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Updated: June 24, 2025
Vital creation of character is not possible to Miss Thackeray, but I do not rail against beautiful water-colour indications of balconies, vases, gardens, fields, and harvesters because they have not the fervid glow and passionate force of Titian's Ariadne; Miss Thackeray cannot give us a Maggie Tulliver, and all the many profound modulations of that Beethoven-like countryside: the pine wood and the cripple; this aunt's linen presses, and that one's economies; the boy going forth to conquer the world, the girl remaining at home to conquer herself; the mighty river holding the fate of all, playing and dallying with it for a while, and bearing it on at last to final and magnificent extinction.
A goodness looked out of her comely face, which made me think of the Madonna's in Titian's "Assumption," and her whole aspect expressed a mild and friendly spirit which I find it hard to put in words.
A 'Violante' as some say, the daughter of Titian's scholar, Palma, though dates disprove this sat frequently to Titian, and is said to have been loved by him.
Then, the remembrance of his rooms at the Temple broke in on that vision, and shattered it. No Titian's feast of gentian, tawny brown, and alpen-rose could intoxicate the lover of those books, those papers, that great map. And the scent of leather came to her now as poignantly as if she were once more flitting about noiselessly on her business of nursing.
A sprawling copy of Titian's Venus flanked a somewhat prim peeress by Hoppner; a landscape that smacked of Gainsborough was the companion of a dauby moonlight, that must have figured in the last exhibition; and insipid Roman matrons by Hamilton, and stiff English heroes by Northcote, contrasted with a vast quantity of second-rate delineations of the orgies of Dutch boors and portraits of favourite racers and fancy dogs.
Titian's own pupils, Paris Bordone, Tintoretto, and Schiavone, may also be found here; the first in a Portrait of a Young Man , full of confidence and force.
Titian's canvas, like most of the great altar-pieces of the middle time, was originally arched at the top; but the vandalism of a subsequent epoch has, as in the case of the Madonna di S. Niccola, now in the Vatican, made of this arch a square, thereby greatly impairing the majesty of the general effect.
Learn that line by heart and act, at all events for some time to come, upon Velasquez' opinion in that matter. Titian is much the safest master for you. Raphael's power, such as it characters in his mind; it is "Raphaelesque," properly so called; but Titian's power is simply the power of doing right. Whatever came before Titian, he did wholly as it ought to be done.
"King Francis," says Henry VIII.'s favorite chronicler, Edward Hall, who was there, "is an amiable prince, proud in bearing and gay in manner, with a brown complexion, large eyes, long nose, thick lips, broad chest and shoulders, short legs, and big feet." Titian's portrait gives a loftier and more agreeable idea of Francis I.
In the second picture, John and his wife are kneeling before the pope, "a grand old ecclesiastic, like one of Titian's pontiffs." These pictures, after being carried off by the French from the little church of S.M. la Blanca at Seville, are now in the royal gallery at Madrid. S. Maria "di Loretto." Our Lady of Loretto.
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