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And would Titian and Paul Veronese and Tintoretto have done all this for a Mayor and Corporation? These are awkward questions. None the less, there it is, and the Doges' Palace, within, would impart no thrill to me were it not for Tintoretto's "Bacchus and Ariadne."
Thus, too, Titian went to work in the Bacchus and Ariadne giving forth a single clarion note in the scarlet scarf of the fugitive daughter of Minos. The writer is unable to accept as from the master's own hand the unfinished Virgin and Child which, at the Uffizi, generally passes for the preliminary sketch of the central group in the Pesaro altar-piece.
Again, in speaking of the famous altar-piece the Assumption, now in the Academy at Venice painted by Titian in 1516, Dolce mentions him twice as "giovinetto."
This last, of course, did not trouble Vasari, and his testimony is therefore all the more valuable; but all difficulties vanish if we accept Mr. Cook's theory that the portrait was begun by Giorgione in 1508, was left incomplete at his sudden death in 1510, and finished by Titian in 1520.
I like the artistic manner you have twined these roses in my hair; the effect is quite picturesque." She glanced satisfiedly at her own magnificent reflection in the cheval-glass opposite. Titian alone could have reproduced those rich, marvelous colors that perfect, queenly beauty. He would have painted the picture, and the world would have raved about its beauty.
At a former auction in New York "old masters" brought these prices: Madonna Del Correggio, $30; two Murrillos, $160 and $90; a landscape of Salvator Rosa, $55; a Tintoretto, $115; a Guido, $35; "St. John," by Sir Joshua Reynolds, $15 and so on. Every few months we find a so-called Titian or Raphael going for the price of the frame.
Vasari has in all probability confounded this journey of Charles in 1530 with that subsequent one undertaken in 1532 when Titian not only portrayed the Emperor, but also painted an admirable likeness of Ippolito de' Medici presently to be described. He had the bad luck on this occasion to miss the lady Cornelia, who had retired to Nuvolara, indisposed and not in good face.
The Lombard school of Titian was the third of the three first great schools of the Revival, in which taste, emancipated from the darkness of the middle ages, sought inspiration in nature and the Greek sculptures.
Most writers observe that Titian had four different manners, at as many different periods of his life: first that of Bellini, somewhat stiff and hard, in which he imitated nature, according to Lanzi, with a greater precision than even Albert Durer, so that "the hairs might be numbered, the skin of the hands, the very pores of the flesh, and the reflection of objects in the pupils seen:" second, an imitation of Giorgione, more bold and full of force; Lanzi says that some of his portraits executed at this time, cannot be distinguished from those of Giorgione: third, his own inimitable style, which he practiced from about his thirtieth year, and which was the result of experience, knowledge, and judgment, beautifully natural, and finished with exquisite care: and fourth, the pictures which he painted in his old age.
But partly because Titian was a Venetian and not a Florentine, and partly, no doubt, because he was still alive, and had been producing picture after picture for over sixty years at the time Vasari published his second edition in 1568, the whole account is so confused and inaccurate that its credit has been severely shaken by modern critics, with the result that it is hardly nowadays considered authentic in any respect.
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