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Updated: June 1, 2025
"'To eat your supper in a room Blazing with lights, four Titians on the wall And twenty naked girls to change your plate?" Jean laughed. "Something like that, I suppose. Anyway he wants a smart parlour-maid at once, and a motor-car. Also he wants me to wear earrings, and talk slang, and wear the newest sort of clothes." "Poor Penny-plain, are you going to be forced into being twopence coloured?
But here the masterpieces hang thick, and you seem to see them in a luminous atmosphere of their own. And the great saloons, with their superb dim ceilings, their outer wall in splendid shadow, and the sombre opposite glow of mellow canvas and dusky gilding, make, themselves, almost as fine a picture as the Titians and Raphaels they imperfectly reveal.
The portrait on the S. wall, 1592, The Man with the Glove, extolled by Vasari as an opera stupenda, and 1584, The Entombment, on the E. wall, are the two greatest Titians in the Louvre, where the artist's majesty and power are displayed in their highest degree. 1583, The Crown of Thorns, E. wall, is a work of the painter's old age.
His remarkable social and intellectual gifts caused him to be employed also as an ambassador, and he was sent on a diplomatic errand to Spain; but even then his leisure hours were occupied in copying the fine Titians in the King's palace.
As a matter of fact, I find myself when in the Uffizi continually drawn to revisit these walls. The chief treasures are the Titians, the Giorgiones, the Mantegnas, the Carpaccio, and the Bellini allegory. These alone would make the Uffizi a Mecca of connoisseurs.
We now reach the Titians. 1577 and 1580, are good average Sante Conversazioni, the latter is, however, assigned by Mr. Berenson to a pupil. 1581, The Supper at Emmaus, a mature and genuine work; and 1578, the much-admired Virgin and Child with the Rabbit, painted in 1530, next claim our attention. 1593 and 1591 are unknown portraits, the former attributed by Crowe and Cavalcaselle to Pordenone.
As you enter the Museum and pass those magnificent Titians crowded so close together large and mellow spaces, from a more opulent world than ours; greener branches, bluer skies and a more luminous air; a world through which, naturally and at ease, the divine Christ may move, grand, majestic, health-giving, a veritable god; a world from whose grapes the blood of satyrs may be quickened, from whose corn the hearts of heroes may be made strong and come bolt upon El Greco's glacial northern lights, you feel that no fixed objective Truth and no traditional Ideal has a right to put boundaries to the imagination of man.
Eight generations of men have come and gone since Rubens sketched from the Old Masters, but there today stand the chiseled shapes, which were then centuries old, and there today are the "Titians" and the "Raphaellos" just as the exuberant Fleming saw them. Surely this must show us how short are the days of man! "Open then the door; you know how little while we have to stay!"
I acknowledge that two hundred pounds seems to be a very small sum for two undoubted Titians of that size; but, on the other hand, as large Italian pictures are now out of fashion at Paris, where fashion decides of everything, and as these pictures are too large for common rooms, they may possibly come within the price above limited.
In the company of Leslie I saw my first Titians and Vandycks, and felt, as Northcote says, on my good behavior in the presence of portraits so lifelike and inspiring. It was Leslie who inoculated me with a love of Gainsborough, before whose perfect pictures a spectator involuntarily raises his hat and stands uncovered.
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