file which includes the original        
illustrations4       ,see #abfeg-;h4htm 
or #abfeg-;h4zip3                       
7https3_/_/www4gutenberg4org_/#a_/b_/f_/
e_/abfeg_/abfeg-;h_/#abfeg-;h4htm7      
or                                      
7https3_/_/www4gutenberg4org_/#a_/b_/f_/
e_/abfeg_/abfeg-;h4zip7      ,,the      
,,later ,,work ,,of ,,titian  ,by       
,,claude ,,phillips  ,keeper of the     
,wallace ,collection  #ahih             
,illustration3 ,titian4 ,from a         
photograph by ,g4 ,brogi4               
,illustration      ,,list ,,of          
,,illustrations   ,,copper ,,plates     
,portrait of ,titian1 by himself4       
,uffizi ,gallery1 ,florence4            
,frontispiece  ,la ,bella di ,tiziano4  
,pitti ,palace1 ,florence4  ,titian's   
daughter ,lavinia4 ,berlin ,gallery4    
,the ,cornaro ,family4 ,collection of   
the ,duke of ,northumberland4           
,,illustrations ,,printed ,,in ,,sepia  
,drawing of ,st4 ,jerome4 ,british      
,museum4  ,landscape with ,stag4        

,collection of ,professor ,legros4      
,,illustrations ,,in ,,the ,,text       
,madonna and ,child with ,st4 ,catherine
 and ,st4 ,john the ,baptist4 ,in the   
,national ,gallery4  ,cardinal ,ippolito
 de' ,medici4 ,pitti ,palace1 ,florence4
  ,francis the ,first4 ,louvre4         
,portrait of a ,nobleman4 ,pitti        
,palace1 ,florence4  ,s4 ,giovanni      
,elemosinario giving ,alms4 ,in the     
,church of that name at ,venice4  ,the  
,girl in the ,fur ,cloak4 ,imperial     
,gallery1 ,vienna4  ,francesco ,maria   
della ,rovere1 ,duke of ,urbino4 ,uffizi
 ,gallery1 ,florence4  ,the ,battle of  
,cadore 7from a reduced copy of part    
only74 ,uffizi ,gallery1 ,florence4     
,the ,presentation of the ,virgin in the
 ,temple4 ,accademia delle ,belle ,arti1
 ,venice4  ,the ,magdalen4 ,pitti       
,palace1 ,florence4  ,the ,infant       
,daughter of ,roberto ,strozzi4 ,royal  
,gallery1 ,berlin4  ,ecce ,homo4        
,imperial ,gallery1 ,vienna  ,aretino4  
,pitti ,palace1 ,florence  ,pope ,paul  

,,iii4 with ,cardinal ,farnese and      
,ottavio ,farnese4 ,naples ,gallery     
,dana and the ,golden ,rain4 ,naples    
,gallery  ,charles ,v4 at the ,battle of
 ,mhlberg4 ,gallery of the ,prado1      
,madrid  ,venus with the ,mirror4       
,gallery of the ,hermitage1 ,st4        
,petersburg  ,christ crowned with       
,thorns4 ,louvre  ,the ,rape of ,europa 
,portrait of ,titian1 by himself4       
,gallery of the ,prado1 ,madrid  ,st4   
,jerome in the ,desert4 ,gallery of the 
,brera1 ,milan  ,the ,education of      
,cupid4 ,gallery of the ,villa          
,borghese1 ,rome  ,religion succoured by
 ,spain4 ,gallery of the ,prado1 ,madrid
  ,portrait of the ,antiquary ,jacopo da
 ,strada4 ,imperial ,gallery1 ,vienna   
,madonna and ,child4 ,collection of ,mr4
 ,ludwig ,mond  ,christ crowned with    
,thorns4 ,alte ,pinakothek1 ,munich     
,piet4 ,by ,titian and ,palma ,giovine4 
,accademia delle ,belle ,arti1 ,venice  
,,the ,,later ,,work ,,of ,,titian      
,,chapter ,i  ,friendship with          

,aretino--,its effect on ,titian's      
art--,characteristics of the middle     
period--,madonna with ,st4 ,catherine of
 ,national ,gallery--,portraits not     
painted from life--,magdalen of the     
,pitti--,first ,portrait of ,charles    
,v4--,titian the painter1 par           
excellence1 of aristocratic traits--,the
 d',avalos ,allegory--,portrait of      
,cardinal ,ippolito de' ,medici--,s4    
,giovanni ,elemosinario altar-piece4    
,having followed ,titian as far as the  
year #aecj1 rendered memorable by that  
sensational1 and1 of its kind1          
triumphant achievement1 ,the ,martyrdom 
of ,st4 ,peter the ,dominican1 we must  
retrace our steps some three years in   
order to dwell a little upon an incident
 which must appear of vital importance  
to those who seek to understand         
,titian's life1 and1 above all1 to      
follow the development of his art during
 the middle period of splendid maturity 
reaching to the confines of old age4    
,this incident is the meeting with      

,pietro ,aretino at ,venice in #aebg1   
and the gradual strengthening by mutual 
service and mutual inclination of the   
bonds of a friendship which is to endure
 without break until the life of the    
,aretine comes1 many years later1 to a  
sudden and violent end4 ,titian was at  
that time fifty years of age1 and he    
might thus be deemed to have over-passed
 the age of sensuous delights4 ,yet it  
must be remembered that he was in the   
fullest vigour of manhood1 and had only 
then arrived at the middle point of a   
career which1 in its untroubled         
serenity1 was to endure for a full      
half-century more1 less a single year4  
,three years later on1 that is to say in
 the middle of ,august #aecj1 the death 
of his wife ,cecilia1 who had borne to  
him ,pomponio1 ,orazio1 and ,lavinia1   
left him all disconsolate1 and so       
embarrassed with the cares of his young 
family that he was compelled to appeal  
to his sister ,orsa1 who thereupon came 
from ,cadore to preside over his        

household4 ,the highest point of        
celebrity1 of favour with princes and   
magnates1 having been attained1 and a   
certain royalty in ,venetian art being  
already conceded to him1 there was no   
longer any obstacle to the organising of
 a life in which all the refinements of 
culture and all the delights of sense   
were to form the most agreeable relief  
to days of continuous and magnificently 
fruitful labour4 ,it is just because    
,titian's art of this great period of   
some twenty years so entirely accords   
with what we know1 and may legitimately 
infer1 to have been his life at this    
time1 that it becomes important to      
consider the friendship with ,aretino   
and the rise of the so-called           
,triumvirate1 which was a kind of       
,council of ,three1 having as its raison
 d'tre the mutual furtherance of        
material interests1 and the pursuit of  
art1 love1 and pleasure4 ,the third     
member of the ,triumvirate was ,jacopo  
,tatti or del ,sansovino1 the           

,florentine sculptor1 whose fame and    
fortune were so far above his deserts as
 an artist4 ,coming to ,venice after the
 sack of ,rome1 which so entirely for   
the moment disorganised art and artists 
in the pontifical city1 he elected to   
remain there notwithstanding the        
pressing invitations sent to him by     
,francis the ,first to take service with
 him4 ,in #aebi he was appointed        
architect of ,san ,marco1 and he then by
 his adhesion completed the ,triumvirate
 which was to endure for more than a    
quarter of a century4  ,it has always   
excited a certain sense of distrust in  
,titian1 and caused the world to form a 
lower estimate of his character than it 
would otherwise have done1 that he      
should have been capable of thus living 
in the closest and most fraternal       
intimacy with a man so spotted and in   
many ways so infamous as ,aretino4      
,without precisely calling ,titian to   
account in set terms1 his biographers   
,crowe and ,cavalcaselle1 and above all 

,m4 ,georges ,lafenestre in ,la ,vie et 
,l',oeuvre du ,titien1 have relentlessly
 raked up ,aretino's past before he came
 together with the ,cadorine1 and as    
pitilessly laid bare that organised     
system of professional sycophancy1      
adulation1 scurrilous libel1 and        
blackmail1 which was the foundation and 
the backbone of his life of outward pomp
 and luxurious ease at ,venice4 ,by     
them1 as by his other biographers1 he   
has been judged1 not indeed unjustly1   
yet perhaps too much from the standard  
of our own time1 too little from that of
 his own4 ,with all his infamies1       
,aretino was a man whom sovereigns and  
princes1 nay even pontiffs1 delighted to
 honour1 or rather to distinguish by    
honours4 ,the ,marquess ,federigo       
,gonzaga of ,mantua1 the ,duke          
,guidobaldo ,,ii4 of ,urbino1 among many
 others1 showed themselves ready to     
propitiate him2 and such a man as       
,titian the worldly-wise1 the lover of  
splendid living to whom ample means and 

the fruitful favour of the great were a 
necessity2 who was grasping yet not     
avaricious1 who loved wealth chiefly    
because it secured material             
consideration and a life of serene      
enjoyment2 such a man could not be      
expected to rise superior to the        
temptations presented by a friendship   
with ,aretino1 or to despise the immense
 advantages which it included4 ,as he is
 revealed by his biographers1 and above 
all by himself1 ,aretino was essentially
 good company4 ,he could pass off his   
most flagrant misdeeds1 his worst       
sallies1 with a certain large and       
,rabelaisian gaiety2 if he made money   
his chief god1 it was to spend it in    
magnificent clothes and high living1 but
 also at times with an intelligent and  
even a beneficent liberality4 ,he was a 
fine though not an unerring connoisseur 
of art1 he had a passionate love of     
music1 and an unusually exquisite       
perception of the beauties of ,nature4  
,to hint that the lower nature of the   

man corrupted that of ,titian1 and      
exercised a disintegrating influence    
over his art1 would be to go far beyond 
the requirements of the case4 ,the great
 ,venetian1 though he might at this     
stage be much nearer to earth than in   
those early days when he was enveloped  
in the golden glow of ,giorgione's      
overmastering influence1 could never    
have lowered himself to the level of    
those too famous ,sonetti ,lussuriosi   
which brought down the vengeance of even
 a ,medici ,pope 7,clement ,,vii47 upon 
,aretino the writer1 ,giulio ,romano the
 illustrator1 and ,marcantonio ,raimondi
 the engraver4 ,gracious and dignified  
in sensuousness he always remained even 
when1 as at this middle stage of his    
career1 the vivifying shafts of poetry  
no longer pierced through1 and          
transmuted with their vibration of true 
passion1 the fair realities of life4 ,he
 could never have been guilty of the    
frigid and calculated indecency of a    
,giulio ,romano2 he could not have cast 

aside all conventional restraints1 of   
taste as well as of propriety1 as       
,rubens and even ,rembrandt did on      
occasion2 but as ,van ,dyck1 the child  
of ,titian almost as much as he was the 
child of ,rubens1 ever shrank from      
doing4 ,still the ease and splendour of 
the life at ,biri ,grande--that pleasant
 abode with its fair gardens overlooking
 ,murano1 the ,lagoons1 and the ,friulan
 ,alps1 to which ,titian migrated in    
#aeca--the ,epicureanism which saturated
 the atmosphere1 the necessity for      
keeping constantly in view the material 
side of life1 all these things operated 
to colour the creations which mark this 
period of ,titian's practice1 at which  
he has reached the apex of pictorial    
achievement1 but shows himself too      
serene in sensuousness1 too unruffled in
 the masterly practice of his profession
 to give to the heart the absolute      
satisfaction that he affords to the     
eyes4 ,this is the greatest test of     
genius of the first order--to preserve  

undimmed in mature manhood and old age  
the gift of imaginative interpretation  
which youth and love give1 or lend1 to  
so many who1 buoyed up by momentary     
inspiration1 are yet not to remain      
permanently in the first rank4 ,with    
,titian at this time supreme ability is 
not invariably illumined from within by 
the lamp of genius2 the light flashes   
forth nevertheless1 now and again1 and  
most often in those portraits of men of 
which the sublime ,charles ,v4 at       
,mhlberg is the greatest4 ,towards the  
end the flame will rise once more and   
steadily burn1 with something on        
occasion of the old heat1 but with a hue
 paler and more mysterious1 such as may 
naturally be the outward symbol of      
genius on the confines of eternity4     
,the second period1 following upon the  
completion of the ,st4 ,peter ,martyr1  
is one less of great altar-pieces and   
poesie such as the miscalled ,sacred and
 ,profane ,love 7,medea and ,venus71 the
 ,bacchanals1 and the ,bacchus and      

,ariadne1 than it is of splendid        
nudities and great portraits4 ,in the   
former1 however mythological be the     
subject1 it is generally chosen but to  
afford a decent pretext for the generous
 display of beauty unveiled4 ,the       
portraits are at this stage less often  
intimate and soul-searching in their    
summing up of a human personality than  
they are official presentments of great 
personages and noble dames2 showing     
them1 no doubt1 without false adulation 
or cheap idealisation1 yet much as they 
desire to appear to their allies1 their 
friends1 and their subjects1 sovereign  
in natural dignity and aristocratic     
grace1 yet essentially in a moment of   
representation4 ,farther on the great   
altar-pieces reappear more sombre1 more 
agitated in passion1 as befits the      
period of the sixteenth century in which
 ,titian's latest years are passed1 and 
the patrons for whom he paints4 ,of the 
poesie there is then a new upspringing1 
a new efflorescence1 and we get by the  

side of the ,venus and ,adonis1 the     
,diana and ,acton1 the ,diana and       
,calisto1 the ,rape of ,europa1 such    
pieces of a more exquisite and          
penetrating poetry as the ,venere del   
,pardo of ,paris1 and the ,nymph and    
,shepherd of ,vienna4  ,this appears to 
be the right place to say a word about  
the magnificent engraving by ,van ,dalen
 of a portrait1 no longer known to      
exist1 but which has1 upon the evidence 
apparently of the print1 been put down  
as that of ,titian by himself4 ,it      
represents a bearded man of some        
thirty-five years1 dressed in a rich but
 sombre habit1 and holding a book4 ,the 
portrait is evidently not that of a     
painter by himself1 nor does it         
represent ,titian at any age2 but it    
finely suggests1 even in black and      
white1 a noble original by the master4  
,now1 a comparison with the best        
authenticated portrait of ,aretino1 the 
superb three-quarter length painted in  
#aede1 and actually at the ,pitti       

,palace1 reveals certain marked         
similarities of feature and type1       
notwithstanding the very considerable   
difference of age between the personages
 represented4 ,very striking is the     
agreement of eye and nose in either     
case1 while in the younger as in the    
older man we note an idiosyncrasy in    
which vigorous intellect as well as     
strong sensuality has full play4 ,van   
,dalen's engraving very probably        
reproduces one of the lost portraits of 
,aretino by ,titian4 ,in ,crowe and     
,cavalcaselle's ,biography 7vol4 i4 pp4 
#cag-cai7 we learn from correspondence  
interchanged in the summer of #aebg     
between ,federigo ,gonzaga1 ,titian1 and
 ,aretino1 that the painter1 in order to
 propitiate the ,mantuan ruler1 sent to 
him with a letter1 the exaggerated      
flattery of which savours of ,aretino's 
precept and example1 portraits of the   
latter and of ,signor ,hieronimo        
,adorno1 another faithful servant of the
 ,marquess4 ,now ,aretino was born in   

#adib1 so that in #aebg he would be     
thirty-five1 which appears to be just   
about the age of the vigorous and       
splendid personage in ,van ,dalen's     
print4  ,some reasons were given in the 
former section of this monograph#a for  
the assertion that the ,madonna with    
,st4 ,catherine1 mentioned in a letter  
from ,giacomo ,malatesta to the         
,marchese ,federigo ,gonzaga1 dated     
,february #aecj1 was not1 as is assumed 
by ,crowe and ,cavalcaselle1 the        
,madonna del ,coniglio of the ,louvre1  
but the ,madonna and ,child with ,st4   
,john the ,baptist and ,st4 ,catherine1 
which is ,no4 #fce at the ,national     
,gallery4#b ,few pictures of the master 
have been more frequently copied and    
adapted than this radiantly beautiful   
piece1 in which the dominant chord of   
the scheme of colour is composed by the 
cerulean blues of the heavens and the   
,virgin's entire dress1 the deep        
luscious greens of the landscape1 and   
the peculiar1 pale1 citron hue1 relieved

 with a crimson girdle1 of the robe worn
 by the ,st4 ,catherine1 a splendid     
,venetian beauty of no very refined type
 or emotional intensity4 ,perfect repose
 and serenity are the keynote of the    
conception1 which in its luxuriant      
beauty has little of the power to touch 
that must be conceded to the more nave  
and equally splendid ,madonna del       
,coniglio4#c ,it is above all in the    
wonderful ,venetian landscape--a        
mountain-bordered vale1 along which     
flocks and herds are being driven1 under
 a sky of the most intense blue--that   
the master shows himself supreme4       
,nature is therein not so much detailed 
as synthesised with a sweeping breadth  
which makes of the scene not the        
reflection of one beautiful spot in the 
,venetian territory1 but without loss of
 essential truth or character a very    
type of ,venetian landscape of the      
sixteenth century4 ,these herdsmen and  
their flocks1 and also the note of      
warning in the sky of supernatural      

splendour1 recall the beautiful         
,venetian storm-landscape in the royal  
collection at ,buckingham ,palace4 ,this
 has been very generally attributed to  
,titian himself1#d and described as the 
only canvas still extant in which he has
 made landscape his one and only theme4 
,it has1 indeed1 a rare and mysterious  
power to move1 a true poetry of         
interpretation4 ,a fleeting moment1 full
 of portent as well as of beauty1 has   
been seized2 the smile traversed by a   
frown of the stormy sky1 half           
overshadowing half revealing the wooded 
slopes1 the rich plain1 and the distant 
mountains1 is rendered with a rare      
felicity4 ,the beauty is1 all the same1 
in the conception and in the thing      
actually seen--much less in the actual  
painting4 ,it is hardly possible to     
convince oneself1 comparing the work    
with such landscape backgrounds as those
 in this picture at the ,national       
,gallery in the somewhat earlier        
,madonna del ,coniglio1 and the gigantic

 ,st4 ,peter ,martyr1 or1 indeed1 in a  
score of other genuine productions1 that
 the depth1 the vigour1 the authority of
 ,titian himself are here to be         
recognised4 ,the weak treatment of the  
great ,titianesque tree in the          
foreground1 with its too summarily      
indicated foliage--to select only one   
detail that comes naturally to          
hand--would in itself suffice to bring  
such an attribution into question4      
,illustration3 ,madonna and ,child with 
,st4 ,catherine and ,st4 ,john the      
,baptist4 ,national ,gallery4 ,from a   
,photograph by ,morelli4  ,vasari       
states1 speaking confessedly from       
hearsay1 that in #aecj1 the ,emperor    
,charles ,v4 being at ,bologna1 ,titian 
was summoned thither by ,cardinal       
,ippolito de' ,medici1 using ,aretino as
 an intermediary1 and that he on that   
occasion executed a most admirable      
portrait of ,his ,majesty1 all in arms1 
which had so much success that the      
artist received as a present a thousand 

scudi4 ,crowe and ,cavalcaselle1        
however1 adduce strong evidence to prove
 that ,titian was busy in ,venice for   
,federigo ,gonzaga at the time of the   
,emperor's first visit1 and that he only
 proceeded to ,bologna in ,july to paint
 for the ,marquess of ,mantua the       
portrait of a ,bolognese beauty1 ,la    
,cornelia1 the lady-in-waiting of the   
,countess ,pepoli1 whom ,covas1 the     
all-powerful political secretary of     
,charles the ,fifth1 had seen and       
admired at the splendid entertainments  
given by the ,pepoli to the ,emperor4   
,vasari has in all probability          
confounded this journey of ,charles in  
#aecj with that subsequent one          
undertaken in #aecb when ,titian not    
only portrayed the ,emperor1 but also   
painted an admirable likeness of        
,ippolito de' ,medici presently to be   
described4 ,he had the bad luck on this 
occasion to miss the lady ,cornelia1 who
 had retired to ,nuvolara1 indisposed   
and not in good face4 ,the letter       

written by our painter to the ,marquess 
in connection with this incident#e is   
chiefly remarkable as affording evidence
 of his too great anxiety to portray the
 lady without approaching her1 relying  
merely on the portrait1 che fece quel   
altro pittore della detta ,cornelia2 of 
his unwillingness to proceed to         
,nuvolara1 unless the picture thus done 
at second hand should require           
alteration4 ,in truth we have lighted   
here upon one of ,titian's most         
besetting sins1 this willingness1 this  
eagerness1 when occasion offers1 to     
paint portraits without direct reference
 to the model4 ,in this connection we   
are reminded that he never saw ,francis 
the ,first1 whose likeness he           
notwithstanding painted with so showy   
and superficial a magnificence as to    
make up to the casual observer for the  
absence of true vitality2#f that the    
,empress ,isabella1 ,charles ,v4's      
consort1 when at the behest of the      
monarch he produced her sumptuous but   

lifeless and empty portrait1 now in the 
great gallery of the ,prado1 was long   
since dead4 ,he consented1 basing his   
picture upon a likeness of much earlier 
date1 to paint ,isabella d',este        
,gonzaga as a young woman when she was  
already an old one1 thereby flattering  
an amiable and natural weakness in this 
great princess and unrivalled           
dilettante1 but impairing his own       
position as an artist of supreme rank4#g
 ,it is not necessary to include in this
 category the popular ,caterina ,cornaro
 of the ,uffizi1 since it is confessedly
 nothing but a fancy portrait1 making no
 reference to the true aspect at any    
period of the long-since deceased queen 
of ,cyprus1 and1 what is more1 no       
original ,titian1 but at the utmost an  
atelier piece from his entourage4 ,take1
 however1 as an instance the ,francis   
the ,first1 which was painted some few  
years later than the time at which we   
have now arrived1 and at about the same 
period as the ,isabella d',este4 ,though

 as a portrait d'apparat it makes its   
effect1 and reveals the sovereign       
accomplishment of the master1 does it   
not shrink into the merest              
insignificance when compared with such  
renderings from life as the successive  
portraits of ,charles the ,fifth1 the   
,ippolito de' ,medici1 the ,francesco   
,maria della ,rovere8 ,this is as it    
must and should be1 and ,titian is not  
the less great1 but the greater1 because
 he cannot convincingly evolve at second
 hand the true human individuality1     
physical and mental1 of man or woman4   
,it was in the earlier part of #aeca    
that ,titian painted for ,federigo      
,gonzaga a ,st4 ,jerome and a ,st4 ,mary
 ,magdalene1 destined for the famous    
,vittoria ,colonna1 ,marchioness of     
,pescara1 who had expressed to the ruler
 of ,mantua the desire to possess such a
 picture4 ,gonzaga writes to the        
,marchioness on ,march #aa1             
#ahcah3--;,ho subito mandate a ,venezia 
e scritto a ,titiano1 quale  forse il   

piu eccellente in quell' arte che a     
nostri tempi si ritrovi1 ed  tutto mio1 
ricercandolo con grande instantia a     
volerne fare una bella lagrimosa piu che
 si so puo1 e farmela haver presto4 ,the
 passage is worth quoting as showing the
 estimation in which ,titian was held at
 a court which had known and still knew 
the greatest ,italian masters of the    
art4  ,it is not possible at present to 
identify with any extant painting the   
,st4 ,jerome1 of which we know that it  
hung in the private apartments of the   
,marchioness ,isabella at ,mantua4 ,the 
writer is unable to accept ,crowe and   
,cavalcaselle's suggestion that it may  
be the fine moonlight landscape with    
,st4 ,jerome in prayer which is now in  
the ,long ,gallery of the ,louvre4 ,this
 piece1 if indeed it be by ,titian1     
which is by no means certain1 must      
belong to his late time4 ,the landscape1
 which is marked by a beautiful and     
wholly unconventional treatment of      
moonlight1 for which it would not be    

easy to find a parallel in the painting 
of the time1 is worthy of the ,cadorine1
 and agrees well1 especially in the     
broad treatment of foliage1 with1 for   
instance1 the background in the late    
,venus and ,cupid of the ,tribuna4#i    
,the figure of ,st4 ,jerome1 on the     
other hand1 does not in the peculiar    
tightness of the modelling1 or in the   
flesh-tints1 recall ,titian's masterly  
synthetic way of going to work in works 
of this late period4 ,the noble ,st4    
,jerome of the ,brera1 which indubitably
 belongs to a well-advanced stage in the
 late time1 will be dealt with in its   
right place4 ,though it does not appear 
probable that we have1 in the           
much-admired ,magdalen of the ,pitti1   
the picture here referred to--this last 
having belonged to ,francesco ,maria    
della ,rovere1 ,duke of ,urbino1 and    
representing1 to judge by style1 a      
somewhat more advanced period in the    
painter's career--it may be convenient  
to mention it here4 ,as an example of   

accomplished brush-work1 of handling    
careful and yet splendid in breadth1 it 
is indeed worthy of all admiration4 ,the
 colours of the fair human body1 the    
marvellous wealth of golden blond hair1 
the youthful flesh glowing              
semi-transparent1 and suggesting the    
rush of the blood beneath2 these are    
also the colours of the picture1 aided  
only by the indefinite landscape and the
 deep blue sky of the background4 ,if   
this were to be accepted as the         
,magdalen painted for ,federigo         
,gonzaga1 we must hold1 nevertheless1   
that ,titian with his masterpiece of    
painting only half satisfied the        
requirements of his patron4 ,bellissima 
this ,magdalen undoubtedly is1 but      
hardly lagrimosa pin che si puo4 ,she is
 a belle pcheresse whose repentance sits
 all too lightly upon her1 whose        
consciousness of a physical charm not   
easily to be withstood is hardly        
disguised4 ,somehow1 although the       
picture in no way oversteps the bounds  

of decency1 and cannot be objected to   
even by the most over-scrupulous1 there 
is latent in it a jarring note of       
unrefinement in the presentment of      
exuberant youth and beauty which we do  
not find in the more avowedly sensuous  
,venus of the ,tribuna4 ,this last is an
 avowed act of worship by the artist of 
the naked human body1 and as such1 in   
its noble frankness1 free from all      
offence1 except to those whose scruples 
in matters of art we are not here called
 upon to consider4 ,from this ,magdalen 
to that much later one of the           
,hermitage1 which will be described     
farther on1 is a great step upwards1 and
 it is a step which1 in passing from the
 middle to the last period1 we shall    
more than once find ourselves taking4   
,illustration3 ,,st4 ,,jerome4 ,,pen    
,,drawing ,,by ,,titian 787 ,british    
,museum4  ,it is impossible to give even
 in outline here an account of ,titian's
 correspondence and business relations  
with his noble and royal patrons1       

instructive as it is to follow these    
out1 and to see how1 under the influence
 of ,aretino1 his natural eagerness to  
grasp in every direction at material    
advantages is sharpened2 how he becomes 
at once more humble and more pressing1  
covering with the manner and the tone   
appropriate to courts the reiterated    
demands of the keen and indefatigable   
man of business4 ,it is the less        
necessary to attempt any such account in
 these pages--dealing as we are chiefly 
with the work and not primarily with the
 life of ,titian--seeing that in ,crowe 
and ,cavalcaselle's admirable biography 
this side of the subject1 among many    
others1 is most patiently and           
exhaustively dealt with4  ,in #aeca we  
read of a ,boy ,baptist by ,titian sent 
by ,aretino to ,maximian ,stampa1 an    
imperialist partisan in command of the  
castle of ,milan4 ,the donor            
particularly dwells upon the beautiful  
curl of the ,baptist's hair1 the        
fairness of his skin1 etc41 a           

description which recalls to us1 in     
striking fashion1 the little ,st4 ,john 
in the ,virgin and ,child with ,st4     
,catherine of the ,national ,gallery1   
which belongs1 as has been shown1 to the
 same time4  ,it was on the occasion of 
the second visit of the ,emperor and his
 court to ,bologna at the close of #aecb
 that ,titian first came in personal    
contact with ,charles ,v41 and obtained 
from that monarch his first sitting4 ,in
 the course of an inspection1 with      
,federigo ,gonzaga himself as cicerone1 
of the art treasures preserved in the   
palace at ,mantua1 the ,emperor saw the 
portrait by ,titian of ,federigo1 and   
was so much struck with it1 so intent   
upon obtaining a portrait of himself    
from the same brush1 that the ,marquess 
wrote off at once pressing our master to
 join him without delay in his capital4 
,titian preferred1 however1 to go direct
 to ,bologna in the train of his earlier
 patron ,alfonso d',este4 ,it was on    
this occasion that ,charles's           

all-powerful secretary1 the greedy1     
overbearing ,covos1 exacted as a gift   
from the agents of the ,duke of         
,ferrara1 among other things1 a portrait
 of ,alfonso himself by ,titian2 and in 
all probability obtained also a portrait
 from the same hand of ,ercole d',este1 
the heir-apparent4 ,there is evidence to
 show that the portrait of ,alfonso was 
at once handed over to1 or appropriated 
by1 the ,emperor4  ,whether this was the
 picture described by ,vasari as        
representing the prince with his arm    
resting on a great piece of artillery1  
does not appear4 ,of this last a copy   
exists in the ,pitti ,gallery which     
,crowe and ,cavalcaselle have ascribed  
to ,dosso ,dossi1 but the original is   
nowhere to be traced4 ,the ,ferrarese   
ruler is1 in this last canvas1 depicted 
as a man of forty or upwards1 of        
resolute and somewhat careworn aspect4  
,it has already been demonstrated1 on   
evidence furnished by ,herr ,carl       
,justi1 that the supposed portrait of   

,alfonso1 in the gallery of the ,prado  
at ,madrid1 cannot possibly represent   
,titian's patron at any stage of his    
career1 but in all probability1 like the
 so-called ,giorgio ,cornaro of ,castle 
,howard1 is a likeness of his son and   
successor1 ,ercole ,,ii4  ,titian's     
first portrait of the ,emperor1 a       
full-length in which he appeared in     
armour with a generalissimo's baton of  
command1 was taken in #aeef from        
,brussels to ,madrid1 after the formal  
ceremony of abdication1 and perished1 it
 would appear1 in one of the too        
numerous fires which have devastated    
from time to time the royal palaces of  
the ,spanish capital and its            
neighbourhood4 ,to the same period      
belongs1 no doubt1 the noble full-length
 of ,charles in gala court costume which
 now hangs in the ,sala de la ,reina    
,isabel in the ,prado ,gallery1 as a    
pendant to ,titian's portrait of ,philip
 ,,ii4 in youth4 ,crowe and             
,cavalcaselle assume that not this      

picture1 but a replica1 was the one     
which found its way into ,charles ,i4's 
collection1 and was there catalogued by 
,van der ,doort as the ,emperor ,charles
 the ,fifth1 brought by the king from   
,spain1 being done at length with a big 
white ,irish dog--going afterwards1 at  
the dispersal of the king's effects1 to 
,sir ,balthasar ,gerbier for #aej4      
,there is1 however1 no valid reason for 
doubting that this is the very picture  
owned for a time by ,charles ,i41 and   
which busy intriguing ,gerbier          
afterwards bought1 only to part with it 
to ,cardenas the ,spanish ambassador4#aj
 ,other famous originals by ,titian were
 among the choicest gifts made by       
,philip ,,iv4 to ,prince ,charles at the
 time of his runaway expedition to      
,madrid with the ,duke of ,buckingham1  
and this was no doubt among them4       
,confirmation is supplied by the fact   
that the references to the existence of 
this picture in the royal palaces of    
,madrid are for the reigns of ,philip   

,,ii41 ,charles ,,ii41 and ,charles     
,,iii41 thus leaving a large gap        
unaccounted for4 ,dimmed as the great   
portrait is1 robbed of its glow and its 
chastened splendour in a variety of     
ways1 it is still a rare example of the 
master's unequalled power in rendering  
race1 the unaffected consciousness of   
exalted rank1 natural as distinguished  
from assumed dignity4 ,there is here no 
demonstrative assertion of grandeza1 no 
menacing display of truculent authority1
 but an absolutely serene and simple    
attitude such as can only be the outcome
 of a consciousness of supreme rank and 
responsibility which it can never have  
occurred to any one to call into        
question4 ,to see and perpetuate these  
subtle qualities1 which go so far to    
redeem the physical drawbacks of the    
,house of ,hapsburg1 the painter must   
have had a peculiar instinct for what is
 aristocratic in the higher sense of the
 word--that is1 both outwardly and      
inwardly distinguished4 ,this was indeed

 one of the leading characteristics of  
,titian's great art1 more especially in 
portraiture4 ,giorgione went deeper1    
knowing the secret of the soul's        
refinement1 the aristocracy of poetry   
and passion2 ,lotto sympathetically laid
 bare the heart's secrets and showed the
 pathetic helplessness of humanity4     
,tintoretto communicated his own savage 
grandeur1 his own unrest1 to those whom 
he depicted2 ,paolo ,veronese charmed   
without arrire-pense by the intensity of
 vitality which with perfect simplicity 
he preserved in his sitters4 ,yet to    
,titian must be conceded absolute       
supremacy in the rendering not only of  
the outward but of the essential        
dignity1 the refinement of type and     
bearing1 which without doubt come       
unconsciously to those who can boast a  
noble and illustrious ancestry4  ,again 
the writer hesitates to agree with      
,crowe and ,cavalcaselle when they place
 at this period1 that is to say about   
#aecc1 the superb ,allegory of the      

,louvre 7,no4 #aehi71 which is very     
generally believed to represent the     
famous commander ,alfonso d',avalos1    
,marqus del ,vasto1 with his family4    
,the eminent biographers of ,titian     
connect the picture with the return of  
d',avalos from the campaign against the 
,turks1 undertaken by him in the autumn 
of #aecb1 under the leadership of ,croy1
 at the behest of his imperial master4  
,they hazard the surmise that the       
picture1 though painted after ,alfonso's
 return1 symbolises his departure for   
the wars1 consoled by ,victory1 ,love1  
and ,hymen4 ,a more natural conclusion  
would surely be that what ,titian has   
sought to suggest is the return of the  
commander to enjoy the hard-earned      
fruits of victory4  ,illustration3      
,cardinal ,ippolito de' ,medici4 ,pitti 
,palace1 ,florence4 ,from a ,photograph 
by ,g4 ,brogi4  ,the ,italo-,spanish    
grandee was born at ,naples in #aejb1 so
 that at this date he would have been   
but thirty-one years of age1 whereas the

 mailed warrior of the ,allegory is at  
least forty1 perhaps older4 ,moreover1  
and this is the essential point1 the    
technical qualities of the picture1 the 
wonderful easy mastery of the handling1 
the peculiarities of the colouring and  
the general tone1 surely point to a     
rather later date1 to a period1 indeed1 
some ten years ahead of the time at     
which we have arrived4 ,if we are to    
accept the tradition that this          
,allegory1 or quasi-allegorical         
portrait-piece1 giving a fanciful       
embodiment to the pleasures of martial  
domination1 of conjugal love1 of        
well-earned peace and plenty1 represents
 d',avalos1 his consort ,mary of        
,arragon1 and their family--and a       
comparison with the well-authenticated  
portrait of ,del ,vasto in the          
,allocution of ,madrid does not carry   
with it entire conviction--we must      
perforce place the ,louvre picture some 
ten years later than do ,crowe and      
,cavalcaselle4 ,apart from the question 

of identification1 it appears to the    
writer that the technical execution of  
the piece would lead to a similar       
conclusion4#aa  ,to this year1 #aecc1   
belongs one of the masterpieces in      
portraiture of our painter1 the         
wonderful ,cardinal ,ippolito de'       
,medici in a ,hungarian habit of the    
,pitti4 ,this youthful ,prince of the   
,church1 the natural son of ,giuliano   
de' ,medici1 ,duke of ,nemours1 was born
 in #aeaa1 so that when ,titian so      
incomparably portrayed him1 he was1 for 
all the perfect maturity of his virile  
beauty1 for all the perfect             
self-possession of his aspect1 but      
twenty-two years of age4 ,he was the    
passionate worshipper of the divine     
,giulia ,gonzaga1 whose portrait he     
caused to be painted by ,sebastiano del 
,piombo4 ,his part in the war undertaken
 by ,charles ,v4 in #aecb1 against the  
,turks1 had been a strange one4 ,clement
 ,,vii41 his relative1 had appointed him
 ,legate and sent him to ,vienna at the 

head of three hundred musketeers4 ,but  
when ,charles withdrew from the army to 
return to ,italy1 the ,italian          
contingent1 instead of going in pursuit 
of the ,sultan into ,hungary1           
opportunely mutinied1 thus affording to 
their pleasure-loving leader the desired
 pretext for riding back with them      
through the ,austrian provinces1 with   
eyes wilfully closed the while to their 
acts of depredation4 ,it was in the rich
 and fantastic habit of a ,hungarian    
captain that the handsome young ,medici 
was now painted by ,titian at ,bologna1 
the result being a portrait unique of   
its kind even in his life-work4 ,the    
sombre glow of the supple1 youthful     
flesh1 the red-brown of the rich velvet 
habit which defines the perfect shape of
 ,ippolito1 the red of the fantastic    
plumed head-dress worn by him with such 
sovereign ease1 make up a deep harmony1 
warm1 yet not in the technical sense    
hot1 and of indescribable effect4 ,and  
this effect is centralised in the       

uncanny glance1 the mysterious aspect of
 the man whom1 as we see him here1 a    
woman might love for his beauty1 but a  
man would do well to distrust4 ,the     
smaller portrait painted by ,titian     
about the same time of the young        
,cardinal fully armed--the one which1   
with the ,pitti picture1 ,vasari saw in 
the closet 7guardaroba7 of ,cosimo1     
,duke of ,tuscany--is not now known to  
exist4#ab  ,illustration3 ,francis the  
,first4 ,louvre4 ,from a ,photograph by 
,neurdein4  ,illustration3 ,portrait of 
a ,nobleman4 ,pitti ,palace1 ,florence4 
,from a ,photograph by ,e4 ,alinari4    
,it may be convenient to mention here   
one of the most magnificent among the   
male portraits of ,titian1 the ,young   
,nobleman in the ,sala di ,marte of the 
,pitti ,gallery1 although its exact     
place in the middle time of the artist  
it is1 failing all data on the point1   
not easy to determine4 ,at ,florence    
there has somehow been attached to it   
the curious name ,howard duca di        

,norfolk1#ac but upon what grounds1 if  
any1 the writer is unable to state4 ,the
 master of ,cadore never painted a head 
more finely or with a more exquisite    
finesse1 never more happily             
characterised a face1 than that of this 
resolute1 self-contained young patrician
 with the curly chestnut hair and the   
short1 fine beard and moustache--a      
personage high of rank1 doubtless1      
notwithstanding the studied simplicity  
of his dress4 ,because we know nothing  
of the sitter1 and there is in his pose 
and general aspect nothing sensational1 
this masterpiece is1 if not precisely   
not less celebrated among connoisseurs1 
at any rate less popular with the larger
 public1 than it deserves to be4#ad     
,illustration3 ,s4 ,giovanni            
,elemosinario giving ,alms4 ,in the     
,church of that name at ,venice4 ,from a
 ,photograph by ,naya4  ,the noble      
altar-piece in the church of ,s4        
,giovanni ,elemosinario at ,venice      
showing the saint of that name          

enthroned1 and giving alms to a beggar1 
belongs to the close of #aecc or        
thereabouts1 since the high-altar was   
finished in the month of ,october of    
that year4 ,according to ,vasari1 it    
must be regarded as having served above 
all to assert once for all the supremacy
 of ,titian over ,pordenone1 whose      
friends had obtained for him the        
commission to paint in competition with 
the ,cadorine an altar-piece for one of 
the apsidal chapels of the church1      
where1 indeed1 his work is still to be  
seen4#ae ,titian's canvas1 like most of 
the great altar-pieces of the middle    
time1 was originally arched at the top2 
but the vandalism of a subsequent epoch 
has1 as in the case of the ,madonna di  
,s4 ,niccola1 now in the ,vatican1 made 
of this arch a square1 thereby greatly  
impairing the majesty of the general    
effect4 ,titian here solves the problem 
of combining the strong and simple      
decorative aspect demanded by the       
position of the work as the central     

feature of a small church1 with the     
utmost pathos and dignity1 thus doing   
incomparably in his own way--the way of 
the colourist and the warm1 the         
essentially human realist--what         
,michelangelo had1 soaring high above   
earth1 accomplished with unapproachable 
sublimity in the ,prophets and ,sibyls  
of the ,sixtine ,chapel4  ,the colour is
 appropriately sober1 yet a general tone
 is produced of great strength and      
astonishing effectiveness4 ,the         
illumination is that of the open air1   
tempered and modified by an overhanging 
canopy of green2 the great effect is    
obtained by the brilliant grayish white 
of the saint's alb1 dominating and      
keeping in due balance the red of the   
rochet and the under-robes1 the         
cloud-veiled sky1 the marble throne or  
podium1 the dark green hanging4 ,this   
picture must have had in the years to   
follow a strong and lasting influence on
 ,paolo ,veronese1 the keynote to whose 
audaciously brilliant yet never         

over-dazzling colour is this use of     
white and gray in large dominating      
masses4 ,the noble figure of ,s4        
,giovanni gave him a prototype for many 
of his imposing figures of bearded old  
men4 ,there is a strong reminiscence1   
too1 of the saint's attitude in one of  
the most wonderful of extant            
,veroneses--that sumptuous altar-piece  
,,ss4 ,anthony1 ,cornelius1 and ,cyprian
 with a ,page1 in the ,brera1 for which 
he invented a harmony as delicious as it
 is daring1 composed wholly of          
violet-purple1 green1 and gold4         
,,chapter ,,ii  ,francesco ,maria della 
,rovere--,titian and ,eleonora          
,gonzaga--,the ,venus with the          
,shell--,titian's later ideals--,the    
,venus of ,urbino--,the ,bella di       
,tiziano--,the ,twelve ,csars--,titian  
and ,pordenone--,the ,battle of         
,cadore--,portraits of the ,master by   
himself--,the ,presentation in the      
,temple--,the ,allocation of            
,madrid--,the ,ceiling ,pictures of     

,santo ,spirito--,first ,meeting with   
,pope ,paul ,,iii4--,the ,ecce ,homo of 
,vienna--,christ with the ,pilgrims at  
,emmaus4   ,within the years #aecb and  
#aech1 or thereabouts1 would appear to  
fall ,titian's relations with another   
princely patron1 ,francesco ,maria della
 ,rovere1 ,duke of ,urbino1 the nephew  
of the redoubtable ,pope ,julius ,,ii41 
whose qualities of martial ardour and   
unbridled passion he reproduced in an   
exaggerated form4 ,by his mother1       
,giovanna da ,montefeltro1 he descended 
also from the rightful dynasty of       
,urbino1 to which he succeeded in virtue
 of adoption4 ,his life of perpetual    
strife1 of warfare in defence of his    
more than once lost and reconquered     
duchy1 and as the captain first of the  
army of the ,church1 afterwards of the  
,venetian forces1 came to an abrupt end 
in #aech4 ,with his own hand he had1 in 
the ardent days of his youth1 slain in  
the open streets of ,ravenna the        
handsome1 sinister ,cardinal ,alidosi1  

thereby bringing down upon himself the  
anathemas of his uncle1 ,julius ,,ii41  
and furnishing to his successor1 the    
,medici pope ,leo ,x41 the best possible
 excuse for the sequestration of the    
duchy of ,urbino in favour of his own   
house4 ,he himself died by poison1      
suspicion resting upon the infamous     
,pier ,luigi ,farnese1 the son of ,paul 
,,iii4  ,francesco ,maria had espoused  
,eleonora ,gonzaga1 the sister of       
,titian's protector1 ,federigo1 and it  
is probably through the latter that the 
relations with our master sprang up to  
which we owe a small group of his very  
finest works1 including the so-called   
,venus of ,urbino of the ,tribuna1 the  
,girl in a ,fur ,cloak of the ,vienna   
,gallery1 and the companion portraits of
 ,francesco ,maria and ,eleonora which  
are now in the ,venetian ,gallery at the
 ,uffizi4 ,the fiery leader of armies   
had1 it should be remembered1 been      
brought up by ,guidobaldo of            
,montefeltro1 one of the most amiable   

and enlightened princes of his time1    
and1 moreover1 his consort ,eleonora was
 the daughter of ,isabella d',este      
,gonzaga1 than whom the ,renaissance    
knew no more enthusiastic or more       
discriminating patron of art4           
,illustration3 ,the ,girl in the ,fur   
,cloak4 ,imperial ,gallery1 ,vienna4    
,from a ,photograph by ,lwy4  ,a curious
 problem meets us at the outset4 ,we may
 assume with some degree of certainty   
that the portraits of the duke and      
duchess belong to the year #aecg4       
,stylistic characteristics point to the 
conclusion that the great ,venus of the 
,tribuna1 the so-called ,bella di       
,tiziano1 and the ,girl in the ,fur     
,cloak--to take only undoubted          
originals--belong to much the same stage
 of ,titian's practice as the companion 
portraits at the ,uffizi4 ,eleonora     
,gonzaga1 a princess of the highest     
culture1 the daughter of an admirable   
mother1 the friend of ,pietro ,bembo1   
,sadolet1 and ,baldassarre ,castiglione1

 was at this time a matron of some      
twenty years' standing2 at the date when
 her avowed portrait was painted she    
must have been at the very least forty4 
,by what magic did ,titian manage to    
suggest her type and physiognomy in the 
famous pictures just now mentioned1 and 
yet to plunge the duchess into a kind of
 ,fontaine de ,jouvence1 realising in   
the divine freshness of youth and beauty
 beings who nevertheless appear to have 
with her some kind of mystic and        
unsolved connection8 ,if this was what  
he really intended--and the results     
attained may lead us without temerity to
 assume as much--no subtler or more     
exquisite form of flattery could be     
conceived4 ,it is curious to note that  
at the same time he signally failed with
 the portrait of her mother1 ,isabella  
d',este1 painted in #aecd1 but showing  
the ,marchioness of ,mantua as a young  
woman of some twenty-five years1 though 
she was then sixty4 ,here youth and a   
semblance of beauty are called up by the

 magic of the artist1 but the           
personality1 both physical and mental1  
is lost in the effort4 ,but then in this
 last case ,titian was working from an  
early portrait1 and without the living  
original to refer to4  ,but1 before     
approaching the discussion of the ,venus
 of ,urbino1 it is necessary to say a   
word about another ,venus which must    
have been painted some years before this
 time1 revealing1 as it does1 a         
completely different and1 it must be    
owned1 a higher ideal4 ,this is the     
terribly ruined1 yet still beautiful1   
,venus ,anadyomene1 or ,venus of the    
,shell1 of the ,bridgewater ,gallery1   
painted perhaps at the instigation of   
some humanist1 to realise a description 
of the world-famous painting of         
,apelles4 ,it is not at present possible
 to place this picture with anything    
approaching to chronological exactitude4
 ,it must have been painted some years  
after the ,bacchus and ,ariadne of the  
,national ,gallery1 some years before   

the ,venus of the ,tribuna1 and that is 
about as near as surmise can get4 ,the  
type of the goddess in the ,ellesmere   
picture recalls somewhat the ,ariadne in
 our masterpiece at the ,national       
,gallery1 but also1 albeit in a less    
material form1 the ,magdalens of a later
 time4 ,titian's conception of perfect  
womanhood is here midway between his    
earlier ,giorgionesque ideal and the    
frankly sensuous yet grand luxuriance of
 his maturity and old age4 ,he never1   
even in the days of youth and           
,giorgionesque enchantment1 penetrated  
so far below the surface as did his     
master and friend ,barbarelli4 ,he could
 not equal him in giving1 with the      
undisguised physical allurement which   
belongs to the true woman1 as           
distinguished from the ideal conception 
compounded of womanhood's finest        
attributes1 that sovereignty of amorous 
yet of spiritual charm which is its     
complement and its corrective4#af ,still
 with ,titian1 too1 in the earlier      

years1 woman1 as presented in the       
perfection of mature youth1 had1        
accompanying and elevating her bodily   
loveliness1 a measure of that higher and
 nobler feminine attractiveness which   
would enable her to meet man on equal   
terms1 nay1 actively to exercise a      
dominating influence of fascination4 ,in
 illustration of this assertion it is   
only necessary to refer to the draped   
and the undraped figure in the ,medea   
and ,venus 7,sacred and ,profane ,love7 
of the ,borghese ,gallery1 to the       
,herodias of the ,doria ,gallery1 to the
 ,flora of the ,uffizi4 ,here1 even when
 the beautiful ,venetian courtesan is   
represented or suggested1 what the      
master gives is less the mere votary    
than the priestess of love4 ,of this    
power of domination1 this feminine      
royalty1 the ,venus ,anadyomene still   
retains a measure1 but the ,venus of    
,urbino and the splendid succession of  
,venuses and ,danas1 goddesses1 nymphs1 
and heroines belonging to the period of 

the fullest maturity1 show woman in the 
phase in which1 renouncing her power to 
enslave1 she is herself reduced to      
slavery4  ,these glowing presentments of
 physical attractiveness embody a lower 
ideal--that of woman as the plaything of
 man1 his precious possession1 his      
delight in the lower sense4 ,and yet    
,titian expresses this by no means      
exalted conception with a grand candour1
 an absence of arrire-pense such as     
almost purges it of offence4 ,it is     
,giovanni ,morelli who1 in tracing the  
gradual descent from his recovered      
treasure1 the ,venus of ,giorgione in   
the ,dresden ,gallery1#ag through the   
various ,venuses of ,titian down to     
those of the latest manner1 so finely   
expresses the essential difference      
between ,giorgione's divinity and her   
sister in the ,tribuna4 ,the former     
sleeping1 and protected only by her     
sovereign loveliness1 is safer from     
offence than the waking goddess--or     
shall we not rather say woman8--who in  

,titian's canvas passively waits in her 
rich ,venetian bower1 tended by her     
handmaidens4 ,it is again ,morelli#ah   
who points out that1 as compared with   
,correggio1 even ,giorgione--to say     
nothing of ,titian--is when he renders  
the beauty of woman or goddess a        
realist4 ,and this is true in a sense1  
yet not altogether4 ,correggio's ,dana1 
his ,io1 his ,leda1 his ,venus1 are in  
their exquisite grace of form and       
movement farther removed from the mere  
fleshly beauty of the undraped model    
than are the goddesses and women of     
,giorgione4 ,the passion and throb of   
humanity are replaced by a subtler and  
less easily explicable charm2 beauty    
becomes a perfectly balanced and finely 
modulated harmony4 ,still the allurement
 is there1 and it is more consciously   
and more provocatively exercised than   
with ,giorgione1 though the fascination 
of ,correggio's divinities asserts      
itself less directly1 less candidly4    
,showing through the frankly human      

loveliness of ,giorgione's women there  
is after all a higher spirituality1 a   
deeper intimation of that true1 that    
clear-burning passion1 enveloping body  
and soul1 which transcends all exterior 
grace and harmony1 however exquisite it 
may be in refinement of                 
voluptuousness4#ai  ,it is not1 indeed1 
by any means certain that we are        
justified in seriously criticising as a 
,venus the great picture of the         
,tribuna4 ,titian himself has given no  
indication that the beautiful ,venetian 
woman who lies undraped after the bath1 
while in a sumptuous chamber1 furnished 
according to the mode of the time1 her  
handmaidens are seeking for the robes   
with which she will adorn herself1 is   
intended to present the love-goddess1 or
 even a beauty masquerading with her    
attributes4 ,vasari1 who saw it in the  
picture-closet of the ,duke of ,urbino1 
describes it1 no doubt1 as une ,venere  
giovanetta a giacere1 con fieri e certi 
panni sottili attorno4 ,it is manifestly

 borrowed1 too--as is now universally   
acknowledged--from ,giorgione's ,venus  
in the ,dresden ,gallery1 with the      
significant alteration1 however1 that   
,titian's fair one voluptuously dreams  
awake1 while ,giorgione's goddess more  
divinely reposes1 and sleeping dreams   
loftier dreams4 ,the motive is in the   
borrowing robbed of much of its dignity 
and beauty1 and individualised in a     
fashion which1 were any other master    
than ,titian in question1 would have    
brought it to the verge of triviality4  
,still as an example of his unrivalled  
mastery in rendering the glow and       
semi-transparency of flesh1 enhanced by 
the contrast with white linen--itself   
slightly golden in tinge2 in suggesting 
the appropriate atmospheric environment2
 in giving the full splendour of        
,venetian colour1 duly subordinated     
nevertheless to the main motive1 which  
is the glorification of a beautiful     
human body as it is2 in all these       
respects the picture is of superlative  

excellence1 a representative example of 
the master and of ,venetian art1 a piece
 which it would not be easy to match    
even among his own works4  ,more and    
more1 as the supreme artist matures1 do 
we find him disdaining the showier and  
more evident forms of virtuosity4 ,his  
colour is more and more marked in its   
luminous beauty by reticence and        
concentration1 by the search after such 
a main colour-chord as shall not only be
 beautiful and satisfying in itself1 but
 expressive of the motive which is at   
the root of the picture4 ,play of light 
over the surfaces and round the contours
 of the human form2 the breaking-up and 
modulation of masses of colour by that  
play of light2 strength1 and beauty of  
general tone--these are now ,titian's   
main preoccupations4 ,to this point his 
perfected technical art has legitimately
 developed itself from the              
,giorgionesque ideal of colour and      
tone-harmony1 which was essentially the 
same in principle1 though necessarily in

 a less advanced stage1 and more        
diversified by exceptions4 ,our master  
became1 as time went on1 less and less  
interested in the mere dexterous        
juxtaposition of brilliantly harmonising
 and brilliantly contrasting tints1 in  
piquancy1 gaiety1 and sparkle of colour1
 to be achieved for its own sake4       
,indeed this phase of ,venetian         
sixteenth-century colour belongs rather 
to those artists who issued from        
,verona--to the ,bonifazi1 and to ,paolo
 ,veronese--who in this respect1 as     
generally in artistic temperament1      
proved themselves the natural successors
 of ,domenico and ,francesco ,morone1 of
 ,girolamo dai ,libri1 of ,cavazzola4   
,yet when ,titian takes colour itself as
 his chief motive1 he can vie with the  
most sumptuous of them in splendour1 and
 eclipse them all by the sureness of his
 taste4 ,a good example of this is the  
celebrated ,bella di ,tiziano of the    
,pitti ,gallery1 another work which1    
like the ,venus of ,urbino1 recalls the 

features without giving the precise     
personality of ,eleonora ,gonzaga4 ,the 
beautiful but somewhat expressionless   
head with its crowning glory of bright  
hair1 a waving mass of ,venetian gold1  
has been so much injured by rubbing down
 and restoration that we regret what has
 been lost even more than we enjoy what 
is left4 ,but the surfaces of the fair  
and exquisitely modelled neck and bosom 
have been less cruelly treated2 the     
superb costume retains much of its      
pristine splendour4 ,with its           
combination of brownish-purple velvet1  
peacock-blue brocade1 and white lawn1   
its delicate trimmings of gold1 and its 
further adornment with small knots1     
having in them1 now at any rate1 but an 
effaced note of red1 the gown of ,la    
,bella has remained the type of what is 
most beautiful in ,venetian costume as  
it was in the earlier half of the       
sixteenth century4 ,in richness and     
ingenious elaboration1 chastened by     
taste1 it far transcends the            

over-splendid and ponderous dresses in  
which later on the patrician dames      
portrayed by ,veronese and his school   
loved to array themselves4 ,a bright    
note of red in the upper jewel of one   
earring1 now1 no doubt1 cruder than was 
originally intended1 gives a fillip to  
the whole1 after a fashion peculiar to  
,titian4  ,illustration3 ,la ,bella di  
,tiziano4 ,from a photograph by         
,aplinari4 ,walter ,l4 ,cells4 ,ph4     
,the ,girl in the ,fur ,cloak1 ,no #aig 
in the ,imperial ,gallery at ,vienna1   
shows once more in a youthful and       
blooming woman the features of          
,eleonora4 ,the model is nude under a   
mantle of black satin lined with fur1   
which leaves uncovered the right breast 
and both arms4 ,the picture is          
undoubtedly ,titian's own1 and fine in  
quality1 but it reveals less than his   
usual graciousness and charm4 ,it is    
probably identical with the canvas      
described in the often-quoted catalogue 
of ,charles ,i4's pictures as ,a naked  

woman putting on her smock1 which the   
king changed with the ,duchess of       
,buckingham for one of ,his ,majesty's  
,mantua pieces4 ,it may well have       
suggested to ,rubens1 who must have seen
 it among the ,king's possessions on the
 occasion of his visit to ,london1 his  
superb1 yet singularly unrefined1 ,hlne 
,fourment in a ,fur ,mantle1 now also in
 the ,vienna ,gallery4  ,the great      
portraits of the ,duke and ,duchess of  
,urbino in the ,uffizi belong1 as has   
already been noted1 to #aecg4 ,francesco
 ,maria1 here represented in the        
penultimate year of his stormy life1    
assumes deliberately the truculent      
warrior1 and has beyond reasonable doubt
 made his own pose in a portrait        
destined to show the leader of armies1  
and not the amorous spouse or the patron
 of art and artists4 ,praise            
enthusiastic1 but not excessive1 has    
ever been and ever will be lavished on  
the breadth and splendid decision of the
 painting2 on the magnificent rendering 

of the suit of plain but finely         
fashioned steel armour1 with its        
wonderful reflections2 on the energy of 
the virile countenance1 and the         
appropriate concentration and simplicity
 of the whole4 ,the superb head has1 it 
must be confessed1 more grandeur and    
energy than true individuality or life4 
,the companion picture represents       
,eleonora ,gonzaga seated near an open  
window1 wearing a sombre but magnificent
 costume1 and1 completing it1 one of    
those turbans with which the patrician  
ladies of ,north ,italy1 other than     
those of ,venice1 habitually crowned    
their locks4 ,it has suffered in loss of
 freshness and touch more than its      
companion4 ,fine and accurate as the    
portrait is1 much as it surpasses its   
pendant in subtle truth of              
characterisation1 it has in the opinion 
of the writer been somewhat overpraised4
 ,for once1 ,titian approaches very     
nearly to the northern ideal in         
portraiture1 underlining the truth with 

singular accuracy1 yet with some        
sacrifice of graciousness and charm4    
,the daughter of the learned and        
brilliant ,isabella looks here as if1 in
 the decline of her beauty1 she had     
become something of a prcieuse and a    
prude1 though it would be imprudent to  
assert that she was either the one or   
the other4 ,perhaps the most attractive 
feature of the whole composition is the 
beautiful landscape so                  
characteristically stretching away into 
the far blue distance1 suggested rather 
than revealed through the open window4  
,this is such a picture as might have   
inspired the ,netherlander ,antonio     
,moro1 just because it is ,italian art  
of the ,cinquecento with a difference1  
that is1 with a certain admixture of    
northern downrightness and literalness  
of statement4  ,about this same time    
,titian received from the brother of    
this princess1 his patron and admirer   
,federigo ,gonzaga1 the commission for  
the famous series of the ,twelve ,csars1

 now only known to the world by stray   
copies here and there1 and by the       
grotesquely exaggerated engravings of   
gidius ,sadeler4 ,giulio ,romano having 
in #aecfbj completed the ,sala di ,troja
 in the ,castello of ,mantua1 and made  
considerable progress with the          
apartments round about it1 ,federigo    
,gonzaga conceived the idea of devoting 
one whole room to the painted effigies  
of the ,twelve ,csars to be undertaken  
by ,titian4 ,the exact date when the    
,csars were delivered is not known1 but 
it may legitimately be inferred that    
this was in the course of #aecg or the  
earlier half of #aech4 ,our master's    
pictures were1 according to ,vasari1    
placed in an anticamera of the ,mantuan 
,palace1 below them being hung twelve   
storie a olio--histories in oils--by    
,giulio ,romano4#ba ,the ,csars were all
 half-lengths1 eleven out of the twelve 
being done by the ,venetian master and  
the twelfth by ,giulio ,romano          
himself4#bb ,brought to ,england with   

the rest of the ,mantua pieces purchased
 by ,daniel ,nys for ,charles ,i41 they 
suffered injury1 and ,van ,dyck is said 
to have repainted the ,vitellius1 which 
was one of several canvases             
irretrievably ruined by the quicksilver 
of the frames during the transit from   
,italy4#bc ,on the disposal of the royal
 collection after ,charles ,stuart's    
execution the ,twelve ,csars were sold  
by the ,state--not presented1 as is     
usually asserted--to the ,spanish       
,ambassador ,cardenas1 who gave #abjj   
for them4 ,on their arrival in ,spain   
with the other treasures secured on     
behalf of ,philip ,,iv41 they were      
placed in the ,alcazar of ,madrid1 where
 in one of the numerous fires which     
successively devastated the royal palace
 they must have perished1 since no trace
 of them is to be found after the end of
 the seventeenth century4 ,the          
popularity of ,titian's decorative      
canvases is proved by the fact that     
,bernardino ,campi of ,cremona made five

 successive sets of copies from         
them--for ,charles ,v41 d',avalos1 the  
,duke of ,alva1 ,rangone1 and another   
,spanish grandee4 ,agostino ,caracci    
subsequently copied them for the palace 
of ,parma1 and traces of yet other      
copies exist4 ,numerous versions are    
shown in private collections1 both in   
,england and abroad1 purporting to be   
from the hand of ,titian1 but of these  
none--at any rate none of those seen by 
the writer--are originals or even       
,venetian copies4 ,among the best are   
the examples in the collection of ,earl 
,brownlow and at the royal palace of    
,munich respectively1 and these may     
possibly be from the hand of ,campi4    
,although we are expressly told in      
,dolce's ,dialogo that ,titian painted  
the ,twelve ,csars1 taking them in part 
from medals1 in part from antique       
marbles1 it is perfectly clear that of  
the exact copying of antiques--such as  
is to be noted1 for instance1 in those  
marble medallions by ,donatello which   

adorn the courtyard of the ,medici      
,palace at ,florence--there can have    
been no question4 ,the attitudes of the 
,csars1 as shown in the engravings and  
the extant copies1 exclude any such     
supposition4 ,those who have judged them
 from those copies and the hideous      
grotesques of ,sadeler have wondered at 
the popularity of the originals1        
somewhat hastily deeming ,titian to have
 been here inferior to himself4 ,strange
 to say1 a better idea of what he       
intended1 and what he may have realised 
in the originals1 is to be obtained from
 a series of small copies now in the    
,provincial ,museum of ,hanover1 than   
from anything else that has survived4#bd
 ,the little pictures in question1 being
 on copper1 cannot well be anterior to  
the first part of the seventeenth       
century1 and they are not in themselves 
wonders4 ,all the same they have a      
unique interest as proving that1 while  
adopting the pompous attitudes and the  
purely decorative standpoint which the  

position of the pictures in the         
,castello may have rendered obligatory1 
,titian managed to make of his ,emperors
 creatures of flesh and blood2 the      
splendid ,venetian warrior and patrician
 appearing in all the glory of manhood  
behind the conventional dignity1 the    
self-consciousness of the ,roman type   
and attitude4  ,illustration3 ,francesco
 ,maria della ,rovere1 ,duke of ,urbino4
 ,uffizi ,gallery1 ,florence4 ,from a   
,photograph by ,e4 ,alinari4  ,these    
last years had been to ,titian as       
fruitful in material gain as in honour4 
,he had1 as has been seen1 established  
permanent and intimate relations not    
only with the art-loving rulers of the  
,north ,italian principalities1 but now 
with ,charles ,v4 himself1 mightiest of 
,european sovereigns1 and1 as a natural 
consequence1 with the all-powerful      
captains and grandees of the            
,hispano-,austrian court4 ,meanwhile a  
serious danger to his supremacy had     
arisen4 ,at home in ,venice his unique  

position was threatened by ,pordenone1  
that masterly and wonderfully facile    
frescante and painter of monumental     
decorations1 who had on more than one   
occasion in the past been found in      
competition with him4  ,the ,friulan1   
after many wanderings and much labour in
 ,north ,italy1 had settled in ,venice  
in #aece1 and there acquired an immense 
reputation by the grandeur and          
consummate ease with which he had       
carried out great mural decorations1    
such as the faade of ,martin d',anna's  
house on the ,grand ,canal1 comprising  
in its scheme of decoration a ,curtius  
on horse-back and a flying ,mercury     
which according to ,vasari became the   
talk of the town4#be ,here1 at any rate1
 was a field in which even ,titian      
himself1 seeing that he had only at long
 intervals practised in fresco painting1
 could not hope to rival ,pordenone4    
,the ,friulan1 indeed1 in this his      
special branch1 stood entirely alone    
among the painters of ,north ,italy4    

,the ,council of ,ten in ,june #aecg    
issued a decree recording that ,titian  
had since #aeaf been in possession of   
his senseria1 or broker's patent1 and   
its accompanying salary1 on condition   
that he should paint the canvas of the  
land fight on the side of the ,hall of  
the ,great ,council looking out on the  
,grand ,canal1 but that he had drawn his
 salary without performing his promise4 
,he was therefore called upon to refund 
all that he had received for the time   
during which he had done no work4 ,this 
sharp reminder operated as it was       
intended to do4 ,we see from ,aretino's 
correspondence that in ,november #aecg  
,titian was busily engaged on the great 
canvas for the ,doges' ,palace4 ,this   
tardy recognition of an old obligation  
did not prevent the ,council from       
issuing an order in ,november #aech     
directing ,pordenone to paint a picture 
for the ,sala del ,gran ,consiglio1 to  
occupy the space next to that reserved  
for ,titian's long-delayed battle-piece4

  ,that this can never have been        
executed is clear1 since ,pordenone1 on 
receipt of an urgent summons from       
,ercole ,,ii41 ,duke of ,ferrara1       
departed from ,venice in the month of   
,december of the same year1 and falling 
sick at ,ferrara1 died so suddenly as to
 give rise to the suspicion of foul     
play1 which too easily sprang up in     
those days when ambition or private     
vengeance found ready to hand weapons so
 many and so convenient4 ,crowe and     
,cavalcaselle give good grounds for the 
assumption that1 in order to save       
appearances1 ,titian was                
supposed--replacing and covering the    
battle-piece which already existed in   
the ,great ,hall--to be presenting the  
,battle of ,spoleto in ,umbria1 whereas 
it was clear to all ,venetians1 from the
 costumes1 the banners1 and the         
landscape1 that he meant to depict the  
,battle of ,cadore fought in #aejh4 ,the
 latter was a ,venetian victory and an  
,imperial defeat1 the former a ,papal   

defeat and an ,imperial victory4 ,the   
all-devouring fire of #aegg annihilated 
the ,battle of ,cadore with too many    
other works of capital importance in the
 history both of the primitive and the  
mature ,venetian schools4 ,we have      
nothing now to show what it may have    
been1 save the print of ,fontana1 and   
the oil painting in the ,venetian       
,gallery of the ,uffizi1 reproducing on 
a reduced scale part only of the big    
canvas4 ,this last is of ,venetian      
origin1 and more or less contemporary1  
but it need hardly be pointed out that  
it is a copy from1 not a sketch for1 the
 picture4  ,illustration3 ,the ,battle  
of ,cadore 7from a reduced copy of part 
only74 ,uffizi ,gallery1 ,florence4     
,from a ,photograph by ,g4 ,brogi4  ,to 
us who know the vast battle-piece only  
in the feeble echo of the print and the 
picture just now mentioned1 it is a     
little difficult to account for the     
enthusiasm that it excited1 and the     
prominent place accorded to it among the

 most famous of the ,cadorine's works4  
,though the whole has abundant movement 
and passion1 and the mise-en-scne is    
undoubtedly imposing1 the combat is not 
raised above reality into the region of 
the higher and more representative truth
 by any element of tragic vastness and  
significance4 ,even though the          
,imperialists are armed more or less in 
the antique ,roman fashion1 to          
distinguish them from the ,venetians1   
who appear in the accoutrements of their
 own day1 it is still that minor and    
local combat the ,battle of ,cadore that
 we have before us1 and not1 above and  
beyond this battle1 ,war1 as some       
masters of the century1 gifted with a   
higher power of evocation1 might have   
shown it4 ,even as the fragment of      
,leonardo da ,vinci's ,battle of        
,anghiari survives in the free          
translation of ,rubens's well-known     
drawing in the ,louvre1 we see how he   
has made out of the unimportant cavalry 
combat1 yet without conventionality or  

undue transposition1 a representation   
unequalled in art of the frenzy         
generated in man and beast by the clash 
of arms and the scent of blood4 ,and    
,rubens1 too1 how incomparably in the   
,battle of the ,amazons of the          
,pinakothek at ,munich1 he evokes the   
terrors1 not only of one mortal         
encounter1 but of ,war--the hideous din1
 the horror of man let loose and become 
beast once more1 the pitiless yell of   
the victors1 the despairing cry of the  
vanquished1 the irremediable overthrow6 
,it would1 however1 be foolhardy in     
those who can only guess at what the    
picture may have been to arrogate to    
themselves the right of sitting in      
judgment on ,vasari and those           
contemporaries who1 actually seeing1    
enthusiastically admired it4 ,what      
excited their delight must surely have  
been ,titian's magic power of brush as  
displayed in individual figures and     
episodes1 such as that famous one of the
 knight armed by his page in the        

immediate foreground4  ,into this period
 of our master's career there fit very  
well the two portraits in which he      
appears1 painted by himself1 on the     
confines of old age1 vigorous and ardent
 still1 fully conscious1 moreover1      
though without affectation1 of          
pre-eminent genius and supreme artistic 
rank4 ,the portraits referred to are    
those very similar ones1 both of them   
undoubtedly originals1 which are        
respectively in the ,berlin ,gallery and
 the ,painters' ,gallery of the ,uffizi4
 ,it is strange that there should exist 
no certain likeness of the master of    
,cadore done in youth or earlier        
manhood1 if there be excepted the       
injured and more than doubtful          
production in the ,imperial ,gallery of 
,vienna1 which has pretty generally been
 supposed to be an original             
auto-portrait belonging to this period4 
,in the ,uffizi and ,berlin pictures    
,titian looks about sixty years old1 but
 may be a little more or a little less4 

,the latter is a half-length1 showing   
him seated and gazing obliquely out of  
the picture with a majestic air1 but    
also with something of combativeness and
 disquietude1 an element1 this last1    
which is traceable even in some of the  
earlier portraits1 but not in the       
mythological poesie or any sacred work4 
,more and more as we advance through the
 final period of old age do we find this
 element of disquietude and misgiving   
asserting itself in male portraiture1   
as1 for instance1 in the ,maltese       
,knight of the ,prado1 the ,dominican   
,monk of the ,borghese1 the ,portrait of
 a ,man with a ,palm ,branch of the     
,dresden ,gallery4 ,the atmosphere of   
sadness and foreboding enveloping man is
 traceable back to ,giorgione2 but with 
him it comes from the plenitude of inner
 life1 from the gaze turned inwards upon
 the mystery of the human individuality 
rather than outwards upon the inevitable
 tragedies of the exterior life common  
to all4 ,this same atmosphere of        

passionate contemplativeness enwraps1   
indeed1 all that ,giorgione did1 and is 
the cause that he sees the world and    
himself lyrically1 not dramatically2 the
 flame of aspiration burning steadily at
 the heart's core and leaving the       
surface not indeed unruffled1 but       
outwardly calm in its glow4 ,titian's is
 the more dramatic temperament in       
outward things1 but also the more       
superficial4 ,it must be remembered1    
too1 that arriving rapidly at the       
maturity of his art1 and painting all   
through the period of the full          
,renaissance1 he was able with far less 
hindrance from technical limitations to 
express his conceptions to the full4    
,his portraiture1 however1 especially   
his male portraiture1 was and remained  
in its essence a splendid and full-blown
 development of the ,giorgionesque      
ideal4 ,it was grander1 more            
accomplished1 and for obvious reasons   
more satisfying1 yet far less           
penetrating1 less expressive of the     

inner fibre1 whether of the painter or  
of his subject4  ,but to return to the  
portrait of ,berlin4 ,it is in parts    
unfinished1 and therefore the more      
interesting as revealing something of   
the methods employed by the master in   
this period of absolute mastery1 when   
his palette was as sober in its strength
 as it was rich and harmonious2 when1 as
 ever1 execution was a way to an end1   
and therefore not to be vain-gloriously 
displayed merely for its own sake4 ,the 
picture came1 with very many other      
masterpieces of the ,italian and        
,netherlandish schools1 from the ,solly 
collection1 which formed the nucleus of 
the ,berlin ,gallery4 ,the ,uffizi      
portrait emerges noble still1 in its    
semi-ruined state1 from a haze of       
restoration and injury1 which has not   
succeeded in destroying the exceptional 
fineness and sensitiveness of the       
modelling4 ,although the pose and       
treatment of the head are practically   
identical with that in the ,berlin      

picture1 the conception seems a less    
dramatic one4 ,it includes1 unless the  
writer has misread it1 an element of    
greater mansuetude and a less perturbed 
reflectiveness4  ,the double portrait in
 the collection of ,her ,majesty the    
,queen at ,windsor ,castle1 styled      
,titian and ,franceschini#bf has no     
pretensions whatever to be even         
discussed as a ,titian4 ,the figure of  
the ,venetian senator designated as     
,franceschini is the better performance 
of the two2 the lifeless head of        
,titian1 which looks very like an       
afterthought1 has been copied1 without  
reference to the relation of the two    
figures the one to the other1 from the  
,uffizi picture1 or some portrait       
identical with it in character4 ,a far  
finer likeness of ,titian than any of   
these is the much later one1 now in the 
,prado ,gallery2 but this it will be    
best to deal with in its proper         
chronological order4  ,we come now to   
one of the most popular of all ,titian's

 great canvases based on a sacred       
subject1 the ,presentation in the       
,temple in the ,accademia delle ,belle  
,arti at ,venice4 ,this1 as ,vasari     
expressly states1 was painted for the   
,scuola di ,s4 ,maria della ,carit1 that
 is1 for the confraternity which owned  
the very building where now the         
,accademia displays its treasures4 ,it  
is the magnificent scenic rendering of a
 subject lending itself easily to       
exterior pomp and display1 not so easily
 to a more mystic and less obvious mode 
of conception4 ,at the root of ,titian's
 design lies in all probability the very
 similar picture on a comparatively     
small scale by ,cima da ,conegliano1 now
 ,no4 #fc in the ,dresden ,gallery1 and 
this last may well have been inspired by
 ,carpaccio's ,presentation of the      
,virgin1 now in the ,brera at ,milan4#bg
 ,the imposing canvases belonging to    
this particular period of ,titian's     
activity1 and this one in particular1   
with its splendid architectural framing1

 its wealth of life and movement1 its   
richness and variety in type and        
costume1 its fair prospect of ,venetian 
landscape in the distance1 must have    
largely contributed to form the         
transcendent decorative talent of ,paolo
 ,veronese4 ,only in the exquisitely    
fresh and beautiful figure of the       
childlike ,virgin1 who ascends the      
mighty flight of stone steps1 clad all  
in shimmering blue1 her head crowned    
with a halo of yellow light1 does the   
artist prove that he has penetrated to  
the innermost significance of his       
subject4 ,here1 at any rate1 he touches 
the heart as well as feasts the eye4    
,the thoughts of all who are familiar   
with ,venetian art will involuntarily   
turn to ,tintoretto's rendering of the  
same moving1 yet in its symbolical      
character not naturally ultra-dramatic1 
scene4 ,the younger master lends to it a
 significance so vast that he may be    
said to go as far beyond and above the  
requirements of the theme as ,titian1   

with all his legitimate splendour and   
serene dignity1 remains below it4 ,with 
,tintoretto as interpreter we are made  
to see the beautiful episode as an event
 of the most tremendous import--one that
 must shake the earth to its centre4    
,the reason of the onlooker may rebel   
against this portentous version1 yet he 
is dominated all the same1 is           
overwhelmed with something of the       
indefinable awe that has seized upon the
 bystanders who are witnesses of the    
scene4  ,illustration3 ,the             
,presentation of the ,virgin in the     
,temple4 ,accademia delle ,belle ,arti1 
,venice4 ,from a ,photograph by ,naya4  
,but now to discuss a very curious point
 in connection with the actual state of 
,titian's important canvas4 ,it has been
 very generally assumed--and ,crowe and 
,cavalcaselle have set their seal on the
 assumption--that ,titian painted his   
picture for a special place in the      
,albergo 7now ,accademia71 and that this
 place is now architecturally as it was 

in ,titian's time4 ,let them speak for  
themselves4 ,in this room 7in the       
,albergo71 which is contiguous to the   
modern hall in which ,titian's ,assunta 
is displayed1 there were two doors for  
which allowance was made in ,titian's   
canvas2 twenty-five feet--the length of 
the wall--is now the length of the      
picture4 ,when this vast canvas was     
removed from its place1 the gaps of the 
doors were filled in with new linen1 and
 painted up to the tone of the          
original4444  ,that the pieces of canvas
 to which reference is here made were   
new1 and not ,titian's original work    
from the brush1 was of course well known
 to those who saw the work as it used to
 hang in the ,accademia4 ,crowe and     
,cavalcaselle give indeed the name of a 
painter of this century who is          
responsible for them4 ,within the last  
three years the new and enterprising    
director of the ,venice ,academy1 as    
part of a comprehensive scheme of       
rearrangement of the whole collection1  

caused these pieces of new canvas to be 
removed and then proceeded to replace   
the picture in the room for which it is 
believed to have been executed1 fitting 
it into the space above the two doors   
just referred to4 ,many people have     
declared themselves delighted with the  
alteration1 looking upon it as a tardy  
act of justice done to ,titian1 whose   
work1 it is assumed1 is now again seen  
just as he designed it for the ,albergo4
 ,the writer must own that he has1 from 
an examination of the canvas where it is
 now placed1 or replaced1 derived an    
absolutely contrary impression4 ,first1 
is it conceivable that ,titian in the   
heyday of his glory should have been    
asked to paint such a picture--not a    
mere mural decoration--for such a place8
 ,there is no instance of anything of   
the kind having been done with the      
canvases painted by ,gentile ,bellini1  
,carpaccio1 ,mansueti1 and others for   
the various ,scuole of ,venice4 ,there  
is no instance of a great decorative    

canvas by a sixteenth century master of 
the first rank1#bh other than a ceiling 
decoration1 being degraded in the first 
instance to such a use4 ,and then       
,vasari1 who saw the picture in ,venice1
 and correctly characterises it1 would  
surely have noticed such an             
extraordinary peculiarity as the        
abnormal shape necessitated by the two  
doors4 ,it is incredible that ,titian1  
if so unpalatable a task had indeed been
 originally imposed upon him1 should not
 have designed his canvas otherwise4    
,the hole for the right door coming in  
the midst of the monumental steps is    
just possible1 though not very probable4
 ,not so that for the left door1 which1 
according to the present arrangement1   
cuts the very vitals out of one of the  
main groups in the foreground4 ,is it   
not to insult one of the greatest       
masters of all time thus to assume that 
he would have designed what we now see8 
,it is much more likely that ,titian    
executed his ,presentation in the first 

place in the normal shape1 and that     
vandals of a later time1 deciding to    
pierce the room in the ,scuola in which 
the picture is now once more placed with
 one1 or probably two1 additional doors1
 partially sacrificed it to the         
structural requirements of the moment4  
,monstrous as such barbarism may appear1
 we have already seen1 and shall again  
see later on1 that it was by no means   
uncommon in those great ages of         
painting1 the sixteenth and seventeenth 
centuries4  ,when the untimely death of 
,pordenone1 at the close of #aech1 had  
extinguished the hopes of the ,council  
that the grandiose facility of this     
master of monumental decoration might be
 made available for the purposes of the 
,state1 ,titian having1 as has been     
seen1 made good his gravest default1 was
 reinstated in his lucrative and by no  
means onerous office4 ,he regained the  
senseria by decree of ,august #bh1      
#aeci4 ,the potent d',avalos1 ,marqus   
del ,vasto1 had in #aeci conferred upon 

,titian's eldest son ,pomponio1 the     
scapegrace and spendthrift that was to  
be1 a canonry4 ,both to father and son  
the gift was in the future to be        
productive of more evil than good4 ,at  
or about the same time he had           
commissioned of ,titian a picture of    
himself haranguing his soldiers in the  
pompous ,roman fashion2 this was not1   
however1 completed until #aeda4         
,exhibited by d',avalos to admiring     
crowds at ,milan1 it made a sensation   
for which there is absolutely nothing in
 the picture1 as we now see it in the   
gallery of the ,prado1 to account2 but  
then it would appear that it was        
irreparably injured in a fire which     
devastated the ,alcazar of ,madrid in   
#afba1 and was afterwards extensively   
repainted4 ,the ,marquis and his son    
,francesco1 both of them full-length    
figures1 are placed on a low plinth1 to 
the left1 and from this point of vantage
 the ,spanish leader addresses a company
 of foot-soldiers who with fine effect  

raise their halberds high into the      
air4#bi ,among these last tradition     
places a portrait of ,aretino1 which is 
not now to be recognised with any       
certainty4 ,were the pedigree of the    
canvas a less well-authenticated one1   
one might be tempted to deny ,titian's  
authorship altogether1 so extraordinary 
are1 apart from other considerations1   
the disproportions in the figure of the 
youth ,francesco4 ,restoration must in  
this instance have amounted to entire   
repainting4 ,del ,vasto appears more    
robust1 more martial1 and slightly      
younger than the armed leader in the    
,allegory of the ,louvre4 ,if this last 
picture is to be accepted as a          
semi-idealised presentment of the       
,spanish captain1 it must1 as has       
already been pointed out1 have been     
painted nearer to the time of his death1
 which took place in #aedf4 ,the        
often-cited biographers of our master   
are clearly in error in their conclusion
 that the painting described in the     

collection of ,charles ,i4 as done by   
,titian1 the picture of the ,marquis    
,guasto1 containing five half-figures so
 big as the life1 which the king bought 
out of an ,almonedo1 is identical with  
the large sketch made by ,titian as a   
preparation for the ,allocution of      
,madrid4 ,this description1 on the      
contrary1 applies perfectly to the      
,allegory of the ,louvre1 which was1 as 
we know1 included in the collection of  
,charles1 and subsequently found its way
 into that of ,louis ,quatorze4         
,illustration3 ,the ,magdalen4 ,pitti   
,palace1 ,florence4 ,from a ,photograph 
by ,anderson4  ,it was in #aedb that    
,vasari1 summoned to ,venice at the     
suggestion of ,aretino1 paid his first  
visit to the city of the ,lagoons in    
order to paint the scenery and apparato 
in connection with a carnival           
performance1 which included the         
representation of his fellow-townsman's 
,talanta4#cj ,it was on this occasion1  
no doubt1 that ,sansovino1 in agreement 

with ,titian1 obtained for the          
,florentine the commission to paint the 
ceilings of ,santo ,spirito in ,isola--a
 commission which was afterwards1 as a  
consequence of his departure1 undertaken
 and performed by ,titian himself1 with 
whose grandiose canvases we shall have  
to deal a little later on4 ,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 time1 it should be borne in    
mind that he paid two successive visits 
to ,venice1 enjoying there the company  
of the great painter and the most       
eminent artists of the day1 and that on 
the occasion of ,titian's memorable     
visit to ,rome he was his close friend1 
cicerone1 and companion4 ,allowing for  
the ,aretine biographer's well-known    
inaccuracies in matters of detail and   
for his royal disregard of chronological
 order--faults for which it is          
manifestly absurd to blame him          
over-severely--it would be unwise       

lightly to disregard or overrule his    
testimony with regard to matters which  
he may have learned from the lips of    
,titian himself and his immediate       
entourage4  ,to the year #aedb belongs1 
as the authentic signature and date on  
the picture affirm1 that celebrated     
portrait1 ,the ,daughter of ,roberto    
,strozzi1 once in the splendid palace of
 the family at ,florence1 but now1 with 
some other priceless treasures having   
the same origin1 in the ,berlin ,museum4
 ,technically1 the picture is one of the
 most brilliant1 one of the most subtly 
exquisite1 among the works of the great 
,cadorine's maturity4 ,it well serves to
 show what ,titian's ideal of colour was
 at this time4 ,the canvas is all       
silvery gleam1 all splendour and sober  
strength of colour--yet not of colours4 
,these in all their plentitude and      
richness1 as in the crimson drapery and 
the distant landscape1 are duly         
subordinated to the main effect2 they   
but set off discreetly the figure of the

 child1 dressed all in white satin with 
hair of reddish gold1 and contribute    
without fanfare to the fine and         
harmonious balance of the whole4 ,here1 
as elsewhere1 more particularly in the  
work of ,titian's maturity1 one does not
 in the first place pause to pick out   
this or the other tint1 this or the     
other combination of colours as         
particularly exquisite2 and that is what
 one is so easily led to do in the      
contemplation of the ,bonifazi and of   
,paolo ,veronese4  ,illustration3 ,the  
,infant ,daughter of ,roberto ,strozzi4 
,royal ,gallery1 ,berlin4 ,from a       
,photograph by ,f4 ,hanfstngl4  ,as the 
portrait of a child1 though in          
conception it reveals a marked progress 
towards the intimit of later times1 the 
,berlin picture lacks something of charm
 and that quality which1 for want of a  
better word1 must be called             
loveableness4 ,or is it perhaps that the
 eighteenth and nineteenth centuries    
have spoilt us in this respect8 ,for it 

is only in these latter days that to the
 child1 in deliberate and avowed        
portraiture1 is allowed that            
freakishness1 that natural espiglerie   
and freedom from artificial control     
which has its climax in the unapproached
 portraits of ,sir ,joshua ,reynolds4   
,this is the more curious when it is    
remembered how tenderly1 with what      
observant and sympathetic truth the     
relation of child to mother1 of child to
 child1 was noted in the innumerable    
,madonnas and ,holy ,families of the    
fifteenth and sixteenth centuries2 how  
both the ,italians1 and following them  
the ,netherlanders1 relieved the        
severity of their sacred works by the   
delightful roguishness1 the romping     
impudence of their little angels1 their 
putti4  ,it has already been recorded   
that ,titian1 taking up the commission  
abandoned by ,vasari1 undertook a great 
scheme of pictorial decoration for the  
,brothers of ,santo ,spirito in ,isola4 
,all that he carried out for that church

 has now found its way into that of the 
,salute4 ,the three ceiling pictures1   
,the ,sacrifice of ,isaac1 ,cain and    
,abel1 and ,david victorious over       
,goliath1 are in the great sacristy of  
the church2 the ,four ,evangelists and  
,four ,doctors are in the ceiling of the
 choir behind the altar2 the            
altar-piece1 ,the ,descent of the ,holy 
,spirit1 is in one of the chapels which 
completely girdle the circular church   
itself4 ,the ceiling pictures1 depicting
 three of the most dramatic moments in  
sacred history1 have received the most  
enthusiastic praise from the master's   
successive biographers4 ,they were      
indeed at the time of their inception a 
new thing in ,venetian art4 ,nothing so 
daring as these foreshortenings1 as     
these scenes of dramatic violence1 of   
physical force triumphant1 had been seen
 in ,venice4 ,the turbulent spirit was  
an exaggeration of that revealed by     
,titian in the ,st4 ,peter ,martyr2 the 
problem of the foreshortening for the   

purposes of ceiling decoration was      
superadded4 ,it must be remembered1 too1
 that even in ,rome1 the headquarters of
 the grand style1 nothing precisely of  
the same kind could be said to exist4   
,raphael and his pupils either          
disdained1 or it may be feared to       
approach1 the problem4 ,neither in the  
ceiling decorations of the ,farnesina   
nor in the ,stanze is there any attempt 
on a large scale to faire plafonner the 
figures1 that is1 to paint them so that 
they might appear as they would actually
 be seen from below4 ,michelangelo      
himself1 in the stupendous decoration of
 the ceiling to the ,sixtine ,chapel1   
had elected to treat the subjects of the
 flat surface which constitutes the     
centre and climax of the whole1 as a    
series of pictures designed under       
ordinary conditions4 ,it can hardly be  
doubted that ,titian1 in attempting     
these tours de force1 though not        
necessarily or even probably in any     
other way1 was inspired by ,correggio4  

,it would not be easy1 indeed1 to       
exaggerate the ,venetian master's       
achievement from this point of view1    
even though in two at least of the      
groups--the ,cain and ,abel and the     
,david and ,goliath--the modern         
professor might be justified in         
criticising with considerable severity  
his draughtsmanship and many salient    
points in his design4 ,the effect       
produced is tremendous of its kind4 ,the
 power suggested is1 however1 brutal1   
unreasoning1 not nobly dominating force2
 and this not alone in the ,cain and    
,abel1 where such an impression is      
rightly conveyed1 but also in the other 
pieces4 ,it is as if ,titian1 in        
striving to go beyond anything that had 
hitherto been done of the same kind1 had
 also gone beyond his own artistic      
convictions1 and thus1 while compassing 
a remarkable pictorial achievement1 lost
 his true balance4 ,tintoretto1 creating
 his own atmosphere1 as far outside and 
above mere physical realities as that of

 ,michelangelo himself1 might have      
succeeded in mitigating this impression1
 which is1 on the whole1 a painful one4 
,take for instance the ,martyrdom of    
,st4 ,christopher of the younger        
painter--not a ceiling picture by the   
way--in the apse of ,s4 ,maria del      
,orto4 ,here1 too1 is depicted1 with    
sweeping and altogether irresistible    
power1 an act of hideous violence4 ,and 
yet it is not this element of the       
subject which makes upon the spectator  
the most profound effect1 but the       
impression of saintly submission1 of    
voluntary self-sacrifice1 which is the  
dominant note of the whole4  ,it may be 
convenient to mention here ,the ,descent
 of the ,holy ,spirit1 although in its  
definitive form1 as we see it in its    
place in the ,church of the ,salute1 it 
appears markedly more advanced in style 
than the works of the period at which we
 have now arrived1 giving1 both in      
manner and feeling1 a distinct          
suggestion of the methods and standpoint

 which mark the later phase of old age4 
,vasari tells us that the picture1      
originally painted in #aeda1 was        
seriously damaged and subsequently      
repainted2 ,crowe and ,cavalcaselle     
state that the work now seen at the     
,salute was painted to replace an       
altar-piece which the ,brothers of      
,santo ,spirito had declined to accept4 
,even as the picture now appears1       
somewhat faded1 and moreover seen at a  
disadvantage amid its cold surroundings 
of polished white marble1 it is a       
composition of wonderful1 of almost     
febrile animation1 and a painting       
saturated with light1 pierced through   
everywhere with its rays4 ,the effect   
produced is absolutely that which the   
mystical subject requires4#ca           
,abandoning the passionless serenity    
which has been the rule in sacred       
subjects of the middle time1 ,titian    
shows himself more stimulated1 more     
moved by his subject4  ,it was in the   
spring of #aedc that the master first   

came into personal contact with ,pope   
,paul ,,iii4 and the ,farnese family4   
,the meeting took place at ,ferrara1 and
 our painter then accompanied the papal 
court to ,busseto1 and subsequently     
proceeded to ,bologna4 ,aretino's       
correspondence proves that ,titian must 
at that time have painted the ,pope1 and
 that he must also have refused the     
sovereign pontiff's offer of the        
,piombo1 which was then still1 as it had
 been for years past1 in the possession 
of ,sebastiano ,luciani4 ,that ,titian1 
with all his eagerness for wealth and   
position1 could not find it in his heart
 to displace his fellow-countryman1 a   
friend no doubt of the early time1 may  
legitimately excite admiration and      
sympathy now1 as according to ,aretino  
it actually did at the time4 ,the       
portraits of the ,farnese family        
included that of the ,pope1 repeated    
subsequently for ,cardinal ,santafiore1 
that of ,pier ,luigi1 then that of ,paul
 ,,iii4 and this monstrous yet          

well-loved son together1#cb and a       
likeness of ,cardinal ,alessandro       
,farnese4 ,upon the three-quarter length
 portrait of ,paul ,,iii4 in the ,naples
 ,museum1 ,crowe and ,cavalcaselle have 
lavished their most enthusiastic praise1
 placing it1 indeed1 among his          
masterpieces4 ,all the same--interesting
 as the picture undoubtedly is1         
remarkable in finish1 and of undoubtedly
 ,titianesque origin--the writer finds  
it difficult1 nay impossible1 to accept 
this ,paul ,,iii4 as a work from the    
hand of ,titian himself4 ,careful to    
excess1 and for such an original too    
much wanting in brilliancy and vitality1
 it is the best of many repetitions and 
variations2 of this particular type the 
original is not at present forthcoming4 
,very different is the ,paul ,,iii4 of  
the ,hermitage1 which even in a         
reproduction loudly proclaims its       
originality4#cc ,this is by no means    
identical in design with the ,naples    
picture1 but appears much less studied1 

much more directly taken from the life4 
,the astute ,farnese ,pope has here the 
same simiesque type1 the same furtive   
distrustful look1 as in the great       
unfinished group now to be described4#cd
 ,this ,titian1 which doubtless passed  
into the ,hermitage with the rest of the
 ,barbarigo pictures1 may have been the 
first foundation for the series of      
portraits of the ,farnese ,pope1 and as 
such would naturally have been retained 
by the master for his own use4 ,the     
portrait-group in the ,naples ,museum1  
showing1 with ,paul ,,iii41 ,cardinal   
,alessandro ,farnese and ,ottavio       
,farnese 7afterwards ,duke of ,parma71  
is1 apart from its extraordinary        
directness and swift technical mastery1 
of exceptional interest as being        
unfinished1 and thus doubly instructive4
 ,the composition1 lacking in its       
unusual momentariness the repose and    
dignity of ,raphael's ,leo ,x4 with     
,cardinals ,giulio de' ,medici and de'  
,rossi at the ,pitti1 is not wholly     

happy4 ,especially is the action of     
,ottavio ,farnese1 as in reverence he   
bends down to reply to the supreme      
,pontiff1 forced and unconvincing2 but  
the unflattered portrait of the pontiff 
himself is of a bold and quite          
unconventional truth1 and in movement   
much happier4 ,the picture may possibly1
 by reason of this unconventional       
conception less than perfectly realised1
 have failed to please the sitters1 and 
thus have been left in its present      
state4#ce  ,few of ,titian's canvases of
 vast dimensions have enjoyed a higher  
degree of popularity than the large     
,ecce ,homo to which the ,viennese      
proudly point as one of the crowning    
ornaments of the great ,imperial        
,gallery of their city4 ,completed in   
#aedccf for ,giovanni d',anna1 a son of 
the ,flemish merchant ,martin van der   
,hanna1 who had established himself in  
,venice1 it was vainly coveted by ,henri
 ,,iii4 on the occasion of his memorable
 visit in #aegd1 but was in #afbj       

purchased for the splendid favourite1   
,george ,villiers1 ,duke of ,buckingham1
 by the ,english envoy ,sir ,henry      
,wotton4 ,from him the noblest and most 
accomplished of ,english collectors1    
,thomas1 ,earl of ,arundel1 sought to   
obtain the prize with the unparalleled  
offer of #gjjj1 yet even thus failed4   
,at the time of the great dbcle1 in     
#afdh1 the guardians and advisers of his
 youthful son and successor were glad   
enough to get the splendid gallery over 
to the ,low ,countries1 and to sell with
 the rest the ,ecce ,homo1 which brought
 under these circumstances but a tenth  
part of what ,lord ,arundel would have  
given for it4 ,passing into the         
collection of the ,archduke ,leopold    
,william1 it was later on finally       
incorporated with that of the ,imperial 
,house of ,austria4 ,from the point of  
view of scenic and decorative           
magnificence combined with dramatic     
propriety1 though not with any depth or 
intensity of dramatic passion1 the work 

is undoubtedly imposing4 ,yet it suffers
 somewhat1 even in this respect1 from   
the fact that the figures are not more  
than small life-size4 ,with passages of 
,titianesque splendour there are to be  
noted others1 approaching to the acrid  
and inharmonious1 which one would rather
 attribute to the master's assistants   
than to himself4 ,so it is1 too1 with   
certain exaggerations of design         
characteristic rather of the period than
 the man--notably with the two figures  
to the left of the foreground4 ,the     
,christ in ,his meekness is too little  
divine1 too heavy and inert2#cg the     
,pontius ,pilate not inappropriately    
reproduces the features of the worldling
 and viveur ,aretino4 ,the mounted      
warrior to the extreme right1 who has   
been supposed to represent ,alfonso     
d',este1 shows the genial physiognomy   
made familiar by the ,madrid picture so 
long deemed to be his portrait1 but     
which1 as has already been pointed out1 
represents much more probably his       

successor ,ercole ,,ii4 d',este1 whom we
 find again in that superb piece by the 
master1 the so-called ,giorgio ,cornaro 
of ,castle ,howard4 ,the ,ecce ,homo of 
,vienna is another of the works of which
 both the general ordonnance and the    
truly ,venetian splendour must have     
profoundly influenced ,paolo ,veronese4 
,illustration3 ,ecce ,homo4 ,imperial   
,gallery1 ,vienna4 ,from a ,photograph  
by ,lwy4  ,illustration3 ,aretino4      
,pitti ,palace1 ,florence4 ,from a      
,photograph by ,e4 ,alinari4  ,to this  
period belongs also the ,annunciation of
 the ,virgin now in the ,cathedral of   
,verona--a rich1 harmonious1 and        
appropriate altar-piece1 but not one of 
any special significance in the         
life-work of the painter4  ,shall we    
not1 pretty much in agreement with      
,vasari1 place here1 just before the    
long-delayed visit to ,rome1 the ,christ
 with the ,pilgrims at ,emmaus of the   
,louvre8 ,a strong reason for dating    
this1 one of the noblest1 one of the    

most deeply felt of all ,titian's works1
 before rather than after the stay in   
the ,eternal ,city1 is that in its      
navet1 in its realistic episodes1 in its
 fulness of life1 it is so entirely and 
delightfully ,venetian4 ,here again the 
colour-harmony in its subdued richness  
and solemnity has a completeness such as
 induces the beholder to accept it in   
its unity rather than to analyse those  
infinite subtleties of juxtaposition and
 handling which1 avoiding bravura1      
disdain to show themselves on the       
surface4 ,the sublime beauty of the     
landscape1 in which1 as often elsewhere1
 the golden radiance of the setting sun 
is seen battling with masses of azure   
cloud1 has not been exceeded by ,titian 
himself4 ,with all the daring yet       
perfectly unobtrusive and unconscious   
realism of certain details1 the         
conception is one of the loftiest1 one  
of the most penetrating in its very     
simplicity1 of ,venetian art at its     
apogee4 ,the divine mansuetude1 the     

human and brotherly sympathy of the     
,christ1 have not been equalled since   
the early days of the ,cristo della     
,moneta4 ,altogether the ,pilgrims at   
,emmaus well marks that higher and more 
far-reaching conception of sacred art   
which reveals itself in the productions 
of ,titian's old age1 when we compare   
them with the untroubled serenity and   
the conventional assumptions of the     
middle time4#ch  ,to the year #aede     
belongs the supremely fine ,portrait of 
,aretino1 which is one of the glories of
 the ,pitti ,gallery4 ,this was destined
 to propitiate the ,grand ,duke ,cosimo 
of ,tuscany1 the son of his passionately
 attached friend of earlier days1       
,giovanni delle ,bande ,nere4 ,aretino1 
who had particular reasons for desiring 
to appear before the obdurate ,cosimo in
 all the pomp and opulence of his later 
years1 was obviously wounded that       
,titian1 true to his genius1 and to his 
method at this moment1 should have made 
the keynote of his masterpiece a        

dignified simplicity4 ,for once         
unfaithful to his brother ,triumvir and 
friend1 he attacks him in the           
accompanying letter to the ,tuscan ruler
 with the withering sarcasm that the    
satins1 velvets1 and brocades would     
perhaps have been better if ,titian had 
received a few more scudi for working   
them out4 ,if ,aretino's pique had not  
caused the momentary clouding over of   
his artistic vision1 he would have owned
 that the canvas now in the ,pitti was  
one of the happiest achievements of     
,titian and one of the greatest things  
in portraiture4 ,there is no flattery   
here of the ,divine ,aretino1 as with   
heroic impudence the notorious publicist
 styles himself4 ,the sensual type is   
preserved1 but rendered acceptable1 and 
in a sense attractive1 by a certain     
assurance and even dignity of bearing1  
such as success and a position          
impregnable of its unique and unenviable
 kind may well have lent to the         
adventurer in his maturity4 ,even       

,titian's brush has not worked with     
greater richness and freedom1 with an   
effect broader or more entirely         
legitimate than in the head with its    
softly flowing beard and the magnificent
 yet not too ornate robe and vest of    
plum-coloured velvet and satin4         
,,chapter ,,iii  ,the ,visit to         
,rome--,titian and ,michelangelo--,the  
,dana of ,naples--,st4 ,john the        
,baptist in the ,desert--,journey to    
,augsburg--,venus and ,cupid of the     
,tribuna--,venus with the ,organ ,player
 of ,madrid--,the ,altar-piece of       
,serravalle--,charles ,v4 at the ,battle
 of ,mhlberg--,prometheus ,bound and    
companion pictures--,second ,journey to 
,augsburg--,portraits of ,philip of     
,spain--,the so-called ,marqus del      
,vasto at ,cassel--,the ,st4            
,margaret--,dana of ,madrid--,the       
,trinity--,venus and ,adonis--,la ,fede4
   ,at last1 in the autumn of #aede1 the
 master of ,cadore1 at the age of       
sixty-eight years1 was to see ,rome1 its

 ruins1 its statues1 its antiquities1   
and what to the painter of the          
,renaissance must have meant infinitely 
more1 the ,sixtine ,chapel and the      
,stanze of the ,vatican4 ,upon nothing  
in the history of ,venetian art have its
 lovers1 and the many who1 with profound
 interest1 trace ,titian's noble and    
perfectly consistent career from its    
commencement to its close1 more reason  
to congratulate themselves than on this 
circumstance1 that in youth and earlier 
manhood fortune and his own success kept
 him from visiting ,rome4 ,though his   
was not the eclectic tendency1 the      
easily impressionable artistic          
temperament of a ,sebastiano            
,luciani--the only eclectic1 perhaps1   
who managed all the same to prove and to
 maintain himself an artist of the very 
first rank--if ,titian had in earlier   
life been lured to the ,eternal ,city1  
and had there settled1 the glamour of   
the grand style might have permanently  
and fatally disturbed his balance4 ,now 

it was too late for the splendid and    
gracious master1 who even at sixty-eight
 had still before him nearly thirty     
fruitful years1 to receive any          
impressions sufficiently deep to        
penetrate to the root of his art4 ,there
 is some evidence to show that ,titian1 
deeply impressed with the highest       
manifestations of the ,florentine and   
,umbro-,florentine art transplanted to  
,rome1 considered that his work had     
improved after the visit of #aede-aedf4 
,if there was such improvement--and     
certainly in the ultimate phases of his 
practice there will be evident in some  
ways a wider view1 a higher grasp of    
essentials1 a more responsive           
sensitiveness in the conceiving anew of 
the great sacred subjects--it must have 
come1 not from any effort to assimilate 
the manner or to assume the standpoint  
which had obtained in ,rome1 but from   
the closer contact with a world which at
 its centre was beginning to take a     
deeper1 a more solemn and gloomy view of

 religion and life4 ,it should not be   
forgotten that this was the year when   
the great ,council of ,trent first met1 
and that during the next twenty years or
 more the whole of ,italy1 nay1 the     
whole of the ,catholic world1 was       
overshadowed by its deliberations4      
,titian's friend and patron of that     
time1 ,guidobaldo ,,ii41 ,duke of       
,urbino1 had at first opposed ,titian's 
visit to the ,roman court1 striving to  
reserve to himself the services of the  
,venetian master until such time as he  
should have carried out for him the     
commissions with which he was charged4  
,yielding1 however1 to the inevitable1  
and yielding1 too1 with a good grace1 he
 himself escorted his favourite with his
 son ,orazio from ,venice through       
,ferrara to ,pesaro1 and having detained
 him a short while there1 granted him an
 escort through the ,papal ,states to   
,rome4 ,there he was well received by   
the ,farnese ,pope1 and with much       
cordiality by ,cardinal ,bembo4 ,rooms  

were accorded to him in the ,belvedere  
section of the ,vatican ,palace1 and    
there no doubt he painted the unfinished
 portrait-group ,paul ,,iii4 with       
,cardinal ,alessandro ,farnese and      
,ottavio ,farnese1 which has been       
already described1 and with it other    
pieces of the same type1 and portraits  
of the ,farnese family and circle now no
 longer to be traced4 ,vasari1 well     
pleased no doubt to renew his           
acquaintance with the acknowledged head 
of the contemporary ,venetian painters1 
acted as his cicerone in the visits to  
the antiquities of ,rome1 to the statues
 and art-treasures of the ,vatican1     
while ,titian's fellow-citizen          
,sebastiano del ,piombo was in his      
company when he studied the ,stanze of  
,raphael4  ,it was but three years since
 ,michelangelo's ,last ,judgment had    
been uncovered in the ,sixtine1 and it  
would have been in the highest degree   
interesting to read his comments on this
 gigantic performance1 towards which it 

was so little likely that his sympathies
 would spontaneously go out4 ,memorable 
is the visit paid by ,buonarroti1 with  
an unwonted regard for ceremonious      
courtesy1 to ,titian in his apartments  
at the ,belvedere1 as it is recalled by 
,vasari with that nave touch1 that power
 of suggestion1 which gives such        
delightful colour to his unstudied      
prose4 ,no ,imaginary ,conversation     
among those that ,walter ,savage ,landor
 has devised equals in significance this
 meeting of the two greatest masters    
then living1 simply as it is sketched in
 by the ,aretine biographer4 ,the noble 
,venetian representing the alternating  
radiance and gloom of earth1 its fairest
 pages as they unfold themselves1 the   
joys and sorrows1 the teeming life of   
humanity2 the mighty ,florentine        
disdainful of the world1 its colours1   
its pulsations1 its pomps and vanities1 
incurious of mankind save in its great  
symbolical figures1 soaring like the    
solitary eagle into an atmosphere of his

 own where the dejected beholder can    
scarce breathe1 and1 sick at heart1     
oppressed with awe1 lags far behind6    
,illustration3 ,pope ,paul ,,iii4 with  
,cardinal ,farnese and ,ottavio         
,farnese4 ,naples ,gallery4 ,from a     
,photograph by ,e4 ,alinari4  ,titian   
the gracious1 the serene1 who throughout
 a long life of splendid and by         
comparison effortless achievement has   
openly and candidly drunk deep of all   
the joys of life1 a man even as others  
are6 ,michelangelo the austere1 the     
scornful1 to whom the pleasures of the  
world1 the company in well-earned       
leisure of his fellow-man1 suggest but  
the loss of precious hours which might  
be devoted to the shaping in solitude of
 masterpieces2 in the very depths of    
whose nature lurk nevertheless1 even in 
old age1 the strangest ardours1 the     
fiercest and most insatiate longings for
 love and friendship6  ,let ,vasari     
himself be heard as to this meeting4    
,michelangelo and ,vasari going one day 

to pay a visit to ,titian in the        
,belvedere1 saw1 in a picture which he  
had then advanced towards completion1 a 
nude female figure representing ,dana as
 she receives the embrace of ,jove      
transformed into a rain of gold1 and1 as
 the fashion is in people's presence1   
praised it much to him4 ,when they had  
taken leave1 and the discussion was as  
to the art of ,titian1 ,buonarroti      
praised it highly1 saying that the      
colour and handling pleased him much1   
but that it was a subject for regret    
that at ,venice they did not learn from 
the very beginning to design correctly1 
and that its painters did not follow a  
better method in their study of art4 ,it
 is the battle that will so often be    
renewed between the artist who looks    
upon colour as merely a complement and  
adjunct to design1 and the painter who  
regards it as not only the outer        
covering1 but the body and soul of art4 
,we remember how the stiff-necked       
,ingres1 the greatest ,raphaelesque of  

this century1 hurled at ,delacroix's    
head the famous dictum1 ,le dessin c'est
 la probit de l'art1 and how his        
illustrious rival1 the chief of a       
romanticism which he would hardly       
acknowledge1 vindicated by works rather 
than by words his contention that1 if   
design was indeed art's conscience1     
colour was its life-blood1 its very     
being4  ,the ,dana1 seen and admired    
with reservations by ,buonarroti in the 
painting-room of ,titian at the         
,belvedere1 is now1 with its beauty     
diminished in important particulars1 to 
be found with the rest of the ,farnese  
pictures in the gallery of the ,naples  
,museum4 ,it serves to show that if the 
artist was far beyond the stage of      
imitation or even of assimilation on the
 larger scale1 he was1 at any rate1     
affected by the ,roman atmosphere in    
art4 ,for once he here comes nearer to  
the realisation of ,tintoretto's        
ideal--the colour of ,titian and the    
design of ,michelangelo--than his       

impetuous pupil and rival ever did4     
,while preserving in the ,dana his own  
true warmth and transparency of         
,venetian colour--now somewhat obscured 
yet not effaced--he combines unusual    
weightiness and majesty with            
voluptuousness in the nude1 and         
successfully strives after a more       
studied rhythm in the harmony of the    
composition generally than the art of   
,venice usually affected4               
,illustration3 ,dana and the ,golden    
,rain4 ,naples ,gallery4 ,from a        
,photograph by ,e4 ,alinari4  ,titian1  
in his return from ,rome1 which he was  
never to revisit1 made a stay at        
,florence with an eye1 as we may guess1 
both to business and pleasure4 ,there1  
as ,vasari takes care to record1 our    
master visited the artistic sights1 and 
rimase stupefatto--remained in          
breathless astonishment--as he had done 
when he made himself acquainted with the
 artistic glories of ,rome4 ,this is but
 vague1 and a little too much smacks of 

self-flattery and adulation of the      
brother ,tuscans4 ,titian was received  
by ,duke ,cosimo at ,poggio a ,caiano1  
but his offer to paint the portrait of  
the ,medici ruler was not well received4
 ,it may be1 as ,vasari surmises1 that  
this attitude was taken up by the duke  
in order not to do wrong to the many    
noble craftsmen then practising in his  
city and dominion4 ,more probably1      
however1 ,cosimo's hatred and contempt  
of his father's minion ,aretino1 whose  
portrait by ,titian he had condescended 
to retain1 yet declined to acknowledge1 
impelled him to show something less than
 favour to the man who was known to be  
the closest friend and intimate of this 
self-styled ,scourge of ,princes4       
,crowe and ,cavalcaselle have placed    
about the year #aeee the extravagantly  
lauded ,st4 ,john the ,baptist in the   
,desert1 once in the church of ,s4,m4   
,maria ,maggiore at ,venice1 and now in 
the ,accademia there4 ,to the writer it 
appears that it would best come in at   

this stage--that is to say in or about  
#aede--not only because the firm close  
handling in the nude would be less      
explicable ten years later on1 but      
because the conception of the majestic  
,st4 ,john is for once not pictorial but
 purely sculptural4 ,leaving ,rome1 and 
immediately afterwards coming into      
contact for the first time with the     
wonders of the earlier ,florentine art1 
,titian might well have conceived1 might
 well have painted thus4 ,strange to    
say1 the influence is not that of       
,michelangelo1 but1 unless the writer is
 greatly deceived1 that of ,donatello1  
whose noble ascetic type of the         
,precursor is here modernised1 and in   
the process deprived of some of its     
austerity4 ,the glorious mountain       
landscape1 with its brawling stream1    
fresher and truer than any torrent of   
,ruysdael's1 is all ,titian4 ,it makes  
the striking figure of ,st4 ,john1 for  
all its majesty1 appear not a little    
artificial4  ,the little town of        

,serravalle1 still so captivatingly     
,venetian in its general aspect1 holds  
one of the most magnificent works of    
,titian's late time1 a vast ,virgin and 
,child with ,st4 ,peter and ,st4        
,andrew4 ,this hangs--or did when last  
seen by the writer--in the choir of the 
,church of ,st4 ,andrew2 there is       
evidence in ,titian's correspondence    
that it was finished in #aedg1 so that  
it must have been undertaken soon after 
the return from ,rome4 ,in the distance 
between the two majestic figures of the 
saints is a prospect of landscape with a
 lake1 upon which ,titian has shown on a
 reduced scale ,christ calling ,peter   
and ,andrew from their nets2 an         
undisguised adaptation this1 by the     
veteran master1 of the divine           
,urbinate's ,miraculous ,draught of     
,fishes1 but one which made of the      
borrowed motive a new thing1 no         
excrescence but an integral part of the 
conception4 ,in this great work1 which  
to be more universally celebrated       

requires only to be better known to     
those who do not come within the narrow 
circle of students1 there is evidence   
that while ,titian1 after his stay at   
the ,papal court1 remained firm as a    
rock in his style and general           
principles--luckily a ,venetian and no  
pseudo-,roman1--his imagination became  
more intense in its glow1 gloomier but  
grander1 than it had been in middle     
age--his horizon altogether vaster4 ,to 
a grand if sometimes too unruffled      
placidity succeeded a physical and      
psychical perturbation which belonged   
both to the man in advanced years and to
 the particular moment in the century4  
,even in his treatment of classic myth1 
of the nude in goddess and woman1 there 
was1 as we shall see presently1 a       
greater unrest and a more poignant      
sensuality--there was evidence of a mind
 and temperament troubled anew instead  
of being tranquillised by the oncoming  
of old age4  ,are we to place here1 as  
,crowe and ,cavalcaselle do1 the ,venus 

and ,cupid of the ,tribuna and the      
,venus with the ,organ ,player of the   
,prado8 ,the technical execution of     
these canvases1 the treatment of        
landscape in the former1 would lead the 
writer to place them some years farther 
on still in the oeuvre of the master4   
,there are1 however1 certain reasons for
 following them in this chronological   
arrangement4 ,the ,venus and ,cupid     
which hangs in the ,tribuna of the      
,uffizi1 as the pendant to the more     
resplendent but more realistic ,venus of
 ,urbino1 is a darker and less          
well-preserved picture than its present 
companion1 but a grander if a more      
audacious presentment of the            
love-goddess4 ,yet even here she is not 
so much the ,cytherean as an embodiment 
of the ,venetian ideal of the later     
time1 an exemplification of the         
undisguised worship of fleshly          
loveliness which then existed in        
,venice4 ,it has been pointed out that  
the later ,venus has the features of    

,titian's fair daughter ,lavinia1 and   
this is no doubt to a certain extent    
true4 ,the goddesses1 nymphs1 and women 
of this time bear a sort of general     
family resemblance to her and to each   
other4 ,this piece illustrates the      
preferred type of ,titian's old age1 as 
the ,vanitas1 ,herodias1 and ,flora     
illustrate the preferred type of his    
youth2 as the paintings which we have   
learnt to associate with the ,duchess of
 ,urbino illustrate that of his middle  
time4 ,the dignity and rhythmic outline 
of ,eros in the ,dana of ,naples have   
been given up in favour of a more       
naturalistic conception of the          
insinuating urchin1 who is in this      
,venus and ,cupid the successor of those
 much earlier amorini in the ,worship of
 ,venus at ,madrid4 ,the landscape in   
its sweeping breadth is very            
characteristic of the late time1 and    
would give good reason for placing the  
picture later than it here appears4 ,the
 difficulty is this4 ,the ,venus with   

the ,organ ,player#ci of ,madrid1 which 
in many essential points is an inferior 
repetition of the later ,venus of the   
,tribuna1 contains the portrait of      
,ottavio ,farnese1 much as we see him in
 the unfinished group painted1 as has   
been recorded1 at ,rome in #aedf4 ,this 
being the case1 it is not easy to place 
the ,venus and ,cupid1 or its subsequent
 adaptation1 much later than just before
 the journey to ,augsburg4 ,the ,venus  
with the ,organ ,player has been        
overrated2 there are things in this     
canvas which we cannot without offence  
to ,titian ascribe to his own brush4    
,among these are the tiresome1 formal   
landscape1 the wooden little dog petted 
by ,venus1 and perhaps some other       
passages4 ,the goddess herself and the  
amorous ,ottavio1 though this last is   
not a very striking or successful       
portrait1 may perhaps be left to the    
master4 ,he vindicates himself more     
completely than in any other passage of 
the work when he depicts the youthful1  

supple form of the ,venetian courtesan1 
as in a merely passive pose she         
personates the goddess whose            
insignificant votary she really is4 ,it 
cannot be denied that he touches here   
the lowest level reached by him in such 
delineations4 ,what offends in this     
,venus with the ,organ ,player1 or      
rather ,ottavio ,farnese with his       
,beloved1 is that its informing         
sentiment is not love1 or indeed any    
community of sentiment1 but an          
ostentatious pride in the possession of 
covetable beauty subdued like that of   
,dana herself by gold4  ,if we are to   
assume with ,crowe and ,cavalcaselle    
that the single figure ,ecce ,homo of   
the ,prado ,gallery was the piece taken 
by the master to ,charles ,v4 when1 at  
the bidding of the ,emperor1 he         
journeyed to ,augsburg1 we can only     
conclude that his design was carried out
 by pupils or assistants4 ,the execution
 is not such as we can ascribe to the   
brush which is so shortly to realise for

 the monarch a group of masterpieces4   
,it was in ,january #aedh that ,titian  
set forth to obey the command of the    
,emperor1 per far qualche opera1 as     
,count ,girolamo della ,torre has it in 
a letter of recommendation given to     
,titian for the ,cardinal of ,trent at  
,augsburg4 ,it is significant to find   
the writer mentioning the painter1 not  
by any of the styles and titles which he
 had a right to bear1 especially at the 
court of ,charles ,v41 but extolling him
 as ,messer ,titiano ,pittore et il     
primo huomo della ,christianita4#dj  ,it
 might be imagined that it would be a   
terrible wrench for ,titian1 at the age 
of seventy1 to transplant himself       
suddenly1 and for the first time1 into a
 foreign land4 ,but then he was not as  
other men of seventy are4 ,the final    
years of his unexampled career will     
conclusively show that he preserved his 
mental and physical vigour to the end4  
,further1 the imperial court with its   
,spanish etiquette1 its ,spanish        

language and manners1 was much the same 
at ,augsburg as he had known it on      
previous occasions at ,bologna4         
,moreover1 ,augsburg and ,nuremberg#da  
had1 during the last fifty years1 been  
in close touch with ,venice in all      
matters appertaining to art and         
commerce4 ,especially the great banking 
house of the ,fuggers had the most      
intimate relations with the queen-city  
of the ,adriatic4 ,yet art of the two   
great ,german cities would doubtless    
appeal less to the ,venetian who had    
arrived at the zenith of his development
 than it would and did to the ,bellinis 
and their school at the beginning of the
 century4 ,the gulf had become a far    
wider one1 and the points of contact    
were fewer4  ,the trusted ,orazio had   
been left behind1 notwithstanding the   
success which he had achieved during the
 ,roman tour1 and it may be assumed that
 he presided over the studio and        
workshop at ,biri ,grande during his    
father's absence4 ,titian was           

accompanied to ,augsburg by his second  
cousin1 ,cesare ,vecellio1#db who no    
doubt had a minor share in very many of 
the canvases belonging to the period of 
residence at ,augsburg4 ,our master's   
first and most grateful task must have  
been the painting of the great          
equestrian portrait of the ,emperor at  
the ,battle of ,mhlberg1 which now hangs
 in the ,long ,gallery of the ,prado at 
,madrid4 ,it suffered much injury in the
 fire of the ,pardo ,palace1 which      
annihilated so many masterpieces1 but is
 yet very far from being the wreck      
which1 with an exaggeration not easily  
pardonable under the circumstances1     
,crowe and ,cavalcaselle have described 
it4 ,in the presence of one of the      
world's masterpieces criticism may for  
once remain silent1 willingly renouncing
 all its rights4 ,no purpose would be   
served here by recording how much paint 
has been abraded in one corner1 how much
 added in another4 ,a deep sense of     
thankfulness should possess us that the 

highest manifestation of ,titian's      
genius has been preserved1 even though  
it be shorn of some of its original     
beauty4 ,splendidly armed in steel from 
head to foot1 and holding firmly grasped
 in his hand the spear1 emblem of       
command in this instance rather than of 
combat1 ,csar advances with a mien      
impassive yet of irresistible           
domination4 ,he bestrides with ease his 
splendid dark-brown charger1 caparisoned
 in crimson1 and heavily weighted like  
himself with the full panoply of battle1
 a perfect harmony being here subtly    
suggested between man and beast4 ,the   
rich landscape1 with a gleam of the     
,elbe in the distance1 is still in the  
half gloom of earliest day2 but on the  
horizon1 and in the clouds overhead1    
glows the red ominous light of sunrise1 
colouring the veils of the morning mist4
 ,the ,emperor is alone--alone as he    
must be in life and in death--a man1 yet
 lifted so high above other men that the
 world stretches far below at his feet1 

while above him this ruler knows no     
power but that of ,god4 ,it is not even 
the sneer of cold command1 but a majesty
 far higher and more absolutely         
convinced of its divine origin1 that    
awes the beholder as he gazes4 ,in      
comparison with the supreme dignity of  
this ugly1 pallid ,hapsburger1 upon whom
 disease and death have already laid a  
shadowy finger1 how artificial appear   
the divine assumptions of an ,alexander1
 how theatrical the ,olympian airs of an
 ,augustus1 how merely vulgar and       
ill-worn the imperial poses of a        
,napoleon4  ,illustration3 ,charles ,v4 
at the ,battle of ,mhlberg4 ,gallery of 
the ,prado1 ,madrid4 ,from a ,photograph
 by ,braun1 ,clement  ,cie4  ,no        
veracious biographer of ,titian could   
pretend that he is always thus          
imaginative1 that coming in contact with
 a commanding human individuality he    
always thus unfolds the outer wrappings 
to reveal the soul within4 ,indeed1     
especially in the middle time just past1

 he not infrequently contents himself   
with the splendid outsides of splendid  
things4 ,to interpret this masterpiece  
as the writer has ventured to do1 it is 
not necessary to assume that ,titian    
reasoned out the poetic vision1 which   
was at the same time an absolutely      
veracious presentment1 argumentatively  
with himself1 as the painter of such a  
portrait in words might have done4      
,pictorial genius of the creative order 
does not proceed by such methods1 but   
sees its subject as a whole1 leaving to 
others the task of probing and          
unravelling4 ,it should be borne in     
mind1 too1 that this is the first in    
order1 as it is infinitely the greatest 
and the most significant among the vast 
equestrian portraits of monarchs by     
court painters4 ,velazquez on the one   
hand1 and ,van ,dyck on the other1 have 
worked wonders in the same field4 ,yet  
their finest productions1 even the      
,philip ,,iv41 the ,conde ,duque        
,olivarez1 the ,don ,balthasar ,carlos  

of the ,spaniard1 even the two          
equestrian portraits of ,charles ,i41   
the ,francisco de ,moncada1 the ,prince 
,thomas of ,savoy of the ,fleming1 are  
in comparison but magnificent show      
pieces aiming above all at decorative   
pomp and an imposing general effect4    
,we come to earth and every-day         
weariness again with the full-length of 
,charles ,v41 which is now in the ,alte 
,pinakothek of ,munich4 ,here the       
monarch1 dressed in black and seated in 
a well-worn crimson velvet chair1 shows 
without disguise how profoundly he is   
ravaged by ill-health and ennui4 ,fine  
as the portrait still appears           
notwithstanding its bad condition1 one  
feels somehow that ,titian is not in    
this instance1 as he is in most others1 
perfect master of his material1 of the  
main elements of his picture4 ,the      
problem of relieving the legs cased in  
black against a relatively light        
background1 and yet allowing to them    
their full plastic form1 is not         

perfectly solved4 ,neither is it1 by the
 way1 as a rule in the canvases of those
 admirable painters of men1 the         
quasi-,venetians1 ,moretto of ,brescia  
and ,moroni of ,bergamo4 ,the           
,northerners--among them ,holbein and   
,lucidel--came nearer to perfect success
 in this particular matter4 ,the        
splendidly brushed-in prospect of cloudy
 sky and far-stretching country recalls1
 as ,morelli has observed1 the          
landscapes of ,rubens1 and suggests that
 he underwent the influence of the      
,cadorine in this respect as in many    
others1 especially after his journey as 
ambassador to ,madrid4  ,another        
portrait1 dating from the first visit to
 ,augsburg1 is the half-length of the   
,elector ,john ,frederick of ,saxony1   
now in the ,imperial ,gallery at        
,vienna4 ,he sits obese and stolid1 yet 
not without the dignity that belongs to 
absolute simplicity1 showing on his left
 cheek the wound received at the battle 
of ,mhlberg4 ,the picture has1 as a     

portrait by ,titian1 no very commanding 
merit1 no seduction of technique1 and it
 is easy to imagine that ,cesare        
,vecellio may have had a share in it4   
,singular is the absence of all pose1 of
 all attempt to harmonise the main lines
 of the design or give pictorial        
elegance to the nave directness of the  
presentment4 ,this mode of conception   
may well have been dictated to the      
courtly ,venetian by sturdy ,john       
,frederick himself4  ,the master painted
 for ,mary1 ,queen ,dowager of ,hungary1
 four canvases specially mentioned by   
,vasari1 ,prometheus ,bound to the      
,rock1 ,ixion1 ,tantalus1 and ,sisyphus1
 which were taken to ,spain at the      
moment of the definitive migration of   
the court in #aeef4 ,crowe and          
,cavalcaselle state that the whole four 
perished in the all-devouring           
conflagration of the ,pardo ,palace1 and
 put down the ,prometheus and ,sisyphus 
of the ,prado ,gallery as copies by     
,sanchez ,coello4 ,it is difficult to   

form a definite judgment on canvases so 
badly hung1 so darkened and injured4    
,they certainly look much more like     
,venetian originals than ,spanish       
copies4 ,these mythological subjects may
 very properly be classed with the all  
too energetic ceiling-pictures now in   
the ,sacristy of the ,salute4 ,here     
again the master1 in the effort to be   
grandiose in a style not properly his1  
overreaches himself and becomes         
artificial4 ,he must have left ,augsburg
 this time in the autumn of #aedh1 since
 in the month of ,october of that year  
we find him at ,innsbruck making a      
family picture of the children of ,king 
,ferdinand1 the ,emperor's brother4     
,that monarch himself1 his two sons and 
five daughters1 he had already          
portrayed4  ,much feasting1 much        
rejoicing1 in the brilliant and jovial  
circle presided over by ,aretino and the
 brother ,triumvirs1 followed upon our  
master's return to ,venice4 ,aretino1   
who after all was not so much the       

scourge as the screw of princes1 would  
be sure to think the more highly of the 
friend whom he really cherished in all  
sincerity1 when he returned from close  
and confidential intercourse with the   
mightiest ruler of the age1 the source  
not only of honour but of advantages    
which the ,aretine1 like ,falstaff1 held
 more covetable because more            
substantial4 ,to the year #aedi belongs 
the gigantic woodcut ,the ,destruction  
of ,pharaoh's ,host1 designed1 according
 to the inscription on the print1 by the
 great and immortal ,titian1 and        
engraved by ,domenico delle ,greche1    
who1 notwithstanding his name1 calls    
himself depentore ,venetiano4 ,he is    
not1 as need hardly be pointed out1 to  
be confounded with the famous           
,veneto-,spanish painter1 ,domenico     
,theotocopuli1 ,il ,greco1 whose date of
 birth is just about this time 7#aedh74 
,titian1 specially summoned by the      
,emperor1 travelled back to ,augsburg in
 ,november #aeej4 ,charles had returned 

thither with ,prince ,philip1 the       
heir-presumptive of the ,spanish throne1
 and it can hardly be open to question  
that one of the main objects for which  
the court painter was made to undertake 
once more the arduous journey across the
 ,alps was to depict the son upon whom  
all the monarch's hopes and plans were  
centred4 ,charles1 whose health had     
still further declined1 was now1 under  
an accumulation of political misfortune1
 gloomier than ever before1 more        
completely detached from the things of  
the world4 ,barely over fifty at this   
moment1 he seemed already1 and1 in      
truth1 was an old man1 while the master 
of ,cadore at seventy-three shone in the
 splendid autumn of his genius1 which   
even then had not reached its final     
period of expansion4 ,titian enjoyed the
 confidence of his imperial master      
during this second visit in a degree    
which excited surprise at the time2 the 
intercourse with ,charles at this tragic
 moment of his career1 when1 sick and   

disappointed1 he aspired only to the    
consolations of faith1 seeing his       
sovereign remedy in the soothing balm of
 utter peace1 may have worked to deepen 
the gloom which was overspreading the   
painter's art if not his soul4 ,it is   
not to be believed1 all the same1 that  
this atmosphere of unrest and misgiving1
 of faith coloured by an element of     
terror1 in itself operated so strongly  
as unaided to give a final form to      
,titian's sacred works4 ,there was in   
this respect kinship of spirit between  
the mighty ruler and his servant2       
,titian's art had already become sadder 
and more solemn1 had already shown a    
more sombre passion4 ,the tragic gloom  
is now to become more and more intense1 
until we come to the climax in the      
astonishing ,piet left unfinished when  
the end comes a quarter of a century    
later still4  ,and with this change in  
the whole atmosphere of the sacred art  
comes another in the inverse sense1     
which1 being an essential trait1 must be

 described1 though to do so is not quite
 easy4 ,titian becomes more and more    
merely sensuous in his conception of the
 beauty of women4 ,he betrays in his    
loss of serenity that he is less than   
heretofore impervious to the stings of  
an invading sensuality1 which serves to 
make of his mythological and erotic     
scenes belonging to this late time a    
tribute to the glories of the flesh     
unennobled by the gilding touch of the  
purer flame4 ,and the painter who1 when 
,charles ,v4 retired into his solitude1 
had suffered the feeble flame of his    
life to die slowly out1 was to go on    
working for ,king ,philip1 as fierce in 
the intensity of his physical passion as
 in the fervour of his faith1 would     
receive encouragement to develop to the 
full these seemingly conflicting        
tendencies of sacred and amorous        
passion4  ,the ,spanish prince whom it  
was the master's most important task on 
this occasion to portray was then but   
twenty-four years of age1 and youth     

served not indeed to hide1 but in a     
slight measure to attenuate1 some of his
 most characteristic physical defects4  
,his unattractive person even then1     
however1 showed some of the most        
repellent peculiarities of his father   
and his race4 ,he had the supreme       
distinction of ,charles but not his     
majesty1 more than his haughty reserve1 
even less than his power of enlisting   
sympathy4 ,in this most difficult of    
tasks--the portrayal that should be at  
one and the same time true in its       
essence1 distinguished1 and as          
sympathetic as might be under the       
circumstances1 of so unlovable a        
personage--,titian won a new victory4   
,his ,prince ,philip of ,austria in     
,armour at the ,prado is one of his most
 complete and satisfying achievements1  
from every point of view4 ,a veritable  
triumph of art1 but as usual a triumph  
to which the master himself disdains to 
call attention1 is the rendering of the 
damascened armour1 the puffed hose1 and 

the white silk stockings and shoes4 ,the
 two most important variations executed 
by the master1 or under his immediate   
direction1 are the full-lengths of the  
,pitti ,palace and the ,naples ,museum1 
in both of which sumptuous court-dress  
replaces the gala military costume4     
,they are practically identical1 both in
 the design and the working out1 save   
that in the ,florence example ,philip   
stands on a grass plot in front of a    
colonnade1 while in that of ,naples the 
background is featureless4 ,as the      
pictures are now seen1 that in the      
,pitti is marked by greater subtlety in 
the characterisation of the head1 while 
the ,naples canvas appears the more     
brilliant as regards the working out of 
the costume and accessories4  ,to the   
period of ,titian's return from the     
second visit to ,augsburg belongs a very
 remarkable portrait which of late years
 there has been some disinclination to  
admit as his own work4 ,this is the     
imposing full-length portrait which     

stands forth as the crowning decoration 
of the beautiful and well-ordered       
gallery at ,cassel4 ,in the days when it
 was sought to obtain quand mme a       
striking designation for a great        
picture1 it was christened ,alfonso     
d',avalos1 ,marqus del ,vasto4 ,more    
recently1 with some greater show of     
probability1 it has been called         
,guidobaldo ,,ii41 ,duke of ,urbino4 ,in
 the ,jahrbuch der kniglich-preussischen
 ,kunstsammlungen1#dc ,herr ,carl       
,justi1 ever bold and ingenious in      
hypothesis1 strives1 with the support of
 a mass of corroborative evidence that  
cannot be here quoted1 to prove that the
 splendid personage presented is a      
,neapolitan nobleman of the highest     
rank1 ,giovan ,francesco ,acquaviva1    
,duke of ,atri4 ,there is the more      
reason to accept his conjecture since it
 helps us to cope with certain          
difficulties presented by the picture   
itself4 ,it may be conceded at the      
outset that there are disturbing        

elements in it1 well calculated to give 
pause to the student of ,titian4 ,the   
handsome patrician1 a little too proud  
of his rank1 his magnificent garments   
and accoutrements1 his virile beauty1   
stands fronting the spectator in a dress
 of crimson and gold1 wearing a plumed  
and jewelled hat1 which in its          
elaboration closely borders on the      
grotesque1 and holding a hunting-spear4 
,still more astonishing in its          
exaggeration of a ,venetian mode in     
portraiture#dd is the great crimson1    
dragon-crowned helmet which1 on the left
 of the canvas1 ,cupid himself supports4
 ,to the right1 a rival even of ,love in
 the affections of our enigmatical      
personage1 a noble hound rubs himself   
affectionately against the stalwart legs
 of his master4 ,far back stretches a   
prospect singularly unlike those        
rich-toned studies of sub-,alpine       
regions in which ,titian as a rule      
revels4 ,it has an august but more      
colourless beauty recalling the middle  

,apennines2 one might almost say that it
 prefigures those prospects of          
inhospitable ,sierra which1 with their  
light1 delicate tonality1 so admirably  
relieve and support the portraits of    
,velazquez4 ,all this is unusual1 and   
still more so is the want of that       
aristocratic gravity1 of that           
subordination of mere outward splendour 
to inborn dignity1 which mark ,titian's 
greatest portraits throughout his       
career4 ,the splendid materials for the 
picture are not as absolutely digested1 
as absolutely welded into one consistent
 and harmonious whole1 as with such     
authorship one would expect4 ,but then1 
on the other hand1 take the magnificent 
execution in the most important         
passages3 the distinguished silvery tone
 obtained notwithstanding the complete  
red-and-gold costume and the portentous 
crimson helmet2 the masterly brush-work 
in these last particulars1 in the       
handsome virile head of the model and   
the delicate flesh of the amorino4 ,the 

dog might without exaggeration be       
pronounced the best1 the truest in      
movement1 to be found in ,venetian      
art--indeed1 in art generally1 until    
,velazquez appears4 ,herr ,carl ,justi's
 happy conjecture helps us1 if we accept
 it1 to get over some of these          
difficulties and seeming contradictions4
 ,the ,duke of ,atri belonged to a great
 ,neapolitan family1 exiled and living  
at the ,french court under royal        
countenance and protection4 ,the        
portrait was painted to be sent back to 
,france1 to which1 indeed1 its whole    
subsequent history belongs4 ,under such 
circumstances the young nobleman would  
naturally desire to affirm his rank and 
pretensions as emphatically as might be2
 to outdo in splendour and prestance all
 previous sitters to ,titian2 to record 
himself apt in war1 in the chase1 in    
love1 and more choice in the fashion of 
his appointments than any of his        
compeers in ,france or ,italy4  ,an     
importance to which it is surely not    

entitled in the life-work of the master 
is given to the portrait of the ,legate 
,beccadelli1 executed in the month of   
,july #aeeb1 and included among the real
 and fancied masterpieces of the        
,tribuna in the ,uffizi4 ,to the writer 
it has always appeared the most nearly  
tiresome and perfunctory of ,titian's   
more important works belonging to the   
same class4 ,perhaps the elaborate      
legend inscribed on the paper held by   
the prelate1 including the unusual form 
of signature ,titianus ,vecellius       
faciebat ,venetiis ,,mdlii1 mense       
,julii1 may have been the cause that the
 canvas has attracted an undue share of 
attention4#de ,at p4 #bah of ,crowe and 
,cavalcaselle's second volume we get1   
under date the #aath of ,october #aeeb1 
,titian's first letter to ,philip of    
,spain4 ,there is mention in it of a    
,queen of ,persia1 which the artist does
 not expressly declare to be his own    
work1 and of a ,landscape and ,st4      
,margaret previously sent by ,ambassador

 ,vargas 7444 il ,paesaggio et il       
ritratto di ,sta4 ,margarita mandatovi  
per avanti74 ,the comment of the        
biographers on this is that for the     
first time in the annals of ,italian    
painting we hear of a picture which     
claims to be nothing more than a        
landscape1 etc4 ,remembering1 however1  
that when in #aegd1 at the end of his   
life1 our master sent in to ,philip's   
secretary1 ,antonio ,perez1 a list of   
paintings delivered from time to time1  
but not paid for1 he described the      
,venere del ,pardo1 or ,jupiter and     
,antiope1 as ,la nuda con il paese con  
el satiro1 would it not be fair to      
assume that the description ,il         
,paesaggio et il ritratto di ,sta4      
,margarita means one and the same       
canvas--,the ,figure of ,st4 ,margaret  
in a ,landscape8 ,thus should we be     
relieved from the duty of searching     
among the authentic works of the master 
of ,cadore for a landscape pure and     
simple1 and in the process stumbling    

across a number of spurious and doubtful
 things4 ,the ,st4 ,margaret is         
evidently the picture which1 having been
 many years at the ,escorial1 now hangs 
in the ,prado ,gallery4 ,obscured and   
darkened though it is by the irreparable
 outrages of time1 it may be taken as a 
very characteristic example of ,titian's
 late but not latest manner in sacred   
art4 ,in the most striking fashion does 
it exhibit that peculiar gloom and      
agitation of the artist face to face    
with religious subjects which at an     
earlier period would have left his      
serenity undisturbed4 ,the saint1       
uncertain of her triumph1 armed though  
she is with the ,cross1 flees in        
affright from the monster whose huge    
bulk looms1 terrible even in overthrow1 
in the darkness of the foreground4 ,to  
the impression of terror communicated by
 the whole conception the distance of   
the lurid landscape--a city in          
flames--contributes much4               
,illustration3 ,venus with the ,mirror4 

,gallery of the ,hermitage1 ,st4        
,petersburg4 ,from a ,photograph by     
,braun1 ,clement1  ,cie4  ,in the spring
 and summer of #aeed were finished for  
,philip of ,spain the ,dana of ,madrid2 
for ,mary1 ,queen of ,hungary1 a        
,madonna ,addolorata2 for ,charles ,v4  
the ,trinity1 to which he had with      
,titian devoted so much anxious thought4
 ,the ,dana of the ,prado1 less         
grandiose1 less careful in finish than  
the ,naples picture1 is painted with    
greater spontaneity and lan than its    
predecessor1 and vibrates with an       
undisguisedly fleshly passion4 ,is it to
 the taste of ,philip or to a momentary 
touch of cynicism in ,titian himself    
that we owe the deliberate dragging down
 of the conception until it becomes     
symbolical of the lowest and most venal 
form of love8 ,in the ,naples version   
,amor1 a fairly-fashioned divinity of   
more or less classic aspect1 presides2  
in the ,madrid and subsequent           
interpretations of the legend1 a        

grasping hag1 the attendant of ,dana1   
holds out a cloth1 eager to catch her   
share of the golden rain4 ,in the ,st4  
,petersburg version1 which cannot be    
accounted more than an atelier piece1   
there is1 with some slight yet          
appreciable variations1 a substantial   
agreement with the ,madrid picture4 ,of 
this ,hermitage ,dana there is a replica
 in the collection of the ,duke of      
,wellington at ,apsley ,house4 ,in yet  
another version 7also a contemporary    
atelier piece71 which is in the         
,imperial ,gallery at ,vienna1 and has  
for that reason acquired a certain      
celebrity1 the greedy duenna is depicted
 in full face1 and holds aloft a chased 
metal dish4  ,satisfaction of a very    
different kind was afforded to ,queen   
,mary of ,hungary and ,charles ,v4 ,the 
lady obtained a ,christ appearing to the
 ,magdalen1 which was for a long time   
preserved at the ,escorial1 where there 
is still to be found a bad copy of it4  
,a mere fragment of the original1       

showing a head and bust of ,christ      
holding a hoe in his left hand1 has been
 preserved1 and is now ,no4 #dhi in the 
gallery of the ,prado4 ,even this does  
not convince the student that ,titian's 
own brush had a predominant share in the
 performance4 ,the letter to ,charles   
,v41 dated from ,venice the #ajth of    
,september #aeed1 records the sending of
 a ,madonna ,addolorata and the great   
,trinity4 ,these1 together with another 
,virgen de los ,dolores ostensibly by   
,titian1 and the ,ecce ,homo already    
mentioned1 formed afterwards part of the
 small collection of devotional         
paintings taken by ,charles to his      
monastic retreat at ,yuste1 and         
appropriated after his death by ,philip4
 ,if the picture styled ,la ,dolorosa1  
and now ,no4 #dfh in the gallery of the 
,prado1 is indeed the one painted for   
the great monarch who was so sick in    
body and spirit1 so fast declining to   
his end1 the suspicion is aroused that  
the courtly ,venetian must have acted   

with something less than fairness       
towards his great patron1 since the     
,addolorata cannot be acknowledged as   
his own work4 ,still less can we accept 
as his own that other ,virgen de los    
,dolores1 now ,no4 #dge in the same     
gallery4  ,illustration3 ,landscape     
drawing in pen and bistre by ,titian4   
,it is very different with the ,trinity1
 called in ,spain ,la ,gloria1 and now  
,no4 #dfb in the same gallery4 ,though  
the master must have been hampered by   
the express command that the ,emperor   
should be portrayed as newly arisen from
 the grave and adoring the ,trinity in  
an agony of prayer1 and with him the    
deceased ,empress ,isabel1 ,queen ,mary 
of ,hungary1 and ,prince ,philip1 also  
as suppliants1 he succeeded in bringing 
forth not indeed a complete masterpiece1
 but a picture all aspiration and       
fervent prayer--just the work to satisfy
 the yearnings of the man who1 once the 
mightiest1 was then the loneliest and   
saddest of mortals on earth4 ,the crown 

and climax of the whole is the group of 
the ,trinity itself1 awful in majesty1  
dazzling in the golden radiance of its  
environment1 and1 beautifully linking it
 with mortality1 the blue-robed figure  
of the ,virgin1 who stands on a lower   
eminence of cloud as she intercedes for 
the human race1 towards whom her pitying
 gaze is directed4 ,it would be absurd  
to pretend that we have here a work     
entitled1 in virtue of the perfect      
achievement of all that has been sought 
for1 to rank with such earlier          
masterpieces as the ,assunta or the ,st4
 ,peter ,martyr4 ,yet it represents in  
one way sacred art of a higher1 a more  
inspired order1 and contains some       
pictorial beauties--such as the great   
central group--of which ,titian would   
not in those earlier days have been     
equally capable4  ,there is another     
descent1 though not so marked a one as  
in the case of the ,dana1 with the      
,venus and ,adonis painted for ,philip1 
the new ,king-,consort of ,england1 and 

forwarded by the artist to ,london in   
the autumn of #aeed4 ,that the picture  
now in the ,sala de la ,reina ,isabel at
 ,madrid is this original is proved1 in 
the first place1 by the quality of the  
flesh-painting1 the silvery shimmer1 the
 vibration of the whole1 the            
subordination of local colour to general
 tone1 yet by no means to the point of  
extinction--all these being distinctive 
qualities of this late time4 ,it is     
further proved by the fact that it still
 shows traces of the injury of which    
,philip complained when he received the 
picture in ,london4 ,a long horizontal  
furrow is clearly to be seen running    
right across the canvas4 ,apart from the
 consideration that pupils no doubt had 
a hand in the work1 it lacks1 with all  
its decorative elegance and felicity of 
movement1 the charm with which ,titian1 
both much earlier in his career and     
later on towards the end1 could invest  
such mythological subjects4#df ,that the
 aim of the artist was not a very high  

one1 or this poesia very near to his    
heart1 is demonstrated by the amusingly 
material fashion in which he recommends 
it to his royal patron4 ,he says that if
 in the ,dana the forms were to be seen 
front-wise1 here was occasion to look at
 them from a contrary direction--a      
pleasant variety for the ornament of a  
,camerino4 ,our worldly-wise painter    
evidently knew that material allurements
 as well as supreme art were necessary  
to captivate ,philip4 ,it cannot be     
alleged1 all the same1 that this purely 
sensuous mode of conception was not     
perfectly in consonance with his own    
temperament1 with his own point of view1
 at this particular stage in his life   
and practice4  ,the new ,doge ,francesco
 ,venier had1 upon his accession in     
#aeed1 called upon ,titian to paint1    
besides his own portrait1 the orthodox  
votive picture of his predecessor       
,marcantonio ,trevisan1 and this        
official performance was duly completed 
in ,january #aeee1 and hung in the ,sala

 de' ,pregadi4 ,at the same time ,venier
 determined that thus tardily the memory
 of a long--deceased ,doge1 ,antonio    
,grimani1 should be rehabilitated by the
 dedication to him of a similar but more
 dramatic and allusive composition4 ,the
 commission for this piece also was     
given to ,titian1 who made good progress
 with it1 yet for reasons unexplained   
never carried the important undertaking 
to completion4 ,it remained in the      
workshop at the time of his death1 and  
was completed--with what divergence from
 the original design we cannot          
authoritatively say--by assistants4     
,antonio ,grimani1 supported by members 
of his house1 or officers attached to   
his person1 kneels in adoration before  
an emblematic figure of ,faith which    
appears in the clouds holding the cross 
and chalice1 which winged child-angels  
help to support1 and haloed round with  
an oval glory of cherubim--a conception1
 by the way1 quite new and not at all   
orthodox4 ,to the left appears a        

majestic figure of ,st4 ,mark1 while the
 clouds upon which ,faith is upborne1   
rise just sufficiently to show a very   
realistic prospect of ,venice4 ,there is
 not to be found in the whole life-work 
of ,titian a clumsier or more disjointed
 composition as a whole1 even making the
 necessary allowances for alterations1  
additions1 and restorations4 ,though the
 figure of ,faith is a sufficiently     
noble conception in itself1 the group   
which it makes with the attendant angels
 is inexplicably heavy and awkward in   
arrangement2 the flying pulli have none 
of the audacious grace and buoyancy that
 ,lotto or ,correggio would have        
imparted to them1 none of the rush of   
,tintoretto4 ,the noble figure of ,st4  
,mark must be of ,titian's designing1   
but is certainly not of his painting1   
while the corresponding figure on the   
other side is neither the one nor the   
other4 ,some consolation is afforded by 
the figure of the kneeling ,doge        
himself1 which is a masterpiece--not    

less in the happy expression of nave    
adoration than in the rendering1 with   
matchless breadth and certainty of      
brush1 of burnished armour in which is  
mirrored the glow of the ,doge's        
magnificent state robes4     ,,chapter  
,,iv  ,portraits of ,titian's daughter  
,lavinia--,death of ,aretino--,martyrdom
 of ,st4 ,lawrence--,death of ,charles  
,v4--,attempted assassination of ,orazio
 ,vecellio--,diana and ,actaeon and     
,diana and ,calisto--,the ,comoro       
,family--,the ,magdalen of the          
,hermitage--,the ,jupiter and ,antiope  
and ,rape of ,europa--,vasari defines   
,titian's latest manner--,st4 ,jerome of
 the ,brera--,education of              
,cupid--,jacopo da                      
,strada--,impressionistic manner of the 
end--,ecce ,homo of ,munich--,nymph and 
,shepherd of ,vienna--,the unfinished   
,piet--,death of ,titian4   ,it was in  
the month of ,march #aeee that ,titian  
married his only daughter ,lavinia to   
,cornelio ,sarcinelli of ,serravalle1   

thus leaving the pleasant home at ,biri 
,grande without a mistress2 for his     
sister ,orsa had been dead since        
#aedi4dg ,it may be convenient to treat 
here of the various portraits and more  
or less idealised portrait-pieces in    
which ,titian has immortalised the      
thoroughly ,venetian beauty of his      
daughter4 ,first we have in the great   
,ecce ,homo of ,vienna the graceful     
white-robed figure of a young girl of   
some fourteen years1 placed1 with the   
boy whom she guards1 on the steps of    
,pilate's palace4 ,then there is the    
famous piece ,lavinia with a ,dish of   
,fruit1 dating according to ,morelli    
from about #aedi1 and painted for the   
master's friend ,argentina ,pallavicino 
of ,reggio4 ,this last-named work passed
 in #ahba from the ,solly ,collection   
into the ,berlin ,gallery4 ,though its  
general aspect is splendidly decorative1
 though it is accounted one of the most 
popular of all ,titian's works1 the     
,berlin picture cannot be allowed to    

take the highest rank among his         
performances of the same class4 ,its    
fascinations are of the obvious and     
rather superficial kind1 its execution  
is not equal in vigour1 freedom1 and    
accent to the best that the master did  
about the same time4 ,it is pretty      
obvious here that only the head is      
adapted from that of ,lavinia1 the      
full-blown voluptuous form not being    
that of the youthful maiden1 who could  
not moreover have worn this sumptuous   
and fanciful costume except in the      
studio4 ,in the strongest contrast to   
the conscious allurement of this        
showpiece is the demure simplicity of   
mien in the avowed portrait ,lavinia as 
a ,bride in the ,dresden ,gallery4 ,in  
this last she wears a costume of warm   
white satin and a splendid necklace and 
earrings of pearls4 ,morelli has pointed
 out that the fan1 in the form of a     
little flag which she holds1 was only   
used in ,venice by newly betrothed      
ladies2 and this fixes the time of the  

portrait as #aeee1 the date of the      
marriage contract4 ,the execution is    
beyond all comparison finer here1 the   
colour more transparent in its warmth1  
than in the more celebrated ,berlin     
piece4 ,quite eight or ten years later  
than this must date the ,salome of the  
,prado ,gallery1 which is in general    
design a variation of the ,lavinia of   
,berlin4 ,the figure holding up--a grim 
substitute for the salver of fruit--the 
head of ,st4 ,john on a charger has     
probably been painted without any fresh 
reference to the model4 ,the writer is  
unable to agree with ,crowe and         
,cavalcaselle when they affirm that this
 ,salome is certainly painted by one of 
the master's followers4 ,the touch is   
assuredly ,titian's own in the very late
 time1 and the canvas1 though much      
slighter and less deliberate in         
execution than its predecessors1 is in  
some respects more spontaneous1 more    
vibrant in touch4 ,second to none as a  
work of art--indeed more striking than  

any in the nave and fearless truth of   
the rendering--is the ,lavinia          
,sarcinelli as a ,matron in the ,dresden
 ,gallery4 ,morelli surely exaggerates a
 little when he describes ,lavinia here 
as a woman of forty4 ,though the demure1
 bright-eyed maiden has grown into a    
self-possessed ,venetian dame of        
portentous dimensions1 ,sarcinelli's    
spouse is fresh still1 and cannot be    
more than two-or three-and-thirty4 ,this
 assumption1 if accepted1 would fix the 
time of origin of the picture at about  
#aefe1 and1 reasoning from analogies of 
technique1 this appears to be a more    
acceptable date than the year #aegj-gb1 
at which ,morelli would place it4       
,illustration3 ,titian's ,daughter      
,lavinia4  ,one of the most important   
chapters in our master's life closed    
with the death of ,aretino1 which took  
place suddenly on the #bast of ,october 
#aeef4 ,he had been sitting at table    
with friends far into the night or      
morning4 ,one of them1 describing to him

 a farcical incident of ,rabelaisian    
quality1 he threw himself back in his   
chair in a fit of laughter1 and slipping
 on the polished floor1 was thrown with 
great force on his head and killed      
almost instantaneously4 ,this was indeed
 the violent and sudden death of the    
strong1 licentious man2 poetic justice  
could have devised no more fitting end  
to such a life4  ,in the year #aeeh     
,crowe and ,cavalcaselle1 for very      
sufficient reasons1 place the ,martyrdom
 of ,st4 ,lawrence1 now preserved in the
 hideously over-ornate ,church of the   
,jesuits at ,venice4 ,to the very       
remarkable analysis which they furnish  
of this work1 the writer feels unable to
 add anything appreciable by way of     
comment1 for the simple reason that     
though he has seen it many times1 on no 
occasion has he been fortunate enough to
 obtain such a light as would enable him
 to judge the picture on its own merits 
as it now stands4#dh ,of a design more  
studied in its rhythm1 more akin to the 

,florentine and ,roman schools1 than    
anything that has appeared since the    
,st4 ,peter ,martyr1 with a mise-en-scne
 more classical than anything else from 
,titian's hand that can be pointed to1  
the picture may be guessed1 rather than 
seen1 to be also a curious and subtle   
study of conflicting lights4 ,on the one
 hand we have that of the gruesome      
martyrdom itself1 and of a huge torch   
fastened to the carved shaft of a       
pedestal2 on the other1 that of an      
effulgence from the skies1 celestial in 
brightness1 shedding its consoling beams
 on the victim4  ,the ,christ crowned   
with ,thorns1 which long adorned the    
church of ,s4 ,maria delle ,grazie at   
,milan1 and is now in the ,long ,gallery
 of the ,louvre1 may belong to about    
this time1 but is painted with a larger 
and more generous brush1 with a more    
spontaneous energy1 than the carefully  
studied piece at the ,gesuiti4 ,the     
tawny harmonies finely express in their 
calculated absence of freshness the     

scene of brutal and unholy violence so  
dramatically enacted before our eyes4   
,the rendering of muscle1 supple and    
strong under the living epidermis1 the  
glow of the flesh1 the dramatic         
momentariness of the whole1 have not    
been surpassed even by ,titian4 ,of the 
true elevation1 of the spiritual dignity
 that the subject calls for1 there is1  
however1 little or nothing4 ,the finely 
limbed ,christ is as coarse in type and 
as violent in action as his             
executioners2 sublimity is reached1     
strange to say1 only in the bust of     
,tiberius1 which crowns the rude archway
 through which the figures have issued  
into the open space4 ,titian is here the
 precursor of the ,naturalisti--of      
,caravaggio and his school4 ,yet1 all   
the same1 how immeasurable is the       
distance between the two6               
,illustration3 ,christ crowned with     
,thorns4 ,louvre4 ,from a ,photograph by
 ,neurdein4  ,on the #bast of ,september
 #aeeh died the imperial recluse of     

,yuste1 once ,charles ,v41 and it is    
said his last looks were steadfastly    
directed towards that great canvas ,the 
,trinity1 which to devise with ,titian  
had been one of his greatest            
consolations at a moment when already   
earthly glories held him no more4       
,philip1 on the news of his father's    
death1 retired for some weeks to the    
monastery of ,groenendale1 and thence   
sent a despatch to the ,governor of     
,milan1 directing payment of all the    
arrears of the pensions granted to      
,titian by ,charles his father 7now in  
glory71 adding by way of unusual favour 
a postscript in his own hand4#di ,orazio
 ,vecellio1 despatched by his father in 
the spring of #aeei to ,milan to receive
 the arrears of pension1 accepted the   
hospitality of the sculptor ,leone      
,leoni1 who was then living in splendid 
style in a palace which he had built and
 adorned for himself in the ,lombard    
city4 ,he was the rival in art as well  
as the mortal enemy of ,benvenuto       

,cellini1 and as great a ruffian as he1 
though one less picturesque in          
blackguardism4 ,one day early in ,june1 
when ,orazio1 having left ,leoni's      
house1 had returned to superintend the  
removal of certain property1 he was set 
upon1 and murderously assaulted by the  
perfidious host and his servants4 ,the  
whole affair is wrapped in obscurity4   
,it remains uncertain whether vengeance1
 or hunger after the arrears of         
,titian's pension1 or both1 were the    
motives which incited ,leoni to attempt 
the crime4 ,titian's passionate         
reclamations1 addressed immediately to  
,philip ,,ii41 met with but partial     
success1 since the sculptor1 himself a  
great favourite with the court of       
,spain1 was punished only with fine and 
banishment1 and the affair was          
afterwards compromised by the payment of
 a sum of money4  ,titian's letter of   
,september #bb1 #aeei1 to ,philip ,,ii4 
announces the despatch of the companion 
pieces ,diana and ,calisto and ,diana   

and ,acton1 as well as of an ,entombment
 intended to replace a painting of the  
same subject which had been lost on the 
way4 ,the two celebrated canvases1#ej   
now in the ,bridgewater ,gallery1 are so
 familiar that they need no new         
description4 ,judging by the            
repetitions1 reductions1 and copies that
 exist in the ,imperial ,gallery of     
,vienna1 the ,prado ,gallery1 the       
,yarborough ,collection1 and elsewhere1 
these mythological poesie have          
captivated the world far more than the  
fresher and lovelier painted poems of   
the earlier time--the ,worship of       
,venus1 the ,bacchanal1 the ,bacchus and
 ,ariadne4 ,at no previous period has   
,titian wielded the brush with greater  
maestria and ease than here1 or united a
 richer or more transparent glow with   
greater dignity of colour4 ,about the   
compositions themselves1 if we are to   
take them as the poesie that ,titian    
loved to call them1 there is a certain  
want of significance1 neither the divine

 nor the human note being struck with   
any depth or intensity of vibration4    
,the glamour1 the mystery1 the intimate 
charm of the early pieces is lost1 and  
there is felt1 enwrapping the whole1    
that sultry atmosphere of untempered    
sensuousness which has already1 upon    
more than one occasion1 been commented  
upon4 ,that this should be so is only   
natural when creative power is not      
extinguished by old age1 but is on the  
contrary coloured with its passion1 so  
different in quality from that of youth4
  ,the ,entombment1 which went to       
,madrid with the mythological pieces    
just now discussed1 serves to show how  
vivid was ,titian's imagination at this 
point1 when he touched upon a sacred    
theme1 and how little dependent he was  
in this field on the conceptions of his 
earlier prime4 ,a more living passion   
informs the scene1 a more intimate      
sympathy colours it1 than we find in the
 noble ,entombment of the ,louvre1 much 
as the picture which preceded it by so  

many years excels the ,madrid example in
 fineness of balance1 in dignity1 in    
splendour and charm of colour4 ,here the
 personages are set free by the master  
from all academic trammels1 and express 
themselves with a greater spontaneity in
 grief4 ,the colour1 too1 of which the  
general scheme is far less attractive to
 the eye than in the ,louvre picture1   
blazes forth in one note of lurid       
splendour in the red robe of the saint  
who supports the feet of the dead       
,christ4  ,in this same year ,titian    
painted on the ceiling of the           
ante-chamber to ,sansovino's great      
,library in the ,piazzetta the          
allegorical figure ,wisdom1 thus        
entering into direct competition with   
young ,paolo ,veronese1 ,schiavone1 and 
the other painters who1 striving in     
friendly rivalry1 had been engaged a    
short time before on the ceiling of the 
great hall in the same building4 ,this  
noble design contains a pronounced      
reminiscence of ,raphael's incomparable 

allegorical figures in the ,camera della
 ,segnatura1 but excels them as much in 
decorative splendour and facile breadth 
of execution as it falls behind them in 
sublimity of inspiration4  ,crowe and   
,cavalcaselle are probably right in     
assigning the great ,cornaro ,family in 
the collection of the ,duke of          
,northumberland to the year #aefj or    
thereabouts4 ,little seen of late years1
 and like most ,venetian pictures of the
 sixteenth century shorn of some of its 
glory by time and the restorer1 this    
family picture appears to the writer to 
rank among ,titian's masterpieces in the
 domain of portraiture1 and to be indeed
 the finest portrait-group of this      
special type that ,venice has produced4 
,in the simplicity and fervour of the   
conception ,titian rises to heights     
which he did not reach in the ,madonna  
di ,casa ,pesaro1 where he is hampered  
by the necessity for combining a votive 
picture with a series of avowed         
portraits4 ,it is pretty clear that this

 ,cornaro picture1 like the ,pesaro     
altar-piece1 must have been commissioned
 to commemorate a victory or important  
political event in the annals of the    
illustrious family4 ,search among their 
archives and papers1 if they still      
exist1 might throw light upon this      
point1 and fix more accurately the date 
of the magnificent work4 ,in the open   
air--it may be outside some great       
,venetian church--an altar has been     
erected1 and upon it is placed a        
crucifix1 on either side of which are   
church candles1 blown this way and the  
other by the wind4 ,three generations of
 patricians kneel in prayer and         
thanksgiving1 taking precedence         
according to age1 six handsome boys1    
arranged in groups of three on either   
side of the canvas1 furnishing an       
element of great pictorial              
attractiveness but no vital             
significance4 ,the act of worship       
acquires here more reality and a        
profounder meaning than it can have in  

those vast altar-pieces in which the    
divine favour is symbolised by the      
actual presence of the ,madonna and     
,child4 ,an open-air effect has been    
deliberately aimed at and attained1 the 
splendid series of portraits being      
relieved against the cloud-flecked blue 
sky with a less sculptural plasticity   
than the master would have given to them
 in an indoor scheme4 ,this is another  
admirable example of the dignity and    
reserve which ,titian combines with     
sumptuous colour at this stage of his   
practice4 ,his mastery is not less but  
greater1 subtler1 than that of his more 
showy and brilliant contemporaries of   
the younger generation2 the result is   
something that appears as if it must    
inevitably have been so and not         
otherwise4 ,the central figure of the   
patriarch is robed in deep crimson with 
grayish fur1 rather black in shadow2 the
 man in the prime of manhood wears a    
more positive crimson1 trimmed with     
tawnier fur1 browner in shadow2 a       

lighter sheen is on the brocaded mantle 
of yet another shade of crimson worn by 
the most youthful of the three          
patricians4 ,just the stimulating note  
to break up a harmony which might       
otherwise have been of a richness too   
cloying is furnished--in the master's   
own peculiar way--by the scarlet        
stockings of one boy in the right hand  
group1 by the cinnamon sleeve of        
another4#ea  ,illustration3 ,the        
,cornaro ,family4 ,in the ,collection of
 the ,duke of ,northumberland4  ,to the 
year #aefa belongs1 according to the    
elaborate inscription on the picture1   
the magnificent ,portrait of a ,man     
which is ,no4 #agb in the ,dresden      
,gallery4 ,it presents a ,venetian      
gentleman in his usual habit1 but       
bearing a palm branch such as we        
associate with saints who have endured  
martyrdom4 ,strangely sombre and        
melancholy in its very reserve is this  
sensitive face1 and the tone of the     
landscape echoes the pathetic note of   

disquiet4 ,the canvas bears the         
signature ,titianus ,pictor et ,aeques  
7sic7 ,caesaris4 ,there group very well 
with this ,dresden picture1 though the  
writer will not venture to assert       
positively that they belong to exactly  
the same period1 the ,st4 ,dominic of   
the ,borghese ,gallery and the ,knight  
of ,malta of the ,prado ,gallery4 ,in   
all three--in the two secular portraits 
as in the sacred piece which is also a  
portrait--the expression given1 and     
doubtless intended1 is that of a man who
 has withdrawn himself in his time of   
fullest physical vigour from the pomps  
and vanities of the world1 and sadly    
concentrates his thoughts on matters of 
higher import4  ,on the #ast of         
,december #aefa ,titian wrote to the    
king to announce the despatch of a      
,magdalen1 which had already been       
mentioned more than once in the         
correspondence4 ,according to ,vasari   
and subsequent authorities1 ,silvio     
,badoer1 a ,venetian patrician1 saw the 

masterpiece on the painter's easel1 and 
took it away for a hundred scudi1       
leaving the master to paint another for 
,philip4 ,this last has disappeared1    
while the canvas which remained in      
,venice cannot be identified with any   
certainty4 ,the finest extant example of
 this type of ,magdalen is undoubtedly  
that which from ,titian's ne'er-do-well 
son1 ,pompinio1 passed to the ,barbarigo
 family1 and ultimately1 with the group 
of ,titians forming part of the         
,barbarigo collection1 found its way    
into the ,imperial ,gallery of the      
,hermitage at ,st4 ,petersburg4 ,this   
answers in every respect to ,vasari's   
eloquent description of the magna       
peccatrix1 lovely still in her          
penitence4 ,it is an embodiment of the  
favourite subject1 infinitely finer and 
more moving than the much earlier       
,magdalen of the ,pitti1 in which the   
artist's sole preoccupation has been the
 alluring portraiture of exuberant      
feminine charms4 ,this later ,magdalen1 

as ,vasari says1 ancorch che sia        
bellissima1 non muove a lascivia1 ma a  
commiserazione1 and the contrary might1 
without exaggeration1 be said of the    
,pitti picture4#eb ,another of the      
,barbarigo heirlooms which so passed    
into the ,hermitage is the ever-popular 
,venus with the ,mirror1 the original of
 many repetitions and variations4 ,here1
 while one winged love holds the mirror1
 the other proffers a crown of flowers1 
not to the goddess1 but to the fairest  
of women4 ,the rich mantle of ,venetian 
fashion1 the jewels1 the coiffure1 all  
show that an idealised portrait of some 
lovely ,cytherean of ,venice1 and no    
true mythological piece1 has been       
intended4  ,at this date1 or            
thereabouts1 is very generally placed1  
with the ,rape of ,europa presently to  
be discussed1 the ,jupiter and ,antiope 
of the ,louvre1 more popularly known as 
the ,venere del ,pardo4#ec ,seeing that 
the picture is included in the list#ed  
sent by ,titian to ,antonio ,perez in   

#aegd1 setting forth the titles of      
canvases delivered during the last      
twenty-five years1 and then still unpaid
 for1 it may well have been completed   
somewhere about the time at which we    
have arrived4 ,to the writer it appears 
nevertheless that it is in essentials   
the work of an earlier period1 taken up 
and finished thus late in the day for   
the delectation of the ,spanish king4   
,seeing that the ,venere del ,pardo has 
gone through two fires--those of the    
,pardo and the ,louvre--besides         
cleanings1 restorations1 and            
repaintings1 even more disfiguring1 it  
would be very unsafe to lay undue stress
 on technique alone4 ,yet compare the   
close1 sculptural modelling in the      
figure of ,antiope with the broader1    
looser handling in the figure of        
,europa2 compare the two landscapes1    
which are even more divergent in style4 
,the glorious sylvan prospect1 which    
adds so much freshness and beauty to the
 ,venere del ,pardo1 is conspicuously   

earlier in manner than1 for instance1   
the backgrounds to the ,diana and ,acton
 and ,diana and ,calisto of ,bridgewater
 ,house4 ,the captivating work is not   
without its faults1 chief among which is
 the curious awkwardness of design which
 makes of the composition1 cut in two by
 a central tree1 two pictures instead of
 one4 ,undeniably1 too1 there is a      
certain meanness and triviality in the  
little nymph or mortal of the           
foreground1 which may1 however1 be due  
to the intervention of an assistant4    
,but then1 with an elasticity truly     
astounding in a man of his great age1   
the master has momentarily regained the 
poetry of his youthful prime1 and with  
it a measure of that ,giorgionesque     
fragrance which was evaporating already 
at the close of the early time1 when the
 ,bacchanals were brought forth4 ,the   
,antiope herself far transcends in the  
sovereign charm of her beauty--divine in
 the truer sense of the word--all       
,titian's ,venuses1 save the one in the 

,sacred and ,profane ,love4 ,the figure 
comes in some ways nearer even in       
design1 and infinitely nearer in        
feeling1 to ,giorgione's ,venus at      
,dresden than does the ,venus of ,urbino
 in the ,tribuna1 which was closely     
modelled upon it4 ,and the aged ,titian 
had gone back even a step farther than  
,giorgione2 the group of ,antiope with  
,jupiter in the guise of a ,satyr is    
clearly a reminiscence of a ,nymph      
surprised by a ,satyr--one of the       
engravings in the ,hypnerotomachia      
,poliphili first published in #adii1 but
 republished with the same illustrations
 in #aede4ee  ,illustration3 ,the ,rape 
of ,europa4 ,from the ,engraving by     
,j4,z4 ,delignon4  ,according to the    
correspondence published by ,crowe and  
,cavalcaselle there were completed for  
the ,spanish ,king in ,april #aefb the  
,poesy of ,europa carried by the ,bull1 
and the ,christ praying in the ,garden1 
while a ,virgin and ,child was announced
 as in progress4  ,these paintings1     

widely divergent as they are in subject1
 answer very well to each other in      
technical execution1 while in both they 
differ very materially from the ,venere 
del ,pardo4 ,the ,rape of ,europa1 which
 has retained very much of its blond    
brilliancy and charm of colour1 affords 
convincing proof of the unrivalled power
 with which ,titian still wielded the   
brush at this stage which precedes that 
of his very last and most               
impressionistic style4 ,for decorative  
effect1 for go1 for frankness and       
breadth of execution1 it could not be   
surpassed4 ,yet hardly elsewhere has the
 great master approached so near to     
positive vulgarity as here in the       
conception of the fair ,europa as a     
strapping wench who1 with ample limbs   
outstretched1 complacently allows       
herself to be carried off by the ,bull1 
making her appeal for succour merely    
pour la forme4 ,what gulfs divide this  
conception from that of the ,antiope1   
from ,titian's earlier renderings of    

female loveliness1 from ,giorgione's    
supreme ,venus6#ef  ,illustration3      
,portrait of ,titian1 by himself4       
,gallery of the ,prado1 ,madrid4 ,from a
 ,photograph by ,braun1 ,clment1  ,cie4 
,the ,agony in the ,garden1 which is    
still to be found in one of the halls of
 the ,escorial1 even now in its faded   
state serves to evidence the intensity  
of religious fervour which possessed    
,titian when1 so late in life1 he       
successfully strove to renew the sacred 
subjects4 ,if the composition--as ,crowe
 and ,cavalcaselle assert--does more or 
less resemble that of the famous ,agony 
by ,correggio now at ,apsley ,house1    
nothing could differ more absolutely    
from the ,parmese master's amiable      
virtuosity than the aged ,titian's deep 
conviction4#eg  ,to the year #aefb      
belongs the nearly profile portrait of  
the artist1 painted by himself with a   
subtler refinement and a truer          
revelation of self than is to be found  
in those earlier canvases of ,berlin and

 the ,uffizi in which his late prime    
still shows as a green and vigorous     
manhood4 ,this is now in the ,sala de la
 ,reina ,isabel of the ,prado4 ,the pale
 noble head1 refined by old age to a    
solemn beauty1 is that of one brought   
face to face with the world beyond2 it  
is the face of the man who could        
conceive and paint the sacred pieces of 
the end1 the ,ecce ,homo of ,munich and 
the last ,piet1 with an awe such as we  
here read in his eyes4 ,much less easy  
is it to connect this likeness with the 
artist who went on concurrently         
producing his ,venuses1 mythological    
pieces1 and pastorals1 and joying as    
much as ever in their production4       
,vasari1 who1 as will be seen1 visited  
,venice in #aeff1 when he was preparing 
that new and enlarged edition of the    
,lives which was to appear in #aefh1 had
 then an opportunity of renewing his    
friendly acquaintance with the splendid 
old man whom he had last seen1 already  
well stricken in years1 twenty-one years

 before in ,rome4 ,it must have been at 
this stage that he formed the judgment  
as to the latest manner of ,titian which
 is so admirably expressed in his       
biography of the master4 ,speaking      
especially of the ,diana and ,acton1 the
 ,rape of ,europa1 and the ,deliverance 
of ,andromeda1#eh he delivers himself as
 follows3--,it is indeed true that his  
technical manner in these last is very  
different from that of his youth4 ,the  
first works are1 be it remembered1      
carried out with incredible delicacy and
 pains1 so that they can be looked at   
both at close quarters and from afar4   
,these last ones are done with broad    
coarse strokes and blots of colour1 in  
such wise that they cannot be           
appreciated near at hand1 but from afar 
look perfect4 ,this style has been the  
cause that many1 thinking therein to    
play the imitators and to make a display
 of practical skill1 have produced      
clumsy1 bad pictures4 ,this is so1      
because1 notwithstanding that to many it

 may seem that ,titian's works are done 
without labour1 this is not so in truth1
 and they who think so deceive          
themselves4 ,it is1 on the contrary1 to 
be perceived that they are painted at   
many sittings1 that they have been      
worked upon with the colours so many    
times as to make the labour evident2 and
 this method of execution is judicious1 
beautiful1 astonishing1 because it makes
 the pictures seem living4  ,no better  
proof could be given of ,vasari's       
genuine flair and intuition as a critic 
of art than this passage4 ,we seem to   
hear1 not the ,tuscan painter bred to   
regard the style of ,michelangelo as an 
article of faith1 to imitate his        
sculptural smoothness of finish and that
 of ,angelo ,bronzino1 but some         
intelligent exponent of impressionistic 
methods1 defending both from attack and 
from superficial imitation one of the   
most advanced of modernists4  ,among the
 sacred works produced in this late time
 is a ,crucifixion1 still preserved in a

 damaged state in the church of ,s4     
,domenico at ,ancona4 ,to a period      
somewhat earlier than that at which we  
have arrived may belong the late        
,madonna and ,child in a ,landscape     
which is ,no4 #aaac in the ,alte        
,pinakothek of ,munich4 ,the writer     
follows ,giovanni ,morelli in believing 
that this is a studio picture touched by
 the master1 and that the splendidly    
toned evening landscape is all his4 ,he 
cannot surely be made wholly responsible
 for the overgrown and inflated figure  
of the divine ,bambino1 so              
disproportionate1 so entirely wanting in
 tenderness and charm4  ,the power of   
vivid conception1 the spontaneous       
fervour which mark ,titian's latest     
efforts in the domain of sacred art1 are
 very evident in the great ,st4 ,jerome 
of the ,brera here reproduced4 ,cima1   
,basaiti1 and most of the ,bellinesques 
had shown an especial affection for the 
subject1 and it had been treated too by 
,lotto1 by ,giorgione1 by ,titian       

himself2 but this is surely as noble and
 fervent a rendering as ,venetian art in
 its prime has brought forth4 ,of       
extraordinary majesty and beauty is the 
landscape1 with its mighty trees growing
 out of the abrupt mountain slope1 close
 to the naked rock4  ,in the autumn of  
#aefd we actually find the venerable    
master1 then about eighty-seven years of
 age1 taking a journey to ,brescia in   
connection with an important commission 
given to him for the decoration of the  
great hall in the ,palazzo ,pubblico at 
,brescia1 to which the ,vicentine artist
 ,righetto had supplied the ceiling1 and
 ,palladio had added columns and        
interior wall-decorations4 ,the three   
great ceiling-pictures1 which were      
afterwards1 as a consequence of the     
contract then entered upon1 executed by 
the master1 or rather by his assistants1
 endured only until #aege1 when in the  
penultimate year of ,titian's life they 
perished in a great fire4  ,the         
correspondence shows that the vast ,last

 ,supper painted for the ,refectory of  
the ,escorial1 and still to be found    
there1 was finished in ,october #aefd1  
and that there was much haggling and    
finessing on the part of the artist     
before it was despatched to ,spain1 the 
object being to secure payment of the   
arrears of pension still withheld by the
 ,milanese officials4 ,when the huge    
work did arrive at the ,escorial the    
monks perpetrated upon it one of those  
acts of vandalism of which ,titian was  
in more than one instance the victim4   
,finding that the picture would not fit 
the particular wall of their refectory  
for which it had been destined1 they    
ruthlessly cut it down1 slicing off a   
large piece of the upper part1 and      
throwing the composition out of balance 
by the mutilation of the architectural  
background4  ,illustration3 ,st4 ,jerome
 in the ,desert4 ,gallery of the ,brera1
 ,milan4 ,from a ,photograph by         
,anderson4  ,passing over the           
,transfiguration on the high altar of   

,san ,salvatore at ,venice1 we come to  
the ,annunciation in the same church    
with the signature ,titianus fecit      
fecit1 added by the master1 if we are to
 credit the legend1 in indignation that 
those who commissioned the canvas should
 have shown themselves dissatisfied even
 to the point of expressing incredulity 
as to his share in the performance4     
,some doubt has been cast upon this     
story1 which may possibly have been     
evolved on the basis of the peculiar    
signature4 ,it is at variance with      
,vasari's statement that ,titian held   
the picture in slight esteem in         
comparison with his other works4 ,it is 
not to be contested that for all the    
fine passages of colour and execution1  
the general tone is paler in its        
silveriness1 less vibrant and effective 
on the whole1 than in many of the       
masterpieces which have been mentioned  
in their turn4 ,but the conception is a 
novel and magnificent one1 contrasting  
instructively in its weightiness and    

majesty with the more nave and pathetic 
renderings of an earlier time4  ,the    
,education of ,cupid1 popularly but     
erroneously known as ,the ,three        
,graces#ei is one of the pearls of the  
,borghese ,gallery4 ,it is clearly built
 in essentials on the master's own      
d',avalos ,allegory1 painted many years 
before4 ,this later allegory shows      
,venus binding the eyes of ,love ere he 
sallies forth into the world1 while his 
bow and his quiver well-stocked with    
arrows are brought forward by two of the
 ,graces4 ,in its conception there is no
 great freshness or buoyancy1 no        
pretence at invention4 ,the aged        
magician of the brush has interested    
himself more in the execution than in   
the imagining of his picture4 ,it is a  
fine and typical specimen of the        
painting di macchia1 which ,vasari has  
praised in a passage already quoted4 ,a 
work such as this bears in technique    
much the same relation to the           
productions of ,titian's first period   

that the great ,family ,picture of      
,rembrandt at ,brunswick does to his    
work done some thirty-five or forty     
years before4 ,in both instances it is a
 life-time of legitimate practice that  
has permitted the old man to indulge    
without danger in an abridgment of      
labour1 a synthetic presentment of fact1
 which means no abatement1 but in some  
ways an enhancement of life1 breadth1   
and pictorial effect4 ,to much about the
 same time1 judging from the handling   
and the types1 belongs the curious      
allegory1 ,religion succoured by        
,spain--otherwise ,la ,f--now ,no4 #dgf 
in the gallery of the ,prado4 ,this     
canvas1 notwithstanding a marked        
superficiality of invention as well as  
of execution1 is in essentials the      
master's own2 moreover it can boast its 
own special decorative qualities1 void  
though it is of any deep significance4  
,the showy figure of ,spain holding     
aloft in one hand a standard1 and with  
the other supporting a shield emblazoned

 with the arms of the realm1 recalls the
 similar creations of ,paolo ,veronese4 
,titian has rarely been less happily    
inspired than in the figure of          
,religion1 represented as a naked female
 slave newly released from bondage4     
,illustration3 ,the ,education of       
,cupid4 ,gallery of the ,villa          
,borghese1 ,rome4 ,from a ,photograph by
 ,e4 ,alinari4  ,when ,vasari in #aeff  
paid the visit to ,venice1 of which a   
word has already been said1 he noted1   
among a good many other things then in  
progress1 the ,martyrdom of ,st4        
,lawrence1 based upon that now at the   
,gesuiti in ,venice4 ,this was          
despatched nearly two years later to the
 ,escorial1 where it still occupies its 
place on the high altar of the mighty   
church dedicated to ,st4 ,lawrence4 ,the
 ,brescian ceiling canvases appeared1   
too1 in his list as unfinished4 ,they   
were sent to their destination early in 
#aefh1 to be utterly destroyed1 as has  
been told1 by fire in #aege4  ,the best 

proof we have that ,titian's artistic   
power was in many respects at its       
highest in #aeff1 is afforded by the    
magnificent portrait of the ,mantuan    
painter and antiquary ,jacopo da        
,strada1 now in the ,imperial ,gallery  
at ,vienna4 ,it bears1 besides the usual
 late signature of the master1 the      
description of the personage with all   
his styles and titles1 and the date     
,,mdlxvi4 ,the execution is again di    
macchia1 but magnificent in vitality1 as
 in impressiveness of general effect1   
swift but not hasty or superficial4 ,the
 reserve and dignity of former male     
portraits is exchanged for a more       
febrile vivacity1 akin to that which    
,lotto had in so many of his finest     
works displayed4 ,his peculiar style is 
further recalled in the rather abrupt   
inclination of the figure and the       
parallel position of the statuette which
 it holds4 ,but none other than ,titian 
himself could have painted the superb   
head1 which he himself has hardly       

surpassed4  ,it is curious and          
instructive to find the artist1 in a    
letter addressed to ,philip on the #bnd 
of ,december #aefg1 announcing the      
despatch1 together with the just now    
described altar-piece1 ,the ,martyrdom  
of ,st4 ,lawrence1 of una pittura d'una 
,venere ignuda--the painting of a nude  
,venus4 ,thus is the peculiar double    
current of the aged painter's genius    
maintained by the demand for both       
classes of work4 ,he well knows that to 
the ,most ,catholic ,majesty very       
secular pieces indeed will be not less  
acceptable than those much-desired      
sacred works in which now ,titian's     
power of invention is greatest4         
,illustration3 ,religion succoured by   
,spain4 ,gallery of the ,prado1 ,madrid4
 ,from a ,photograph by ,braun1 ,clment1
  ,cie4  ,our master1 in his dealings   
with the ,brescians1 after the          
completion of the extensive decorations 
for the ,palazzo ,pubblico1 was to have 
proof that ,italian citizens were better

 judges of art than the ,king of ,spain1
 and more grudging if prompter          
paymasters4 ,they declared1 not without 
some foundation in fact1 that the       
canvases were not really from the hand  
of ,titian1 and refused to pay more than
 one thousand ducats for them4 ,the     
negotiation was conducted--as were most 
others at that time--by the trusty      
,orazio1 who after much show of         
indignation was compelled at last to    
accept the proffered payment4           
,illustration3 ,portrait of the         
,antiquary ,jacopo da ,strada4 ,imperial
 ,gallery1 ,vienna4 ,from a ,photograph 
by ,lwy4  ,illustration3 ,madonna and   
,child4 ,collection of ,mr4 ,ludwig     
,mond4  ,the great victory of ,lepanto1 
gained by the united fleets of ,spain   
and ,venice over the ,turk on the #gth  
of ,october #aega1 gave fitting occasion
 for one of ,paolo ,veronese's most     
radiant masterpieces1 the celebrated    
votive picture of the ,sala del         
,collegio1 for ,tintoretto's ,battle of 

,lepanto1 but also for one of ,titian's 
feeblest works1 the allegory ,philip    
,,ii4 offering to ,heaven his ,son1 the 
,infant ,don ,ferdinand1 now ,no4 #dgj  
in the gallery of the ,prado4 ,that     
,sanchez ,coello1 under special         
directions from the king1 prepared the  
sketch which was to serve as the basis  
for the definitive picture may well have
 hampered and annoyed the aged master4  
,still this is but an insufficient      
excuse for the absurdities of the       
design1 culminating in the figure of the
 descending angel1 who is represented in
 one of those strained1 over-bold       
attitudes1 in which ,titian1 even at his
 best1 never achieved complete success4 
,that he was not1 all the same1 a       
stranger to the work1 is proved by some 
flashes of splendid colour1 some fine   
passages of execution4  ,in the four    
pieces now to be shortly described1 the 
very latest and most impressionistic    
form of ,titian's method as a painter is
 to be observed2 all of them are in the 

highest degree characteristic of this   
ultimate phase4 ,in the beautiful       
,madonna and ,child here reproduced1#fj 
the hand1 though it no longer works with
 all trenchant vigour of earlier times1 
produces a magical effect by means of   
unerring science and a certainty of     
touch justifying such economy of mere   
labour as is by the system of execution 
suggested to the eye4 ,and then this    
pathetic motive1 the simple realism1 the
 unconventional treatment of which are  
spiritualised by infinite tenderness1 is
 a new thing in ,venetian1 nay in       
,italian art4 ,precisely similar in     
execution1 and equally restrained in the
 scheme of colour adopted1 is the       
,christ crowned with ,thorns of the     
,alte ,pinakothek at ,munich1 a         
reproduction with important variations  
of the better-known picture in the ,long
 ,gallery of the ,louvre4 ,less         
demonstratively and obviously dramatic  
than its predecessor1 the ,munich       
example is1 as a realisation of the     

scene1 far truer and more profound in   
pathos4 ,nobler beyond compare in ,his  
unresisting acceptance of insult and    
suffering is the ,munich ,christ than   
the corresponding figure1 so violent in 
its instinctive recoil from pain1 of the
 ,louvre picture4  ,illustration3       
,christ crowned with ,thorns4 ,alte     
,pinakothek1 ,munich4 ,from a           
,photograph by ,f4 ,hanfstngl4  ,it is  
nothing short of startling at the very  
end of ,titian's career to meet with a  
work which1 expressed in this masterly  
late technique of his1 vies in freshness
 of inspiration with the finest of his  
early poesie4 ,this is the ,nymph and   
,shepherd#fa of the ,imperial ,gallery  
at ,vienna1 a picture which the world   
had forgotten until it was added1 or    
rather restored1 to the ,state          
collection on its transference from the 
,belvedere to the gorgeous palace which 
it now occupies4 ,in its almost         
monochromatic harmony of embrowned      
silver the canvas embodies more         

absolutely than any other1 save perhaps 
the final ,piet1 the ideal of           
tone-harmony towards which the master in
 his late time had been steadily        
tending4 ,richness and brilliancy of    
local colour are subordinated1 and this 
time up to the point of effacement1 to  
this luminous monotone1 so mysteriously 
effective in the hands of a master such 
as ,titian4 ,in the solemn twilight     
which descends from the heavens1 just   
faintly flushed with rose1 an amorous   
shepherd1 flower-crowned1 pipes to a    
nude nymph1 who1 half-won by the        
appealing strain1 turns her head as she 
lies luxuriously extended on a wild     
beast's hide1 covering the grassy knoll2
 in the distance a strayed goat browses 
on the leafage of a projecting branch4  
,it may not be concealed that a note of 
ardent sensuousness still makes itself  
felt1 as it does in most of the later   
pieces of the same class4 ,but here1    
transfigured by a freshness of poetic   
inspiration hardly to be traced in the  

master's work in pieces of this order1  
since those early ,giorgionesque days   
when the sixteenth century was in its   
youth1 it offends no more than does an  
idyll of ,theocritus4 ,since the ,three 
,ages of ,bridgewater ,house1 divided   
from the ,nymph and ,shepherd by nearly 
seventy years of life and labour1       
,titian had produced nothing which1     
apart from the question of technical    
execution1 might so nearly be paralleled
 with that exquisite pastoral4 ,the     
early poesia gives1 wrapped in clear    
even daylight1 the perfect moment of    
trusting1 satisfied love2 the late one1 
with less purity1 but1 strange to say1  
with a higher passion1 renders1         
beautified by an evening light more     
solemn and suggestive1 the divine       
ardours fanned by solitude and          
opportunity4  ,and now we come to the   
,piet1#fb which so nobly and            
appropriately closes a career unexampled
 for duration and sustained achievement4
 ,titian had bargained with the         

,franciscan monks of the ,frari1 which  
contained already the ,assunta and the  
,madonna di ,casa ,pesaro1 for a grave  
in the ,cappella del ,crocifisso1       
offering in payment a ,piet1 and this   
offer had been accepted4 ,but some      
misunderstanding and consequent quarrel 
having been the ultimate outcome of the 
proposed arrangements1 he left his great
 canvas unfinished1 and willed that his 
body should be taken to ,cadore1 and    
there buried in the chapel of the       
,vecelli4  ,illustration3 ,piet4 ,by    
,titian and ,palma ,giovine4 ,accademia 
delle ,belle ,arti1 ,venice4 ,from a    
,photograph by ,e4 ,alinari4  ,the      
well-known inscription on the base of   
the monumental niche which occupies the 
centre of the ,piet1 ,quod ,titianus    
inchoatum reliquit1 ,palma reverenter   
absolvit1 ,deoque dicavit opus1 records 
how what ,titian had left undone was    
completed as reverently as might be by  
,palma ,giovine4 ,at this stage--the    
question being much complicated by      

subsequent restorations--the effort to  
draw the line accurately between the    
work of the master on one hand and that 
of his able and pious assistant on the  
other1 would be unprofitable4 ,let us   
rather strive to appreciate what is left
 of a creation unique in the life-work  
of ,titian1 and in some ways his most   
sublime invention4 ,genius alone could  
have triumphed over the heterogeneous   
and fantastic surroundings in which he  
has chosen to enframe his great central 
group4 ,and yet even these--the great   
rusticated niche with the gold mosaic of
 the pelican feeding its young1 the     
statues of ,moses on one side and of the
 ,hellespontic ,sibyl on the other--but 
serve to heighten the awe of the        
spectator4 ,the artificial light is     
obtained in part from a row of crystal  
lamps on the cornice of the niche1 in   
part1 too1 from the torch borne by the  
beautiful boy-angel who hovers in       
mid-air1 yet another focus of           
illumination being the body of the dead 

,christ4 ,this system of lighting       
furnishes just the luminous half-gloom1 
the deeply significant chiaroscuro1 that
 the painter requires in order to give  
the most poignant effect to his last and
 most thrilling conception of the       
world's tragedy4 ,as is often the case  
with ,tintoretto1 but more seldom with  
,titian1 the eloquent passion breathed  
forth in this ,piet is not to be        
accounted for by any element or elements
 of the composition taken separately2 it
 depends to so great an extent on the   
poetic suggestiveness of the            
illumination1 on the strange and        
indefinable power of evocation that the 
aged master here exceptionally commands4
  ,wonderfully does the terrible figure 
of the ,magdalen contrast in its excess 
of passion with the sculptural repose1  
the permanence of the main group4 ,as   
she starts forward1 almost menacing in  
her grief1 her loud and bitter cry seems
 to ring through space1 accusing all    
mankind of its great crime4 ,it is with 

a conviction far more intense than has  
ever possessed him in his prime1 with an
 awe nearly akin to terror1 that        
,titian1 himself trembling on the verge 
of eternity1 and painting1 too1 that    
which shall purchase his own grave1 has 
produced this profoundly moving work4   
,no more fitting end and crown to the   
great achievements of the master's old  
age could well be imagined4  ,there is  
no temptation to dwell unnecessarily    
upon the short period of horror and     
calamity with which this glorious life  
came to an end4 ,if ,titian had died a  
year earlier1 his biographer might still
 have wound up with those beautiful     
words of ,vasari's peroration3 ,e stato 
,tiziano sanissimo et fortunate quant'  
alcun altro suo pari sia stato ancor    
mai2 e non ha mai avuto dai cieli se non
 favori e felicit4 ,too true it is1     
alas1 that no man's life may be counted 
happy until its close6 ,now comes upon  
the great city this all-enveloping      
horror of the plague1 beginning in      

#aege1 but in #aegf attaining to such   
vast proportions as to sweep away more  
than a quarter of the whole population  
of #aij1jjj inhabitants4 ,on the #agth  
of ,august1 #aegf1 old ,titian is       
attacked and swept away--surprised1 as  
one would like to believe1 while still  
at work on his ,piet4 ,even at such a   
moment1 when panic reigns supreme1 and  
the most honoured1 the most dearly      
beloved are left untended1 he is not to 
be hurried into an unmarked grave4      
,notwithstanding the sanitary law which 
forbids the burial of one who has       
succumbed to the plague in any of the   
city churches1 he receives the supreme  
and at this awful moment unique honour  
of solemn obsequies4 ,the body is taken 
with all due observance to the great    
church of the ,frari1 and there interred
 in the ,cappella del ,crocifisso1 which
 ,titian has already1 before the quarrel
 with the ,franciscans1 designated as   
his final resting-place4 ,he is spared  
the grief of knowing that the favourite 

son1 ,orazio1 for whom all these years  
he has laboured and schemed1 is to      
follow him immediately1 dying also of   
the plague1 and not even at ,biri       
,grande1 but in the ,lazzaretto         
,vecchio1 near the ,lido2 that the      
incorrigible ,pomponio is to succeed and
 enjoy the inheritance after his own    
unworthy fashion4 ,he is spared the     
knowledge of the great calamity of      
#aegg1 the destruction by fire of the   
,sala del ,gran ,consiglio1 and with it1
 of the ,battle of ,cadore1 and most of 
the noble work done officially for the  
,doges and the ,signoria4 ,one would    
like to think that this catastrophe of  
the end must have come suddenly upon the
 venerable master like a hideous dream1 
appearing to him1 as death often does to
 those upon whom it descends1 less      
significant than it does to us who read4
 ,instead of remaining fixed in sad     
contemplation of this short final moment
 when the radiant orb goes suddenly down
 below the horizon in storm and cloud1  

let us keep steadily in view the light  
as1 serene in its far-reaching radiance1
 it illuminated the world for eighty    
splendid years4 ,let us think of ,titian
 as the greatest painter1 if not the    
greatest genius in art1 that the world  
has produced2 as1 what ,vasari with such
 conviction described him to be1 the man
 as highly favoured by fortune as any of
 his kind had ever been before him4#fc  
,,footnotes3  ,footnote #a3 ,the        
,earlier ,work of ,titian1 ,portfolio1  
,october #ahig4  ,footnote #b3          
,according to the catalogue of #ahib1   
this picture was formerly in the        
sacristy of the ,escorial in ,spain4 ,it
 can only be by an oversight that it is 
therein described as possibly painted   
there1 since ,titian never was in       
,spain4  ,footnote #c3 ,it is especially
 to be noted that there is not a trace  
of red in the picture1 save for the     
modest crimson waistband of the ,st4    
,catherine4 ,contrary to almost         
universal usage1 it might almost be said

 to orthodoxy1 the entire draperies of  
the ,virgin are of one intense blue4    
,her veil-like head-gear is of a        
brownish gray1 while the ,st4 ,catherine
 wears a golden-brown scarf1 continuing 
the glories of her elaborately dressed  
hair4 ,the audacity of the colour-scheme
 is only equalled by its success2 no    
calculated effort at anything unusual   
being apparent4 ,the beautiful naked    
putto who appears in the sky1 arresting 
the progress of the shepherds1 is too   
trivial in conception for the occasion4 
,a similar incident is depicted in the  
background of the much earlier ,holy    
,family1 ,no4 #d4 at the ,national      
,gallery1 but there the messenger angel 
is more appropriately and more          
reverently depicted as full-grown and in
 flowing garments4  ,footnote #d3 ,crowe
 and ,cavalcaselle1 vol4 i4 pp4 #cif1   
#cig2 ,tizian1 von ,h4 ,knackfuss1 p4   
#ee4  ,footnote #e3 ,crowe and          
,cavalcaselle1 ,appendix to vol4 i4 p4  
#ddh4  ,footnote #f3 ,no4 #abhh in the  

,long ,gallery of the ,louvre4          
,footnote #g3 ,see the canvas ,no4 #afc 
in the ,imperial ,gallery of ,vienna4   
,the want of life and of a definite     
personal character makes it almost      
repellent1 notwithstanding the breadth  
and easy mastery of the technique4      
,rubens's copy of a lost or unidentified
 ,titian1 ,no4 #hde in the same gallery1
 shows that he painted ,isabella from   
life in mature middle age1 and with a   
truthfulness omitting no sign of        
over-ripeness4 ,this portrait may very  
possibly have been done in #aebb1 when  
,titian appeared at the court of the    
,gonzagas4 ,its realism1 even allowing  
for ,rubens's unconscious exaggeration1 
might well have deterred the ,gonzaga   
princess from being limned from life    
some twelve years later still4          
,footnote #h3 ,crowe and ,cavalcaselle1 
vol4 i41 ,appendix1 p4 #dea4  ,footnote 
#i3 ,the idea of painting ,st4 ,jerome  
by moonlight was not a new one4 ,in the 
house at ,venice of ,andrea ,odoni1 the 

dilettante whose famous portrait by     
,lotto is at ,hampton ,court1 the       
,anonimo 7,marcantonio ,michiel7 saw1 in
 #aecb1 ,st4 ,jerome seated naked in a  
desert landscape by moonlight1 by ----  
7sic71 copied from a canvas by ,zorzi da
 ,castelfranco 7,giorgione74  ,footnote 
#aj3 ,see ,the ,picture ,gallery of     
,charles ,i41 ,the ,portfolio1 ,january 
#ahif1 pp4 #di and #ii4  ,footnote #aa3 
,the somewhat similar ,allegories ,no4  
#agc and ,no4 #ahg in the ,imperial     
,gallery at ,vienna 7,new ,catalogue1   
#ahie71 both classed as by ,titian1     
cannot take rank as more than atelier   
works4 ,still farther from the master is
 the ,initiation of a ,bacchante1 ,no4  
#aaaf 7,cat4 #ahia71 in the ,alte       
,pinakothek of ,munich4 ,this is a piece
 too cold and hard1 too opaque1 to have 
come even from his studio4 ,it is a     
pasticcio made up in a curiously        
mechanical way1 from the ,louvre        
,allegory and the quite late ,education 
of ,cupid in the ,borghese ,gallery2 the

 latter composition having been         
manifestly based by ,titian himself1    
according to what became something like 
a custom in old age1 upon the earlier   
,allegory4  ,footnote #ab3 ,a rather    
tiresome and lifeless portrait of       
,ippolito is that to be found in the    
picture ,no4 #bj in the ,national       
,gallery1 in which it has been assumed  
that his companion is his favourite     
painter1 ,sebastiano del ,piombo1 to    
whom the picture is1 not without some   
misgivings1 attributed4  ,footnote #ac3 
,it has been photographed under this    
name by ,anderson of ,rome4  ,footnote  
#ad3 ,in much the same position1 since  
it hardly enjoys the celebrity to which 
it is entitled1 is another masterpiece  
of portraiture from the brush of        
,titian1 which1 as belonging to his     
earlier middle time1 should more        
properly have been mentioned in the     
first section of this monograph4 ,this  
is the great ,portrait of a ,man in     
,black1 ,no4 #aeia in the ,louvre4 ,it  

shows a man of some forty years1 of     
simple mien yet of indefinably tragic   
aspect2 he wears moderately long hair1  
is clothed entirely in black1 and rests 
his right hand on his hip1 while passing
 the left through his belt4 ,the        
dimensions of the canvas are more       
imposing than those of the ,jeune ,homme
 au ,gant4 ,no example in the ,louvre1  
even though it competes with ,madrid for
 the honour of possessing the greatest  
,titians in the world1 is of finer      
quality than this picture4 ,near        
this--,no4 #aeib in the same great      
gallery--hangs another ,portrait of a   
,man in ,black by ,titian1 and belonging
 to his middle time4 ,the personage     
presented1 though of high breeding1 is  
cynical and repellent of aspect4 ,the   
strong right hand rests quietly yet     
menacingly on a poniard1 this attitude  
serving to give a peculiarly aggressive 
character to the whole conception4 ,in  
the present state of this fine and      
striking picture the yellowness and want

 of transparency of the flesh-tones1    
both in the head and hands1 gives rise  
to certain doubts as to the correctness 
of the ascription4 ,yet this peculiarity
 may well arise from injury2 it would at
 any rate be hazardous to put forward   
any other name than that of ,titian1 to 
whom we must be content to leave the    
portrait4  ,footnote #ae3 ,this is the  
exceedingly mannered yet all the same   
rich and beautiful ,st4 ,catherine1 ,st4
 ,roch1 with a boy angel1 and ,st4      
,sebastian4  ,footnote #af3 ,see        
,giorgione's ,adrastus and ,hypsipyle   
7,landscape with the ,soldier and the   
,gipsy7 of the ,giovanelli ,palace1 the 
,venus of ,dresden1 the ,concert        
,champtre of the ,louvre4  ,footnote    
#ag3 ,it is unnecessary in this         
connection to speak of the ,darmstadt   
,venus invented by ,crowe and           
,cavalcaselle1 and to which as a type   
they so constantly refer4 ,giovanni     
,morelli has demonstrated with very     
general acceptance that this is only a  

late adaptation of the exquisite ,venus 
of ,dresden1 which it is his greatest   
glory to have restored to ,barbarelli   
and to the world4  ,footnote #ah3 ,die  
,galerien zu ,mnchen und ,dresden von   
,ivan ,lermolieff1 p4 #bij4  ,footnote  
#ai3 ,palma ,vecchio1 in his            
presentments of ripe ,venetian beauty1  
was1 we have seen1 much more literal    
than ,giorgione1 more literal1 too1 less
 the poet-painter1 than the young       
,titian4 ,yet in the great ,venus of the
 ,fitzwilliam ,museum1 ,cambridge--not1 
indeed1 in that of ,dresden--his ideal  
is a higher one than ,titian's in such  
pieces as the ,venus of ,urbino and the 
later ,venus1 its companion1 in the     
,tribuna4 ,the two ,bonifazi of ,verona 
followed ,palma1 giving1 however1 to the
 loveliness of their women not1 indeed1 
a more exalted character1 but a less    
pronounced sensuousness--an added       
refinement but a weaker personality4    
,paris ,bordone took the note from      
,titian1 but being less a great artist  

than a fine painter1 descended a step   
lower in the scale4 ,paolo ,veronese    
unaffectedly joys in the beauty of      
woman1 in the sheen of fair flesh1      
without any under-current of deeper     
meaning4 ,tintoretto1 though like his   
brother ,venetians he delights in the   
rendering of the human form unveiled1 is
 but little disquieted by the           
fascinating problem which now occupies  
us4 ,he is by nature strangely          
spiritual1 though he is far from        
indulging in any false idealisation1    
though he shrinks not at all from the   
statement of the truth as it presents   
itself to him4 ,let his famous pictures 
in the ,anticollegio of the ,doges'     
,palace1 his ,muses at ,hampton ,court1 
and above all that unique painted poem1 
,the ,rescue1 in the ,dresden ,gallery1 
serve to support this view of his art4  
,footnote #bj3 ,crowe and ,cavalcaselle1
 ,life of ,titian1 vol4 i4 p4 #dbj4     
,footnote #ba3 ,two of these have       
survived in the ,roman ,emperor on      

,horseback1 ,no4 #beg1 and the similarly
 named picture1 ,no4 #bij1 at ,hampton  
,court ,palace4 ,these panels were among
 the ,mantua pieces purchased for       
,charles ,i4 by ,daniel ,nys from ,duke 
,vincenzo in #afbh-bi4 ,if the ,hampton 
,court pieces are indeed1 as there      
appears no valid reason to doubt1 two of
 the canvases mentioned by ,vasari1 we  
must assume that though they bore       
,giulio's name as chef d'atelier1 he did
 little work on them himself4 ,in the   
,mantuan catalogue contained in         
d',arco's ,notizie they were entered    
thus3--,dieci altri quadri1 dipintovi un
 imperatore per quadro a cavallo--opera 
di mano di ,giulio ,romano 7see ,the    
,royal ,gallery of ,hampton ,court1 by  
,ernest ,law1 #ahih74  ,footnote #bb3   
,the late ,charles ,yriarte in a recent 
article1 ,sabionneta la petite ,athnes1 
published in the ,gazette des ,beaux    
,arts1 ,march #ahih1 states that        
,bernardino ,campi of ,cremona1         
,giulio's subordinate at the moment1    

painted the ,twelfth ,csar1 but adduces 
no evidence in support of this departure
 from the usual assumption4  ,footnote  
#bc3 ,see ,the ,picture ,gallery of     
,charles ,i41 ,the ,portfolio1 ,october 
#ahig1 pp4 #ih1 #ii4  ,footnote #bd3    
,nos4 #ebi-edj--;,catalogue of          
#ahia--,provincial ,museum of ,hanover4 
,the dimensions are #j4ai c4 by #j4ae c4
  ,footnote #be3 ,of all ,pordenone's   
exterior decorations executed in ,venice
 nothing now remains4 ,his only works of
 importance in the ,venetian capital are
 the altar-piece in ,s4 ,giovanni       
,elemosinario already mentioned2 the    
,san ,lorenzo ,giustiniani altar-piece  
in the ,accademia delle ,belle ,arti2   
the magnificent though in parts         
carelessly painted ,madonna del ,carmelo
 in the same gallery2 the vast ,st4     
,martin and ,st4 ,christopher in the    
church of ,s4 ,rocco2 the ,annunciation 
of ,s4 ,maria degli ,angeli at ,murano4 
,footnote #bf3 ,no4 #ajh in the ,winter 
,exhibition at ,burlington ,house in    

#ahif4 ,by ,franceschini is no doubt    
meant ,paolo degli ,franceschi1 whose   
portrait ,titian is known to have       
painted4 ,he has been identified among  
the figures in the foreground of the    
,presentation of the ,virgin4  ,footnote
 #bg3 ,see a very interesting article1  
,vittore ,carpaccio--,la ,scuola degli  
,albanesi1 by ,dr4 ,gustav ,ludwig1 in  
the ,archivio ,storico dell' ,arte for  
,november-,december #ahig4  ,footnote   
#bh3 ,a gigantic canvas of this order   
is1 or rather was1 the famous ,storm of 
the ,venetian ,accademia1 which has for 
many years past been dubitatively       
assigned to ,giorgione4 ,vasari         
described it as by ,palma ,vecchio1     
stating that it was painted for the     
,scuola di ,s4 ,marco in the ,piazza    
,,ss4 ,giovanni e ,paolo1 in rivalry    
with ,gian ,bellino767 and ,mansueti1   
and referring to it in great detail and 
with a more fervent enthusiasm than he  
accords to any other ,venetian picture4 
,to the writer1 judging from the parts  

of the original which have survived1 it 
has long appeared that this may indeed  
be after all the right attribution4 ,the
 ascription to ,giorgione is mainly     
based on the romantic character of the  
invention1 which certainly does not     
answer to anything that we know from the
 hand or brain of ,palma4 ,but then the 
learned men who helped ,giorgione and   
,titian may well have helped him2 and   
the structure of the thick-set figures  
in the foreground is absolutely his1 as 
is also the sunset light on the horizon4
  ,footnote #bi3 ,this is an arrangement
 analogous to that with the aid of which
 ,tintoretto later on1 in the           
,crucifixion of ,san ,cassiano at       
,venice1 attains to so sublime an       
effect4 ,there the spears--not          
brandished but steadily held aloft in   
rigid and inflexible                    
regularity--strangely heighten the      
solemn tragedy of the scene4  ,footnote 
#cj3 ,crowe and ,cavalcaselle1 ,life of 
,titian1 vol4 vi4 p4 #ei4  ,footnote    

#ca3 ,the writer is unable to accept as 
a genuine design by ,titian for the     
picture the well-known sepia drawing in 
the collection of the ,uffizi4 ,the     
composition is too clumsy in its        
mechanical repetition of parts1 the     
action of the ,virgin too awkward4 ,the 
design looks more like an adaptation by 
some ,bolognese eclectic4  ,footnote    
#cb3 ,this double portrait has not been 
preserved4 ,according to ,crowe and     
,cavalcaselle1 the full length of ,pier 
,luigi still exists in the ,palazzo     
,reale at ,naples 7not seen by the      
writer74  ,footnote #cc3 ,the writer1   
who has studied in the originals all the
 other ,titians mentioned in this       
monograph1 has had as yet no opportunity
 of examining those in the ,hermitage4  
,he knows them only in the reproductions
 of ,messrs4 ,braun1 and in those new   
and admirable ones recently published by
 the ,berlin ,photographic ,company4    
,footnote #cd3 ,this study from the life
 would appear to bear some such relation

 to the finished original as the        
,innocent ,x4 of ,velazquez at ,apsley  
,house bears to the great portrait of   
that ,pope in the ,doria ,panfili       
collection4  ,footnote #ce3 ,this       
portrait-group belongs properly to the  
time a few years ahead1 since it was    
undertaken during ,titian's stay in     
,rome4  ,footnote #cf3 ,the imposing    
signature runs ,titianus ,eques ,ces4   
,f4 #aedc4  ,footnote #cg3 ,the type is 
not the nobler and more suave one seen  
in the ,cristo della ,moneta and the    
,pilgrims of ,emmaus2 it is the much    
less exalted one which is reproduced in 
the ,ecce ,homo of ,madrid1 and in the  
many repetitions and variations related 
to that picture1 which cannot itself be 
accepted as an original from the hand of
 ,titian4  ,footnote #ch3 ,vasari saw a 
,christ with ,cleophas and ,luke by     
,titian1 above the door in the ,salotta 
d',oro1 which precedes the ,sala del    
,consiglio de' ,dieci in the ,doges'    
,palace1 and states that it had been    

acquired by the patrician ,alessandro   
,contarini and by him presented to the  
,signoria4 ,the evidence of successive  
historians would appear to prove that it
 remained there until the close of last 
century4 ,according to ,crowe and       
,cavalcaselle the ,louvre picture was a 
replica done for ,mantua1 which with the
 other ,gonzaga pictures found its way  
into ,charles ,i4's collection1 and     
thence1 through that of ,jabach1 finally
 into the gallery of ,louis ,,xiv4 ,at  
the sale of the royal collection by the 
,commonwealth it was appraised at #fjj4 
,the picture bears the signature1       
unusual for this period1 ,tician4 ,there
 is another ,christ with the ,pilgrims  
at ,emmaus in the collection of the     
,earl of ,yarborough1 signed ,titianus1 
in which1 alike as to the figures1 the  
scheme of colour1 and the landscape1    
there are important variations4 ,one    
point is of especial importance4 ,behind
 the figure of ,st4 ,luke in the        
,yarborough picture is a second pillar4 

,this is not intended to appear in the  
,louvre picture2 yet underneath the glow
 of the landscape there is just the     
shadow of such a pillar1 giving evidence
 of a pentimento on the part of the     
master4 ,this1 so far as it goes1 is    
evidence that the ,louvre example was a 
revised version1 and the ,yarborough    
picture a repetition or adaptation of   
the first original seen by ,vasari4     
,however this may be1 there can be no   
manner of doubt that the picture in the 
,long ,gallery of the ,louvre is an     
original entirely from the hand of      
,titian1 while ,lord ,yarborough's      
picture shows nothing of his touch and  
little even of the manner of his studio 
at the time4  ,footnote #ci3 ,purchased 
at the sale of ,charles ,i4's collection
 by ,alonso de ,cardenas for ,philip    
,,iv4 at the price of #afe4  ,footnote  
#dj3 ,crowe and ,cavalcaselle1 ,life of 
,titian1 vol4 ii41 ,appendix 7p4 #ejb74 
,footnote #da3 ,moritz ,thausing has    
striven in his ,wiener ,kunstbriefe to  

show that the coat of arms on the marble
 bas-relief in the ,sacred and ,profane 
,love is that of the well-known         
,nuremberg house of ,imhof4 ,this       
interpretation has1 however1 been       
controverted by ,herz ,franz ,wickhoff4 
,footnote #db3 ,cesare ,vecellio must   
have been very young at this time4 ,the 
costume-book1 ,degli abiti antichi e    
moderni1 to which he owes his chief     
fame1 was published at ,venice in #aeij4
  ,footnote #dc3 ,das ,tizianbildniss   
der kniglichen ,galerie zu ,cassel1     
,jahrbuch der kniglich-preussischen     
,kunstsammlungen1 ,funfzehnter ,band1   
,,iii4 ,heft4  ,footnote #dd3 ,see the  
,francesco ,maria1 ,duke of ,urbino at  
the ,uffizi2 also1 for the modish       
headpiece1 the ,ippolito de' ,medici at 
the ,pitti4  ,footnote #de3 ,a number of
 fine portraits must of necessity be    
passed over in these remarks4 ,the      
superb if not very well-preserved       
,antonio ,portia1 within the last few   
years added to the ,brera1 dates back a 

good many years from this time4 ,then we
 have1 among other things1 the          
,benedetto ,varchi and the ,fabrizio    
,salvaresio of the ,imperial ,museum at 
,vienna--the latter bearing the date    
#aeeh4 ,the writer is unable to accept  
as a genuine ,titian the interesting but
 rather matter-of-fact ,portrait of a   
,lady in ,mourning1 ,no4 #agd in the    
,dresden ,gallery4 ,the master never    
painted with such a lack of charm and   
distinction4 ,very doubtful1 but        
difficult to judge in its present state1
 is the ,portrait of a ,lady with a     
,vase1 ,no4 #agc in the same collection4
 ,morelli accepts as a genuine example  
of the master the ,portrait of a ,lady  
in a ,red ,dress also in the ,dresden   
,gallery1 where it bears the number     
#agf4 ,if the picture is his1 as the    
technical execution would lead the      
observer to believe1 it constitutes in  
its stiffness and unambitious navet a   
curious exception in his long series of 
portraits4  ,footnote #df3 ,it is       

impossible to discuss here the atelier  
repetitions in the collections of the   
,national ,gallery and ,lord ,wemyss    
respectively1 or the numerous copies to 
be found in other places4  ,footnote    
#dg3 ,for the full text of the marriage 
contract see ,giovanni ,morelli1 ,die   
,galerien zu ,mnchen und ,dresden1 pp4  
#cjj-cjb4  ,footnote #dh3 ,joshua       
,reynolds1 who saw it during his tour in
 ,italy1 says3 ,it is so dark a picture 
that1 at first casting my eyes on it1 ,i
 thought there was a black curtain      
before it4  ,footnote #di3 ,crowe and   
,cavalcaselle1 vol4 ii4 p4 #bgb4        
,footnote #ej3 ,they were1 with the     
,rape of ,europa1 among the so-called   
light pieces presented to ,prince       
,charles by ,philip ,,iv41 and packed   
for transmission to ,england4 ,on the   
collapse of the marriage negotiations   
they were1 however1 kept back4 ,later on
 ,philip ,v4 presented them to the      
,marquis de ,grammont4 ,they            
subsequently formed part of the ,orleans

 ,gallery1 and were acquired at the     
great sale in ,london by the ,duke of   
,bridgewater for #bejj apiece4          
,footnote #ea3 ,this great piece is     
painted on a canvas of peculiarly coarse
 grain1 with a well-defined lozenge     
pattern4 ,it was once owned by ,van     
,dyck1 at the sale of whose possessions1
 in #aeef1 a good number of years after 
his death1 it was acquired by ,algernon 
,percy1 ,earl of ,northumberland4 ,in   
#ahgc it was in the exhibition of ,old  
,masters at the ,royal ,academy4        
,footnote #eb3 ,the best repetition of  
this ,hermitage ,magdalen is that in the
 ,naples ,museum2 another was formerly  
in the ,ashburton ,collection1 and yet  
another is in the ,durazzo ,gallery at  
,genoa4 ,the similar1 but not identical1
 picture in the ,yarborough ,collection 
is anything but cold in tone1 as ,crowe 
and ,cavalcaselle call it4 ,it is1 on   
the contrary1 rich in colour1 but as to 
the head of the saint1 much less        
attractive than the original4  ,footnote

 #ec3 ,this picture was presented by    
,philip ,,iv4 to ,prince ,charles of    
,england1 and was1 at the sale of his   
collection1 acquired by ,jabach for     
#fjj1 and from him bought by ,cardinal  
,mazarin1 whose heirs sold it to ,louis 
,,xiv4 ,the ,cardinal thus possessed the
 two finest representations of the      
,jupiter and ,antiope legend--that by   
,correggio 7also now in the ,louvre7 and
 the ,titian4 ,it was to these pictures 
especially that his touching farewell   
was addressed a few hours before his    
death4  ,footnote #ed3 ,see ,crowe and  
,cavalcaselle1 vol4 ii41 ,appendix1 p4  
#cdj4  ,footnote #ee3 ,see as to the    
vicissitudes through which the picture  
has passed an article1 ,les             
,restaurations du tableau du ,titien1   
,jupiter et ,antiope by ,fernand        
,engerand1 in the ,chronique des ,arts  
of #gth ,may #ahih4  ,footnote #ef3     
,this picture came to ,england with the 
,orleans ,gallery1 and was until lately 
at ,cobham ,hall in the collection of   

the ,earl of ,darnley4 ,it has now      
passed into that of ,mrs ,j4,l4 ,gardner
 of ,boston1 ,u4,s4 ,it is represented  
in the ,prado ,gallery by ,rubens's     
superb copy4 ,a ,venetian copy on a very
 small scale exists in the ,wallace     
,collection4  ,footnote #eg3 ,a very    
clever adaptation of this work is ,no4  
#dij in the ,prado ,gallery under the   
name of the master4 ,it is remarkable   
for the contrast between the moonlight  
which irradiates the ,christ and the    
artificial light supplied by the lantern
 carried by one of the soldiers4        
,footnote #eh3 ,this picture is         
mentioned in the list of #aegd furnished
 by ,titian to ,secretary ,antonio      
,perez4 ,a ,perseus and ,andromeda by1  
or attributed to1 ,titian was in the    
,orleans ,gallery4 ,is this the canvas  
now in the ,wallace ,collection1 but not
 as yet publicly exhibited there8 ,this 
last piece was undoubtedly produced in  
the entourage and with the assistance of
 ,titian1 and it corresponds perfectly  

to ,vasari's description of the         
,deliverance of ,andromeda4 ,it has the 
loose easy touch of the late time1 but  
obscured as it at present is by dirt and
 successive coats of now discoloured    
varnish1 no more definite opinion with  
regard to its merits can be given4 ,no4 
#ace in the ,hermitage is a canvas      
identical in subject and dimensions with
 this last-named picture4 ,it was once  
attributed to ,tintoretto1 but is now   
put down to the school of ,titian4      
,footnote #ei3 ,somewhat earlier in the 
order of the late works should come in1 
if we may venture to judge from the     
technique of a work that is practically 
a ruin1 the ,adam and ,eve of the       
,prado1 in which1 for the usual serpent 
with the human head of the feminine     
type1 ,titian has substituted as tempter
 an insignificant amorino4 ,far more    
enjoyable than this original in its     
present state is the magnificent copy1  
with slight yet marked variations1 left 
behind by ,rubens4 ,this is also to be  

found in the ,prado4 ,a drawing by the  
great ,antwerper from ,titian's picture 
is in the ,louvre4 ,this is more        
markedly ,flemish in aspect than the    
painted canvas1 and lacks the foolish   
little ,love4  ,footnote #fj3 ,formerly 
in the collection of the ,earl of       
,dudley1 upon the sale of which it was  
acquired by ,mr4 ,ludwig ,mond4 ,it was 
in the ,venetian exhibition at the ,new 
,gallery4 ,there is an engraving of it  
by ,pieter de ,jode1 jun4  ,footnote    
#fa3 ,this is ,no4 #ahf in the catalogue
 of #ahie4 ,an etching of the picture   
appeared with an article ,les coles     
d',italie au ,muse de ,vienne1 from the 
pen of ,herr ,franz ,wickhoff1 in the   
,gazette des ,beaux ,arts for ,february 
#ahic4 ,it was badly engraved for the   
,teniers ,gallery by ,lissebetius4      
,footnote #fb3 ,now in the ,accademia   
delle ,belle ,arti of ,venice4          
,footnote #fc3 ,it was the intention of 
the writer to add to this monograph a   
short chapter on the drawings of        

,titian4 ,the subject is1 however1 far  
too vast for such summary treatment1 and
 its discussion must therefore be       
postponed4 ,leaving out of the question 
the very numerous drawings by ,domenico 
,campagnola which ,morelli has once for 
all separated from those of the greater 
master1 and those also which1 while     
belonging to the same class and period1 
are neither ,titian's nor even          
,campagnola's1 a few of the genuine     
landscapes may be just lightly touched  
upon4 ,the beautiful early landscape    
with a battlemented castle1 now or      
lately in the possession of ,mr4 ,t4,w4 
,russell 7reproduction in the ,british  
,museum marked #ahgi-e-aj-bbd7 is in the
 opinion of the writer a genuine        
,titian4 ,the ,vision of ,st4 ,eustace1 
reproduced in the first section of this 
monograph 7,the ,earlier ,work of       
,titian7 from the original in the       
,british ,museum1 is a noble and        
pathetic example of the earlier manner4 
,perhaps the most beautiful of the      

landscape drawings still preserving     
something of the ,giorgionesque aroma is
 that with the enigmatic female figure1 
entirely nude but with the head veiled1 
and the shepherds sheltering from the   
noonday sun1 which is in the great      
collection at ,chatsworth 7,no4 #cah in 
,venetian ,exhibition at ,new ,gallery74
 ,later than this is the fine landscape 
in the same collection with a riderless 
horse crossing a stream 7,no4 #hfg in   
,venetian ,exhibition at ,new ,gallery74
 ,the well-known ,st4 ,jerome here given
 7,british ,museum7 is ascribed by no   
less an authority than ,giovanni        
,morelli to the master1 but the poor    
quality of the little round trees1 and  
of the background generally1 is         
calculated to give pause to the student4
 ,a good example of the later style1 in 
which the technique is more that of the 
painter and less that of the            
draughtsman1 is the so-called ,landscape
 with the ,pedlar at ,chatsworth4 ,but1 
faded though it is1 the finest extant   

drawing of the later period is that here
 7p4 #gh7 for the first time reproduced 
by the kind permission of the owner1    
,professor ,legros1 who had the great   
good fortune and good taste to discover 
it in a ,london book-shop4 ,there can be
 no doubt that this ought to be in the  
,print ,room at the ,british ,museum4 ,a
 good instance1 on the other hand1 of a 
drawing which cannot without demur be   
left to ,titian1 though it is a good    
deal too late in style for ,domenico    
,campagnola1 and moreover1 much too fine
 and sincere for that clever1 facile    
adapter of other people's work1 is the  
beautiful pastoral in the ,albertina at 
,vienna 7,b4 #bhc71 with the shepherd   
piping as he leads his flock homewards4 
,,index  ,agony in the ,garden1 ,the    
7,escorial71 #id ,alfonso d',avalos1    
,marqus del ,vasto 7,madrid71 #df       
,alfonso d',avalos1 with his ,family1   
,portrait of 7,louvre71 #ag1 #ah        
,alfonso d',este 7,madrid71 #af1 #ed    
,annunciation1 ,the 7,venice71 #ih      

,annunciation of the ,virgin 7,verona71 
#ef ,aretino1 ,portrait of 7,pitti      
,gallery71 #i1 #df1 #eg1 #eh ,acquaviva1
 ,duke of ,arti1 ,portrait of1 #gd      
,bacchanals1 ,the 7,madrid71 #h1 #hg1   
#ib ,bacchus and ,ariadne 7,national    
,gallery71 #h1 #bi1 #hg ,battle of      
,cadore1 ,the1 #ch1 #ci ,beccadelli1    
,legate1 ,portrait of 7,uffizi71 #ge1   
#gf ,bella1 ,la 7,pitti71 #cb ,boy      
,baptist1 #ae   ,cain and ,abel         
7,venice71 #ej1 #ea ,charles ,v41       
,portrait of 7,munich71 #gj ,charles ,v4
 at ,mhlberg 7,madrid71 #h1 #fh-gj      
,christ crowned with ,thorns 7,louvre71 
#hd ,christ crowned with ,thorns        
7,munich71 #ajd ,christ with the        
,pilgrims at ,emmaus 7,louvre71 #eg     
,cornaro ,family 7,duke of              
,northumberland's ,collection71 #hh     
,cornaro1 ,portrait of 7,castle         
,howard71 #ed ,cornelia1 ,la1 ,portrait 
of1 #ab   ,dana and the ,golden ,rain   
7,naples ,museum71 #fb1 #ff ,dana with  
,venus and ,adonis 7,madrid71 #gh-hj    

,david victorious over ,goliath         
7,venice71#ej1 #ea ,deliverance of      
,andromeda1 ,the1 #ie ,descent of the   
,holy ,spirit1 ,the 7,venice71 #ej1 #ea 
,destruction of ,pharaoh's ,host1 ,the1 
#gb ,diana and ,acton 7,bridgewater     
,gallery71 #i1 #hf1 #ia1 #ie ,diana and 
,calisto 7,bridgewater ,gallery71 #i1   
#hf1 #ia   ,ecce ,homo 7,madrid71 #fg2  
7,munich71 #id2   7,vienna71 #ec1 #ed4  
,education of ,cupid1 ,the 7,rome71 #ih 
,entombment1 ,the 7,louvre71 #hg        
,entombment1 ,the 7,madrid71 #hg ,ercole
 d',este1 ,portrait of1 #af1 #ed        
,farnese ,family1 ,portrait of1 #eb     
,flora 7,uffizi71 #bi1 #ff ,francis the 
,first1 ,portrait of 7,louvre71 #ab1 #ac
 ,frederick of ,saxony1 ,portrait of    
7,vienna71 #ga   ,girl in a ,fur ,cloak 
7,vienna71 #bh1 #hc ,gonzaga1 ,eleonora1
 ,portraits of1 #bh1 #cc1 #cd ,gonzaga1 
,federigo1 ,portrait of1 #ae ,gonzaga1  
,isabella d',este1 ,portrait of1 #ab1   
#ac   ,herodias 7,doria ,gallery71 #bi1 
#ff   ,ixion1 #ga   ,jupiter and        

,antiope1 #gf1 #ij1 #ib   ,lavinia1     
,titian's daughter1 #hb1 #hc   ,madonna 
,addolorata1 #gh1 #gi ,madonna and      
,child in a ,landscape 7,munich71 #ie1  
#if ,madonna and ,child 7,mr4 ,ludwig   
,mond's ,collection71 #ajd ,madonna and 
,child with ,st4 ,catherine and ,st4    
,john      7,national ,gallery71 #i1    
#aj1 #aa ,madonna and ,child with ,st4  
,peter and ,st4 ,andrew 7,serravalle71  
#fe ,madonna del ,coniglio 7,louvre71   
#i-aa ,magdalen 7,florence71 #ad1 #ae   
,martyrdom of ,st4 ,lawrence1 ,the      
7,venice71 #hd1 #ajj1 #aja ,medici1     
,portrait of ,ippolito de' 7,pitti71    
#ab1 #ac1 #ah-ba   ,nymph and ,shepherd 
7,vienna71 #i1 #ajf   ,ottavio ,farnese 
with his ,beloved3 see ,venus with      
,organ ,player   ,philip ,,ii41         
,portrait of 7,madrid71 #af ,piet1 #gc1 
#id1 #ajf1 #ajg ,pope ,paul ,,iii41     
,portrait of 7,naples71 #eb2            
7,hermitage71 #ec ,pope ,paul ,,iii4    
with ,alessandro ,farnese and ,ottavio  
,farnese 7,naples71 #ec1 #fj ,portrait  

of a ,man 7,dresden71 #hi ,portrait of a
 ,man in ,black 7,louvre71 #bb          
7footnote7 ,presentation of the ,virgin 
in the ,temple 7,venice71 #db-de        
,prometheus ,bound to the ,rock1 #ga    
,prince ,philip of ,austria in ,armour  
7,madrid71 #gc2   7,pitti71 #gd2        
7,naples71 #gd   ,rape of ,europa1 #i1  
#ij1 #ib1 #ie ,religion succoured by    
,spain 7,madrid71 #ajj   ,sacred and    
,profane ,love 7,borghese ,gallery71 #h1
 #bi1 #ib ,sacrifice of ,isaac          
7,venice71 #ej ,st4 ,jerome in ,prayer  
7,louvre71 #ad ,st4 ,jerome in the      
,desert 7,milan71 #if ,st4 ,john in the 
,desert 7,venice71 #fd ,st4 ,margaret in
 a ,landscape 7,madrid71 #gf ,st4 ,peter
 ,martyr1 #h1 #aa1 #ej1 #gi1 #hd        
,sisyphus 7,madrid71 #ga ,strada1       
,jacopo da1 ,portrait of 7,vienna71 #ajj
   ,tantalus 7,madrid71 #ga ,three      
,ages1 ,the 7,bridgewater ,gallery71    
#ajf ,titian1 ,portrait of1 by himself  
7,berlin71 #dj1 #da2   7,madrid71 #id2  
7,pitti71 #i2   7,uffizi71 #dj1 #da     

,titian and ,franceschini 7,windsor     
,castle71 #db ,trinity1 ,the1 #hf       
,twelve ,csars1 ,series of1 #cd-cf      
,vasto1 ,marqus del3 see ,alfonso d'    
,avalos ,venere del ,pardo 7,paris71 #i2
 see also ,jupiter and ,antiope         
,venetian ,storm ,landscape 7,buckingham
 ,palace71 #aj ,venus ,anadyomene       
7,bridgewater ,gallery71 #bi ,venus and 
,cupid 7,tribuna71 #ad1 #ae1 #bi1 #fe   
,venus of ,urbino1 #bh1 #bi1 #cb1 #ff1  
#ib ,venus with the ,mirror             
7,hermitage71 #ij ,venus with the ,organ
 ,player 7,madrid71 #ff ,virgen de los  
,dolores 7,madrid71 #gi   ,worship of   
,venus 7,madrid71 #fe1 #ff1 #hg   ,young
 ,nobleman1 ,portrait of 7,florence71   
#bb