A Popular Handbook to the National Gallery, Volume I, Foreign Schools. National Gallery (Great Britain)

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      The young man in the red velvet cap plays on the violoncello; the other on the oboe, of which only the reed is visible. The other three are vocalists. The master is keeping time, and is intent on the boy pupil. The young girl, with her hand on her husband's shoulder, is waiting to chime in, and looks far away the while to where the music takes her. "In Titian's portraits you always see the soul, – faces 'which pale passion loves.' Look at the Music-piece by Titian – it is 'all ear,' – the expression is evanescent as the sounds – the features are seen in a sort of dim chiaroscuro, as if the confused impressions of another sense intervened – and you might easily suppose some of the performers to have been engaged the night before in

      Tiziano Vecellio – "il divino Tiziano," as his countrymen called him – is one of the greatest names in the history of painting: "There is a strange undercurrent of everlasting murmur about his name, which means the deep consent of all great men that he is greater than they" (Two Paths, § 57). Titian's works "are not art," said one of his contemporaries, "but miracles; they 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." It is not easy, however, to point out the special characteristics of Titian, for it is his glory to offer nothing over-prominent and to keep "in all things the middle path of perfection." Titian's mind was "wholly realist, universal, and manly. He saw that sensual passion in man was not only a fact, but a Divine fact; the human creature, though the highest of the animals, was, nevertheless, a perfect animal, and his happiness, health, and nobleness depended on the due power of every animal passion, as well as the cultivation of every spiritual tendency" (Modern Painters, vol. v. pt. ix. ch. iii. § 30). As a youth Titian worked under the influence of Giorgione, of whom (says Vasari), "they who were excellent confessed that he was born to put the breath of life into painted figures and to imitate the elasticity and colour of flesh." The so-called "Sacred and Profane Love" of Titian marks the culmination of his "Giorgionesque" style, in which sensuous delight and spiritual yearning are mixed in subtle harmony. The "Bacchus and Ariadne" of our own Gallery belongs to a somewhat later date, and is a combination of poetry and painting almost unique in the world of art. "One object," says Sir Frederick Burton,42 "Titian kept steadily before him from the beginning – the rendering of the lustre of the skin in its warmth, its pearliness, and its light, such as it is found in the European races, and nowhere perhaps in such perfection as in the blended northern and southern blood of Venetia. He presents to us humanity in its noblest and most beautiful forms, and so profoundly had he studied it that the ideal personages introduced in his pictures have an intense individuality. Naturally, therefore, he stands supreme amongst the great portrait-painters. In the department of landscape he was, if not the first to perceive, at least the first to render, nature in her sublimer aspects. When dealing with classical themes he thoroughly translated the spirit, without idly imitating the forms, of antiquity." And as the range of his intellectual sympathy was wide, so was that of his executive skill. He is, indeed, especially supreme as a colourist; but for the rest, the very greatness of the master lies in there being no one quality predominant in him. Raphael's power is properly called "Raphaelesque," but "Titian's power is simply the power of doing right. Whatever came before Titian, he did wholly as it ought to be done" (Two Paths, §§ 57, 58, 69).

      This universality of Titian's art is reflected in his life – a life prolonged far beyond the ordinary human spell, and full to the end of "superhuman toil." He was sent from his country home at Cadore to Venice to begin his studies when quite a boy: he was only nine, it is said, when he entered Gentile Bellini's studio. He lived to be ninety-nine, and his life was one long education. He was nearly threescore years and ten when he visited Rome and saw Michael Angelo, but he "had greatly improved," he said in later years, "after he had been at Rome." He painted until his dying hour, and is said to have exclaimed at the last that he was "only then beginning to understand what painting was." This continual striving after perfection, this consciousness of falling short, is in striking contrast to the honour and glory paid to him by others. He was painter in ordinary to the Venetian State (a post in which he succeeded Giovanni Bellini). He was an honoured guest at the court of Alphonso I., Duke of Ferrara, for whom he painted the "Bacchus and Ariadne" (35). To the Emperor Charles V. he "stood as Apelles to Alexander the Great, the only man worthy to paint his royal master," and he was made Count Palatine and Knight of the Golden Spur, with precedence for his children as nobles of the Empire. The emperor's son, Philip II. (of Spain), was an equally generous patron; the Pope Paul III. tried hard to induce Titian to settle in Rome; and Henry III. of France, who visited him at his own house, wished the picture on which the painter was then at work to be placed over his tomb. In his house at Venice Titian lived in great style, attracting kings and nobles and men of letters to him. There is all the keenness of a city of merchants in Titian's business relations, and many of СКАЧАТЬ