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Updated: June 24, 2025
I have seen only in Titian's pictures those magnificent purple shadows in which the hills round about lay, as the dawn rose faintly behind them; and we looked at Olivet for the last time from our terrace, where we were awaiting the arrival of the horses that were to carry us to Jaffa.
I believe this ocular appreciation is nearer to the essential nature of art than the literary or intellectual appreciation of it. Vide Titian's pictures, which never have anything to say to the intellect, but are a feast to the eyes.
Towards the close of Titian's life, there was none who even approached the old Venetian painter in the art which he practised freely to the last. Painting in Italy was everywhere losing its pre-eminence.
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."
There are pictures of nude women which suggest no impure thought I am well aware of that. I am not railing at such. What I am trying to emphasize is the fact that Titian's Venus is very far from being one of that sort. Without any question it was painted for a bagnio and it was probably refused because it was a trifle too strong. In truth, it is too strong for any place but a public Art Gallery.
Some of Titian's famous pictures are: his own portrait; "Flora," "Holy Family and St. Bridget," "The Last Judgment," "The Entombment," "The Magdalene," "Bacchanal," "St. Sebastian," "Bacchus and Ariadne," and "The Sleeping Venus." English 1775-1851 Pupil of the Royal Academy If the occupation of a shepherd produced a poet, no less did an artist of the first water come out of a barber shop.
His sister, Orsa, came to live at his home and take care of his motherless children. He left the palace on the Grand Canal and bought a home north of Venice, with beautiful gardens attached, and there he lived and worked, entertaining the most illustrious men. Titian's house and gardens became the show place of the country, so many geniuses and famous people visited there.
John, for all its majesty, appear not a little artificial. The little town of Serravalle, still so captivatingly Venetian in its general aspect, holds one of the most magnificent works of Titian's late time, a vast Virgin and Child with St. Peter and St. Andrew. This hangs or did when last seen by the writer in the choir of the Church of St.
Not so with a group of three Madonnas, one of which has for at least two centuries borne Titian's name, another which passes also for a work of the same painter, whilst the third was claimed by Crowe and Cavalcaselle again for Titian, partly on the analogy of the first-mentioned one.
But observe the great picture of Titian's in the ducal palace, of the Doge Antonio Grimani kneeling before Faith: there is a curious lesson in it. The figure of Faith is a coarse portrait of one of Titian's least graceful female models: Faith had become carnal. The eye is first caught by the flash of the Doge's armor. The heart of Venice was in her wars, not in her worship.
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