgin, who is
receiving an offering of flowers from the little Baptist. A
gleam of light breaks through the sunset gloom upon
the hills which border the wide-sweeping plain, touches a
far-off peak, and plays amidst the deep shadows upon the
slopes. From the borders of the lake towards which the
lines undulate the lowing of the cattle and the tinkle of the

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THE GREAT ALTAR-PIECE, “THE ASSUMPTION.’ 31
sheep-bell seem to be falling upon the ears of the reposing
group. It is a scene full of pathos and beauty.
The socond of the pictures is “like a leaf out of Titian's
journal * on which he has recorded the soft evensong of
Nature. In the far distance is a line of hills whose feet
are bathed by the waters of the bay, which mingle with
the dark blue sky; the shadows are falling upon the middle
slopes where the cattle graze. There is a clump of farm-
buildings upon a hill to the right. A young tree rises out
from a grassy mound over which the darkening bushes
spread, and throws out his boughs and leaves in distinct
outline upon the sky. At the foot of a mound in the fore-
ground two figures are thrown upon the landscape. The
Magdalen has turned from her weeping, and dragged her-
self upon her knees towards the “Master” at the soft
whisper of her name. She raises her face with a longing
and astonished gaze, she puts forth her right hand to touch
the form, her left resting upon the ointment-box, but He
draws back from her, gathering to Him His mantle, yet
looking down upon her with a face of striking beauty, upon
which compassion, love, and tender refusal are blended.
But these works only exhausted, as it were, the spare
power which he was employing upon the ‘Assunta,’ an
achievement which placed him at the head of Venetian
artists. He was employed to paint it for the high altar
of Santa Maria de' Frari in Venice, and when after two
years’ labour it was raised to its place, the church was
filled with an admiring crowd. Seen as it is now in the
Academy, in a light and a place for which it was not
intended, the consummate art which Titian applied to carry
the eye up from the prominent group of the Apostles
32 TITIAN.
around the tomb of the Virgin, first to her figure in mid
air borne by angel-supported clouds, and higher still to the
centre of light around the brow of the Eternal, is unappre-
ciated. The wonderful effects too which would only suggest
themselves to the eye of cultivated genius, of the different
atmospheres encircling the three stages which the picture
comprehends, are partially lost. All the seeming defects
in drawing would be invisible in the gloom about the Frari
altar, to which the painting was tempered down, and there
would be room for no feeling but that of amazement at the
marvellous conception. We should see nothing but the
group upon the ground, moving with every impulse and in-
spired with every sensation that the scene creates, the choirs
of angels, calling to mind in form, but that alone, the Cupids
in the gardens of Venus, but here inflamed with a celestial
love, turning their faces upwards to the Father. He is
seen just leaving the high vault of Heaven to welcome the
ascending form, and granting the eager petition of an ap-
proaching seraph, ready to place the crown of life upon
the maiden-mother's brow. º
Every figure is taking a part in the scene, every face
reflects the glory of the Eternal. It would seem as if here
the Nature-taught soul of the painter had received inspira–
tion from a power beyond even Nature herself, and had
brought every device both of colouring and of skill to
produce this magic effect.

Š($8 º iº º
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CEIAPTER IV.
PERIOD OF • THE ENTOMBMENT.’
1520 TO 1523.
O the time to which we have now come we must
assign the ‘Annunciation’ of which we spoke when
we touched at Treviso on the journey to Cadore, and this
incidentally suggests the painter's journeyings, though his
increasing fame keeps us in Venice. The trumpet-note
which was sounding on all sides roused up the Signoria to
the fact, that the man whose work was called for from every
quarter was their own painter, but that his duty in the
Great Council Hall had been standing still for years.
They threatened to have it finished by other hands at his
expense. Still he was unmoved. Alfonso of Ferrara too
at the same time writes to his agent in Venice that he
thought “Titian the painter would some day finish our
picture; but he seems to take no account of us whatever.”
The picture, however, is at last in hand and taken by the
artist to be finished at its destination, according to his
wont. It is in all probability the celebrated ‘Bacchanal’
now in Madrid. The subject which was suggested by the
Duke himself, was the offspring of the new taste which
the productions of the Aldine Press had helped to create.
D
34 TITIAN.
Bacchus is not here, but the “joy of the god” is flowing
in streams and filling vessels of classic shape. His
power rouses the jovial dance or the care-dispelling song,
brings dreams of love, or “steeps the senses in forget-
fulness.” So the ship is carrying away over the waters,
in the far distance, the galley of Theseus, while Ariadne
slumbers on the sward unconscious alike of her desertion
and the merry revelling around her, one hand still grasp-
ing the vessel which contained the sorrow-soothing draught.
Yet one figure must needs be mentioned, a face and form
so often spoken of and immortalized by Palma and Titian,
whether recalling one dear to both or only a revelation to
each of the perfection of youthful loveliness. It is Vio-
lante we see again in that Bacchante of the great group,
enervated by the presence of the wine-god, one quivering
hand stretched out with a glass, while she rests on the
elbow of the other arm, and invites a companion to sing
the song before her—
“Chi boit et me reboit ne gais qua boir soit.”
It is a dream of the realm of Bacchus, but the still country
life is going on, despite the revels; the overshadowing
foliage spreads out and the light breaks through it, the
rustic and his dog repose at a distance, while a memory of
Cadore hovers over the hill-line which skirts the waters
beyond.
After the visit of the painter to Ferrara with this picture
the Duke's manner towards him seems to have changed.
A more friendly relation exists. Titian is asked in concert
with Tebaldi, the Duke's agent at Venice, to execute
several small commissions for the Duke. He helps him
with designs and assistants to found a maiolica manufactory
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THE DOGE GRIMANI. 35
at Ferrara, and paints from a Bellini sketch, a picture of a
“gazelle,” a “strange animal,” of which the Duke had
heard. Again he is invited to Ferrara, and leaves on his
departure many promises behind him.
His position and proceedings at this time are amusing.
He has orders for an altar-piece at Ancona, and for another
from the papal legate at Brescia. He begins both at the
same time. A grand figure of St. Sebastian for the legate
was finished—the best thing that he did at that period in
his own opinion, which was generally confirmed, as the
numerous replicas testify. Tebaldi hears of it and is forced
to acknowledge the justice of the general feeling. He
wants it for his master, and taunts Titian with preferring
this work for the priests. Titian replies that he “would
coin base money for the Duke,” bids the secretary keep the
secret, and accepts an offer for the picture, intending to do
another for “the priests.” However, both Alfonso and
the painter regret their temporary dishonesty, and the
matter comes to nothing. Still the Duke is impatient for
his promised ‘Bacchus and Ariadne,’ for which he has
supplied canvas and frame. Meanwhile the Government
is waiting for the battle-piece in the Hall, and the Pesaro,
whose portrait he had painted long ago, had partly paid
him for an altar-piece; but Titian breaks away from all, and
goes off to the hills to paint the front of the Scuola at Cone-
gliano. This was in 1521, the year in which he had to paint
the first of his Doges, for Loredano was dead and Antonio
Grimani was in his place. Before 1523 he had painted
three pictures of him, an old man—for he was eighty-seven
when he became Doge—who had made a merchant's fortune
in his youth, had been beaten by the Turks at sea, and
cursed in the streets of Venice as the “ruin of Christianity,”

36 TITIAN.
who had been brought home in fetters, and barely escaping
death at the hands of the mob, had been consigned to
prison, had escaped, lived in Rome with his son, a cardi-
nal, and had gained a pardon by reconciling his country
to the Pope after the league of Cambrai. Here was
a picture after Titian's own heart, a story to tell in his
own language, to be read upon a face as a history upon the
rocks. -
But in touching upon these portraits we have forgotten
that at the end of the year in which Titian had rushed off
to Conegliano, Alfonso invited him to Ferrara to bring his
promised picture and finish it there. Tebaldi used all his
efforts without effect. He went elsewhere in , "anuary of
the next year; “irregular living,” according to Tebaldi,
had brought on a fever. He managed by a series of pro-
mises, which he never intended to keep, to put off his visit
to Ferrara from month to month, spending his time in
work for the Duke and for the Signoria. It was the fear
of losing his post in Venice which probably accounts for
his procrastination. Meanwhile, the Brescian altar-piece
was delivered in 1522, and in January of the next year he
set out, sending his baggage and servants by water, and
himself visiting Federico Gonzaga, nephew of Alfonso and
Marquis of Mantua, who had long wanted him at his
Court, and ever after this visit treated him with much
honour. He carried to Mantua an introduction which de-
scribes him as “most excellent in art, but modest and
gentle withal,” and left that city for Ferrara with a letter
from Gonzaga requesting that the Duke would send him
back again when his service was completed, and so do him
“a singular pleasure.”
Now he had to finish probably the painting of the Duke
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DURE ALFONSO OF FERRAIRA. 37
with Laura Dianti, his second wife, for Lucretia was dead
when Titian took the Venus-worship home. Moreover, he
was kept to work at the ‘Bacchus and Ariadne,’ which is
now in our National Gallery, a classical study, a faithful
realization of the dream of Catullus, a copy of whose poems
the painter had inscribed with his name in his own hand-
writing. It is a picture which all may see and no one can
forget.
One word about the Laura in the Duke's picture; it has
borne the name of “Titian and his Mistress.’ The girl at
her toilet at the Louvre is said to be Laura d’Este, and the
man holding the mirror, Alfonso, for the features are like
those of his portrait at Madrid. Laura Dianti was a citi-
zen's daughter, beautiful, simple, and chaste. It is as such
she appears, not as a Duke's mistress. The painting,
which conveys an idea of the greatness of his art, certainly
carries none of his own figure, nor is there any ground
for believing that the several faces which have been ac-
cepted as those of his mistresses are more than ideal. It
is true that he delights in representing the forms of women,
and that Rubens professes to have copied pictures of We.
netian courtesans after Titian ; but we must remember
the morality of the Venetians, and the classic taste which
was rapidly increasing, and which it was unlikely that
a man of Titian's love for beauty and colour would be re-
luctant to gratify. We may believe, therefore, that this
was the age of his ‘Flora’ at the Uffizi, of the “Venus’ of
Darmstadt, of which there are several in England, and of
the “Venus Anadyomene' of the Ellesmere Gallery, in
which the old conception of the Greek mind is produced in
the form of perfect natural beauty.
He must have gone to the Court of Mantua, however, be-
38 TITIAN.
fore returning to Venice, and that he did work there which
pleased his patron existing letters testify.
“The Entombment,’ a picture from the Gonzaga Gallery,
which once hung in Whitehall and taught Van Dyck, and
of which the Louvre boasts possession, brings us to an end
of this period of Titian's art-life, showing how far he had
gone beyond his old rivals, while it reminds us of them and
introduces types which impressed Paolo Veronese. The
group consists of Joseph and Nicodemus, bearing in eager
and earnest haste on a cerecloth the body in majestic repose,
while St. John simply holds up one of the arms, unwilling
to leave all the sad duties to others, yet unable to collect
his mind and energy to give real assistance. Standing a
little apart, the two Maries are watching in hopeless anguish
the form as it is with difficulty borne from them, the one
holding back yet resting upon the other. A strange gleam
from the stormy skies lights up the parts of the body which
are not thrown into shade by the other figures, and reveals
the different emotions on the faces of the actors in the scene,
leaving in contrasting shadow the mound and its night-black
tomb.
As regards colouring and effect, movement and expres-
sion, this painting places Titian in a position now without
a rival, nor can it be longer said, “This is Palma, this Gior-
gione.” There is one other work of this period which claims
our notice before we pass on, the “Madonna di San Niccolo,'
in which he was engaged at the same time as that of Pesaro,
though this latter was not completed for some years.
The Niccolo, now in the Vatican, commanded admiration
for its richness of tone and magic blending of colour, while
of the figures Pordenone said that there was no imitation,
but the real flesh.
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CHAPTER W.
PERIOD OF THE ‘PETER MARTYR.’ TITIAN AT HOME
AND AT COURT AT BOLOGNA.
1523 TO 1536.
E are still in 1523, and Andrea Gritti has become
Doge. Titian was called upon to take up for once
the art of fresco painting which he had abandoned at Wi-
cenza. He produced the fresco now at the foot of the
Doge's steps in the palace of St. Mark representing ‘St.
Christopher carrying the infant Christ,’ with a view of Venice
in the distance. It is the production of a master, but re-
calls the feeling which spoiled his work at Padua. The
decorations of the Doge's chapel were also entrusted to him,
but with the exception of his State work he did little at this
time. Gritti sat often to him, but it is difficult to decide on
the genuineness of the existing portraits. The Doge re-
warded his work at home, and promoted his brother-in-
law and his father to important posts at Feltre and Cadore.
There is the ‘Annunciation’ at San Rocco to mark the
interval between the early art of Venice and the splendour
of the age of Titian, and in 1526 he completed the “Madonna
di Casa Pesaro,' for which Baffo again sat to the master.
Years ago we found him praying for victory under the pro-

40 TITIAN.
tection of St. Peter. Now he is surrounded by his relatives
in thanksgiving at the feet of the Virgin. There we won-
dered at the promise which genius gave, here is the fulfil-
ment. The artist has here reached a position till now
unattained, from which he seems to dictate to his suc-
cessors while he defies them.
We wish in vain for some details of his home-life, for we
know that now he was a married man, and that he had a son,
Pomponio, which his wife Cecilia bore to him in 1525, and
that three other children went with him, a widower, to a new
house in 1531. We are, however, anticipating, and are now
only introduced to a man, Pietro Aretino, who was his inti-
mate friend for many years afterwards, and who has cast
some suspicion upon his reputation. Aretino could boast
neither of his birth nor education, for he knew little about
the one and had none of the other. A man without a scru-
ple or a sense of virtue, he was ready for any intrigue and
the promoter of every vice in an age and among a people
notorious for both. He lent himself as a tool to the schemes
of the most exalted men, and thus obtained their favour and
held them in his power. At Rome he was known to the
Pope and acquainted with the most eminent artists, among
them with Sansovino and Sebastiano del Piombo. Necessity
brought him to Venice, and he owed to Gritti “not only
his honour, but his life.” He offered bimself to Charles W.,
and began “to live by the sweat of his pen,” not at all par-
ticular about the ink. Before he had been three months in
Venice, Titian had sent his portrait to Gonzaga as a present,
with a letter which shows the influence of Aretino upon his
style of writing. He had learned to flatter princes and to
reap already the reward of pleasant words and ample pro-
mises, for Gonzaga flatters him in return and acknowledges
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THE ‘ST. PETER MARTYR.’ 41
his obligation. Sansovino the sculptor and Sebastiano the
painter, who were at Venice, were alike indifferent to the
holiness of their subjects, so long as patrons were pleased;
but it is strange to find Titian in the hands of Aretino, who
used artists’ work to obtain favour from princes. Soon
Sebastiano returned to Rome, but in 1529 Sansovino became
architect of St. Mark, and Venice was bound with the painter
and the profligate parasite in a close friendship which the
last was the first to loose by death, thirty years afterwards.
Meanwhile we find Titian at Ferrara in 1528 and 1529,
living in luxury, though complaining of the pay he re-
ceived. When he left, he carried two letters, one from
Alfonso to the Marquis of Mantua, which speaks of the love
he bore to Titian, and another to Gritti, thanking him for
the services of one “who had served him well.”
The altar-piece at Zoppè, of which we spoke in the first
chapter, dates from this time, and so does his contract with
the brethren of St. Peter Martyr for an altar-piece for the
church of SS. Giovanni e Paolo. He carried off the prize
for his designs in a competition with Palma and Pordenone,
and thereby incurred the lasting hatred of the latter, but
Palma died in the summer of that year. This marvellous
picture, the ‘St. Peter Martyr,’ was finished in 1530, and
perished by fire in 1867. A copy now occupies the old
place in the chapel. Generations of artists—Cellini, Ru-
bens, Reynolds—wondered and studied before it. The
artist has asked and found in Nature a scene for his
subject at the feet of the twisted forms of her giant trees,
their dark foliage thrown upon the face of a wild and
stormy sky; her gloom conceals the receding form of the
instigator of the murder. The far-off town can give no
helper, the lone mountains in the distance cannot echo the
42 TITIAN.
cry which goes up through the trees, through the angry
clouds into the heavens, where angels are listening. The
doomed man sees them too with the gaze of a Stephen.
His face is lit up with the same ray that falls upon those
two angels sent to cheer him with a glimpse of the martyr's
palm. The figures tell their own story, and they tell us too
that Michelangelo had been in Venice, as indeed he was
while the picture was in progress. He did not remould
Titian, but only revealed himself to him.
We have tried to read Titian's character and life by his
paintings. The “Madonna del Coneglio' brings us close
home, and reveals his most sacred feelings. He has watched
the mother with her first child and been called to look at
its little ways and pretty play many a time; or where
would be that infant Christ, who catches at St. Catharine for
support, half pleased, half afraid of the white rabbit which
the Virgin keeps for the Child to look at P. She sits upon
the grass, in the midst of a scene already familiar to us, a
landscape with the farm, and the distant village and the
far-off mountain lines. The picture was being painted
for Gonzaga in the February of 1530. It won the promise
of a benefice for his son Pomponio, of which we shall
hear more. His patron and Alfonso d’Este had just
been at Bologna to offer homage to Charles W. at his
coronation by Pope Clement. It is said that, through Are-
tino, Titian was invited to meet the Emperor and painted
a “magnificent portrait ’’ of his Majesty, but letters of his
from Venice at the time do not admit the truth of this,
While at Bologna, however, Charles had been guest of one
Count Pepoli, and his secretary Covos admired “La Cor-
nelia,” the Countess's maid-in-waiting. It was an oppor-
tunity for Gonzaga to win imperial favour, and Titian was
DEATH OF HIS WIFE, 1530. 43
despatched to paint the lady as a present for Covos. How-
ever, she was sent away for change of air, and the artist
returned to Venice at the end of July, ill and destined to
sustain the great blow of his life. By a letter dated 6th
August, 1530, to Gonzaga's secretary at Mantua, Agnello,
the Duke's envoy at Venice, writes, “Our Master Titian is
utterly disconsolate at the loss of his wife, who was buried
yesterday. He told me that through the trouble in which
he was involved by his wife's sickness he was not able to
work at the portrait of the Cornelia.” He had promised,
failing a sitting from the original, to produce a copy of an
existing portrait, and this he did in September of this year.
But his home was broken up. He was left with three
young children. He called to his aid his sister Orsa from
Cadore, and took a house in the Biri Grande, of which
we shall speak more presently. Meanwhile he is gradually
gaining strength. He is certainly in Venice at the end
of October, and in March of 1531 had sent a ‘St. Jerome’
to Mantua, and in April a ‘Magdalen,’ which was intended
for Davalos del Vasto, a favoured courtier of Charles V.
But he is “in a state of great discontent,” as he writes
in July to the Duke of Mantua, for he is not receiving
the income from the benefice promised for his son, and
meanwhile all Venice has seen the boy in clerical attire, so
that his honour and interest are at stake. September
comes, and with it the bulls of the benefice of Medole for
Titian, “whose joy at receiving them could not have been
greater.” He probably was indebted to Aretino for his
good fortune. It is almost amusing to notice how this
man uses Titian to paint presents for men who were neces-
sary to him, and thus getting the artist orders for portraits,
while he repaid his patrons as well as his friends with
44 TITIAN.
flattery. He sends to Sforza's favourite captain Stampa, a
‘Baptist’ by Titian, so life-like in its details that “the
deceptive beauty of the lamb had caused a sheep to bleat.”
Upon this follows likenesses of the said captain and of
Sforza with his child-bride, while Doge Gritti, whose
patronage was important to Aretino, gets his votive picture
done.
But Titian is destined for still loftier distinction. In
1532 Charles V, made a progress to Bologna to meet the
Pope. All the Italian princes bowed before him, each
with a scheme for his own interest. The Emperor must be
conciliated and his officers won over. The secretary Covos
was then ready to take the largest bribe, and agents were
busy at work. Alfonso of Ferrara wanted Modena and
Reggio, and it was for Charles, who held them, to decide
whether they should be given to him or to the Pope.
Covos was a lover of pictures, Charles a patron of art and
a greedy collector. Who more useful than Titian, and
what an honour for him to paint the Emperor's portrait !
When Charles was at Mantua, he was struck with the
Duke's likeness and wished for his own by the master.
Titian was hastily summoned, but did not accept Federico's
urgent invitation. He did, however, go to Bologna, where
were Ferrara's agents under orders to gain Covos at any
price. Both the Emperor and secretary knew of the
Titian treasures at Ferrara, and especially of Alfonso's
portrait. The artist is employed to direct Covos as to
what he should ask for from the Duke, and is brought into
direct relations with the Emperor, whom he immortalized
in the pictures he produced, and gained for himself the
titles and privileges of Count Palatine and Knight of the
Golden Spur, for his children the rank and honours of
i
Y TITIAN.
DEATH OF SAINT PETER MARTYR.
Aurned. Formerly in the Church of SS. Giovanni e Paolo, Venice.
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THE EMPEROR CHARLES V. 45
nobles of the Empire. He stood ever after to Charles
as Apelles to Alexander the Great, the only man worthy
to paint his royal master, and to receive kingly recom-
pense.
The courtiers too, and among them more especially the
famous soldier Davalos del Vasto, and the cardinal chieftain
Ippolito de Medici, were ambitious for an immortality like
their lord. The allegory in the Louvre shows us the former
ready to start on a campaign against the merciless Turks, yet
reluctant to tear himself away. His lovely wife, Mary of
Arragon, sits holding a magic crystal, in which she sees his
figure exposed to cruel dangers and foremost in the fight.
His handlingers upon her half-covered bosom. The winged
god with his shafts, and Hymen with his offerings are
there, and Victory humbly offers consolation. The thoughts
of Titian glow upon the canvas. Love shall nerve the arm
and glorify the victor. Yet it is hard to part. The struggle
will be deadly and the suspense terrible, and on the cold
battle-field he will dream of loving repose. It was an age
which permitted to artists and poets a language that may
not now be uttered, though the thoughts are not dead.
Ippolito chose the dress of a Hungarian captain. The
allegories in the Vienna Gallery exhibited the taste and
circumstances of others. f
Meanwhile, though much pressed to visit both Rome and
Mantua, Titian had work to do in Venice, at the altar-piece
in the church of St. John the Almsgiver. He has presented
the unfamiliar Saint relieving a beggar, with a force and
feeling such as no one but he could have thrown into so
simple a subject. The Saint turns, as if interrupted by a
presence, with a face full of the sublime spirit of the Gospels
which he has been reading. With an air of majestic com-
46 TITIAN.
passion he drops a purse into the Outstretched hand of a
ragged form pausing in hurried approach to catch the alms
and half falling on One knee. This church was one of
which the Doge was the patron, and Titian was painting
under the orders of Gritti. But he was a courtier too,
and while Venice was the centre of political intrigue and
Aretino glorifying the favoured flatterer of every dignity,
it was inexpedient that Titian should be absent. Like his
friend with his verses, he was ready with a canvas for all
comers, and though he was wearing the marks of a rank
to which Charles had raised him, he produced those like-
nesses of Francis I. which are remarkable instances of his
power in representing persons whom he had not seen.
He was able in like manner to restore the graces of youth,
and so Isabella d’Este at Vienna appears as a girl, though
she was really advanced in years.
“A thing of Beauty” seems to have been “ajoy for ever”
to Titian, and it cannot be said that if sometimes for a
moment he seems to pander to the voluptuous taste of his
generation, his loftier conception of the graces of woman
is ever wholly lost. Witness the “Venus’ of Florence, a
beauteous living woman, of real palpitating flesh, conscious
of the perfect form in which nature has enshrined her, and
innocently triumphing in her loveliness. Witness the same
haughty face adapted in the Pitti “Bella’ to a high-born
girl in a dress appropriate to her station, and to a lowlier
form in the so-called “Mistress of Titian at St. Peters-
burg, and in the Vienna picture which once hung in the
gallery of our Charles I.
CHAPTER WI.
PERIOD OF • THE BATTLE OF CADORE 'AND ‘THE
PRESENTATION IN THE TEMPLE.’
1537 TO 1540.
HERE is a letter of October, 1534, from Titian's cousin
and namesake, syndic of Cadore, which is interesting.
We have not dwelt upon his visits to his native home, which
were repeated almost yearly, but here we have a picture
of the welcome which always awaited him and of the pride
with which his kinsfolk and fellow-townsmen received the
reflection of his fame and dignities. His interest was
valuable to them in Venice, his money was at their dis-
posal, and in return the community was at his command.
It was a relief to him to get away from his work in the
Biri Grande to breathe the mountain air and to revive his
memories of country scenery. Doubtless the sketches for
the “Battle of Cadore' and the wonderful storm-scene at
Buckingham Palace are of the time to which we have
come. But we must not linger in the mountains. He
was gaining powerful friends in Rome, where Paul III.
had succeeded to the papacy, but he lost Alfonso d’Este,
his friend and patron from the early days of his renown.
He repeatedly refused the invitations of Charles V. to
share the dangers and embellish the glory of his cam-

48 TITIAN.
paigns, and contented himself with working for the Duke
of Mantua till in the Duke's train he met the Emperor,
returning triumphant, at Asti, in 1536, whence he
writes to Aretino at Venice, “Nothing is heard but the
roll of drums, and everyone is starting for France; I hope
soon to be with you.” The Emperor's Court was soon
on its way to Spain, bearing the “very best feeling ” for
Aretino and Titian, and leaving to the latter a promise of
a canonry for his son, and a pension for himself from the
treasury of Naples. Of Titian, Aretino says, “He will paint
your portrait, and with it abate the claims which death may
have upon your person.” We could wish that some of these
portraits were still left us. We miss the likenesses of the
tottering old Sforza and his child-bride, and the copy of
Alfonso's portrait, as like “as water to water,” for which
his son Ercole paid the artist so handsomely, but we have
happily those of the chivalrous Duke of Urbino and his wife,
painted in 1537, which delighted the Venetian nobles and
won songs of praise from Aretino without payment. He
dwells upon the reality of every detail, “the life in the flesh
and the manliness of soul shining forth '' in the portrait of
Francesco, while Eleonora is “a chaste and lovely apparition
with grace upon her brow and command in her glance.”
His old friendship with Bembo, whom he knew in the
early days of the Aldine Club, was revived by his relations
with the Urbinos. He painted his portrait and studied the
antiques in his well-known museum for the portraits of
the twelve Caesars, to which Gonzaga devoted a room in the
Şastello at Mantua, and which afterwards adorned the gal-
lery of Charles I.
Meanwhile the pension from Naples was not forthcoming.
The Emperor's agents were intractable. Aretino alone was
“THE BATTLE OF CADORE.’ 49
equal to the emergency, and suggests to Titian a present to
the Empress of an “Annunciation,’ which the nuns of Santa
Maria at Murano had ordered but would not pay for, This
produced a present from the Emperor of four times more
value than the price which he had asked for the altar-piece.
The world was saying that Titian could only paint portraits
and Aretino publish libels. It was true that Titian ap-
peared to have neglected composed pieces, for he had painted
ten times as many portraits. Aretino defends both him-
self and his friend in an extant letter which refers both
to the ‘Annunciation' and to work which he was doing
in the palace of St. Mark. He had been roused sharply to
work. For years “he had held his patent and drawn his
salary without performing his promise,” and he was ordered
by a decree to “refund all that he had received for the time
in which he had done no work,” an amount impossible for
him to obtain. Fancy his despair. Moreover, his old rival
Pordenone had appeared, jealous of his fame and dignity,
himself with a grand reputation as a fresco painter from
every spot in Friuli, and with a still more solid reputation
from art-cherishing cities. He had appeared, and while
Titian was painting the Caesars for the Duke of Mantua,
had been doing his work for the Council. From the emi-
nence to which he had risen, he was condemned to see
Pordenone threatening to supplant him in Venetian favour.
“With surprising industry and art,” as his friend Sansovino
says, he produces the long-asked-for battle-piece, the finest
and best that was ever placed in the Hall.
We have before told the story of the “Battle of Cadore,’
and touched upon each incident that is represented in the
painting. The moment is that on which D’Alviano pre-
sents a front to the enemy. The spot from which Titian
T F.
50 TITIAN.
made his sketch is to be ascertained, though he employed
some artistic licence to bring in the bridge and the crag of
Cadore. Happily we have Fontana's print (for the picture
perished in the fire of 1577) to exhibit the painter's rare art
and his skill in depicting the reality of a fight.
We have, too, his sketch in the Uffizi, which exhibits the
colouring of the great picture. A stream is rushing down
between its rocky banks. On the right the Venetian horse-
men are rallying under the Cornaro banner. A page is
fastening the armour of one who should be D’Alviano, but
is made like Cornaro to satisfy those who delighted in
giving the victory to the Proveditore, whose features and
stately bearing the artist was familiar with, as the Castle
Howard portrait testifies, while the General was con-
spicuous for his ugliness. Close by a girl is struggling up
from the depths and gaining the edge of the rugged bank.
A page holds the General's horse, while the drummers are
hurriedly beating and the trumpeter sounding the advance.
Two of the Venetian cavaliers are dashing across the bridge
over the stream. On the left corner of the picture an Im-
perialist rider is being thrust from his falling horse, both
on the verge of destruction. Horses and men are tumbling
headlong into the stream. Two bodies of troops are in mo-
tion in the fields beyond. There is the burning house of the
battle-story and the distant castle in flames. The picture
must have been of large proportions and the figures the
size of life. Its interest, apart from the grandeur of the
undertaking, lay in the association of the mountain com-
munity with the fortunes of the republic, and that of the
painter's own family with the events of the time.
Letters of 1538 and 1539 enable us to judge of numerous
and noble works which have not survived, save the portrait
THE ‘PRESENTATION IN THE TEMPLE.’ 51
of Bembo as a Cardinal, at Rome, in the Barberini. We
get some idea too of the employment of Titian and of his
circumstances. He was wanted at Mantua, but accom-
panied the Duke of Urbino just before his death to Pesaro
in the end of 1538, and painted the likeness of Doge Lando,
who succeeded Gritti in the early part of the next year.
He had an annuity to pay on his benefice, but could get
no money from Naples. Aretino moved “Heaven and
Earth’’ for him, but in vain, for he was himself in bad
odour and the object of lampoons such as he had used un-
sparingly, while Titian was praised for immortalizing “all
the infamy of the age * in the likeness of Aretino. How
ever, Davalos del Vasto was in Venice at the installation
of the new Doge, and was appointed governor of Milan.
He sat again to the artist and undertook his cause, and
Pomponio obtained a new canonry in 1539. In the same year
too Titian recovered his lost office, for Pordenone was dead.
Step by step now has Venetian art risen from the for-
mality of its early days, has acquired correctness of detail
and the secret of colour, and appears in the perfection to
which Titian has brought it in the ‘Presentation in the
Temple,’ a picture which marks another epoch in the his-
tory both of the painter and his art.
In Jacopo Bellini’s sketch of a hundred years before
is the skeleton which Titian, with all the lessons he has
learned from his predecessors, from the Antique, and from
Nature, has clothed with flesh and endued with life and
motion. It is itself a history of Venetian art, and at the
same time exhibits the painter in his twofold life among
the palaces of Venice and the mountains of Belluno or
Cadore.
CEIAPTER VII.
TITIAN's HOME IN THE BIRI GRANDE. PERIOD OF
THE ‘CHRIST AT EMMAUs.”
1540 TO 1546.
HE fortieth year of the sixteenth century finds Titian
a man of sixty-three, in a position never obtained by
any artist, unless it may have been Raphael or Michel-
angelo. Of these, however, the former died young, and
the latter disdained the pleasures of Society, while Titian
had outlived the age of youthful enjoyment, and was the
centre of a circle which comprised the rank, the beauty,
and genius of Italy. He had rivals in Venice, but “none
that he did not crush by his excellence and his knowledge
of the world in converse with gentlemen.” A well-known
scholar, Priscianese, on a visit from Rome to Venice in
1540, in describing a festival in the gardens of the artist,
“so well laid out and so beautiful,” speaks of him as “a
person fitted to season by his courtesies any distinguished
entertainment.” “There were assembled, as like desires
like, some of the more celebrated characters that are now in
this city; and of ours, M. Pietro Aretino, a new miracle
of nature, and next to him Il Sansovino, as great an imita-
tor of nature with the chisel as the master of the feast is
with his pencil, and Nardi, and myself, so that I made the

HOME IN THE BIRI GRANDE. 53
fourth amidst so much wisdom. Here, before the tables
were set out, we spent the time in looking at the life-like
figures in the excellent paintings of which the house was
full, and in discussing the real beauty and charm of the
gardens, which was a pleasure and a wonder to every one.
It is situated in the extreme part of Venice upon the sea,
and from it may be seen the pretty little island of Murano,
and other beautiful places. This part of the sea, as soon as
the sun went down, swarmed with gondolas adorned with
beautiful women, and resounded with varied harmonies—
the music of voices and instruments till midnight, accom-
panying our delightful supper, which was no less beautiful
and well-arranged than abundantly provided. Besides the
most delicate viands and precious wines, there were all
those pleasures and amusements that are suited to the
seasons, the guests, and the feast.”
This is a peep at the home in Biri Grande, then the
fashionable suburb. The house is now even hard to find,
and the seaward view blocked out. But Titian could
look from it over the hills of Ceneda, and now and then
catch the pale peak of Antelao, the guardian of his far-away
home in Cadore. Ten years had passed since the death of
his wife. His son Pomponio, destined for a priest, was
fifteen years old; Orazio, somewhat younger; and Lavinia,
in giving birth to whom the mother died, was showing a
promise of the beauty which her father loved to see upon
his canvas. Aretino describes the children's guardian,
Orsa, as the “sister, daughter, mother, companion, steward
of his household.”
He was summoned from his luxurious home in the sum-
mer of this year to the funeral of the Duke of Mantua, his
friend and generous patron, to whom he owed the favour
54 TITIA N.
of Charles V. Francesco was reigning in the room of his
father, Federico.
On his return from Cadore in the autumn he set to
work on the “Allocution,’ for which we remember Davalos
sitting to him some time ago; for the General was coming
to Milan with the Emperor. There, in August of the next
year, at the triumphant entry of Charles and his train,
Titian, with the picture for Davalos, presented himself, and
extended his interest at Court by means of his magic pencil.
He returned to Venice enriched with a pension from
Davalos, and with an annuity upon the treasury of Milan
from Charles—to the joy of “the Academy,” a club
which, originating in the friendship of the three, now held
quiet orgies in Titian's house, or Aretino's palace on the
Grand Canal. Carnival time brought Vasari first to the
gay city. He was summoned by Aretino to paint scenes
for his show. Titian led him to the Cornaro family, and
Sansovino to the canons of San Spirito in Isola. For
the ceiling of this church Titian had noble work to do,
exhibiting the development of Venetian art in the sixteenth
century. These canvases convey an idea of distance be-
tween the spectator and the object, which is an evidence
of consummate skill. The figures are life-like and moving.
. The angel has the speed of lightning to check the descend-
ing force of Abraham's arm. The patriarch turns sharply
round, one hand resting heavily on the head of his pros-
trate son, and the drapery moves in the fresh-blowing
breeze.
No less force is thrown into the mighty form of Cain
trampling upon his fallen brother, and bringing down the
murderous club ; or in the contrast between the giant
being outstretched in death, and the little David pouring
TITIAN'S OWN PORTRAITS. 55
out his whole soul in thanksgiving, arms and eyes uplifted
to the opening sky.
Then there was Doge Lando's votive picture, and the
portrait of Ranuccio Farnese, which brought about the
painter's introduction to the Papal Court. There was the
likeness of the daughter of Roberto Strozzi, a child so
bright and living, that Aretino exclaimed before it, “If I
were a painter I should die of despair. Titian's pencil has
waited on Titian's old age to perform its miracles.”
Strozzi's father was the enemy of the Medici family; yet,
shortly after, Titian is as ready to paint the foe as now his
friend. Aretino's work again, who was always ready with
flattery for the uppermost.
But in his leisure moments Titian found time to devise
a legacy which inheriting ages have duly prized—the like-
ness of himself. Twenty years afterwards he produced a
Second, exhibiting the same features with an accession of
dignity. It is the portrait of a man of noble bearing and
unimpaired vigour, though the hair is white and the face
thin, but full of character. It is not difficult moreover to
recognize his characteristic likeness in several of his com-
positions, in the “Madonna of Pieve especially; and in the
“Pieta,’ the last and thus the most touching creation of
his hand.
We are not surprised, as we look upon his countenance,
to find him strong in asserting his rights, or shrewd in the
management of his affairs and the profitable investment of
his money. There is a contract dated March, 1542, for the
sale of a mill in Cadore to him and his brother Francesco;
and he also obtained the right to supply the fondachi of his
native town with grain. This enabled him alike to benefit
the community and establish a profitable trade.
56 TITIAN.
We spoke just now of Titian's introduction to the Papal
Court, and the likeness of Ranuccio Farnese. Proper names
are not interesting, but two or three must come in here.
Paul III., Pope and head of the Farnese house, was
notorious for nepotism. His natural son, Pier Luigi, had
several children: Cardinal Alessandro ; the Duchess of Ur-
bino, whose husband's name was Guidubaldo ; Ottavio, who
married Charles W.’s daughter; Orazio, husband to the
natural daughter of Henry III. of France; and this Ra-
nuccio, who soon became a Cardinal. Ranuccio came to
Venice accompanied by two prelates and a scholar named
Leoni. These were so delighted with the likeness of their
pupil, probably that now in Vienna—the ‘Young Jesuit’—-
that they formally invited Titian to accept papal patronage.
Leoni suggested a new benefice for Pomponio, and wrote in
September of 1542 to Cardinal Alessandro that he thought
Titian would take service in the house of his lordship and
trust to his liberality if his son were promoted, continuing,
“This man is to be had, if you wish to engage him . . .
mild, tractable, and easy to deal with, which is remarkable
in such exceptional men as he is.” Now the Pope wanted
Milan for one of his grandsons, and Charles W. was willing
to sell for a large sum. Again the Emperor wanted Paul's
support against a threatened invasion of Italy by the French
and Turks. Each therefore was anxious to see the other
to arrange affairs. They met at Busseto, but parted as they
met. Titian, as the guest of Cardinal Farnese, had joined
the Papal Court at Ferrara and accompanied it to this meet-
ing. The Emperor received him well, and gave him a com-
mission for a portrait of the Empress. He painted two in
the following year. The Empress had been dead some time,
but the likeness now at Madrid brought her as it were back
THE * ECCE HOMO.” §7
to life. It was the Emperor's companion at Yuste, and his
eyes feasted upon it from the bed of death.
The relations of the artist with the Farnese family
brought him a marvellous reputation, but gave him much
anxiety. The Cardinal’s promised sinecure for Pomponio
at Colle in the Ceneda diocese was not yet his ; nor could
he accept the Piombo—care of the papal seals—which the
Pope offered him, for it was held by friends, who would
have suffered by his promotion. Thus unremunerated, but
buoyed up with anxious hope, he executed the masterpiece
which now hangs in the Museum at Naples—a likeness of
the Pontiff so instinct with life, that as after varnishing it
stood in the painter's garden to catch the sun, men raised
their hats involuntarily as they passed by. He also painted
the likeness of Pier Luigi and Cardinal Alessandro.
More lucrative work awaited him at home, however,
among the merchant patrons, for one of whom he executed
the ‘Ecce Homo" of the Vienna Gallery. This picture is
a striking illustration of the sacred narrative, and was in-
teresting to the religious Venetian mind from the portraits
of well-known men in suitable character—Aretino perso-
nating Pilate, and the infidel Sultan joining with the crowd
in the shout of “Det him be crucified.”
Titian himself was claiming the interest of Michelangelo
with the Pope, while Aretino kept the memory of the
painter's services and talents fresh in the minds of the
Farneses. To Ottavio he writes in a manner which does
credit to his own love of the beautiful. He is describing a
gondola race on the Grand Canal, and the glorious effects
of the light and shadows. “The air,” he says, “was such
as an artist would like to depict who grieved that he was
not Titian.” The clouds cut the palaces “as they cut
58 TITIAN.
them in the Vecelli landscapes; and as I watched the scene
I exclaimed more than once, “O Titian, where art thou, and
why not here to realize this scene?’”
Probably the painter was at this time away in the Ceneda
country, painting the altar-piece at Roganzuolo, for which
he was remunerated partly by the material and labour for
building his Manza villa, which we spoke of in the first
chapter.
The Duke of Urbino now entered into competition for
the painter's services. Lavish in his expenditure and cul-
tivated in his tastes, he loved to attract to his Court all men
of eminence. The names of the distinguished company are
found in the Dialogues of Sperome, and many of the faces
appeared on Titian's canvas. For he was an object of wor-
ship among them, and, when once the art of portrait paint-
ing was in danger of detraction, and one exclaimed, “You
are unjust to Titian,” “No,” said the other, “I hold Titian
to be not a painter, his creations not art, but his works to
be miracles: his portraits make upon me the impression of
something divine, and as Heaven is the soul’s paradise, so
God has transfused into Titian's colours the paradise of our
bodies.”
Unhappily only the “terrible marvel ” at the Pitti re-
mains to tell the history of these days, Aretino, no
longer with his Pilate expression, but as a man of power
whose lower nature was being elevated by chastening.
But the Farnese family assembled at Rome would not
allow Guidubaldo the undisturbed enjoyment of Titian's
society. In September of 1545, the Duke, “whose princely
kindness was never equalled,” carried him and his son
Orazio, who had learned his art and was now his assistant,
in his own Suite to Pesaro, where he overwhelmed him with
VISIT TO ROME. 59
honours and presents, and gave him “the hospitality of a
palace which he was bid to treat as his own.” It is to
Aretino we owe this account.
Arriving at Rome under a princely escort provided by
Urbino, he was cordially received by Bembo and welcomed
by the Pope. Vasari was appointed as his guide to the
treasures of the city, and rooms were assigned him in the
palace of Belvedere, the home of the Farnese family. Here
he received a visit from Michelangelo, though he was natu-
rally an object of jealousy to some of the best artists
employed at the Vatican. Though disdaining the cha-
racter of a mere imitator, yet the impression produced
upon his mind by the study of the antiques and the works
of the great masters is evident in the two paintings of the
time which remain and are now in Naples, ‘Danaëreceiving
the golden rain,” and the Pope with his grandsons Ales-
sandro and Ottavio. It was after seeing the former that
Michelangelo observed to Vasari, “That man would
have had no equal, if art had done as much for him as
nature.” Through every part of Danaë's recumbent, glow-
ing form there flows a passionate expectant love for the
invisible God. The light is falling on her figure, her
face is in shadow, and the golden shower rains from a
gloomy cloud. Cupid watches it with curious awe as he
retreats from the couch, his bow unstrung. It wants the
critical eye of a Michelangelo to detect imperfection in the
outline of a figure that is to all others Nature's own crea-
tion, true flesh and blood. From the Vatican statue it
was that he drew the inspiration, but nothing more, for his
winged boy.
We must almost believe that he was a spectator of the
scene in which he has introduced the Pope turning angrily
60 TITIAN,
round and grasping the arm of his chair at the entrance of
Ottavio, while the Cardinal looks calmly on. Paul had
refused Ottavio's claim to a duchy, and conferred it upon
Pier Luigi. Ottavio is disgusted yet obsequious, the Pope
wrathful and anxious, the hour-glass upon the table re-
minding the old man of life's brief course. -
There is no fear for the art of Venice in the hands of
Titian, even in rivalry with that of the Imperial city. Old
as he was, near threescore and ten, he could still add to
the varied experience of a protracted life; and in after
years confessed “that he had greatly improved his works
after he had been at Rome.”
He had the happiness while far away to release his friend
Sansovino from great danger. The library of St. Mark had
fallen in, and the architect was imprisoned. The new
Doge, Francesco Donato, had sat to Titian before he left
Venice, and now was disposed to listen to him on behalf of
Sansovino. He was released, and a short time after rein-
stated in his post. The Doge might have recalled Titian,
but instead, allowed him to continue his work for the Far-
nese; though he eventually left the Papal Court without
obtaining the reward he expected, the Colle benefice.
After refreshing himself with a sight of the art-treasures
of Florence, he was welcomed home by his old friends, and
found ample employment in work for the Canons of San
Spirito, and for the Doge ; though he was still hoping for
permanent service with the Farnese. There is a letter of
his to the Cardinal, dated June, 1546, from Venice, after his
return, in which he concludes, “So I hope to enjoy content-
ment in old age, and obtain for the rest of my life where-
withal to work upon and toil in your Lordship's service
without further thought of care.”
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HIS DAUGHTER, LAVINIA. 61
There is a creation of this time representing “the person
dearest to him in all the world,” in which the true soul of
the painter and father reveals itself:-the portrait of La-
vinia—the Dresden picture with the fan. He was happy
in her love, which comforted him for the conduct of Pom-
ponio, disgracing his holy vocation. Orazio too, was a
partner in his work, and a help in his business affairs. The
image of Lavinia was deeply impressed on Titian's heart,
and the sacred feelings of his quiet hours well forth in his
canvas. See her in her youth and life, in Dresden, and in
the “Salomè,’ at Madrid, or more mature at Berlin—that
familiar picture with the fruit-dish raised above her head—
or again with the casket in Lord Cowper's collection; or
see her in that well-known but strange picture which com-
memorates a death like her mother's. The shadow of ma-
ternity is over her, her father is by her side, in the left
foreground a skull. In each and all is the face of the lady
whom years after he describes to Philip II. as “absolute
mistress of his soul.” Yet this face is made to tell in
some of these pictures a story of other than a father's
love. ~
Rarely does he leave us a moment to dwell on the calm
scenes of home-life. We are drawn away to find him
almost fawning on the Cardinal, who has been engaged in
the Emperor's wars with the Protestants, and falling ill,
has withdrawn to Venice. He visited Titian and begged
that one of the unfinished pictures in his house might be
completed for him. This may have been the “Venus and
Adonis.” Of it nothing is distinctly known—so with num-
berless pictures spoken of in the artist’s letters. On his
return to Rome, Titian writes that he has brought it to that
ultimate perfection of which his pencil is capable, and that

62 TITIAN.
it awaits his Lordship's orders. “As I should acquire,” he
continues, “the greatest praise and immortal honour in the
eyes of the world if it should be known for certain to all,
as it is known to myself, that I live under the shadow of
the high bounty and courtesy of your Reverend and Illus-
trious Lordship, I would beg your Lordship . . . . to prepare
to employ me, and give me commands, and I am ready to
obey these commands, even though your Lordship should
impose upon me for the third time the acceptance of the
cowl of the late Fra Bastiano.”
His friend Sebastian was dead, and he felt no longer in-
disposed to have the seals of the Piombo, which for that
friend’s sake he had before refused.
During these transactions he had finished the altar-piece
for the people of Serravalle, mentioned in the first chapter.
He changed one of the figures, and the Serravalians refused
the extra charge which he made. Five years did they dis-
pute, and it was not till 1553 that the picture found its des–
tination. This masterpiece still adorns the Duomo. It is
amusing to think of the men of Serravalle haggling over a
picture which is a valuable record of the painter's advance,
and the effect of the visit to Rome—a picture in which he
has absorbed the thoughts of Raphael and the power of
Michelangelo. .
How the perfect forms of Grecian moulding lived with
him and how he imparted to them the colour and life of na-
ture amidst memories of mist and Sunlight on mountains
and valleys, the “Venus and Cupid’ of Florence, and the
Madrid “Venus' are undying proofs. These were among
the choice works which he was preparing to take with him
across the Alps at the summons of the Emperor, and along
with them an ‘Ecce Homo, much more to the mind of
THE ‘CHRIST AT EMMAUs.” 63
Charles. It hangs in the Museum of Madrid to remind us
somewhat mournfully of a bygone time. There was a panic
in the city at the prospect of his departure, perhaps never
to return, and there were countless claims for some reminis-
cence of his genius.
He was induced to leave behind him the ‘Christ at Em-
maus.’ The landscape prominently marked by the true
dolomite mountain-ridges and characteristic buildings is,
one may believe, a Belluno sketch. The table is spread
with a white cloth wonderfully represented. The Saviour
reveals Himself in the act of blessing the bread. St. Luke
at His side turns towards Him with a gesture and look of
astonishment. Cleopas, half kneeling, folds his hands in
prayer. Consistent with the palatial surroundings is the
page with his blue-and-yellow doublet. The double-headed
imperial eagle is emblazoned upon the wall above his head.
The homely character of the scene is marked by a cat
crawling under the table to rouse the dog in possession.
The servant waiting between Christ and St. Luke in red
cap and black vest, his shirt-sleeves turned up, catches
nothing of the mystery. By comparing this composition
with the ‘Tribute Money’ we can trace the perfect de-
velopment of the painter's skill. Long experience has
given him breadth and facility, and all the gorgeous effects
of colour are produced with the ease of a master-hand. It
is the representative picture of his old age.




CHAPTER VIII.
WISIT TO AUGSBURG. DEATH OF ARETINO,
1547 To 1564.
HERE was, as we said, a panic in Venice. Titian was
packing up the best paintings in his house, for the
Emperor had called him to Augsburg. It was the year
1547. Charles was in great power and dictating to the
Pope. .
The Protestants had been beaten at Mühlberg, and John
Frederick of Saxony was a prisoner. The politic painter
obeys the summons, but writes to Cardinal Farnese that he
is forced to go against his will. He trusts to his Lordship
not to forget the benefice, and promises, on his return, to
serve him “with all the strength of the talents which he got
from his cradle.” : -
At Augsburg he found himself at home among the nobles
and princely merchants about the Imperial Court. There
was royal company in the Augsburg palaces. Charles was
among it, but not of it, and entrusted even the affairs of
State to his Chancellor Granvelle. r
It was a momentous period, and nobly illustrated by
Titian. Of the series of historical portraits, however, which
he produced, there only remain those of Charles with his



BETROTHAL OF LAVINIA. 65
pale ghostly face riding towards the Elbeford on the day
of Mühlberg, of his unwieldy captive, John Frederick, of
Cardinal Madruzzi, prince-bishop of Trent, and of the Chan-
cellor Granvelle, who purchased for his palace many of the
paintings which Titian brought to Augsburg. There were
also portraits of the family of King Ferdinand, the Em-
peror's brother, and of the King himself. Titian visited him
at Innspruck on his way home, and not being the man to
use his talents for nothing, he obtained the right to cut
timber in the forests of Tyrol.
There were joy and feasting among his friends in Venice
when he came back laden with honour and wealth. We
can picture him at the Academy gatherings, full of stories
of his Court life, and of the company in which he had lived.
Charles had doubled his pension from Milan, and Orazio
was there urging his claims. To further these, however,
he must needs start to meet the Duke of Alva and Cardinal
Madruzzi, who were bringing Philip, the Emperor's son, from
Spain. He would join with the powers of Italy and Ger-
many in receiving the Prince, and would also obtain Alva's
support. To this end he painted his portrait. Early in
1549, however, he is in Venice again, the centre of attrac-
tion. In September of that year he is kissing, by letter,
“the invincible and honoured hand” of Ferrante Gonzaga, in
hope that it would open the Milan treasury. On the strength
of his expectations he had betrothed his beautiful daughter
Lavinia to Cornelio Sarcinelli of Serravalle. Pomponio was
a burden to him and spending the fruits of his industry.
This was not his only trouble; for Orsa, who had managed
his house for years, was dead, and Lavinia had to take her
place.
At Rome, meanwhile, Julius III. had succeeded to the
F

66 TITIAN.
Papacy, a Pope better disposed towards the Emperor. A
diet was again convoked at Augsburg, and Titian was
again summoned thither to paint the portrait of Philip,
the heir presumptive to the Empire. Much the same
company was assembled as on his previous visit. Charles
was more gloomy than ever. He was anxious to retire from
the world, and was meditating repose for the rest of his days
in the convent of Yuste. He was tired of struggling, and
was dreaming of another world. The artist in conference
designed a picture representing the Emperor and his family
in a penitential attitude, while the Virgin is interceding for
them with the Trinity. This accounts for the confidential
position which Titian enjoyed. His constant access to the
monarch was reported far and wide. It was not principally
for this that he was summoned, however. Charles's whole
aim was the succession of his son. Philip was at Court
trying to learn German habits with indifferent success. He
was twenty-four years old, weakly and feeble in chest and
legs, but conspicuous for his ungainly feet. His complexion
was bilious, his jaw underhung, his lips thick and sensual.
A difficult task for the artist to make such a being like a
king. Yet nothing is beyond his skill. He produced from
such unpromising materials the picture of which Mary Tudor
became so enamoured that she accepted Philip's proposal of
marriage. The artist was handsomely rewarded. Soon
after the Court dispersed, and Titian left his royal patron
never to see him again. On his return to Venice, he was
brought before the council and made to relate the history of
his residence at Court. He would seem to have done
nothing but fare sumptuously and have little occupied him-
self with workfor nearly a year from the middle of 1551, for
nothing is recorded. But work was life to him. Yet he
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THE DOG E TREVIS ANI. 67
describes himself as one day enfºr to paint, and the next un-
able to do anything. Aretino says of him at this time that
he had become possessed of a lordly income by his labour.
In a letter of October, 1552, he is kissing, not this time
the hands, but, the feet of the Prince of Spain, as formerly
he had been ready to kiss those of Philip's father. He
sends him a “Queen of Persia,’ a ‘St. Margaret,’ and a
“Landscape.’ This is the first mention of such a picture
in the history of Italian painting. We have often seen
how nature in every mood comes in to show her sympathy
with a scene which he is depicting. We can judge from
those wonderfully harmonious backgrounds, introduced
with so much feeling, how he would have loved to devote
himself to landscape forms, had circumstances permitted.
Such pictures however are rare, though in the numerous
drawings which survive, every shape in nature has a place.
Titian, like Byron, lived not himself, but was a part of
all that surrounded him. TJestined to dwell among men,
the true sympathy and yearning of his soul was towards
nature. She had a secret for him in her darkening
shadows and sunset hues, in her mountain lines and
wreathing clouds—and it is because he could reveal this
secret and because he had this poet’s soul that he merits
the title of the “Homer of Landscape.”
In 1554 he is obliged to put aside the works destined
for Spain, to paint the new Doge Trevisani. Before the
summer was over, however, the ‘Danaë ' was despatched to
the Prince, the ‘Grieving Virgin' and the ‘Trinity’ to
“His most Sacred Caesarean Majesty,” Charles.
The ‘Danaë' is a coarser representation of a subject which
we have heard of before. It was followed by a “Venus
and Adonis’ which reached the Prince in London soon
6S TITIAN.
after his marriage. The subject was one not unappreciated
by Philip, sensualist and fanatic as he was—as constant
in his devotions to the goddess as in his attendance at
mass. On the other hand, subjects like the ‘Grieving
Virgin' or the ‘Last Judgment,’ for so he named the
‘Trinity,’ were suited to the eyes of Charles, already
turning away from the world. In the latter picture,
which was the last object on which those eyes rested
before they were closed in death, he saw himself, his
family, and other figures in their shrouds. All are in
supplicating prayer. In the upper Heaven Father and
Son are seated in majesty surrounded by hosts of angels.
The Virgin is interceding for the penitents. Further
down are magnificent symbolical representations of Moses
and Noah, the Prophets and Evangelists. At the feet of
the Emperor lies his crown. His earthly dignity has been
put off—he is nothing in the presence of the Eternal. .
Titian was in a frame of mind well adapted to such
subjects. Trouble was hard upon him. Convinced of the
hopelessness of his son’s reformation, he asked leave to
put his nephew into the Medole canonry instead of
Pomponio. In the same year he obtained possession of
the benefice of S. Andrea del Fabbro, near Mestre, but
refused it to his son. To win favour for his nephew he
presented the masterpiece still over the high altar at
Medole. Into the subject, the appearance of the ascended
Saviour to the Virgin, he has thrown the force of all his
true feeling. The Redeemer, bearing memories of the
sepulchre, shows the marks of His atoning sacrifice, as the
Virgin kneels in adoring astonishment. Realistic and
yet grandly bold in his designing, Titian reveals the fresh-
ness which is still left to his old age.
THE ‘BAPTIST IN THE DESERT.’ 69
Meanwhile another Doge had died in May, and the
artist was called upon to fulfil the last official duty which
he undertook—the votive picture of Trevisani. A like
painting for the former Doge, Grimani, too, he was ordered
to paint. It was finished by his disciples after his death.
As it is, however, though bearing marks of this fact, it is
one of the most magnificent illustrations of the character
of his work at this time. Vasari says that his later works
“are struck off rapidly with stroke and with touch, so that
when close you cannot see them, but afar they look per-
fect. This method gives life to the picture, and displays
the art while it conceals the means.”
A proof of the position which he now held is his ex-
emption from the duties of his public office, though he still
retained it. Moreover, he was appointed with Sansovino
to choose an artist for the decoration of the library-ceiling
at S. Mark. The prize fell to Paolo Veronese. He had
come to Venice only the year before, and speedily came
under the notice of Titian. They, however, were soon in
competition, and the old man produced the “Baptist in the
Desert.” He showed his young rival what marvels careful-
ness of design and colour could create. The Baptist, unlike
the weird ascetic of earlier days, displays a magnificence of
physical development combined with an impassioned lofti-
ness of expression. He is a creature of the wilderness,
grand in his solitude. Nature, in her most suggestive
language, is brought to aid in revealing the character of
the man who was with her to learn his divine Mission.
In October, 1556, Titian had to lament the loss of
Aretino, his close friend for thirty years. At supper with
some friends, he died either of apoplexy, or, as was said,
overbalanced himself in a fit of laughter, and on falling
70 TITIAN.
struck his head. The story goes that he lived long enough
to receive extreme unction, and that his last words were cha-
racteristic—“Now that I am oiled, keep me from the rats.”
The world did not lament, however, if we may judge from
a letter of one Pola, who was a parasite of Ferrante Gon-
zaga. “On reaching Venice,” he says, “I found that
Aretino had given up his soul to Satan. His death will
not displease many, and particularly not those who are re-
lieved from paying tribute to the brute.” We prefer, how-
ever, thinking of him as, at least in Titian's society, showing
only his better self, and astonishing his friends at the close
of his life by the change in his character and writings,
which won for him the title of the “Fifth Evangelist.”
By the letter of Pola, quoted above, we find that Gon-
zaga had invited himself to dine with Titian. On going to
his house, however, there was no one to receive him.
Titian excused his discourtesy by declaring that Aretino
had told him of Gonzaga's proposed visit, and that the
dinner was to be prepared by the Duke's servants. These
did not appear, and so he went away on his own business.
Titian had given his daughter to Sarcinelli with a royal
dowry two years before, the year in which the Emperor
had abdicated and withdrawn to the monastery at Yuste.
He was now ready to accept the promises of amendment
which his son gave, and transferred to him the Sant’
Andrea revenues after obtaining the curacy for him.
We can trace vivid recollections of the Eternal City and
an approach to the grandeur and boldness of her great
masters in works which seem to belong to the year 1558.
He revived scenes with which he was familiar in the
‘Martyrdom of St. Lawrence,’ while a fresh opportunity
was afforded to his original power. Through a break in
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DEATH OF THE EMPEROR CHARI,ES. 71
the black midnight clouds, a star throws its bright light
upon the tortured form. St. Lawrence is gazing eagerly
towards heaven with uplifted arm, while his body, stretched
upon the iron frame, is writhing amidst the flames.
Effects of darkness and glaring light are ready to the
artist's hand. The savage forms and cruel movements of
his torturers are there in contrast with the sublime
assurance upon the martyr's face.
From the ‘Christ Crowned with Thorns' at the Louvre,
again, our thoughts involuntarily go back to the statues
upon which Titian's eye must have gazed in Rome.
While these works were going on, his great patron
Charles was dying in a far-off convent. His mind was
filled with thoughts of all that he had loved best on
earth, while his soul was directed heavenward by the magic
power of Titian. He could see himself as he had been and
contemplate the changes which time had wrought. He
could see the image of his Empress, from which he almost
reluctantly turned his gaze, that his dying look might fall
upon the picture of the ‘Last Judgment.’ On the news of
his father's death, Philip withdrew to the solitude of a
monastery for some time. Hence it was that he sent
an order to Milan for payment to Titian of the arrears
which “Charles his father (now in glory) had granted.”
On tidings of this, Orazio was despatched to Milan to
attend to his father's interests, with instructions afterwards
to proceed to Genoa on a like mission. He almost lost
his life by the hand of his host at Milan, the sculptor, Leone
Aretino, a near relative of Pietro. Titian appealed to
Philip. The would-be assassin was arrested, but let off
with a fine and a ban, while his victim lived in dread for
years afterwards.
72 TITIAN.
In Philip the old painter professed to see a hero like Alex-
ander. “Is not my only aim in life,” he writes, “to refuse
the services of other princes, and cling to that of your
majesty P” He held himself so flattered by the King's con-
sideration, that he did not envy the famous Apelles. He
pandered to the man's sensual taste by sending him two
“poesies"—one of ‘Diana surprised by Actaeon at the foun-
tain,’ another of ‘Calisto's weakness exposed by the nymphs
at Diana's bidding.’ Bright and rich works, as must always
be what comes from his hand. The thought and life of the
“Bacchanals,” however, are gone. The shapes and pro-
portions may be more perfect, but the vigour and fresh-
mess are no more. These were accompanied, in deference
to the monarch's devout bias, by a picture of the ‘Entomb-
ment,’ reminding us of that similar scene of his early time.
This is the work again of a man whom experience has
made perfect, though we miss the gorgeous colouring and
marvellous light effects.
He exhibited his acquaintance with the ceiling work of
Raphael and Michelangelo in the splendid figure of Wisdom
which adorns the centre of the vestibule ceiling of the
Library at Venice.
In this year, probably, he painted the Vecelli altar-piece
at Pieve. It was the time at which his brother Francesco
died. Tradition says that the S. Andrew is Francesco's
portrait, and the attendant that of Titian himself. Opinions
differ upon the altar-piece, which rather seems to be the
work of Orazio.
He was called upon at the end of 1559 to perpetuate the
memory of one of the Italian heroines, who had lived in
Venice—Irene of Spilimberg. Ladies of rank in those days
were educated after the manner of men. They received
THE • CORN ARO FAMILY.” 73
the highest classical training in addition to all the accom-
plishments suitable to women. Such was Irene, who re-
ceived her art education from Titian. There is another
picture of her sister Emilia. Irene is represented with
a scenery of a peaceful landscape. She has in her left
hand a laurel crown. A pillar near bears the words “Si
fata tulissent ’’—she is leaving the world in peace. The
background of Emilia's picture is a rolling sea, on which a
storm-tossed vessel is borne. She has the world's tempests
to encounter. This is the period, too, of the “Cornaro
Family,’ of which Alnwick boasts.
It is somewhat tedious to relate the constant despatch of
pictures to Philip, accompanied by requests for the payment
of his pensions. It would seem, however, that he was in
some distress in consequence of the perpetual delay. He
was obliged to sell property which he had bought for his
children. Still there are many points of interest in the cor-
respondence. “As an intercessor,” he writes in 1560, “T
have prepared a picture in which the Magdalen appears be-
fore you with tears, and as a suppliant in favour of your
most devoted servant.” Philip notes : “It seems to me
that this matter is already arranged.” It was not, however,
till the summer of this year that the money was at last paid.
The ‘Magdalen’ was delivered in the winter, and the
‘Jupiter and Antiope.' Early in 1562 the ‘Christ in the
Garden’ and the ‘Europa” were despatched. The first of
these is characterized by the maturity of the womanly
form. Scantily draped, she presses her luxuriant tresses
to her bosom. Her eyes are heavenward, and the tear of
penitence is falling.
The ‘Jupiter and Antiope' carries us back to earlier days.
The shape of the dreaming maiden is after the most perfect
74 TITIAN.
Greek model, the scenery is in the wilds of the Cadore
country.
For a year after the despatch of these pictures, the cor-
respondence with Philip was suspended; but Titian was in
contest with the Cadore community in reference to moneys
which were due to him. In July of 1563, however, he is again
preferring his old requests, and offering as a bait the ‘Last
Supper.” He professed to have been at work upon this for
six years, and to be now bringing it to completion. Still he
wants “consolation” before he sends it. In fact, it was not
finished. He had not been paid for the numerous works
which he had supplied. Philip was eager to have the picture.
The correspondence between the Envoy Garcia at Venice,
the King, and Titian is incessant. In October of 1564 Garcia
writes to the Madrid minister—“The ‘Christ at the Last
Supper' is a marvel, and one of the best things that Titian
has done. Though it is done, and I was to have had it in
September, he said, when I sent for it, that he would finish
it on his return and then give it to me, which I suspect is
due to his covetousness and avarice, which make him keep it
back till the despatch arrives ordering payment to be made.
Though he is old, he works, and can still work, and if there
were but money forthcoming we should get more out of him
than we could expect from his age; seeing that, for the sake
of earning, he went from hence to Brescia.” He had gone
there and had agreed to paint some ceiling-pieces for the
palace. At last some portion of his dues was obtained, and the
picture reached Spain in due course. It was to hang in the
Refectory at the Escorial, but was too large. It is hardly
to be believed that the monks cut it down. One can well
imagine the “distress and distortion” of the deaf and dumb
artist, Navarette, the Titian of Spain, at the notion of such
THE • LAST SUPPER.’ 75
sacrilege. Seven years the artist spent over this picture
—now, from its mutilation and repainting, so defaced that
only the wonderful grouping is left for admiration. One can
trace recollections of the artist's visit to Milan and his study
of Leonardo da Vinci's great picture. We can also com-
pare the painting by Paul Veronese of the “Feast in the
House of Levi' with this masterpiece, and we find that
Titian carries off the palm.
A mere catalogue of all the painter's works would
occupy all our space, but we must not omit to mention
the “Crucifixion' at Ancona, nor ‘St. Francis receiving the
Stigmata,’ nor the Madrid portrait of himself. We may see
what power was still left him in the Brera ‘St. Jerome’
and the “Venus with the Mirror,’ at St. Petersburg, which
was an heirloom of Pomponio. These pictures are all pro-
bably of a somewhat earlier date than the ‘Last Supper.’
In September of 1565 he went, old as he was, with several
of his pupils to Cadore and designed the decorations for the
church at Pieve. Unhappily most of his paintings bear
marks of his pupils' work. It disfigures the otherwise
remarkable ‘Transfiguration,’ though there is a display of
masterly skill in the treatment. In the ‘Annunciation '
he approaches close to the greatness of Michelangelo's
conception. In the foreground of this picture he wrote
‘Titianus fecit, fecit’ in indignant reply to the objections
which his purchasers made. There is a painting charac-
teristic of the style of his old age, the ‘Cupid and Venus’
of the Borghese palace. It is a mere mass of colours to
a near observer, but grows gradually into reality as he
recedes.
Vasari gives us a graphic description of the old man and
the treasures of his house in the spring of 1566. “Titian,”
76 TITIAN.
he says, “has enjoyed health and happiness unequalled.
His house has been visited by all the princes, men of letters,
and gentlemen who ever came to Venice. Besides being
excellent in art, he is pleasant company, of fine deport-
ment, and agreeable manners. It would have been well
for him if, in these later years of his life, he had only
laboured for a pastime—in order not to lose, by works of
declining value, the reputation gained in early days.
When Vasari, writer of this history, came to Venice in
1566 he found him, though very aged, with the brushes
in his hand, painting. . . . Having decorated Venice and
indeed Italy and other parts of the world, . . . . (he) de-
serves to be loved and studied by artists, as one who has
done and is still doing works deserving of praise, which will
last as long as the memory of illustrious men.”
In this same year he was admitted as a member of the
Florentine Academy.
An amusing instance of his shrewdness, if it does not
merit even another name, occurred in the summer of 1566.
It is interesting for other reasons. We learn much of his
character and of his means from it. He was required to
make a return, and puts his income at 101 ducats. He
describes minutely all his landed property, with all the
charges upon it. He has fields which produce nothing,
others which are being absorbed by the Piave. His villas
are cottages, his timber trade unremunerative. There is
no mention of his pensions or his salary, or of another
source of profit in his dealings with antiquaries. These
men carried on a thriving business. They bought heir-
looms from the needy and spendthrift, and sold them to
princes and cardinals.
Jacob Strada, whose portrait by Titian hangs in the
COMPLAINTS OF OLT) A.G. E. 77
Belvedere, was one of the principal agents. It is an
illustration of the bold and clever style of the artist’s work
at this time, a style which was imitated by Paul Veronese.
He left no stone unturned in the interests of his family.
He importunes the Duke of Urbino, and renews his corre-
spondence with the Farnese family in 1567-8. Charles V.
had naturalized Pomponio in Spain, and this should have
produced a handsome income. Titian, however, had failed
in all his efforts to obtain it. At last he thought of Car-
dinal Farnese. He sends him a ‘Magdalen’ with a ‘Peter
Martyr' for the Pope, and claims his intercession on behalf
of Pomponio.
At the end of 1567 he writes to the “Invincible and
Potent King Philip’’ that the ‘Martyrdom of St. Lawrence'
is ready, and a ‘Nude Venus,” but he wants assistance in
his old age. The same oft-repeated story. Philip's ruling
passions have to be gratified; and thus the way is smoothed
for the artist’s petition.
These pictures despatched, the Brescian order, of which
we heard before, was executed ; but when the canvases
arrived at their destination they were refused. They were
not Titian's work, and therefore not worth the price charged.
No doubt the assistance of his pupils was manifest in the
pictures. They had for years laid the foundations, as it were,
of his work, and he had completed it. His powers were
declining. He was gradually resigning himself to a less
active life, and making provisions for the succession of
Orazio to his offices and pensions. But the persistence of
his character is manifest to the last in his correspondence
with his patrons. The state of his affairs is such, that he
does not know how to live. “Everyone is suffering from
the continuance of the war.” He sends Philip a “Lucretia
78 TITIA N.
and Tarquin,’ and feels assured that his Majesty's infinite
clemency will cause a careful consideration to be made of
the services of an old servant of the age of ninety-five, by
extending to him some evidence of munificence and liberality.
Meanwhile, of the three who had so long formed the centre
of the literary and art life in Venice, Aretino had been dead
fourteen years, and in November of 1570 Sansovino, at the
grand old age of ninety-one, left Titian to spend his few
remaining years alone. -
The sufferings of the Venetians by war, to which Titian
alluded in his letter to Philip, were at length brought to
an end by the battle of Lepanto. Christendom rejoiced in
the destruction of the Turks. When the news reached
Venice, there were universal demonstrations of joy. “Te
Deums’ were sung, and before a fortnight was over the
Council passed a decree for a representation of the ‘Victory
of the Holy League over the Turkish Armada.’ Titian
was the chosen painter; but he refused, probably because
he received at the same time a similar commission from
Philip. So Tintoretto painted ‘The Battle of Lepanto”
for the Council, and Titian the “Allegory of Lepanto'
for the King. The work was done from sketches of
Philip and his son made by a Spanish artist, Coello.
When Titian received them, he wrote back to the King
that the work of so clever a man ought to suffice; but
Philip was not content to be painted by any hand save
that of his Apelles. The picture, however, shows none
of the original power of the Munich ‘Christ Crowned
with Thorns,’ which was a work of the same time, but
done for the artist's own pleasure. Tintoretto asked
for it, and hung it for a model in his studio. It is
described as “a marvel worthy of a place in an Aca-
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VISIT FROM IIEN RY III. OF FIRANCE. 79
demy to show students all the secrets of art, and teach
them not to degrade but to improve nature.”
It was good policy as well as a joy to Titian to store up
Some of his best works. They attracted kings and nobles
to the house, whom he entertained royally. There is a story
of the two cardinals, Gramvelle and Pacheco, paying him
a visit. They proposed to dine with him. He flung his
purse to his steward, and bade him make ready, for “all
the world was coming to dine with him.” No stranger of
eminence in Venice failed to call at the Casa Grande.
Hither came Henry III. of France with a train of nobles.
Titian is said to have presented him with all the pictures
of which he asked the price.
There is a letter of melancholy interest, inasmuch as it
was written but a few months before his death in February,
1576. He would recall himself to the recollection of Philip,
who seems to have forgotten him, and to have paid but
little attention to his everlasting prayers. It is touching
to hear him telling of the many pictures he had sent
within the last twenty years, for which he had received no
payment—amusing to listen to the old man's half-miserly
comments on his privations. He appeals to the King's
honour and filial duty. Charles V. had numbered him
among his familiar and most faithful servants, had given
him a rank which, without Philip's aid, he could not main-
tain. He asks for consolation and relies on his Majesty's
benevolence.
But Death was drawing closer to him than he seems to
have thought. Old age had bidden him provide a place
of burial. He wished to rest, when the moment for repose
should come, in the “Chapel of the Crucified Saviour.”
He offered the Franciscans for a grave a painting of the
80 TITIA.N.
‘Christ of Pity.’ He nearly finished it, but differences
arose. He willed that his body should be taken home to
Cadore, to rest in his native Pieve. Palma Giovine com-
pleted the work which was thus left unfinished, and wrote
upon a tablet:
“Quod Titianus inchoatum reliquit
Palma reverenter absolvit
Deoque dicavit opus.”
The old man and his son Orazio are in the presence of
the pitying Saviour. The arms of the artist are at the
feet of a Sibyl. Weary and overladen with the toils and
anxieties of life, conscious of lofty aims not wholly
reached, exhausted with a vexing service rendered to
earthly dignities, he casts himself at last upon the com-
passion of the Christ whose life and sufferings he knew
so well and left so wondrously set forth.
As regards the painting, we dare only quote the graphic
words of those to whom we owe so much of what appears
in these pages. “No injuries produced by centuries of
neglect and destructive agencies can conceal from us the
purpose of a modelling carried out with pigments of abun-
dant impast, or hide the searching after form in primaries
kneaded into shape like the clay under the tool of a
sculptor. . . . We see the traces of a brush manipulated by
one whose hand never grew weary and never learned to
tremble. The figures and faces which display their passion
before us, are those which grew with Titian's growth from
the fresh idyllic days when the bloom of youth lay on all
his canvases, to the later period when maturer charms and
swelling shapes were favourite creations, and the final
* Crowe and Cavalcaselle.
HIS DEATH. 81
stage when a masculine realism prevailed . . . The Magdalen
of the Mantuan ‘Entombment,’ and that of the ‘Pieta’ of
1576, are, as it were, the first and last rungs of a ladder,
the intermediate steps of which we have all seen the
master ascending.” He may pass from us now to his
place of rest. The plague claims him for a victim. It
has taken 50,000 more.
When that day of August came, the 27th of the year
1576, and the great master was no more, it could not be
that he should be denied a place of sacred repose, though
all the rest of the plague-stricken dead were refused it by
public decree. The body was borne in solemn procession
to the Frari, where he first wished to lie; his knightly
insignia were laid with him in his grave. For many
years no memorial marked the spot. But Canova at
length, by Austrian command, offered to the memory of the
illustrious dead that splendid tribute worthy of Titian's un-
dying fame, which tells of the artist's repose “close to one
of the finest creations of the art of all ages—the “Madonna
di Casa Pesaro.’”
Orazio died in a Lazaretto. The house was deserted,
and its precious contents were rifled by bands of thieves
which ranged with impunity throughout the panic-stricken
city. The fruits of his father's industry were soon con-
sumed by the worthless Pomponio; and the Casa Grande,
with many of its priceless ornaments, fell into the hands of
Barbarigo.
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EVENTS CONTEMPORARY WITEI THE LIFE
OF TITIAN.
1477. Caxton's first book printed in England.
1492. Columbus makes his first discoveries.
1508. League of Cambray.
1519–22. Magellan sailed round the globe.
1519. Charles elected Emperor of Germany.
1521. Diet of Worms.—Luther.
1525. Battle of Pavia.
1529. Diet of Spires.—Protestantism.
1530. Diet of Augsburg.—Smalcald Treaty.
1545. Council of Trent.
1548. Interim of Augsburg.
1558. Death of the Emperor Charles V.
1572. Revolt of the Netherlands.-William, Prince of Orange.


TRENT.
Salvadori.
VIENNA.
Belvedere.
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LIST OF THE PRINCIPAL PICTURES BY TITIAN.
CHIEFLY IN THE PUBLIC GALLERIES OF EUROPE.
AUSTRIA.
Portrait of Christopher, Cardinal Madruzzi.
An Allegory. (No. 6.) Ireplica of the Davalos picture in the Louvre.
Portrait of a Venetian Lady. (No. 48.)
St. Catherine with her Wheel. (Doubted by C. and C.)
Diana and Calisto. Replica of the Bridgewater House picture. Engraved
$n Teniers Gallery, and by Cort and Van Kessel.
Study of a St. James the Elder. Engraved by Vorsterman in Temiers
Gallery.
Ecce Homo. Signed TITIANVS Eqves CEs. F. 1543. Aretino is repre-
sented under the form of Pilate. Engraved by Hollar in 1650.
Portrait of Filippo Strozzi. 1540.
Portrait of a Nobleman.
Portrait of a Young Man, probably a sculptor.
Portrait of Giacomo Strada. Painted in 1566. Signed TITIANvs. F.
Portrait of Isabella d’Este. Engraved by Vorsterman after a copy by
Rubens.
A Young Jesuit. Engraved as “ St. Louis of Gonzaga " by J. Troyon.
Jesus with the Terrestrial Globe.
The Entombment. Replica of the picture in the Madrid Museum. “Perhaps
by Titian.”—C. and C.
A Young Girl.
Danaë. Replica of the Madrid Museum picture. (Injured and retouched.)
Portrait of Benedetto Varchi. About 1550.
Portrait of a Young Man, with a brown beard. (In three positions.)
S4. PICTURES IN AUSTRIA.
VIENNA.
Belvedere.
Harrach C.
Rosenbrø.C.
Sterne Col.
ALNWICK.
BURLEIGH.
CASTLE
HowARD.
Virgin and Child, with St. Jerome, St. Stephen, and St. George. (No. 39.)
(Much injured.) Engraved by Lisbetius in Teniers series of 1660.
Portrait of an Old Man. (Said to be Titian's doctor.)
Madonna and Child. (No. 41.) Early work. Engraved by Joan Meyssen.
A copy by Teniers is at Windsor.
A Small Naked Child, sitting, in a landscape, playing the tambourine.
The Adoration of the Three Kings.
Portrait of Pope Paul III. when 77 years of age.
Portrait of John Frederick, the Magnanimous, Elector of Saxony. Painted
at Augsburg in 1548. A copy by Toniers is at Blenheim. Engraved
by Vorsterman, in Temiers Gallery.
Portrait of Himself, when about 50 years old. Almost completely repainted.
Engraved by Vorsterman, in Temiers Gallery, and also in Haas’s “Galerie
de Jºe”/76.”
Portrait of Charles V. (Sketch for the Munich Gallery picture.)
Portrait (profile) of a Young Man.
Allegory. (No. 59.) Companion to No. 6. A much repainted replica of
the Davalos picture in the Louvre.
The Woman taken in Adultery. Unfinished. (Doubted by C. and C.)
Holy Family and St. Zacharias. (No. 64.) The Virgin holds cherries
and Strawberries. (Much injured.) Engraved by Le Fèbre from a private
copy at Venice.
Lucretia about to kill Herself.
Shepherds and Flocks in a landscape. In the background, Jacob's Dream.
Portrait of Fabrizio Salvaresio. Engraved in Temiers Gallery.
St. Sebastian. Much damaged by time.
Portrait of the Doge Grimani. (Injured by tinting and retouching.)
Portrait of the Doge Marc Antonio Trevisani. A replica of the original,
burnt in 1577.
ENGLAND,
The Cornaro Family. Painted in 1560. Formerly in the possession of
Sir A. Van Dyck, Engraved by Baron. .
Venus and Adonis. Formerly in the Cammuccini and Barberini Colls.
Virgin and Child.
Portrait of Giorgio Cornaro. Signed TITIANVS F. Engraved in 1811 by
Skelton.
COBHAM
HALL.
HAMPTON
CourT.
ICINGSTON
LACY.
LONDON.
Bath House
Bridge-
water
House.
Buckingh.
Palace.
Cowper
Coll.
Devons., D.
Dudley, E.
Elcho Col.
Hertfra. H.
National
Gallery.
FICTURES IN ENGLANT). 85
Portrait of Ariosto. Signed TITIANvs F. Engraved by Joachim
Sandrart.
Jupiter and Europa.
Christ in Benediction. Bust on panel.
Marquis del Vasto (so-called) and Page.
Portrait of Alessandro del’ Medici.
Titian’s Uncle (so-called).
Portrait of Girolamo Savorgnano. Formerly in the Marescalchi Collection,
Bologna. In the Bankes Collection.
The Magdalen. Replica of the Hermitage picture. “Injured by washiny
and stippling.”
Venus and Cupid.
Venus Anadyomene. Purchased by the Duke of Bridgewater from the
Orleans Collection.
The Three Ages. Formerly in the Orleans Collection.
Diana and Actaeon. Signed TITIANvs F. Formerly in the Royal
Palace, Madrid, and the Orleans Collection. (Similar to the Madrid
picture.)
Diana and Calisto. Signed TITIANVS F. From the Orleans Collection.
(Similar to the Madrid picture.)
A Summer Storm. Eachibited by command of the Queen at Manchester iſ,
1857, and at the Royal Academy in 1875.
Lavinia with the Casket. Formerly in the Orleans Collection. Engravel
by Guibert and others.
Preaching of John the Baptist in the Wilderness.
Virgin and Child. (From the Bisencio Collection, Rome.)
Replica of the Brescia Altar-piece.
Tarquin and Lucretia. Signed TITIANVS F. Engraved by C. Cort.
A Concert (or Music-Lesson). Part of the Mantuan Collection purchased
by Charles I. in 1630. Engraved by H. Danckerts and J. Groenswelt.
“Betraying rather the hand of Schiavone or Zelotti.”—C. and C.
Holy Family. (Formerly in the Borghese Palace, Rome.)
Rape of Ganymede. (Formerly in the Colonna Palace.) Engraved by
G. Audran. “May have been evecuted from one of Titian's designs. It
was probably painted by Domenico Mazza.”—C. and C.
Venus and Adonis. (Formerly in the Colonna Palace, where it was
Änown as Cephalus and Procris.) Engraved by Jul. Sanuto, Sir I?.
Strange, and others. One of several repetitions of this picture which
Titian painted with slight alterations. The original painting is in the
Madrid Museum.
86 PICTURES IN ENGLAN D.
LONDON.
.National
Gallery.
Pow ERS-
COURT.
IPANSIIAN-
G.E.R.
BESANÇON.
PA RIS.
Louvre.
Bacchus and Ariadne. Signed TICIANVS. F. Painted in 1523 at Ferrara
for Alfonso I. Formerly in possession of the Barbarini, and Aldobran-
dini Family. Etched in reverse by G. A. Podesta, and by J. Juster in 1691.
The Tribute Money. Formerly in possession of Marshal Soult. Engraved
by Martin Rota.
“Noli me tangere.” Formerly in the Orleans Collection. Engraved by
Nicolas Tardieu and by W. Ensom.
The Madonna and Child with St. John the Baptist and St. Catherine.
Signed TICIAN. Formerly in the Sacristy of the Escurial in Spain, where
it was probably painted. Engraved by Charles Audran.
Portrait of Ariosto. (Considered doubtful by C. and C.) Transferred from
wood to canvas in 1857, at Paris.
Portrait of a Young Man, dressed in black. (At the first Dublin Exhibition.)
Children of King Ferdinand. (Retouched.)
FRANCE.
Portrait of Nicholas Granvelle.
The Virgin and Child with Saints Stephen, Ambrose, and Maurice.
Replica of the picture in the Belvedere, Vienna.
The “Madonna del Coniglio’’ (La Vierge au Lapin). Signed TICIANVS. F.
Engraved in Filhol, in Landon, and by Laugier.
The Virgin, Infant Christ, St. Agnes, and St. John. Engraved in Landon.
Holy Family. The Riposo. Formerly in possession of Mazarin. En-
graved in Filhol and in Landon.
Christ and his Disciples at Emmaus. Signed TICLAN. Tradition says
that the disciple on the right of our Saviour represents Charles V., the
one on His left the Cardinal Ximenès, and the page Philip II. of Spain.
Engraved by F. Chauveau, Lorichon, Masson, and Duthé; and in Landon.
Christ between a Soldier and an Executioner. (Attributed to Schiavone
and to Paris Bordone.)
Christ Crowned with Thorns. Signed TITIANVS. F. Engraved by Luigi
Scaramuccia, Valentin Lefebvre, Ribault, Gottfried Sayter, and Massieu ;
&n Filhol and in Landon.
The Entombment. (From the collections of the Duke of Mantua, Charles I.,
Louis XIV., &c.) A sketch of this work is in the Academy of Fine
Arts at Vienna. Engraved by G. Rousselet, Chaperon, Masson, and by
Johs. de Mare,
PARIs.
Louvre.
BERLIN.
Gallery.
CASSEL.
Gallery.
DARM-
STADT.
DRESIDEN.
Gallery.
PICTURES IN FRANCE. 87
St. Jerome on his Knees before the Crucifix. Many copies of this exist.
At Chatsworth there is one, the “work of a pupil of Titian's shop.”
Engraved in Landon.
The Council of Trent. (Some ascribe it to Bonifazio, others to Schiavone.)
Jupiter and Antiope (“La Vénus del Pardo”). Engraved by B. Baron
and Corneille. From the collections of Philip IV. of Spain, Charles I.
of England, Cardinal Mazarin, Louis XIV., &c.
Portrait of Francis I. of France. Engraved by G. E. Petit, J. B. Mas-
Sard, and M. Leroua: ; and in Filhol.
Portrait of Alfonso d'Avalos, Marquis del Vasto. Engraved by Natalis;
by Thévenin, and in Filhol.
A Young Woman at her Toilet and a Man holding two Mirrors. Supposed
to be Alfonso of Ferrara and Laura de' Dianti. Engraved by Forster,
Henri Dancken, and Danguin.
Portrait of a Man. (No. 453.) By some Supposed to be Aretino.
Portrait of a Young Man. (No. 454.) (“L’homme au gant.”) Signed
TICIANvs. F. A replica is in the Brunswick Gallery.
Portrait of a Man. (No. 455.) “Style of Pordenome.”—C. and C.
Portrait of a Commander of the Order of Malta. (No. 456.) “The
treatment is not that of Titian. The rawness of the tones and thinness
of the pigment recall Calisto da Lodi, or some similar imitator of pure
Venetian manner.”—C. and C.
GERMANY.
Portrait of a Daughter of Roberto Strozzi. TITIANUs. F. MDxLII.
IPortrait of the Venetian Admiral Giovanni Moro. MDxxxvii.I.
Portrait of Himself. Very similar to the Uffizi portrait. (Injured.)
Portrait of his Daughter Lavinia. (Similar to the portrait of the Cowper
Coll., with the earception of a dish of fruit and flowers in the place of the
casket.)
Portrait of a Man. Said to be the Marquis del Vasto. Signed TITIANws
IFECIT,
Venus. (Much injured.) (Not catalogued as Titian, but given to him by
C. and C.) Many copies eacist. Several are in England.
The Tribute Money (“Il Cristo della Moneta”). Signed TICIANUs. F.
Painted for Alfonso I. of Ferrara. Several copies eacist. Engraved by
Dom. Picchinuti, M. Steinla, Fr. Knolle, J. Schere, and W. Witthöf:
and lithographed by Hanſstängl.
88 PICTURES IN GERMANY.
IDRESIDEN.
Gallery.
MUNICH.
Pinako-
thek.
ANCONA.
San Do-
'menico.
ASCOLI.
The Virgin and Child with Saints. From the Casa Grimani dei Servi,
Venice. Engraved by Folkema and lithographed by Hanſstängl.
“Seems to be a work of Andrea Schiavone.”—C. and C.
The Virgin and Child with St. Joseph, with figures adoring. Supposed
to be Alfonso I., his wife and son. From the Modena Collection. En-
graved by Folkema and Fessard, and lithographed by Hanſstängl.
“Work of a disciple.”—C. and C.
Love Crowning Venus. The young man at the foot of the bed is supposed
to be Philip II. of Spain.
Portrait of a Young Woman, clothed in red and holding a vase. En-
graved by Felice Polanzano and lithographed by Hanfstängl. “It may be
a work of one of Titian's pupils.”—C. and C.
Portrait of a Lady, in a black dress. Engraved by Basan. “By an imita-
tor of Tintoretto and the Bassamos.”—C. and C.
Portrait of a Man with a palm leaf (unknown). Signed TITIANVS PICTOR
ET AEQUES CAESARIS.
Portrait of a Young Woman, clothed in white, and holding a fan. Said
to represent Titian's daughter Lavinia. Painted for Alfonso I. of Ferrara.
A Study for this picture in black and red chalk is in the Albertina Col-
lection, Vienna.
Portrait of Lavinia, daughter of Titian. Signed LAVINIA. TIT. v. F. AB
EO. P. Engraved by Basan.
Madonna and Child with Saints. (Much damaged.)
Portrait of a Young Man, with a black dress and fur cape. In the Düs-
Seldorf Gallery, where it was long preserved, it was called erroneously a
portrait of Aretino.
Portrait of Charles V. Signed and dated TITIANUs F. MDxLVIII. Painted
at Augsburg. (Much repainted.)
Venus with Satyrs, &c. “Painted subsequently to Titian's time.”—C. and C.
Madonna and Child, and John the Baptist and Donor.
Jupiter and Antiope. (Removed from wood to canvas.)
Christ Crowned with Thorns. A late work. (Much repainted.)
[TALY.
Crucified Saviour, with the Virgin and Saints. Signed TITIANvs
FECIT. (In bad condition.)
Adoration of the Virgin. Formerly in the Convent of S. Francesco, Ancona.
Desiderius Guido, in prayer before the vision of S. Francis. (Much in-
jured.)
BELLUNo.
BRESCIA.
S.S. Nazaro
e Celso.
CASTL. Roe
GANZUOLO.
* FlorBNCE.
Piłłż Pal,
Uffizi.
DICTURES IN ITALY. 89
Adoration of the Magi. “By Cesare Vecelli.”—C. and C. (In the
Church of San Stefano.)
Altar-piece, in five compartments. Signed TICIANvs FACIEBAT MDxxn.
In the centre, the Resurrection ; at the sides, S. Sebastian (best preserved
and especially to be admired), Averoldo with his patron Saints, and the
Angel, and the Virgin Annunciate. Engraved by Alessandro Sala.
Altar-piece. If by Titian, “coarsely painted over,” and much damaged.
Doubted by C. and C.
Marriage of St. Catherine. C. and C. give it to Cesare Vecelli.
Portrait of a Lady. (“La bella di Titiano.”) According to some it repre-
Sents the Duchess of Urbino. Others say it is the daughter of Palma
Vecchio. (Injured by cleaning.)
Portrait of Aretino. Engraved, in reverse, by F. Petrucci and by T.
Ver Cruys.
The Magdalen. Signed TITIANUs.
Portrait of Andrea Vesalius, the Surgeon. Engraved, in reverse, by T.
Ver Cruys.
Portrait of Luigi Cornaro. “Not by Titian, but by Tintoretto.”—C. and C.
Portrait of a Man, clothed in black, holding his gloves in his right hand.
(No. 92.) -
Bacchanal. (A study for the National Gallery Picture.)
Portrait of Philip II. of Spain.
Portrait of Cardinal Ippolito de' Medici.
Portrait of a Man. (No. 215.) Brown beard and Moustache. Supposed
to be Don Diego da Mendoza (ambassador at Venice for Charles V.),
whose portrait was painted by Titian in 1514. Doubted by C. and C.
The Saviour. (A bust.) From the Collection of the Dukes of Urbino.
Portrait of Alfonso I., Duke of Ferrara.
The Infant Christ adored by the Shepherds. (Much injured.)
Portrait of a Man, with a long beard (No. 494).
Portrait of Tomaso Mosti.
Portrait of a Man, his hand resting on a skull.
His own Portrait. Similar to the Berlin Gallery picture. (Injured.)
Portrait of Sansovino.
The Virgin and Child, with St. John the Baptist surrounded by Seraphin.
Portrait of Eleonora, Duchess of Urbino, wife of Francesco della Rovere.
(From the Casa della Rovere.)
Portrait of Francesco della Rovere, Duke of Urbino. Signed TITIANVS. F.
90 PICTURES IN ITALY.
FLORENCE. Sketch of the Battle of Cadore. “A copy.”—C. and C. The painting was
Uffizi.
Strozzi. P.
GENOA.
MEDOLE.
S. Maria.
MEL.
MILAN.
NAPLEs.
Museum.
NAPLEs.
burnt in 1577. It was engraved by Fontana. A drawing by Rubens ºf
the principal group is in the Albertina Gallery, Vienna ; and Mr.
Gilbert, London, possesses a drawing by Titian of the whole composition.
Portrait of Giovanni de' Medici. Engraved in “Galleria di Firenze.”
Virgin and Child. Study for the Madonna of the famous picture of the
Pesaro family.
Virgin and Child with pomegranate. Engraved by Picchianti. C. and C.
think this is perhaps by Marco Vecelli.
Portrait of a Lady. (La Flora.) From the R. Guardaroba. Engraved
by Sandrart.
Virgin and Child, with roses, with the Baptist and St. Anthony. Signed
(re-copied) TITIANI OPVs ANNo, 1542. (From the R. Guardaroba.)
Portrait of Caterina Cornaro, Queen of Cyprus. Signed T1CIANVS F.
(Injured.)
Virgin and Child, with angels. Engraved by Anderloni.
The Tribute Money. Replica of the Dresden picture.
Recumbent Venus, with a dog. (No. 1108.)
Portrait of the Legate Beccadelli. Engraved by J. C. Ulmer.
Recumbent Venus, with a sleeping dog. (No. 1117.)
Portrait of the Daughter of Roberto Strozzi. Signed TITIANvs F.
ANNOR. X. MDXLII.
Virgin and Child with Saints. In a landscape. [Balbi Palace.]
Christ appearing to the Virgin. (Injured by being concealed in a tomb
during the French revolution.)
St. Sebastian, St. Roch, and St. Andrew. [Sacristy of the church.]
St. Jerome. Signed TICIANvs F. [Brera.]
Portrait of Marc Antonio Rezzonico. [Hospital.]
IPortrait of Cardinal Alessandro Farnese.
Portrait of Paul III.
Portrait of Paul III. and his Grandson.
The Magdalen. Replica of the Hermitage picture. Signed TITIANVS. P.
Danaë. Formerly in the Farnese Collection. Engraved by Strange.
Portrait of the Duke of Parma. -
Portrait of Philip of Spain. Signed TITIANVS Eqves CAES. F. Copies in
the Pitti, Corsini Palace, Stanhope Collection, and Castle Howard.
Portrait of Pier Luigi Farnese. [Pal. Reale,"
\
PADUA.
Giustini-
ani Coll.
Carmine.
Scuola del
Santo.
RAGUSA.
S. Domenic.
| ROME.
Barberin; P
Borghese P.
Colonna G.
Corsin; P.
M. Doria Pal.
Sciarra P.
Vatican.
SERRA-
WALLE.
TREviso.
URBINo.
VENICE.
Academy.
PICTURES IN ITALY. 91
Sketch for Portrait of Philip of Spain.
Portrait of Doge Marco Barbarigo.
Portrait of Francis I. (In a bad state of preservation.)
Portrait of the Doge Andrea Gritti.
Portrait of the Doge Grimani. (Much injured and retouched.)
Meeting of Joachim and Anna. Fresco. (Much injured.)
Miracles of St. Anthony. Fresco. (All much injured)—
(1) A Jealous Man killing his Wife.
(2) A Little Child miraculously testifying to the innocence of its
Mother.
(3) St. Anthony curing a Youth’s Broken Leg.
This last has been engraved in Lefèbre's “Opera Selectiora,” 1682.
St. Mary Magdalen between St. Blaise and “the Angel and Tobit.”
(Late work.)
Portrait of Cardinal Bembo.
Cupid and Venus. Engraved by F. Van den Wyngaerde, and R. Strange.
Sacred and Profane Love. Early. *.
Portrait of a Franciscan Friar, called “ Onufrius Panvimius.”
Portrait of Cardinal Farnese. Engraved by Girolamo Rossi.
Portrait of Philip II.
Allegorical Painting, unfinished.
Portrait of a Man at a Table, on which a jewel is lying.
Portrait of Jansenius.
Madonna. (Much injured.) Early work. Signed TITIANvs. “LA BELLA
DITIZIANo.” “A fine Palma Vecchio.”—C. and C.
Portrait of Doge Nicolò Marcello. From the Aldrovandi Collection.
Madonna di San Nicolò. Signed TITIANVS FACIEBAT. (Much injured.)
Virgin and Child with SS. Peter and Andrew. Signed TITIAN.
Cleaned and retouched. [In Sant’Andrea.]
[In San Niccolo.]
The Last Supper. Injured by washing, and partly obliterated. [In San
Francesco di Paolo.]
The Resurrection. [In San Francesco di Paolo.]
The Assumption of the Virgin. Signed TICIANvs. (Once in the church
of Santa Maria de Frari, Venice, where it was much injured by candle-
smoke.) Finished in 1518. Engraved by Natale Schiavoni.
The Entombment. Finished by Palma, il Giovane, after the death of
Titian, who left it uncompleted. (From the church of Sant’Angelo,
Venice.) Engraved by Viviani in Zamotto’s “Pinacoteca Veneta.”
The Annunciation.
99 TICTURES IN ITALY.
VENICE.
Academy.
Doges'
Palace.
Fondaco.
Manfrini.
Morosini C.
Nard; C.
Scuola di
Sam Rocco.
Frari.
Gesuiti.
S. Giacomo.
S. Giovann?
S. Giovann?
e Paolo.
Marcilia/20
San Rocco.
The Visitation of Saint Elizabeth. His earliest work. (From the convent
of Sant'Andrea, Venice.)
Portrait of Jacopo Soranzo. 1514. (From the Procuratie Nuove, Venice.)
Engraved in Zamotto’s “Pinacoteca Penet.”
Portrait of Priamo da Lezze. From the Procuratie, Venice. Doubted by C.
and C.
St. John in the Desert. Signed TICIANvs. (From Santa Maria Maggiore.
Venice.) Engraved by Le Fèbre and Cipriani, in Zºatina’s work, and in re.
verse by Haeden.
Portrait of Antonio Cappello. (From the Procuraſie, Venice.)
Presentation of the Virgin in the Temple. (Originally in the convent of
la Curità, which became the Academy. Retouched and restored by Sebas-
tiano Santi.)
Cherubs' Heads.
Symbols of the Evangelists.
The “Fede” Doge Marino Grimani on his knees before Faith. [In the
“Sala delle Quattro Porte.”)
St. Christopher. Painted in fresco on a staircase near the chapel.
Virgin and Infant Christ. Fresco.
Frescos, portions only, now nearly obliterated. Painted 1507-8.
Adoration of the Kings. Early work.
Portrait of the Doge Grimani. A replica of the picture in possession of
Mr. De Rosenberg, in Vienna.
Portrait of Pietro Bembo.
The Man of Sorrows. Early.
Annunciation. Engraved by Lefèbre.
Madonna di Casa Pesaro. 1526. Restored by G. Bertami. Engraved by
Lefebre and Patina. The ‘Virgin and Child” etched by W. Unger. The
principal group in red chalk is in the Albertina Collection, Vienna.
Martyrdom of St. Lawrence. Signed TITIANVS VECELIvs AEQVES. F.
Engraved by Sadeler, Jan Bussemaker, and Zuliani.
The Assumption of the Virgin. -
Martyrdom of St. Lawrence.
Altar-piece. St. John the Almsgiver. To whom the church is dedicated.
Death of St. Peter Martyr. Modern copy by Cardi da Cigoli. Titian's
picture was destroyed by fire in 1867. Engraved by Martin Rota, G. B.
Fontana, Le Fèbre, and Patina. A drawing by Titian is in the British
Museum.
Tobit and the Angel. Engraved in Patina.
Christ Dragged to Execution. Early work. (Much injured.) Ascribed
to Titian by Tizianello, and considered by C. and C. to be possibly by him.
}Nineteen panels in the private meeting-hall.
VENICE.
S. Salute.
San Salva.
tore.
San Sebas-
tiano.
VERONA.
ZoPPE.
ANTWERP.
Museum.
HAGUE.
Gallery.
S. PETERS-
HURG.
Hermitage.
PICTURES IN ITALY. 93
Heads of the Four Evangelists. On the ceiling,
Heads of the Four Doctors of the Church. $ St. Matthew is Titian.
St. Mark, on a 'throne, between SS. Sebastian, Roch, Cosmo, and
I)amiano. In ante-room of Sacristy, originally in the Church of San
Spirito, Isola. Engraved by G. Wagner.
Ceiling of the Sacristy. From San Spirito, Isola.
Abraham Preparing to Sacrifice Isaac. Engraved by J. M. Mitellus,
1669, Lefèbre, G. V. Haecht, and Gottf. Saiter.
The Death of Abel. Engraved by J. M. Mitellus, 1669, Lefèbre, and in
reverse by G. Saifer.
The Death of Goliath. Engraved by J. M. Mitellus, Lefèbre, and in
reverse by G. Saifer.
Descent of the Holy Spirit. Painted in 1550. (Much damaged by re-
painting.) Engraved by N. R. Cochin.
Annunciation. Signed TITIAN US FECIT, FECIT, in order, it is said, to
silence a critic who said no one would believe that it was painted by Titian.
Engraved by C. Cort.
Transfiguration. Late work.
St. Nicholas. Signed TITIANVS. P. Painted in 1562. Engraved anony-
7mously.
Holy Family. Injured by cleaning. [In the Pinacoteca.]
Altar-piece. Virgin and Child, enthroned. (Much injured.)
NFTHERLANDS.
Portrait of Jacopo Pesaro—“Baffo.” In adoration before S. Peter (Pope
Alexander VI.). Painted about 1503. At Whitehall during reign of
Charles I. Much injured by repainting.
Portrait of a Lady and Gentleman. Supposed to represent Alfonso I. and
Laura de Dianti. Purchased by Prince Henry of the Netherlands in
1850 for 10,000 francs,
RUSSIA.
Q
Madonna in an arched recess.
Christ in Benediction. (Once in the Barbarigo Coll.) One of the pic-
tures found in Titian’s house after his death.
Madonna and Magdalen. (No. 96.) (From the Barbarigo Coll.)
Magdalen. Painted in 1560. Signed TITIANVS. P. (Refouched.) En-
graved by Cort in 1656. Several replicas of this work evist.
Venus with looking-glass and Cupids. “Barbarigo Venus.”
94. PICTURES IN RUSSIA.
S. PETERS-
BUIRG.
Hermitage.
MADRID.
Museum.
Portrait of Cardinal Antonio Pallavicini. About 1545.
The “Bella di Tiziano.”
Danaë. Replica of picture at Madrid. Engraved in reverse by Louis
Desplaces.
Christ Crowned with Thorns. (No. 97.) (Once in the Barbarigo Coll.)
Simon of Cyrene is supposed to represent Francesco Zuccato.
Christ Crowned with Thorns. (No. 94.) Latest manner. (From the
Barbarigo Coll.)
St. Sebastian. Not eachibited because of its much damaged condition.
(Once in the Barbarigo Coll.)
Portrait of Isabella d’Este. Replica of picture in the Belvedere, Vienna.
Much repainted. “Very like an injured Titian.”—C. and C.
Portrait of Paul III.
SPAIN.
Virgin and Child, St. Bridget, and Saint in Armour. (No.236.) Catalogued
wnder “Giorgione.” Originally in the Escurial. Ascribed to Titian
by C. and C.
The Bacchanals. 1519-20. (Retouched.)
The Venus Worship, painted before 1518. Etched in 1636, in reverse, by
G. A. Podesta, of Genoa.
Portrait of Alfonso d’Este, Duke of Ferrara. Signed TICIANo.
IPortrait of Charles V., probably the second taken at Bologna.
Portrait of Philip II. Painted in 1551. The first Titian took of him.
A copy is at-Chatsworth.
Venus and Adonis. Painted in 1554, for Philip II.
Original Sin: or, Adam and Eve. Signed TITIANUs F. Painted in 1574.
Portrait of Charles on Horseback at the Battle of Mühlberg. Painted
in 1548. f
Danaë. Painted in 1554 for Philip II. (Injured.) Engraved by Sutman,
Lisbetius, Le Fèbre, and Richer.
Venus and the Organ Player. 1548. Copies are in the Duke of Alva's col-
lection Madrid, Dresden Gallery, and Fitzwilliam Museum, Cambridge.
Venus and Cupid. 1547.
Salome with the Head of the Baptist. 1574. Supposed to be a likeness
of Lavinia. “Painted by one of Titian's followers.”—C. and C.
The Trinity. Painted for Charles V. in 1554. Signed TITIANVS P. En-
graved by C. Cort, and in reverse by Hondius.
Portrait of a Knight of Malta.
The Entombment. (No. 464.) Signed TITIANVS VECELLIYS Foves CAE3.
Painted in 1559 for Philip II. .
MADRID.
Museum.
Escorial.
PICTURES IN SPAIN. 95
Sisyphus. R & Copies by Sanchez Coello.”—C. and C.
Prometheus. |
Ecce Homo. (No. 467.) Companion to No. 468. Painted for Charles V.
Signed TITIANvs. Engraved by Sala.
The “Mater Dolorosa.” (No. 468.) “The Grieving Virgin.” Painted
£n 1550. Companion to No. 467.
St. Margaret. 1552. Signed TITIANvs. Formerly in the Escurial.
“Allegory of Lepanto.” “Philip II. offering his son to Victory.” Signed
TITIANUS VEC . . . IU FOUES CAES. FECIT. Painted in 1574.
“Allocution” of Marquis del Vasto to his Soldiers. “Much injured by
fire, and then repainted.”
Descent into Egypt.
St. Catherine in Prayer.
St. Jerome in the Desert.
The “Grieving Virgin.” (No. 475.)
Religion succoured by Spain. “Chiefly by a scholar.”—C. and C.
Portrait of Himself. Engraved in 1542 by Alphonse François from a
replica in Paris.
St. Jerome in Prayer. Painted for F. Gonzaga in 1531.
Bortrait of a Lady. (No. 479.)
Portrait of a Man. (No. 480.) By Tintoretto.—C. and C.
Portrait of a Man. (No. 481.) C. and C. think it is by Pordenome.
Diana and Actaeon. Painted for Philip II.
Diana and Calisto. Painted for Philip II.
Adoration of the Magi. Painted in 1560. .
Portrait of the Empress Isabella, wife of Charles V. 1544. Engraved
with slight alterations by D. de Jode.
St. Margaret. 1552.
Christ bearing the Cross. 1569. Signed TITIANVS. AEQ. CAES. F.
Christ with the Cross and Simon the Cyrenian. Composed by Giovanni
Bellini, eacecuted by Titian.
Christ appearing to the Magdalen. A fragment.
Christ in the Garden.
The Entombment. (No. 491.) (Repetition of No. 464.)
The Last Supper. Signed TITIANvs. F. Engraved by C. Cort.
St. Jerome. A replica of the picture in the Brera, Milan. Signed
TITIANVS F.
Christ in the Garden.
The Baptist in the Desert. Replica of the picture now in the Venice
Academy. Signed TITIANVS FACI . . .
Martyrdom of St. Lawrence. Signed TITIANO. F. (Injured by smoke
and repainting.) Engraved by C. Cort.
96
256.
289.
260.
263.
271.
272.
264.
265.
266.
267.
268.
269.
257.
255.
278.
277.
PICTURES EXHIBITED AT MANCHESTER.
EXHIBITED AT MANCHESTER IN 1857.
TITLE OF PICTURE.
Portrait of Alessandro de’ Medici (?).
(Engraved by Van Reynet and C.
Visscher). e e e e
A rich wooded Landscap
The Dog of Charles V.
Portraitofa Girl, occupied in making
lace . e g º º º
Adoration of the Shepherds (for-
merly in the Collection of
Charles I.) e
Duke of Alva,
Julius Caesar
Tiberius
Caligula
Claudius
Galba .
Otho e -> © e
Portrait of Ariosto (replica of the
Manfrini Collection picture)
Rape of Europa (formerly in the
Orleans Gallery) . e e
Rape of Proserpine (formerly in the
Orleans Gallery, where it was en-
graved by J. L. Delignon, as the
work of Lambert Suster)
Portrait of Verdizotte . º
Marriage of St. Catherine. (From
the Lucien-Bonaparte Collection)
Titian's Daughter, holding up a
jewelled casket on a dish. (From the
Orleans Collection.) Engraved
by François Guibert . e e
NAME of LENDER.
The Queen (Hampton Court).
The Queen (Buckingham P.)
The late Mr. J. Smith Barry.
Mr. Richard Baxter. -
Christ Church, Oxford.
Christ Church, Oxford.
Mr. Abraham Darby.
Mr. Abraham Darby.
Mr. Abraham Darby.
Mr. Abraham Darby.
Mr. Abraham Darby.
Mr. Abraham Darby.
Earl of Darnley.
Earl of Darnley.
Mr. J. Evelyn Denison.
Mr. Francis Edwards.
Mr. C. P. Grenfell.
Earl De Grey.
301.
303.
250.
258.
261.
292.
281.
279.
254.
247.
237.
270.
287.
254.
255.
2ll.
227.
265.
2932.
208.
78.
320.
117.
244.
PICTURES EXHIBITED AT LEEDS.
TITLE OF PICTURE.
A “Riposo”. te te
Portrait of a Duke of Milan (?)
Ignatius Loyola ge e
Pietà. (Titian and Schiavone)
The Magdalen
An Allegory o
Philip II. of Spain g e g
Finished Sketch for the large pic-
ture known as “La Gloria di
Tiziano” (from the Collection of
Mr. Rogers)
A Female, attired by
dressed male figures
The Supper at Emmaus
two richly-
97
NAME OF LENDER.
Mr. R. S. Holford.
Mr. R. S. Holford.
Duke of Manchester.
Sir John Pringle.
Mr. Joseph Sanders.
Earl of Stamford.
Earl Stanhope.
Lord Harry Vane.
Lord Ward.
Earl of Yarborough.
EXEIIBITED AT LEEDS IN 1868
Portrait of Boccacio *
Portrait of Titian and the Chancellor
Franceschini (formerly in the col-
lection of Charles I., where it was
called Titian and Aretino)
Portrait of Ignatius Loyola
“ Ecce Homo " (from the Arevold;
Coll., Brescia) e e º
Man with a hawk . g te g
Rape of Proserpine (from the Orleans
Coll.) . iº tº e e o
Landscape, with St. John preaching
Portrait of a Nobleman (Stated to be
the Earl of Surrey) º tº g
Portrait of one of theGrimani Family
Lucretia (formerly in the Collection
of Charles I.) . ſº te g
Virgin and Child and St. Catherine
Portrait of Ariosto, inscribed, how-
ever, “ Petrus Aretinus”
Sketch for “ St. Peter Martyr"
Portrait of Giulio Clovio
H
The Queen.
The Queen.
The Queen.
Duc d'Aumale.
Lord Chesham.
Mr. J. Evelyn Denison.
, Duke of Devonshire.
Mr. Wynn Ellis.
Lord Feversham.
Earl of Malmesbury.
Mrs. Matheson.
Sir Wm. Stirling Maxwell.
Mr. J. Piggott.
Mr. Charles Towneley.
1870.
1872.
1873.
1875.
1876,
98
PICTURES EXHIBITED AT THE
AT THE “EXHIBITION OF THE WORKS
OF TEIE OLD MASTERS ’’
AT THE ROYAL ACADEMY.
TITLE OF PICTURE.
Portrait of the Marchese Tarragnio
Omnia Vanitas
Portrait of a Doge. tº
Portrait of a Lady. g G
The Woman taken in Adulter
A Portrait e g © º e
Portrait of the Daughter of Titian, holding
wp a casket . tº ſº g º Q
Jupiter and Antiope, the background land-
Scape is a view of Cadore ©
The Duke of Urbino and his Son
The Daughter of Herodias
Mother and Child .
Susannah and the Elders
Danaë e g
Portrait of a Cardinal &
Portrait of Alessandro de’ Medici .
Diana and Actaeon. tº ge
La Gloria. A sketch . g e
The Rape of Europa
The Lace Maker tº tº
Portrait of an armed Man, in black
The Cornaro Family
Diana and Actaeon.
The Disciples at Emmaus
A Magdalen . ſº e to o
“Peter Martyr.” Finished study .
The Triumph of Love tº ©
A Landscape, with cattle • º
Queen of Cyprus. Probably Caterina
Cornaro, represented as St. Catherine
Celebration of Mass, in the chapel of a pri-
vate house . . e ſº e *
NAME of LENDER.
Mrs. Bankes, Kingston Lacy.
Mrs. Bankes, Kingston Lacy.
Mr. John Ruskin.
Marquis of Bute.
Marquis of Westminster.
Mr. Thomas Baring.
Dowager Countess Cowper.
Marquis of Westminster.
Marquis of Westminster.
Lord Ashburton.
Earl of Dudley.
Earl of Dudley.
Earl of Dudley.
Earl of Dudley. .
The Queen (Hampton Court
Earl Brownlow.
Duke of Cleveland.
Sir Richard Wallace, Bart.
Mr. R. Baxter.
Earl of Radnor.
Duke of Northumberland.
Earl of Yarborough.
Earl of Yarborough.
Earl of Yarborough.
Mr. F. Piggott.
Mr. W. Graham.
The Queen (Buckingham.JPal.)
Earl Brownlow.
Hon.W.CowperTemple, M.P.
1876.
1877.
1878.
1879.
ROYAL ACADEMY.
TITLE OF PICTURE.
Portrait of a Princess of Este . tº ºf
Venus and Adonis. d
Europa. Signed TITIANUS. P.
Head of Our Saviour e
Luigi Ariosto. Signed TITIANUS tº
Portrait of Caesar Borgia, Duc de Valen-
tinois. Inscribed “Ano AEtatis suae
xxxxI’’ * fe tº
Titian and Andrea Franceschini
Portrait of a Gentleman, black vest over
jacket of chain mail . ſº e e
Portrait of a Young Man. Blackjacket .
The Marriage of St. Catherine o &
Sophonisba. Inscribed Sofon ISBA REGINA
The Rape of Proserpine.
99
NAME OF LENDER.
Hon.W.CowperTemple, M.P.
Earl of Darnley.
Earl of Darnley.
Earl of Darnley.
Earl of Darnley.
Earl of Radnor.
The Queen (Windsor Castle).
The Queen(Hampton Court).
Viscount Powerscourt.
Mr. W. H. Grenfell.
Lord Kinnaird.
Viscountess Ossington.
*** The above list of the principal works of Titian has been compiled
—for the most part—from the official catalogues of the public galleries
of Europe; other authorities have, however, been consulted, and foremost
among them stands Crowe and Cavalcaselle’s “Titian–His Life and
Times,” from which has been gathered much information concerning the
authenticity and present condition of the works.
The addition of “C. and C.” to any remark indicates that is the
opinion of these authors.
In the lists of the exhibitions of Manchester, Leeds, and the “Old
Masters,” at the Royal Academy, the official catalogues have been strictly
adhered to ; and it must not be supposed that every picture classed as
the work of Titian is accepted as genuine by the critics.

CUUD Nº
3
§
(2.
;
º
§
INDEX.
The names of pictures are printed in Italic.
Adoration of the Magi, 3.
Aldine Press, 27.
Alfonso d’Este, 28.
Allegory, The, of the Louvre, 44.
Allegory, The, of Vienna Gallery, 45.
Altar-piece of Mel, 5.
of Zoppe, 6.
of Bishop of Paphos, 15.
of Serravalle, 62.
of the Pesaro Family, 39.
at Medola, 68.
of Pieve, 72.
Alva, Duke of, 65.
Annunciation, The, 39.
Aretino, Pietro, 40.
Aretino defends Titian, 49.
Death of, 69.
Ariosto, Portraits of 29.
Arragon, Mary of, 45.
Asswmption of the Virgin, The, 31.
Bacchanals, 33.
Bacchus and Ariadne, 37.
Baffo (Jacopo da Pesaro), 17.
Baptist in the Desert, The, 69.
Battle of Cadore, burnt, 50.
Bella di Tiziano, 16.
Bella Donna of the Pitti, 34.
Bellini, Giovanni, 14.
Bellini, Jacopo, sketch by, 51
Belluno Valley, 5.
Bembo, 48.
Biri Grande, The, 47.
Boita, Bridge over the, 7.
Cadore, Country of, 2.
Map of, 4.
Battle of, 7.
Count of, 8.
Battle of, 50.
Mill of, 55.
Cadorini Committee, 19.
Caesars, The Twelve, 48.
Campagnola, 25.
Casa Sampieri, 9.
Cecilia, Titian's Wife, 40.
Ceneda, Hills of, 53.
Charles V., the Emperor, 65.
retires to Yuste, 66.
Portrait of 44.
Christ at Emmaus, 63.
Christ Crowned with Thorns, 71,78.
Christ of Pity, The, 80.
Colontola, Mill at, 5.
Conegliano, 3.
Conegliano, School at, 35.
Consighio, 3.
Cornaro Palace, 25.
Cornaro Family, The, 73.
Danaë, The, 67.

INDEX. 101
D’Alviano, General, 50.
Davalos del Vasto, 43, 51.
D'Este, Alfonso, 27, 47.
Isabella, 46.
Diana surprised by Actaeon, 72.
Dianti, Laura, 37.
Doge Dandolo, 12.
Marcello, 22.
Marco Barbarigo, 22.
Grimani, 35.
Gritti, 39, 44.
Lando, 51, 55.
Donato, 60.
Trevisani, 67.
Durer’s influence, 22.
Ecce Homo of Madrid, 62.
of Vienna, 57.
Entombment, The, 38.
Flora, The, of the Uffizi, 37.
Fondaco di Tedeschi, 18.
Fra Bastiano, 62.
Francesco, Titian's brother, 19, 21.
Giorgione, 14, 18.
Gonzaga, Federico, 36.
Hercules, fresco, 14.
Irene of Spilemberg, 72.
Judgment of Solomon, The, 26.
Judith or Justitia, fresco of, 18.
Jupiter and Antiope, 73.
Last Judgment, The, 68, 74.
Last Supper, 74.
Lavinia, Titian's Daughter, 61, 65.
Leo X., Pope, 27.
Lepanto, Battle of, 78.
Letters of 1538-9, p. 50.
Lucretia Borgia, 28.
Madonna with St. Stephen, 21.
di Casa Pesaro, 39.
del Coneglio, 42.
and two Saints, 15.
di San Niccolo, 38.
Madrid, Museum of, 63.
Madruzzi, Cardinal, 65.
Magdalen, The, 73.
Maidens at a Fountain, 15.
Man of Sorrows, 15.
Mantua, Duke of, 53.
Manza Villa, 58.
Marmarolo, 7.
Martyrdom of St. Lawrence, 71.
Medici, Ippolito de, 45.
Medole, benefice of, 43.
Michelangelo visits Titian, 59.
Naples Museum, 57.
Noli me tangere, 30.
Orazio, Titian's assistant, 58.
death of, 81.
Orsa, Titian’s sister, 11, 43.
Ottavio and Pier Luigi, 60.
Palma, Giovine, 80.
Palma and Pordenone, 41.
Philip II. at twenty-four, 66.
Pieve, council-hall at, 8.
Pomponio, Titian's son, 40.
obtains new canonry, 51.
Pope, Leo X., 27.
Paul III., 56, 60.
Julius III., 65.
Pordenone, 49.
death of, 51.
Presentation in the Temple, 51.
102
INDEX.
Priscianese at Venice, 52.
Reynolds, Sir Joshua, 26.
Riposo, The, 30.
St. Andrew, 3.
St. Bridget of Madrid, 21.
St. Christopher carrying the Infant
Christ, 39.
St. Mark, 26.
St. Peter Martyr, (burnt) 41.
St. Sebastian and St. Rocco, 5.
San Rocco, 15.
San Spirito, ceiling of, 54.
Sansovino, 49, 60.
Sarcinelli, Lavinia, 2, 65.
Sebastian, Death of, 62.
Serravalle, 3, 62.
Sotto Castello, 6.
Sforza, Ludovico, 16.
Strozzi, Roberto, daughter of, 55.
Tebaldi, 34.
Three Ages, The, 30.
Titian, Birthplace, 9.
Sent to Venice, 11.
Withdraws to Padua, 25.
Returns to Venice, 1512, p. 26.
Petitions the Council of Ten, 27.
Gains his privileges, 1516, p. 27.
Founds a Maiolica Factory, 34.
Paints his first Doge, 1521, 35.
Takes up fresco-painting, 39.
At Ferrara, 1528, p. 41.
Wife died, 1530, p. 43.
Goes to Bologna, 1538, p. 44.
Made Countl’alatine, 1532, p.44.
Is pressed to visit Rome, 45.
With Charles V. at Asti, 48.
Wanted at Mantua, 51.
At sixty-three years of age, 52.
His home and children, 53.
Titian with Davalos, 54.
Portraits of himself, 55.
Guest of Cardinal Farnese, 56.
Arrival in Rome, 59.
Leaves the Papal Court, 60.
Letter to the Cardinal, 60.
Visits Augsburg, 64.
First landscape, 1552, p. 67.
Admitted to the Academy of
Florence, 76.
Letters to Philip, 78.
Entertains two Cardinals, 79.
Death, 1576, p. 81.
Transfiguration, The, 75.
Treviso, 2.
Tribute Money, The, 22.
Two Maidens at a Fountain, 15.
Urbino, Duke of, 48, 58.
Vasari, 54.
Vecelli, Gregorio, 8.
Lucia, 14.
Francesco, 19.
Venice, Panic in, 64.
Venus and Adonis, 61, 68.
Venus Anadyomene, 37.
Venus and Cupid, 62.
The, of Darmstadt, 37.
The, of Madrid, 62.
Violante, 34.
Virgin with St. Andrew, 3.
with St. Stephen and St. Ambrose,
21.
and Child, 14.
with the Rose, 21.
Worship of Venus, The, 29.
Young Jesuit, 56.
Zuccato, Sebastian, 13.
2
ll.
12.
13.
14.
IIST OF ILLUSTRATIONS.
Portrait of Titian, from the Etching by Agostino Carracci.
Frontispiece.
Map of the Neighbourhood of Cadore . º tº º - g
Landscape in the Cadore Country (Drawing) . e
La Bella di Tiziano, of the Ferrara Palace .
The “Tribute Money 55 ſº o tº e © e
The “Assumption of the Virgin” (1518) (Double plate) .
La Bella Donna, of the Pitti Palace (1553). wº © *
Saint Sebastian .
The Altar-piece of the Pesaro Family . . e º
The “ St. Peter Martyr" . o o º g tº g
Lavinia Vecelli, Titian's Daughter
The Lesson on the Flute . tº o º Q o º
Cupid equipped by Venus . . . . . . . . .
Judas returning the Money to the High Priests (Drawing).
Page


sº -
---,
Sºtº
BIBLIOGRAPEHY.
List of the most important modern works on TITIAN.
CROWE, J. A., and CAVALCASELLE, G. B. TITIAN : his Life and
Times. With Illustrations. 2 vols. 8vo. London, 1877.
GILBERT, Josiah. CADoRE, or Titian's Country. With 44 Litho-
graphed and other Illustrations. Imp. 8vo. London, 1869.
HUME, SIR ABRAHAM. Notices of the Life and Works of Titian. 8vo.
London, 1829.
MAIER, ANDREA. Della Imitazione pittorica; dell' eccellenza delle
opere di Tiziano scritta da S. Ticozzi. 8vo. Venezia, 1818.
NORTHCOTE, JAMEs. The Life of Titian, with Anecdotes of the dis-
tinguished persons of his time, 2 vols. 8vo. London, 1830.


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