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Updated: July 5, 2025
When you talk, vous gravez comme avec un burin. Please stay. Rudin was going to protest, but after a moment's thought he sat down. Mihailo Mihailitch, whom the reader already knows, came into the room. He wore the same grey overcoat, and in his sunburnt hands he carried the same old foraging cap. He bowed tranquilly to Darya Mihailovna, and came up to the tea-table.
On the death of Giorgione, Titian rose rapidly into favor. He was soon afterwards invited to the court of Alphonso, Duke of Ferrara, for whom he painted his celebrated picture of Bacchus and Ariadne, and two other fabulous subjects, which still retain somewhat of the style of Giorgione. It was there that he became acquainted with Ariosto, whose portrait he painted, and in return the poet spread abroad his fame in the Orlando Furioso. In 1523, the Senate of Venice employed him to decorate the Hall of the Council Chamber, where he represented the famous Battle of Cadore, between the Venetians and the Imperialists a grand performance, that greatly increased his reputation. This work was afterwards destroyed by fire, but the composition has been preserved by the burin of Fontana. His next performance was his celebrated picture of St. Pietro Martire, in the church of SS. Giovanni e Paolo, at Venice, which is generally regarded as his master-piece in historical painting. This picture was carried to Paris by the French, and subsequently restored by the Allies. Notwithstanding the importance of these and other commissions, and the great reputation he had acquired, it is said, though with little probability of truth, that he received such a small remuneration for his works, that he was in actual indigence in 1530, when the praises bestowed upon him in the writings of his friend Pietro Aretino, recommended him to the notice of the Emperor Charles V., who had come to Bologna to be crowned by Pope Clement VII. Titian was invited thither, and painted the portrait of that monarch, and his principal attendants, for which he was liberally rewarded. About this time, he was invited to the court of the Duke of Mantua, whose portrait he painted, and decorated a saloon in the palace with a series of the Twelve Cæsars, beneath which Giulio Romano afterwards painted a subject from the history of each. In 1543, Paul III. visited Ferrara, where Titian was then engaged, sat for his portrait and invited him to Rome, but previous engagements with the Duke of Urbino, obliged him to decline or defer the invitation. Having completed his undertakings for that prince, he went to Rome at the invitation of the Cardinal Farnese in 1548, where he was received with marks of great distinction. He was accommodated with apartments in the palace of the Belvidere, and painted the Pope, Paul III., a second time, whom he represented seated between the Cardinal Farnese and Prince Ottavio. He also painted his famous picture of Danaë, which caused Michael Angelo to lament that Titian had not studied the antique as accurately as he had nature, in which case his works would have been inimitable, by uniting the perfection of coloring with correctness of design. It is said that the Pope was so captivated with his works that he endeavored to retain him at Rome, and offered him as an inducement the lucrative office of the Leaden Seal, then vacant by the death of Fr
A leap to the ground, two bounds up the steps leading to the house, an eager rush through the corridor that separated him from the room in which Myrtilus was, the bursting instead of opening of the door, and, as if frantic with happy surprise, he impetuously embraced his friend, who, burin and file in hand, was just approaching the threshold, and kissed his brow and cheeks in the pure joy of his heart.
Besides, the baker had not been paid for four weeks, so, sighing heavily, he dragged himself to the workbench to move the burin with a weary hand. Wolf had followed him with his eyes, and the sight of the chivalrous hero, the father of the girl whom he loved, undertaking such a wretched occupation, in such a mood, pierced him to the heart.
After this affair, Marc' Antonio went off to Rome, where he gave his whole attention to design; and Albrecht returned to Flanders, where he found that another rival had already begun to execute many most delicate engravings in competition with him. This was Lucas of Holland, who, although he was not as fine a master of design as Albrecht, was yet in many respects his equal with the burin.
As to the contour, it stands on the same ground with drawing in any other material. The linear part of it requires exactly the same degree and the same kind of talent as linear design with a pen or with a burin. But for all that stands within the contour, for the suggestion of interior forms and the illusion of solidity, it depends on means of the utmost subtlety.
Besides, the baker had not been paid for four weeks, so, sighing heavily, he dragged himself to the workbench to move the burin with a weary hand. Wolf had followed him with his eyes, and the sight of the chivalrous hero, the father of the girl whom he loved, undertaking such a wretched occupation, in such a mood, pierced him to the heart.
How often have I seen an exquisite drawing of Abbey's or Du Maurier's almost ruined by the slipping of the burin the one-thousandth part of an inch!
These were of unquestionable value; for has not Cicognara engraved them on a page of his classic monograph? The thin silver plates, over which once passed the burin of Maso Finiguerra, cutting lines finer than hairs, and setting here a shadow in dull acid-eaten grey, and there a high light of exquisite polish, were far more delicate than any proofs impressed from them.
In tenderness, dignity, simplicity, and tragic pathos, nothing can exceed this production; the head of the Virgin in particular is regarded as a masterpiece, so far exceeding in delicacy of execution every other work of Marc Antonio, that some have thought that Raphael himself took the burin from his hand, and touched himself that face of quiet woe.
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