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The only Elizabethan drama which really represents the Italy of the Renaissance is the comedy of Shakespeare, of Beaumont and Fletcher, and of Ben Jonson and Massinger: to the Renaissance belong those clear and sunny figures, the Portias, Antonios, Gratianos, Violas, Petruchios, Bellarios, and Almiras; their faces do we see on the canvases of Titian and the frescoes of Raphael; they are the real children of the Italian Renaissance.
He says in the very next paragraph: 'Many artists, as Vasari likewise observes, have ignorantly imagined they are imitating the manner of Titian when they leave their colours rough and neglect the detail; but not possessing the principles on which he wrought, they have produced what he calls goffe pitture absurd, foolish pictures.
Again Ulrich heard Moor mentioned. Then the old man, from whom the youth had not averted his eyes for an instant, beckoned, and Cagliari called him, saying that he, the gallant Antonio Moor's pupil, must now show what he could do; the Master, Titian, would give him a task. A shudder ran through his frame; cold drops of perspiration, extorted by fear, stood on his brow.
George Frederick Watts is reported to have said, "If I were asked to choose whether I would like to do something good, as the world judges popular art, and receive personally great credit for it, or, as an alternative, to produce something which should rank with the very best, taking a place with the art of Pheidias or Titian, with the highest poetry and the most elevating music, and remain unknown as the perpetrator of the work, I should choose the latter."
Peter Martyr to be found in the Venetian room of the National Gallery, where it is still assigned to the great master himself, though it is beyond reasonable doubt by one of his late pupils or followers. The enlarged second edition, with the profile portrait of Ariosto by Titian, did not appear until 1532.
But, once in a way, in those trees against that sky I seem to see all the passionate life and glow that Titian painted into his pagan pictures. I have a vision of mysterious meaning, of a mysterious relation between that sky and those trees with their gnarled red limbs and Life as I know it.
A Venetian noble might be a fribble or an assassin, a scoundrel, or a dolt, worthless, or worse than worthless; yet he might have sat to Titian, and his portrait may be inestimable, a few inches of painted canvas a thousand times more valuable than a man with his veins and muscles, brain, will, heart, and intellect!
Others are Carlo Zeno, the soldier; Goldoni, the dramatist; Paolo Sarpi, the monkish diplomatist; Galileo Galilei, the astronomer and mathematician; the two Cabots, the explorers, and Marco Polo, their predecessor; Niccolò Tommaseo, the patriot and associate of Daniele Manin, looking very like a blend of Walt Whitman and Tennyson; Dante; a small selection of Doges, of whom the great Andrea Dandolo is the most striking; Tintoretto, Giovanni Bellini, Titian, and Paul Veronese; Tiepolo, a big-faced man in a wig whom the inscription credits with having "renewed the glory" of the two last named; Canova, the sculptor; Daniele Manin, rather like John Bright; Lazzaro Mocenigo, commander in chief of the Venetian forces, rather like Buffalo Bill; and flanking the entrance to the palace Vittorio Pisani and Carlo Zeno, the two patriots and warriors who together saved the Republic in the Chioggian war with the Genoese in the fourteenth century.
The battle pieces of Michael Angelo, Da Vinci, and Titian are destroyed; Las Lanzas remains a testimony to the powers of imaginative reconstruction and architectonic of Velasquez. It is the most complete, the most natural picture in the world.
Titian was accompanied to Augsburg by his second cousin, Cesare Vecellio, who no doubt had a minor share in very many of the canvases belonging to the period of residence at Augsburg. Our master's first and most grateful task must have been the painting of the great equestrian portrait of the Emperor at the Battle of Mühlberg, which now hangs in the Long Gallery of the Prado at Madrid.
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