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These men and women of the Italian Renaissance have, in their portraits, a very pleasing nobility of aspect: serene, thoughtful, healthy, benign. Titian's courtesans are our archetypes of dignified womanhood; we might fancy Portia or Isabella with such calm, florid beauty, so wholly unmeretricious and uncankered. Compare with these types Holbein's courtiers of Henry VIII.; what scrofulous hogs!
In the Scuola di S. Rocco, Venice. The most Bellinesque work of Titian's youth with which we are acquainted is the curious Man of Sorrows of the Scuola di S. Rocco at Venice, a work so faded, so injured by restoration that to dogmatise as to its technique would be in the highest degree unsafe. The type approaches, among the numerous versions of the Piet
He placed upon the Saviour's bowed figure, Costa's head, as he had painted it in Titian's studio, and the Madonna, in defiance of the stern judges in Madrid, received the sibyl's face, to please himself and do honor to his mother. He made her younger, transformed her white hair to gleaming golden tresses.
Do you suppose Domenichino borrowed so much from his master?" "I fear so. Yet his picture is infinitely superior to this. And, look, here is Domenichino's Death of St. Peter, Martyr, which was borrowed largely from Titian's famous picture of the same subject, which has unfortunately been destroyed." "But don't you call that a species of plagiarism?" queried Malcom. "Undoubtedly it is.
And what wonder, when there are twelve hundred pictures by Palma the Younger in Venice and fifteen hundred by Tintoretto? And behold there are Titians and the works of other artists in proportion. We have seen Titian's celebrated Cain and Abel, his David and Goliah, his Abraham's Sacrifice.
The guide said that after Titian's time and the time of the other great names we had grown so familiar with, high art declined; then it partially rose again an inferior sort of painters sprang up, and these shabby pictures were the work of their hands. Then I said, in my heat, that I "wished to goodness high art had declined five hundred years sooner."
I claim, therefore, that any account of Titian's life based solely on such flimsy evidence as to his age as is found in this letter to Philip the Second is, to say the least, open to grave doubt.
I merely feel that there is a misunderstanding, which I can pardon if he can. One day in the gallery of the Venetian Academy a family party of the English, whom we had often seen from our balcony in their gondolas, were kind enough to pause before Titian's John the Baptist.
In the Campo Santi Apostoli at Venice there stands, a little apart from the church of that name, a chapel which has been for many years the place of worship for the Lutheran congregation. It was in this church that Staniford and Lydia were married six weeks later, before the altar under Titian's beautiful picture of Christ breaking bread.
In weighing the value of Vasari's testimony with reference to the works of Vecellio and other Venetian painters more or less of his own time, it should be borne in mind that he paid two successive visits to Venice, enjoying there the company of the great painter and the most eminent artists of the day, and that on the occasion of Titian's memorable visit to Rome he was his close friend, cicerone, and companion.
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