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Updated: June 1, 2025
"No," he said; "only nations or profiteers can afford him, I suppose. I say, why shouldn't all the bankrupt nations sell their Velasquez and Titians and other swells to the profiteers by force, and then pass a law that any one who holds a picture by an Old Master see schedule must hang it in a public gallery? There seems something in that." "Shall we go down to tea?" said Soames.
And the Italian painters, the Angelos and Raphaels and Da Vincis and Titians, who were geniuses of such universal power that they builded and carved and went on embassies and worked in mathematics only with less splendid success than they painted, they painted because the age demanded it; they painted as the age demanded; they were religious, yet sensuous, like their nation; they felt the influence of the Italian sun and soil.
When we entered the Museo, we found a little old man, gentle, grave, and unobtrusive, varnishing the ugly portrait of some Signor of the cinquecento. Round the walls hung pictures, of mediocre value, in dingy frames; but all of them bore sounding titles. Titians, Lionardos, Guido Renis, and Luinis, looked down and waited for a purchaser. In truth this museum was a bric-
Whatever sensuous glow finer representations may later acquire will be not sensuous merely, but poetical; Titians, Murillos, or Turners are colourists in representation, and their canvases would not be particularly warm or luminous if they represented nothing human or mystical or atmospheric. A stained-glass window or a wall of tiles can outdo them for pure colour and decorative magic.
In default of Raphaels, Giorgiones, and Titians, we should be pleased to hang upon our walls works such as those. But towering above the other artists of Holland, great and small, was one Dutchman, Rembrandt, who holds his own with the greatest of the world. He was born in 1606, the son of a miller at Leyden, who gave him the best teaching there to be had.
The works are various, but the names the same heaps of Rembrandts frowning from the darkened walls, Rubens' glad gorgeous groups, Titians more rich and rare, Claudes always exquisite, sometimes beyond compare, Guido's endless cloying sweetness, the learning of Poussin and the Caracci, and Raphael's princely magnificence crowning all.
The Titians had come to Spain before, and it was from the study of them, perhaps, that Velasquez learned to paint so well. At any rate, we know what he thought of Titian; for Mr.
Those Titians are so gloomy, I shall have my Hobbimas and Tenierses, I think, from my house at the Hague hung over them." "How many castles, palaces, houses, warehouses, shops, have you, Rafael?" Lord Codlingsby asked, laughing. "This is one," Rafael answered. "Come in."
"No," he said; "only nations or profiteers can afford him, I suppose. I say, why shouldn't all the bankrupt nations sell their Velasquez and Titians and other swells to the profiteers by force, and then pass a law that any one who holds a picture by an Old Master see schedule must hang it in a public gallery? There seems something in that." "Shall we go down to tea?" said Soames.
Among the sufferers was Count Andrassy himself, who lost valuable heirlooms from one of his country estates, including several Titians. In spite of that experience, Andrassy, refused to hide his possessions. He preferred the risk of losing them to showing fear, perhaps helping to start a panic. The Hungarian collection came near missing the Jason.
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