,transcriber's note3 ,whole and fractional parts of numbers displayed as3 #g-c_/d ,emphasis notation3 ,bold and ,italic text 99 99 99 99 99 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son4 ,sc4 ,titian ,prado ,gallery1 ,madrid ,masterpieces of ,art ,,titian ,a ,,collection ,,of ,,fifteen ,,pictures ,,and ,a ,,portrait ,,of ,,the ,,painter ,,with ,,introduction ,,and ,,interpretation ,,by ,,estelle ,m4 ,,hurll ,,boston ,,and ,,new ,,york ,,houghton ,,mifflin ,,company ,,copyright1 #aija1 ,,by ,,houghton1 ,,mifflin ,,co4 ,,all ,,rights ,,reserved ,,preface ,to give proper variety to this little collection1 the selections are equally divided between portraits and subject pictures of religious or legendary character4 ,the ,flora1 the ,bella and the ,philip ,,ii4 show the painter's most characteristic work in portraiture1 while the ,pesaro ,madonna1 the ,assumption1 and the ,christ of the ,tribute ,money stand for his highest achievement in sacred art4 ,,estelle ,m4 ,,hurll4 ,new ,bedford1 ,mass4 ,march1 #aija4 ,,contents ,,and ,,list ,,of ,,pictures ,,page ,portrait of ,titian4 ,painted by himself4 ,frontispiece4 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,introduction ,i4 ,on ,titian's ,character as an ,artist vii ,,ii4 ,on ,books of ,reference xi ,,iii4 ,historical ,directory of the ,pictures of this ,collection xii ,,iv4 ,outline ,table of the ,principal ,events in ,titian's ,life xiv ,v4 ,some of ,titian's ,contemporaries xvii ,i4 ,the ,physician ,parma #a ,picture from ,photograph by ,franz ,hanfstaengl ,,ii4 ,the ,presentation of the ,virgin 7,detail7 #g ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,iii4 ,the ,empress ,isabella #ac ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,iv4 ,madonna and ,child with ,saints #ai ,picture from ,photograph by ,franz ,hanfstaengl ,v4 ,philip ,,ii #be ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,vi4 ,st4 ,christopher #ca ,picture from ,photograph by ,d4 ,anderson ,,vii4 ,lavinia #cg ,picture from ,photograph by ,franz ,hanfstaengl ,,viii4 ,christ of the ,tribute ,money #dc ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,ix4 ,the ,bella #di ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,x4 ,medea and ,venus #ee ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,xi4 ,the ,man with the ,glove #fa ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,xii4 ,the ,assumption of the ,virgin #fg ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,xiii4 ,flora #gc ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,,xiv4 ,the ,pesaro ,madonna #gi ,picture from ,photograph by ,d4 ,anderson ,,xv4 ,st4 ,john the ,baptist #he ,picture from ,photograph by ,d4 ,anderson ,,xvi4 ,the ,portrait of ,titian #ia ,pronouncing ,vocabulary of ,proper ,names and ,foreign ,words #ie ,,introduction ,i4 ,,on ,,titian',s ,,character ,,as ,,an ,,artist4 ,there is no greater name in ,italian art--therefore no greater in art--than that of ,titian4 ,these words of the distinguished art critic1 ,claude ,phillips1 express the verdict of more than three centuries4 ,it is agreed that no other painter ever united in himself so many qualities of artistic merit4 ,other painters may have equalled him in particular respects1 but rounded completeness1 quoting another critic's phrase1 is what stamps ,titian as a master4#a ,to begin with the qualities which are apparent even in black and white reproduction1 we are impressed at once with the vitality which informs all his figures4 ,they are breathing human beings1 of real flesh and blood1 pulsing with life4 ,they represent all classes and conditions1 from such royal sitters as ,charles ,v4 and ,philip ,,ii4 to the peasants and boatmen who served as models for ,st4 ,christopher1 ,st4 ,john1 and the ,pharisee of the ,tribute ,money4 ,they portray1 too1 every age3 the tender infancy of the ,christ child1 the girlhood of the ,virgin1 the dawning manhood of the ,man with the ,glove1 the maidenhood of ,medea1 the young motherhood of ,mary1 the virile middle life of ,venetian ,senators1 the noble old age of ,st4 ,jerome and ,st4 ,peter1 each is set vividly before us4 ,the list contains no mystics and ascetics3 life1 and life abundant1 is the keynote of ,titian's art4 ,the abnormal finds no place in it4 ,health and happiness are to him interchangeable terms4 ,yet it must not be supposed that ,titian's delineation of life stopped short with the physical3 he was besides a remarkable interpreter of the inner life4 ,though not as profound a psychologist as ,leonardo or ,lotto1 he had at all times a just appreciation of character1 and1 on occasion1 rose to a supreme touch in its interpretation4 ,in such studies as the ,flora1 where he is interested chiefly in working out certain technical problems1 he takes small pains to make anything more of his subject than a beautiful animal4 ,the ,man with the ,glove stands at the other end of the scale4 ,here we have a personality so individual1 and so possessing1 as it were1 that the portrait takes rank among the world's masterpieces of psychic interpretation4 ,in his best works ,titian's sense of the dramatic holds the golden mean between conventionality and sensationalism4 ,in the group of sacred personages surrounding the ,madonna and ,child there is sufficient action to constitute a reason for their presence1--to relieve the figures of that artificial and purely spectacular character which they have in the earlier art1--yet the action is restrained and dignified as befits the occasion4 ,the pose of both figures in the ,christ of the ,tribute ,money is in the highest degree dramatic without being in any way theatrical4 ,the tempered dignity of ,titian's dramatic power is also admirably seen in the ,assumption of the ,virgin4 ,the apostles' action is full of passion1 yet without violence2 the buoyant motion of the ,virgin is unmarred by any exaggeration4 ,the same painting illustrates ,titian's magnificent mastery of composition4 ,perhaps the ,pesaro ,madonna alone of all his other works is worthy to be classed with it in this respect4 ,it is impossible to conceive of anything better in composition than these two works4 ,not a line in either could be altered without detriment to the organic unity of the plan4 ,the crowning excellence of ,titian is his color4 ,the chief of the school in which color was the characteristic quality1 he represents all the best elements in its color work4 ,if others excelled him in single efforts or in some one respect1 none equalled him for sustained grandeur4 ,a recent criticism sums up his color qualities succinctly in these words3 ,he had at once enough of golden strength1 enough of depth1 enough of clat2 his color1 profound and powerful per se1 impresses us more than that of the others1 because he brought more of other qualities to enforce it4#b ,titian's works easily fall into a few groups1 according to the subject treated4 ,in mythological themes he was in his natural element4 ,here he could express the sheer joy of living which was common to the ,venetian and the ,greek4 ,here physical beauty was its own excuse for being1 without recourse to any ulterior significance4 ,here he could exercise unhindered his marvellous skill in modelling the human form along those perfect lines of grace which give ,greek sculpture its distinctive character4 ,it is in his earlier period that his affinity with the ,greek spirit is closest1 and we see it in perfect fruition in the ,medea and ,venus4 ,titian's treatment of sacred subjects is in the diverse moods of his many-sided artistic nature4 ,the great ceremonial altar pieces1 such as the ,assumption of the ,virgin1 and the ,pesaro ,madonna1 are a perfect reflection of the religious spirit of his environment4 ,religion was with the ,venetians a delightful pastime1 an occasion for festivals and pageants1 a means of increasing the civic glory4 ,these great decorative pictures are full of the pomp and magnificence dear to ,venice1 full of the joy and pride of life4 ,yet in another mood ,titian paints the life of the ,holy ,family as a pastoral idyl4 ,a sunny landscape1 a happy young mother1 a laughing baby boy1 bring the sacred subject very near to common human sympathies4 ,some of ,titian's professedly sacred pictures are in the vein of pure genre1 painted in a period when this department of art had not yet attained independent existence4 ,we see such works in the ,st4 ,christopher and the ,st4 ,john4 ,these direct studies of the people throw an interesting light upon the painter of ideal beauty3 they show an otherwise unsuspected vigor4 ,the ,christ of the ,tribute ,money stands alone in ,titian's sacred art4 ,the technical qualities are thoroughly characteristic of his hand1 but a new note is struck in spiritual feeling4 ,virile1 without coarseness2 gentle1 without weakness1 the chief figure is perhaps the most intellectual ideal of ,christ which has been conceived in art4 ,titian's landscapes1 though holding an accessory place only in his art1 are counted by the critical art historian with those of ,giorgione1 as the practical beginning of this branch of art4 ,he knew how to express the quintessence of nature's most significant beauties without a too slavish adherence to any special set of natural facts4#c ,his imagination interpreted many of nature's moods1 from the pastoral calm environing ,medea and ,venus to the stormy grandeur of the forest in which ,st4 ,peter ,martyr met his fate4 ,it is undoubtedly as a portrait-painter that ,titian's many great qualities meet in their utmost perfection4 ,his feeling for textures1 the delicacy with which he painted the hair and the hands2 his skill in modelling2 his instinct for pose2 the infinite variety of his resources1 made an incomparable equipment in the secondary matters of portrait painting4 ,to these he added1 as we have seen1 the two highest essentials of the art1 the power of giving life to his sitter1 and the gift of insight into character4 ,nature made him a court painter2 he loved to impart to his sitter that air of noble distinction whose secret he so well understood4 ,yet he was too large a man to let this or any other natural preference hamper him4 ,something of himself1 it is true1 he frequently put into his figures1 yet he was at times capable of thoroughly objective work4 ,he stands perhaps somewhere between the extreme subjectivity of ,van ,dyck and the splendid realism of ,velasquez4 ,the noble company of his sitters1 emperors1 kings1 doges1 popes1 cardinals and bishops1 noblemen1 poets and beautiful women1 still make their presence felt in the world4 ,theirs was a deathless fame on whom the painter conferred the gift of his art4 ,titian's temperament was keenly sensitive to the influences of his environment1 and in his extraordinary length of days1 ,venice passed through various changes1 political1 social1 artistic and religious1 which left their mark upon his work4 ,one cannot make a random selection from his pictures and pronounce upon the qualities of his art4 ,the work of his youth1 his maturity1 his old age1 has each a character of its own4 ,it is this rounding out of his art life through successive stages of growth and even of decay that gives the entire body of his works the character of a living organism4 ,,ii4 ,,on ,,books ,,of ,,reference4 ,the original source of biographical material relating to ,titian is in ,vasari's ,lives of the ,painters1 the best edition of which is the ,foster translation1 annotated with critical and explanatory comments by ,e4 ,h4 and ,e4 ,w4 ,blashfield and ,a4 ,a4 ,hopkins4 ,the most complete modern biography is that by ,crowe and ,cavalcaselle1 in two large volumes 7published in #ahgg71 but as this is now out of print1 it can be consulted only in the large libraries4 ,some of the conclusions of these writers have been challenged by later critics1 ,morelli and others1 and should not be accepted without weighing the new arguments4 ,the volume on ,titian3 ,a ,study of his ,life and ,work1 by ,claude ,phillips1 ,keeper of the ,wallace ,collection1 ,london1 is in line with the modern methods of criticism1 and is written in a delightful vein of appreciation4 ,the two parts of the book1 ,the ,earlier ,work and ,the ,later ,work1 correspond to the two monographs for ,the ,portfolio1 in which the work was first published4 ,in the general histories of ,italian art1 valuable chapters on ,titian are contained in ,kugler's ,handbook of the ,italian ,schools 7to be read in the latest edition by ,a4 ,h4 ,layard7 and ,mrs4 ,jameson's ,early ,italian ,painters 7to be read in the latest revision by ,estelle ,m4 ,hurll74 ,a monograph on ,titian is issued in the ,german ,series of ,art ,monographs1 edited by ,h4 ,knackfuss4 ,interesting suggestions upon the study of ,titian's art will be found in the following references3 ,in ,mrs4 ,oliphant's ,makers of ,venice2 in ,berenson's ,venetian ,painters of the ,renaissance2 in ,symonds's volume on ,fine ,arts in the series ,renaissance in ,italy4 ,burckhardt's ,cicerone has some valuable pages on ,titian1 but the book is out of print4 ,a ,list of ,titian's work is given in ,berenson's ,venetian ,painters4 ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection4 ,portrait frontispiece4 ,probably the portrait mentioned by ,vasari as painted in #aejb4 ,in the ,prado ,gallery1 ,madrid4 ,size3 #b ft4 #aj in4 by #b ft4 #a-a_/b in4 #a4 ,the ,physician ,parma4 ,it appears that there is no direct testimony to prove the authorship of this picture1 the attribution to ,titian having been made by an early director of the gallery1 following certain evidence from ,rudolfi4 ,herr ,wickhoff claims the picture for ,domenico ,campagnola1 and the recent biographer of ,giorgione 7,herbert ,cook7 includes it among the works of that painter4 ,the attribution to ,titian is1 however1 not disputed by the two severest of modern critics1 ,morelli and ,berenson4 ,in the ,vienna ,gallery4 ,size3 #c ft4 #f in4 by #b ft4 #g in4 #b4 ,the ,presentation of the ,virgin 7,detail74 ,painted for the brotherhood of ,s4 ,maria della ,carit1 and now in the ,venice ,academy4 ,date assigned by ,berenson #aedj4 ,size of entire picture3 #aa ft4 #e in4 by #be ft4 #f-a_/b in4 #c4 ,the ,empress ,isabella4 ,probably one of the two pictures referred to in a letter of #aedd from ,titian to ,charles ,v4 ,in the ,prado ,gallery1 ,madrid4 ,size3 #c ft4 #aj in4 by #c ft4 #b-a_/b in4 #d4 ,madonna and ,child with ,saints4 ,an early work in the ,vienna ,gallery1 similar to a picture in the ,louvre1 to which it is considered superior by ,crowe and ,cavalcaselle4 ,called an atelier repetition by ,claude ,phillips4 ,size3 #c ft4 #e in4 by #d ft4 #c in4 #e4 ,philip ,,ii4 ,painted #aeej1 and now in the ,prado ,gallery1 ,madrid4 ,size3 #f ft4 #d in4 by #c ft4 #g-c_/d in4 #f4 ,st4 ,christopher4 ,painted in fresco on the wall of the ,doge's ,palace1 ,venice1 in honor of the arrival of the ,french army at ,san ,cristoforo 7near ,milan71 #aebc4 ,ordered by the doge ,andrea ,gritti1 who was a partisan of the ,french4 #g4 ,lavinia4 ,painted about #aeej1 and now in the ,berlin ,gallery4 ,size3 #c ft4 #c-a_/b in4 by #b ft4 #g-a_/b in4 #h4 ,christ of the ,tribute ,money4 ,according to ,vasari1 painted for ,duke ,alfonso of ,ferrara in #aead for door of a press4 ,assigned by ,crowe and ,cavalcaselle to the year #aeah1 the date accepted by ,morelli4 ,in the ,dresden ,gallery4 ,size3 #b ft4 #e-a_/b in4 by #a ft4 #aj in4 #i4 ,the ,bella4 ,painted about #aece4 ,in the ,pitti ,gallery1 ,florence4 ,size3 #c ft4 #c-a_/b in4 by #b ft4 #f in4 #aj4 ,medea and ,venus4 ,date unknown1 but fixed approximately by ,morelli between #aeaj and #aeab4 ,in the ,borghese ,gallery1 ,rome4 ,size3 #c ft4 #e in4 by #h ft4 #h in4 #aa4 ,the ,man with the ,glove4 ,assigned to ,titian's middle period4 ,in the ,louvre1 ,paris4 ,size3 #c ft4 #c-a_/c in4 by #b ft4 #aa in4 #ab4 ,the ,assumption of the ,virgin 7,detail74 ,ordered #aeaf for high altar of ,s4 ,maria ,gloriosa de' ,frari1 ,venice4 ,shown to public1 ,march #bj1 #aeah4 ,now in the ,venice ,academy4 ,size3 #bb ft4 #i in4 by #aa ft4 #aj-a_/b in4 #ac4 ,flora4 ,painted after #aebc4 ,in the ,uffizi ,gallery1 ,florence4 ,size3 #c ft4 #h-a_/b in4 by #c ft4 #a-a_/b in4 #ad4 ,the ,pesaro ,madonna4 ,finished in #aebf after being seven years in process4 ,still in original place in the ,church of the ,frari1 ,venice4 #ae4 ,st4 ,john the ,baptist4 ,painted in #aeef4 ,in the ,venice ,academy4 ,size3 #f ft4 #e in4 by #d ft4 #e in4 ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,titian',s ,,life4#d #adgg4 ,titian born at ,cadore in the ,friuli1 north of ,venice4 ,circa #adhh4 ,removal to ,venice4 ,bet4 #aejg-aejh4 ,work on frescoes of ,fondaca de' ,tedeschi with ,giorgione4 #aeaa4 ,in ,padua and ,vicenza4 ,frescoes in the ,scuola del ,santo1 ,padua4 ,circa #aeab4 ,marriage4 #aeaf4 ,assumption of the ,virgin begun for the ,church of the ,frari1 ,venice4 ,titian's first connection with ,alfonso ,i4 and the ,court of ,ferrara4 #aeah4 ,assumption finished4 #aeai4 ,visit in ,ferrara1 and the ,bacchanal1 now in the ,madrid ,gallery4 #aebb4 ,altarpiece for ,brescia1 and short visit there4 #aebc4 ,visits at ,mantua and ,ferrara4 #aebd4 ,visit in ,ferrara4 ,circa #aebe4 ,birth of ,titian's son ,pomponio4 #aebf4 ,pesaro ,madonna4 #aebh4 ,visit in ,ferrara4 #aecj4 ,visit in ,bologna4 ,st4 ,peter ,martyr delivered ,april #bg1 for ,church of ,,ss4 ,giovanni e ,paolo1 ,venice4 ,death of ,titian's wife4 #aeca4 ,visit in ,ferrara4 ,removal from town to suburban residence in ,biri4 #aecb4 ,summons to court of ,charles ,v4 at ,bologna4 ,portraits of the ,emperor4 #aecf4 ,with the ,emperor at ,astic4 #aecg4 ,portraits of ,duke and ,duchess of ,urbino and the ,battle of ,cadore4 ,paintings in ,hall of ,council of ,venice 7destroyed by fire #aegg74 #aedj4 ,visit to ,mantua to attend the funeral of patron ,duke ,federico ,gonzaga4 #aeda4 ,appointment with ,emperor at ,milan4 #aedc4 ,guest of ,cardinal ,farnese at ,ferrara and ,brussels4 ,portraits of ,cardinal ,farnese and ,pope ,paul ,,iii4 #aedd4 ,two portraits of the dead ,empress ,isabella sent to ,charles ,v4 #aede4 ,visit to ,rome1 and portraits of ,paul ,,iii4 and his grandsons4 #aedf4 ,departure from ,rome1 visit to ,florence and return to ,venice4 #aedg4 ,completion of altarpiece of ,serravalle4 #aedh4 ,journey to ,augsburg to meet ,charles ,v41 and equestrian portrait of the ,emperor4 ,to ,milan to meet ,prince ,philip and ,duke of ,alva4 ,portrait of ,alva4 #aedi4 ,purchase of the house at ,biri1 formerly rented4 #aeej4 ,visit to court at ,augsburg1 and portraits of ,philip ,,ii4 #aeed4 ,pictures completed and sent to ,charles ,v4 and ,philip ,,ii4 in ,spain3 ,the ,virgin ,lamenting1 the ,trinity1 the ,dana4 ,venus and ,adonis sent to ,london to ,philip upon marriage with ,mary ,tudor4 #aeee4 ,marriage of ,titian's daughter ,lavinia4 ,perseus and ,andromeda sent to ,king ,philip4 #aeef4 ,st4 ,john the ,baptist1 painted for ,s4 ,maria ,maggiore4 #aeei4 ,entombment sent to ,philip4 #aefb4 ,christ in the ,garden1 and the ,europa4 ,last ,supper begun4 #aefc4 ,visit to ,brescia4 #aefe4 ,visit to ,cadore1 and plans for frescoes in the ,pieve church4 #aefg4 ,martyrdom of ,st4 ,lawrence1 and a ,venus sent to ,madrid4 #aegb4 ,visit from ,cardinals ,granvelle and ,pacheco4 #aegd4 ,visit from ,henry ,,iii4 of ,france4 ,allegory of ,lepanto finished for ,philip ,,ii4 #aege4 ,pieta begun4 #aegf4 ,death of ,titian from plague at ,venice4 ,v4 ,,some ,,of ,,titian',s ,,contemporaries4 ,,rulers4 ,emperors3-- ,maximilian ,i4 of ,germany1 #adic-aeai4 ,charles ,v4 of ,germany 7,i4 of ,spain7 crowned ,holy ,roman ,emperor1 #aebj4 ,died #aeeh4 ,kings3-- ,philip ,,ii4 son and successor of ,charles ,v41 accession1 #aeef2 death1 #aeih4 ,henry ,,viii4 of ,england1 reigned #aeji-aedg4 ,edward ,,vi4 #aedg-aeec4 ,mary ,tudor #aeec-aeeh4 ,elizabeth #aeeh-afjc4 ,francis ,i4 of ,france1 #aeae-aedg4 ,henry ,,ii4 #aedg-aeei4 ,catherine de' ,medici real ruler of ,france in reigns of ,francis ,,ii4 and ,charles ,,ix41 #aeei-aegd4 ,popes3-- ,sixtus ,,iv41 #adga4 ,paul ,,iii41 #aecd4 ,innocent ,,viii41 #adhe4 ,julius ,,iii41 #aeej4 ,alexander ,,vi41 #adib4 ,marcellus ,,ii41 #aeee4 ,pius ,,iii41 #aejc4 ,paul ,,iv41 #aeee4 ,julius ,,ii41 #aejc4 ,pius ,,iv41 #aeei4 ,leo ,n41 #aeac4 ,pius ,v41 #aeff4 ,adrian ,,vi41 #aebb4 ,gregory ,,xiii41 #aegb4 ,clement ,,vii41 #aebc4 ,doges of ,venice3-- ,giov4 ,mocenigo1 #adgh4 ,francesco ,donato1 #aede4 ,marco ,barbarigo1 #adhe4 ,marco ,trevisan1 #aeec4 ,agostino ,barbarigo1 #adhf4 ,francesco ,venier1 #aeed4 ,leonardo ,loredan1 #aeja4 ,lorenzo ,priuli1 #aeef4 ,antonio ,grimani1 #aeba4 ,girolamo ,priuli1 #aeei4 ,andrea ,gritti1 #aebc4 ,pietro ,loredan1 #aefg4 ,pietro ,lando1 #aebh4 ,alvise ,mocenigo ,i41 #aegj4 ,painters3-- ,giovanni ,bellini1 #adbh-aeaf4 ,perugino1 #addf-aebc4 ,leonardo da ,vinci1 #adeb-aeai4 ,michelangelo1 #adge-aefd4 ,bazzi 7,,ii ,sodoma71 #adgg-aedi4 ,giorgione1 #adgg-aeaj4 ,palma ,vecchio1 #adhj-aebh4 ,raphael1 #adhc-aebj4 ,sebastian del ,piombo1 #adhe-aedg4 ,andrea del ,sarto1 #adhf-aeca4 ,correggio1 #adid-aecd4 ,giorgio ,vasari1 #aeab-aegd4 ,tintoretto1 #aeah-aeid4 ,paolo ,veronese1 #aebh-aehh4 ,men of ,letters3-- ,ariosto1 #adgd-aecc1 poet4 ,aretino1 #adib-aeeg1 poet4 ,tasso1 #aedd-aeie1 poet4 ,pietro ,bembo1 #adgj-aedg1 cardinal and master of ,latin style4 ,jacopo ,sadoleto1 #adgg-aedg1 cardinal and writer of ,latin verses4 ,baldassare ,castiglione1 #adgh-aebi1 diplomatist and scholar4 ,aldo ,manuzio1 #adej-aeae1 printer2 established press at ,venice1 #adij4 ,guicciardini1 #adhc-aedj1 historian4 ,i ,,the ,,physician ,,parma ,we are about to study a few pictures reproduced from the works of a great ,venetian painter of the sixteenth century1--,titian4 ,the span of this man's life covered nearly a hundred years1 from #adgg to #aegf1 a period when ,venice was a rich and powerful city4 ,the ,venetians were a pleasure-loving people1 fond of pomp and display4 ,they delighted in sumptuous entertainments1 and were particularly given to pageants4 ,we read of the picturesque processions that paraded the square of ,st4 ,mark's1 or floated in gondolas along the grand canal4 ,the city was full of fine buildings1 palaces1 churches1 and public halls4 ,their richly ornamented fronts of colored marbles1 bordering the blue water of the canals1 made a brilliant panorama of color4 ,the buildings were no less beautiful within than without1 being filled with the splendid paintings of the ,venetian masters4 ,the pictures in the churches and monasteries illustrated sacred story and the fives of the saints2 those in the public halls depicted historical and allegorical themes1 while the private palaces were adorned with mythological scenes and portraits4 ,titian engaged in works of all these kinds1 and seemed equally skilful in each4 ,the great number and variety of his pictures bring vividly before us the manners and customs of his times4 ,his art is like a great mirror in which ,venice of the sixteenth century is clearly reflected in all her magnificence4 ,as we study our little prints1 we must bear in mind that the original paintings glow with rich and harmonious color4 ,as far as possible let us try to supply this lost color from our imagination4 ,nearly all the notable personages of the time sat to ,titian for their portraits1--emperors1 queens1 and princes1 popes1 and cardinals1 the doges1 or dukes1 of ,venice1 noblemen1 poets1 and fair women4 ,wearing the costumes of a bygone age1 these men and women look out of their canvases as if they were still living1 breathing human beings4 ,the painter endowed them with the magic gift of immortality4 ,though the names of many of the sitters are now forgotten1 and we know little or nothing of their lives1 they are still real persons to us1 with their life history written on their faces4 ,such is the man called ,parma1 who is believed to have been a physician of ,titian's time1 but whose only biography is this portrait4 ,if we were told that it was the portrait of some eminent physician now practising in ,new ,york or ,london1 we should perhaps be equally ready to believe it4 ,we might meet such a figure in our streets to-morrow4 ,there is nothing in the costume to mark it as peculiar to any century or country4 ,the black gown is such as is still worn by clergymen and university men4 ,the man would not have to be pointed out to us as a celebrity2 we should know him at once as a person of distinction4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son4 ,sc4 ,,the ,,physician ,,parma ,vienna ,gallery ,the science of medicine was making great progress during the sixteenth century4 ,it was then that the subject of anatomy was first developed by the celebrated ,fleming1 ,vesalius1 court physician to ,charles ,v4#e ,in this period1 also1 the science of chemistry first came to be separated from alchemy1 and progressive physicians applied the new learning to their practice4 ,we may be sure that our ,doctor ,parma belonged to the most enlightened class of his profession4 ,his strong3 intellectual face shows him to be one who would have little patience with quackery or superstition4 ,he has a high1 noble forehead1 keen1 penetrating eyes1 and a firm mouth4 ,his beautiful white hair gives him a venerable aspect1 though he is not of great age4 ,it blows about his face as fine and light as gossamer4 ,he is an ideal family physician1 of a generation ago4 ,we can imagine how children would learn to look upon him with love and respect1 perhaps also with a little wholesome fear4 ,the hand which holds the folds of the long1 black gown has a character of its own as definite as that of the face4 ,it is a strong1 firm hand1 which looks capable of guiding skilfully a surgeon's knife4 ,two fine seal rings ornament it4 ,such rings1 sometimes of curious design and workmanship1 were often bestowed as gifts by wealthy noblemen upon those who had done them some service4 ,the doctor ,parma looks as good as he is wise4 ,this benign face would grace an assembly of notable clergymen4 ,indeed1 the picture suggests a well-known portrait of the great ,john ,wesley1 whose features were cast in the same strong mould1 and who also had an abundance of bushy white hair4 ,by another play of the fancy we could imagine this a portrait of some eminent judge4 ,there is that in the face which indicates the calm1 impartial1 deliberate mind that belongs to the character4 ,he might now be about to charge the jury1 or perhaps even to pronounce sentence4 ,still another opinion is that here we have a ,venetian senator in his official robes4 ,the man is in any case an ideal professional man1 a person of brains and character1 who could fill equally well a position of responsibility in medicine1 law1 administrative affairs1 or divinity4 ,with a strict sense of justice1 a stern contempt for anything mean and base1 and a fatherly tenderness for the weak and oppressed1 he is one in whom we could safely put confidence4 ,,ii ,,the ,,presentation ,,of ,,the ,,virgin 7,detail7 ,in the town of ,nazareth many centuries ago lived a pious old couple1 named ,joachim and ,anna4 ,it is said that they divided all their substance in three parts3 one part for the temple1 another for the poor and pilgrims1 and the third for themselves4 ,the delight of their old age was their only child ,mary1 who afterwards became the mother of ,jesus4 ,she had been born1 as they believed1 in answer to their prayers1 and they cherished her with peculiar devotion4 ,that ,mary was a good and lovable child beyond common measure we can have no doubt3 she was set apart for a strange and holy service4 ,the beautiful story of her early life is told in an old ,latin book called the ,legenda ,aurea1 or the ,golden ,legend4 ,this was a collection of old legends written out for the first time by ,jacopo de ,voragine1 an ,italian archbishop of the thirteenth century4 ,the early ,english translation by ,caxton1 in which we still read the book1 preserves the quaint flavor of the original4 ,there is one portion of it describing the dedication1 or presentation1 of the ,virgin in the temple4 ,before ,mary was born1 the mother1 ,anna1 had promised the angel of the ,lord that she would present the coming child as an offering to the ,lord4 ,long before her day1 a certain ,hannah had made a like vow under similar circumstances4 ,her son ,samuel1 a child obtained by petition1 was returned1 or lent1 to the ,lord as long as he lived4#f ,a child thus dedicated was early carried to the temple to be educated within its precincts for special service to ,god4 ,the presentation of ,mary was on this wise3 ,and then when she had accomplished the time of three years 444 they brought her to the temple with offerings4 ,and there was about the temple1 after the fifteen psalms of degrees1 fifteen steps or grees to ascend up to the temple1 because the temple was high set4 ,and nobody might go to the altar of sacrifices that was without1 but by the degrees4 ,and then our ,lady was set on the lowest step2 and mounted up without any help as she had been of perfect age1 and when they had performed their offering1 they left their daughter in the temple with the other virgins1 and they returned into their place4 ,and the ,virgin ,mary profited every day in all holiness1 and was visited daily by angels1 and had every day divine visions4#g ,we see at once the picture there is in the story1 the little girl ascending alone the long flight of steps1 with the fond parents gazing after her in wonder4 ,many artists have put the subject on canvas1 and among them our ,venetian painter ,titian4 ,his is an immense picture1 from which the central figure only is reproduced in our illustration4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son1 ,sc4 ,,the ,,presentation ,,of ,,the ,,virgin 7,,detail7 ,venice ,academy ,we must imagine ourselves standing with a great throng of people in the public square in front of the temple4 ,men1 women and children jostle one another near the steps4 ,the old man ,joachim and his wife ,anna are easily singled out among the number4 ,the windows of the adjoining palaces are full of faces looking into the square4 ,a group of senators stand somewhat apart1 looking on4 ,an old peasant woman with a basket of eggs sits in the shadow of the steps4 ,all eyes are turned towards the little child who is walking alone up the great stone staircase4 ,on the topmost step the high priest advances to meet her1 resplendent in his rich priestly garments4 ,the figure of the little ,virgin is very quaint in a long gown made of some shimmering blue stuff4 ,the golden hair is brushed back primly and woven into a heavy braid1 whence it at last escapes in beautiful profusion4 ,it would be hard to guess the child's age1 for her demeanor is that of a little woman as she gathers her long skirt daintily in her right hand4 ,she carries herself erect in the new dignity of the great moment1 and advances with perfect self-confidence4 ,the face1 however1 is quite childlike and innocent1 and is lifted to the priest's with a happy smile4 ,the left arm is raised in a gesture of wonder and delight4 ,the whole figure is surrounded by a halo of golden light4 ,this is the oval-shaped glory which the ,italians call the mandorla1 from the word meaning almond4 ,it is of course the symbol of the virgin's peculiar sanctity4 ,the painter has not tried to make the little girl particularly pretty1 but he gives her the indescribable charm which we call winsomeness4 ,she is perhaps one of the most lovable children art has ever produced4 ,as we study the artist's method of work in the picture we see how very simply the figure is drawn4 ,titian was fond of rich and voluminous draperies1 as we shall learn from several examples which are to follow4 ,here1 however1 he draws a dress with tight sleeves and scanty skirt absolutely without decoration of any sort4 ,it is this simplicity which gives the childlike appearance to the figure4 ,there is a pathos in the little figure which we cannot altogether appreciate in our illustration4 ,we have to remember that the whole picture measures twenty-five feet in width by eleven in height1 and then imagine how tiny the child looks ascending alone the great staircase in the centre of this vast panorama4 ,the isolation of the figure suggests the singular destiny of ,mary1 set apart from others in the loneliness of a unique service4 ,,iii ,,the ,,empress ,,isabella ,the most illustrious of ,titian's many patrons was the ,emperor ,charles ,v41 whose wife was the ,empress ,isabella of our portrait4 ,this powerful monarch had inherited from one grandfather1 ,ferdinand1 the kingdom of ,spain1 and from another1 ,maximilian1 the empire of ,germany4 ,his marriage was arranged chiefly for political reasons1 but proved to be a happy one4 ,isabella was the daughter of ,emmanuel the ,great1 late ,king of ,portugal1 and the sister of ,john ,,iii41 the reigning king4 ,she was a princess of uncommon beauty and accomplishments4 ,the ,portuguese government bestowed a superb dowry of nine hundred thousand crowns upon her1 and the marriage was celebrated in ,seville in #aebf4 ,the ceremony was splendid1 and there were great festivities following4 ,soon after1 the emperor travelled with his bride through ,andalusia and ,granada that he might see his new kingdom4 ,called at last to other parts of his dominion1 he left ,isabella as regent in ,spain1 and went to ,italy1 where in #aecb he first called ,titian into service to paint his portrait4 ,in the years that followed the painter found the emperor a constant and generous patron1 and was frequently summoned to meet the court at various places4 ,in the meantime1 however1 the lovely empress never had had a sitting to the first painter of the day4 ,she stayed quietly at home and had her portrait painted by such inferior artists as were at hand4 ,when she died in #aeci ,charles was left disconsolate1 without any satisfactory portrait of her beloved face4 ,he accordingly sent to ,titian a portrait of her painted at the age of twenty-four1 and required him to use it as the basis of a picture4 ,the painter obeyed1 and soon sent1 his royal patron two canvases1 begging him to return them with criticisms if he wished any changes made4 ,as they were never sent back we infer that ,charles found them as much like the original as could have been expected4 ,the fame of ,isabella's beauty and goodness had of course come to the painter's knowledge1 and this was perhaps a better inspiration than the old portrait which was his guide4 ,certainly the picture he produced shows a winning personality4 ,the empress is seated near a window1 holding a little book open in one hand1 probably a prayer-book or ,book of ,hours4 ,the lady is not reading1 but gazes somewhat pensively before her1 as if thinking over the familiar words4 ,the face is gentle and refined1 and has an innocent purity of expression like that of a child4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son4 ,sc4 ,,the ,,empress ,,isabella ,prado ,gallery1 ,madrid ,the features are small1 and modelled with an almost doll-like regularity4 ,yet the mouth is set firmly enough to indicate a strong will behind it4 ,isabella was indeed a woman of remarkable self-control4 ,a story is told that once when ill and in great pain she turned her face in the shadow that none might see her suffer1 and uttered no sound of complaining4 ,her nurses remonstrated1 but she replied firmly1 ,die ,i may1 but wail ,i will not4 ,the costume of a ,spanish queen of the sixteenth century naturally interests us4 ,apparently ,spanish ,court etiquette of the period dictated a dress made with high neck and long sleeves4 ,the bodice is of red velvet1 the loose sleeves lined with satin4 ,the under bodice1 which we should call a guimpe1 is of white muslin with gold fillets4 ,a jewel adorns the red hair1 and a long necklace of pearls is caught on the bosom with a pendant of rubies and emeralds4 ,the careful dressing of the hair1 the strict propriety of the gown1 and the attitude of the queen herself suggest the regard of conventionality which governed the great lady4 ,what the portrait lacks is the quality of lifelikeness which makes other pictures by ,titian so wonderful4#h ,naturally the painter could not so easily impart vitality to the picture when not working directly from the living model4 ,to make up1 as it were1 for this defect1 he painted the various textures of the dress with marvellous skill4 ,satin1 velvet1 and muslin1 each is distinguished by its own peculiar lustre4 ,the bit of landscape seen through the window is another beautiful part of the picture4 ,the distance gives depth to the composition and avoids the crowded effect it might otherwise have4 ,we shall see a similar setting again in the portrait of ,lavinia4 ,the ,emperor had been very fond of his wife1 and an old historian says that he treated her on all occasions with much distinction and regard4 ,if this seems nothing surprising to note1 we must remember that at the same period ,henry ,,viii4 of ,england was treating his queens quite differently4 ,in the last years of his life ,charles ,v41 weary of the cares of government1 relinquished his kingdom to his son4 ,he retired to the convent of ,yuste to end his days1 taking with him this portrait of his wife4 ,when he lay on his death-bed he asked to see the picture1 and when at last he died his body was laid to rest beside ,isabella4 ,their son1 ,philip ,,ii41 whose portrait we are presently to study1 succeeded to a portion of his father's dominion4 ,,iv ,,madonna ,,and ,,child ,,with ,,saints ,there was never a child so longed for as the ,child ,jesus1 and none whose infancy has been held in such loving remembrance4 ,centuries before his birth the prophets of ,israel preached to the people of his coming4 ,year after year men waited eagerly for ,one who would teach them the way of righteousness4 ,on the night when he was born the angels of heaven appeared in the sky with the glad tidings4 ,his birthday ushered in a new era4 ,we all know the story of his infancy in the ,bethlehem manger1 of his boyhood in the little town of ,nazareth1 of the years of his ministry throughout ,judea1 and of his crucifixion on ,calvary4 ,the narrative of his life was written by the four evangelists1 and has been told in nearly every part of the world4 ,many of the great painters have drawn the subjects of their best pictures from the story in the ,gospels4 ,a favorite subject has been the mother ,mary holding the ,babe in her arms1 as in our illustration4 ,to understand why the other figures are included in the scene1 a few words of explanation are necessary4 ,in the early days of ,christianity the followers of the new faith had to endure great persecutions1 and many laid down their lives for their ,master4 ,the religious liberty we enjoy to-day is due to the courage and loyalty of these early saints and martyrs4 ,much1 too1 is due to the work of those teachers who are called the ,fathers of the church4 ,these saints and heroes of the olden time have been honored in art and song and story4 ,it is fitting to associate their memory with that of him to whom they gave their lives4 ,this is the reason why in pictures of the ,mother and ,child ,jesus we often see them standing by4 ,such pictures do not represent any actual historical event4 ,the various persons represented may not even be contemporaries4 ,it is in a devotional and not a literal sense that they worship the ,christ child together4 ,in our picture the ,mother tends her ,babe at one side while three saints form an attendant company4 ,the nearest is ,st4 ,stephen1 the young man full of faith and power1 who did great wonders and miracles among the people of ,jerusalem in the apostolic days4 ,when false witnesses accused him of blasphemy his face was like the face of an angel4 ,nevertheless1 when his accusers heard his defence they were angry at his frank denunciations1 and casting him out of the city1 stoned him to death4#i ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son4 ,sc4 ,,madonna ,,and ,,child ,,with ,,saints ,vienna ,gallery ,the old man standing next is ,st4 ,jerome1 one of the ,latin fathers of the fourth century4 ,he was both a preacher and a writer1 and his greatest service to the world was his translation of the ,bible into ,latin 7the ,vulgate74 ,this is the book from which he is now reading1 and ,st4 ,george seems to look over his shoulder4 ,st4 ,george is the hero saint who rescued the princess ,cleodolinda from the dragon4 ,he suffered many tortures at the orders of the ,emperor ,diocletian1 and was finally beheaded for his faith4#aj ,we learn to identify these and other saints in the old pictures by certain features which the masters long ago agreed upon as appropriate to the characters4 ,st4 ,stephen we recognize here because he is young1 and carries a palm as the symbol of his martyrdom4 ,st4 ,jerome is always an old man and is known here by his book1 and ,st4 ,george is distinguished by his armor4 ,the three make an interesting group as they represent three ages of man1--youth1 maturity1 and old age4 ,they stand1 too1 for distinctly different temperaments4 ,st4 ,stephen has the ardent imaginative nature of a dreamer1 ,st4 ,george the active prosaic temper of the warrior1 and ,st4 ,jerome the grave contemplative mind of the scholar4 ,each serves the ,christ with his own gift4 ,in the picture the three seem to be reading together some passage referring to the birth of ,christ1 perhaps that glorious verse from the prophet ,isaiah1 ,unto us a child is born1 unto us a son is given4 ,coming to the words ,wonderful1 ,counsellor1 ,st4 ,stephen lifts his face adoringly4 ,the ,child is innocently unconscious of his grave guests4 ,he lies across his mother's lap kicking his feet gleefully and looking up to her with a playful1 appealing gesture4 ,she bends over him smiling1 and the two seem to talk together in the mystic language of babyhood4 ,the artist1 we see1 painted the mother as beautiful and the child as winsome as he could well imagine them4 ,he did not try to discover how a woman of ,judea was likely to have looked centuries before4 ,he preferred to think of ,mary as one of the beautiful ,venetian women of his own day4 ,he may have seen some real mother and babe who suggested the picture to him1 but in that case he painted them largely according to his own fancy4 ,the ,madonna's dress is not according to any ,venetian fashions1 but in the simple style chosen as most appropriate by old masters4 ,red and blue were the colors always used in her draperies1 and it was also an ancient custom to represent her as wearing a veil over her head as befitting her modesty4 ,the mother has the fresh comely look of perfect health1 yet with much delicacy and refinement in her gentle face4 ,both she and the babe seem to rejoice in abounding health and vitality4 ,the picture is full of the joy of life4 ,v ,,philip ,,ii ,philip ,,ii4 was the son of the ,emperor ,charles ,v4 and the ,empress ,isabella1 whose portrait we have seen4 ,he had therefore1 like most princes1 a union of several nationalities in his lineage4 ,upon his birth in #aebg1 all ,spain rejoiced that there was now an heir to the throne4 ,charles himself counted eagerly upon the help his son would give him in the administration of his vast dominions4 ,from the first ,philip was a grave and thoughtful child1 pursuing his studies first with his mother and then with a tutor4 ,when he was twelve years old his mother died2 and two years later his father1 who had scarcely seen the boy1 returned to ,spain1 and devoted himself for a while to teaching him the principles of government4 ,philip was an apt pupil1 and showed great fondness for statesmanship4 ,at the age of sixteen a great responsibility fell upon the young prince4 ,charles was called to ,germany and left ,philip as regent of ,spain4 ,a marriage had already been arranged between the youth and his cousin ,mary of ,portugal1 and this took place soon after the ,emperor's departure4 ,philip's regency was eminently successful1 and he won the lasting affection and loyalty of the ,spanish people4 ,the ,emperor now planned that the prince should make a journey through the empire to become acquainted with his future subjects4 ,the ,spanish parted with him reluctantly1 and he set forth accompanied by a great train of courtiers4 ,six months he was on his way1 everywhere greeted by festivals1 banquets and tourneys4 ,philip1 being of a reticent and sombre nature1 had little taste for these festivities1 but having political ambition1 submitted as gracefully as possible4 ,at length he made a state entry into ,brussels4 ,this was in #aedh2 and in the two years that followed1 the emperor and prince were together1 planning their future policy of government4 ,the lessons which ,charles most deeply impressed upon ,philip were those of self-repression1 patience and distrust4 ,the leading element in his policy was to be absolute ruler4 ,it was at the close of these two years1 that is1 in #aeej1 that the emperor1 attending a diet in ,augsburg1 summoned thither ,titian to paint the portrait of ,philip4 ,the prince was now in his twenty-fourth year1 and stood1 as it were1 on the threshold of his great career4 ,there could scarcely be a more unattractive subject for a portrait4 ,philip had a poor figure1 with narrow chest and large ungainly feet1 and his features were exceedingly ill-formed4 ,his eyes were large and bulging1 he had a projecting jaw and full fleshy lips which his scanty beard could not conceal4 ,titian1 however1 had the great artist's gift of making the most of a subject4 ,we forget all ,philip's defects when we look at this magnificent portrait4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son1 ,sc4 ,,philip ,,ii4 ,prado ,gallery1 ,madrid ,the skill with which the splendid costume is painted would alone make the picture a great work of art4 ,philip wears a breastplate and hip pieces of armor1 richly inlaid with gold1 slashed embroidered hose1 as the short trousers are called1 white silk tights and white slippers4 ,the collar of the ,golden ,fleece is the crowning ornament4 ,the attitude of the prince is full of dignity4 ,he stands in front of a table on which his helmet and gauntlets are laid4 ,the right hand rests on the helmet1 and the left holds the hilt of the rapier which hangs at his side4 ,the most remarkable quality in the portrait is the impression of royalty it conveys4 ,though ,philip has little to boast of in good looks1 he has inherited from generations of royal ancestors that indefinable air of distinction which belongs to his station4 ,it is this which the painter has expressed in his attitude and bearing4 ,young as the face is1 with little of life's experience to give it individuality1 the painter makes it a revelation of the leading elements in ,philip's character4 ,the seriousness of the boy has developed into the habitual gravity of the man4 ,already we see how well the father's lessons have been learned1 how self-contained and cautious the prince has become4 ,the affairs of state seem to weigh heavily upon him4 ,the proportions of the figure to the size and shape of the canvas add something to the apparent height of ,philip4 ,titian has done everything a painter could do to give an ill-favored prince an appearance befitting his royal prestige3 it is a kingly portrait4 ,three years after it was painted1 the picture was sent to ,england to be shown to ,queen ,mary4 ,philip1 now a widower1 had become a suitor of the ,english queen4 ,the report came that ,mary was greatly enamoured of the portrait1 and the marriage was soon after effected4 ,philip1 however1 did not win great favor with the ,english1 and after ,mary's death he chose a ,french princess for his next wife1 and spent his life in ,spain4 ,upon the abdication of his father1 he became the most powerful monarch in ,europe1 and had the best armies of his time4 ,he was constantly at war with other nations1 usually two or more at a time1 and by undertaking too many schemes often failed4 ,it was during his reign that the ,netherlands were lost to ,spain1 and the famous ,spanish ,armada was destroyed by the ,english4 ,,vi ,,saint ,,christopher ,there was once in the land of ,canaan a giant named ,offero1 which means the bearer4 ,his colossal size and tremendous strength made him an object of terror to all beholders1 and he determined to serve none but the most powerful being in the world4 ,he accordingly joined the retinue of a great king1 and for a while all went well4 ,one day while listening to a minstrel's song1 the king trembled and crossed himself every time the singer mentioned the ,devil4 ,then1 thought ,offero1 there is one more powerful than the ,king2 and he it is whom ,i should serve4 ,so he went in search of the ,devil1 and soon entered the ranks of his army4 ,one day as they came to a wayside cross he noticed his master tremble and turn aside4 ,then1 thought ,offero1 there is one more powerful than the ,devil1 and he it is whom ,i should serve4 ,he now learned that this greater being whom the ,devil feared was ,jesus1 who died on the cross1 and he earnestly sought to know the new ,master4 ,an old hermit undertook to instruct him in the faith4 ,you must fast1 said he4 ,that ,i will not1 said ,offero1 lest ,i lose my strength4 ,you must pray1 said the hermit4 ,that ,i cannot1 said ,offero4 ,then1 said the hermit1 go to the river side and save those who perish in the stream4 ,that ,i will1 said ,offero joyfully4 ,the giant built him a hut on the bank and rooted up a palm tree from the forest to use as a staff4 ,day and night he guided strangers across the ford and carried the weak on his shoulders4 ,he never wearied of his labor4 ,one night as he rested in his hut he heard a child's voice calling to him from the shore1 ,offero1 come forth1 and carry me over4 ,he arose and went out1 but seeing nothing returned and lay down4 ,again the voice called1 ,offero1 come forth and carry me over4 ,again he went out and saw no one4 ,a third time the voice came1 ,offero1 come forth1 and carry me over4 ,the giant now took a lantern1 and by its light found a little child sitting on the bank1 repeating the cry1 ,offero1 carry me over4 ,offero lifted the child to his great shoulders1 and taking his staff strode into the river4 ,the wind blew1 the waves roared1 and the water rose higher and higher1 yet the giant pushed bravely on4 ,the burden which had at first seemed so light grew heavier and heavier4 ,offero's strong knees bent under him1 and it seemed as if he would sink beneath the load4 ,yet on he pressed with tottering steps1 never complaining1 until at last the farther bank was reached4 ,here he set his precious burden gently down1 and looking with wonder at the child1 asked1 ,who art thou1 child8 ,the burden of the world had not been heavier4 ,wonder not1 said the ,child1 for thou hast borne on thy shoulders him who made the world4 ,then a bright light shone about the little face1 and in another moment the mysterious stranger had vanished4 ,thus was it made known to ,offero that he had been taken into the service of the most powerful being in the world4 ,from this time forth he was known as ,christ-offero1 or ,christopher1 the ,christ-bearer4#aa ,illustration3 ,d4 ,anderson1 photo4 ,,saint ,,christopher ,with this story in mind we readily see the meaning of our picture4 ,the giant has reached mid-stream1 with his tiny passenger perched astride his shoulders4 ,already the burden has become mysteriously heavy1 and ,offero bends forward to support the strain1 staying himself with his great staff4 ,he lifts his face to the child's with an expression of mingled anguish and wonder4 ,the situation is full of strange pathos4 ,the babe seems so small and helpless beside the splendid muscular strength of the brawny giant4 ,yet he is here the leader4 ,with uplifted hand he seems to be cheering his bearer on the toilsome way4 ,the figures in the picture seem to be taken from common every-day life4 ,some ,venetian boatman may have been the painter's model for ,st4 ,christopher1 whose attitude is similar to that of a gondolier plying his oar4 ,the child1 too1 is a child of the people1 a sturdy little fellow1 quite at ease in his perilous position4 ,we shall understand better the range of ,titian's art by contrasting these more commonplace figures with the refined and elegant types we see in some of our other illustrations4 ,the picture of ,st4 ,christopher is a fresco painting on the walls of the palace of the doges or dukes in ,venice4 ,it was originally designed to celebrate the arrival of the ,french army in #aebc1 at an ,italian town called ,san ,cristoforo4 ,it is so placed that it might be the first object seen every morning when the doge left his bed-chamber4 ,this was on account of an old tradition that the sight of ,st4 ,christopher always gives courage to the beholder4 ,whoever shall behold the image of ,st4 ,christopher1 on that day shall not faint or fail1 runs an old ,latin inscription4 ,as fresco painting was a method of art comparatively unfamiliar to ,titian1 it is interesting to know than an eminent critic pronounces our picture broad and solid in execution1 rich and brilliant in color4#ab ,we see from our reproduction that the paint has flaked from the wall in a few places4 ,,vii ,,lavinia ,something of the home life of ,titian must be known in order to understand the loving care which he bestowed upon this portrait of his daughter ,lavinia4 ,the painter's works were in such demand that he could afford to live in a costly manner4 ,he had a true ,venetian's love of luxury1 and liked to surround himself with elegant things4 ,his society was sought by rich noblemen1 and he himself lived like a prince4 ,when somewhat over fifty years of age ,titian removed to a spot just outside ,venice in the district of ,biri1 where he laid out a beautiful garden4 ,the view from ,casa ,grande1 as the house was called1 was very extensive1 looking across the lagoon to the island of ,murano and the hills of ,ceneda4 ,here ,titian entertained his guests with lavish hospitality4 ,a distinguished scholar of that time1 one ,priscianese1 who had come to ,venice in #aedj to publish a grammar1 describes how he was entertained there3 ,before the tables were set out1 he writes1 444 we spent the time in looking at the lively figures in the excellent pictures1 of which the house was full1 and in discussing the real beauty and charm of the garden4444 ,in the meanwhile came the hour for supper1 which was no less beautiful and well arranged than copious and well provided4 ,besides the most delicate viands and precious wines1 there were all those pleasures and amusements that are suited to the season1 the guests and the feast4444 ,the sea1 as soon as the sun went down1 swarmed with gondolas1 adorned with beautiful women1 and resounded with the varied harmony of music of voices and instruments1 which till midnight accompanied our delightful supper4 ,the darling of this beautiful home at ,casa ,grande was the painter's daughter ,lavinia1 and the portrait shows how she looked in #aedi4 ,her mother had died before the removal of the family to ,biri1 and the aunt1 who had since tried to fill the vacant place1 died about the time this portrait was painted4 ,a new responsibility had therefore fallen upon the young girl1 and she was now her father's chief consolation4 ,it is thought that the picture was painted for ,titian's friend ,argentina ,pallavicino of ,reggio4 ,as a guest at her father's house this gentleman must often have seen and admired the charming girl1 and the portrait was a pleasant souvenir of his visits4 ,lavinia is seen carrying a silver salver of fruit1 turning1 as she goes1 to look over her shoulder4 ,the open country stretches before her1 and it is as if she were stepping from a portico of the house to the garden terrace to bring the fruit to some guest4 ,she is handsomely dressed1 as her father would like to see his daughter4 ,the gown is of yellow flowered brocade1 the bodice edged with jewelled cording4 ,over the neck is thrown a delicate scarf of some gauzy stuff1 the ends floating down in front4 ,an ornamental gold tiara is set on the wavy auburn hair1 an ear-ring hangs from the pretty ear1 and a string of pearls encircles the neck4 ,imagine the figure against a deep red curtain1 and you have in mind the whole color scheme of this richly decorative picture4 ,illustration3 ,fr4 ,hanfstaengl1 photo4 ,john ,andrew ,son4 ,sc4 ,,lavinia ,berlin ,gallery ,lavinia1 however1 would be attractive in any dress1 with her fresh young beauty and simple unconscious grace4 ,her features are not modelled in classic lines3 the charm of the face is its fresh color1 the pretty curves of the plump cheek1 and1 above all1 the sweet open expression4 ,the hands are delicate and shapely1 as of one well born and gently reared4 ,lavinia is perhaps not a very intellectual person1 but she has a sweet sunny nature and is full of life and spirits4 ,it would seem impossible to be sad or lonely in her cheery company4 ,she holds her precious burden high1 with an air of triumph1 and turns with a smile to see it duly admired4 ,the delicious fruit certainly makes a tempting display4 ,the girl's innocent round face and arch pose remind one of a playful kitten4 ,the painter has chosen a graceful and unusual attitude4 ,the curves of the outstretched arms serve as counterbalancing lines to the main lines of the figure4 ,the artist himself was so pleased with the pose that he repeated it in another picture1 where ,lavinia assumes the gruesome rle of ,salome1 and carries in her salver1 in place of the fruit1 the head of ,st4 ,john the ,baptist6 ,a few years after our portrait was painted1 ,lavinia was betrothed to ,cornelio ,sarcinelli1 of ,serravalle1 and a new portrait was painted in honor of the event4 ,when the marriage settlement was signed ,lavinia brought her husband a dowry of fourteen hundred ducats1 a royal sum in those days4 ,the wedding was on the #aith of ,june1 #aeee4 ,some years after her marriage ,lavinia again sat to her father for her portrait4 ,her beauty1 as we have noted1 was not of a lasting kind1 and in the passing years her fresh color faded1 and she became far too stout for grace4 ,yet the frank nature always made her attractive1 and it is pleasant to see in the kindly face the fulfilment of the happy promise of her girlhood4 ,,viii ,,christ ,,of ,,the ,,tribute ,,money ,during the three years of ,christ's ministry1 his words and actions were closely watched by his enemies1 who hoped to find some fault of which they could accuse him4 ,not a flaw could be seen in that blameless life1 and it was only by some trick that they could get him into their power4 ,one plan that they devised was very cunning4 ,palestine was at that time a province of the ,roman empire1 and the popular party among the ,jews chafed at having to pay tribute to the emperor ,csar4 ,on the other hand the presence of the ,roman governor in ,jerusalem made it dangerous to express any open rebellion4 ,jesus was the friend of the people1 and many of his followers believed that he would eventually lead them to throw off the ,roman yoke4 ,as a matter of fact1 however1 he had taken no part in political discussions4 ,his enemies now determined to make him commit himself to one party or the other4 ,if he declared himself for ,rome1 his popularity was lost2 if against ,rome he was liable to arrest4 ,the evangelists relate how shrewdly their question was framed to force a compromising reply1 and how completely he silenced them with his twofold answer4 ,this is the story3-- ,then went the ,pharisees1 and took counsel how they might entangle him in his talk4 ,and they sent out unto him their disciples with the ,herodians1 saying1 ,master1 we know that thou art true1 and teachest the way of ,god in truth1 neither carest thou for any man3 for thou regardest not the person of men4 ,tell us therefore1 ,what thinkest thou8 ,is it lawful to give tribute unto ,csar1 or not8 ,but ,jesus perceived their wickedness1 and said1 ,why tempt ye me1 ye hypocrites8 ,shew me the tribute money4 ,and they brought unto him a penny4 ,and he saith unto them1 ,whose is this image and superscription8 ,they say unto him1 ,csar's4 ,then saith he unto them1 ,render1 therefore1 unto ,csar the things which are ,csar's2 and unto ,god the things that are ,god's4 ,when they had heard these words1 they marvelled and left him1 and went their way4#ac ,that was indeed a wonderful scene1 and it is made quite real to us in our picture3 ,christ and the ,pharisee stand face to face1 engaged in conversation4 ,a wily old fellow has been chosen spokesman for his party4 ,his bronzed skin and hairy muscular arm show him to be of a common class of laborers4 ,the face is seamed with toil1 and he has the hooked1 aquiline nose of his race4 ,as he peers into the face of his supposed dupe1 his expression is full of low cunning and hypocrisy4 ,he holds between thumb and forefinger the ,roman coin which ,christ has called for1 and looks up as if wondering what that has to do with the question4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son4 ,sc4 ,,christ ,,of ,,the ,,tribute ,,money ,dresden ,gallery ,christ turns upon him a searching glance which seems to read his motives as an open page4 ,there is no indignation in the expression1 only sorrowful rebuke4 ,his answer is ready1 and he points quietly to the coin with the words which so astonish his listeners4 ,the character of ,christ is so many-sided that any painter who tries to represent him has the difficult task of uniting in a single face all noble qualities of manhood4 ,let us notice what elements of character ,titian has made most prominent1 and we shall see how much more nearly he satisfies our ideal than other painters4 ,refinement and intellectual power impress us first in this countenance3 the noble forehead is that of a thinker4 ,the eyes show penetration and insight3 we feel how impossible it would be to deceive this man4 ,it is a gentle face1 too1 but without weakness4 ,here is one who would sympathize with the sorrowing and have compassion on the erring1 but who would not forget to be just4 ,strength of character and firmness of purpose are indicated in his expression4 ,the highest quality in the face is its moral earnestness4 ,its calm purity contrasts with the coarse1 evil face of the questioner as light shining in the darkness4 ,there is1 perhaps1 only one other head of ,christ in art with which it can properly be compared1 and this is by ,leonardo da ,vinci1 in the ,last ,supper at ,milan4 ,the two painters have expressed1 as no others have been able to1 a spiritual majesty worthy of the subject4 ,the early painters used to surround the head of ,christ with a circle of gold1 which was called a nimbus1 a halo1 or a glory4 ,the custom had been given up by ,titian's time1 but we see in our picture the remnant of the old symbol in the three tiny points of light which shine over the top and sides of the ,saviour's hair4 ,they are a mystic emblem of the ,trinity4 ,the artistic qualities of the picture are above praise4 ,there are few1 if any1 of ,titian's works executed with so much care and delicacy of finish1 but without sacrificing anything in the breadth4 ,we recognize the painter's characteristic touch in the disposition of the draperies1 in the delicacy of the hair1 the modelling of the hands1 and the pose of ,christ's head4 ,the figures have that quality of vitality which we observe in ,titian's great portraits4 ,the color of ,christ's robe is red1 and his mantle a deep blue4 ,,ix ,,the ,,bella ,among ,titian's wealthy patrons was a certain ,duke of ,urbino1 ,francesco ,maria della ,rovere1 who1 as the general-in-chief of the ,venetian forces1 came to ,venice to live when our artist was at the height of his fame4 ,from this time till the ,duke's death the painter was brought into relations with this noble family4 ,this was the period when the ,bella was painted1 and the picture has1 as we shall see1 an intimate connection with these patrons4 ,the ,duke's wife was ,eleanora ,gonzaga1 sister of the ,duke of ,mantua1 celebrated for her beauty and refinement4 ,a contemporary 7,baldassare ,castiglione7 writing of the lady1 says3 ,if ever there were united wisdom1 grace1 beauty1 genius1 courtesy1 gentleness1 and refined manners1 it was in her person1 where these combined qualities form a chain adorning her every movement4 ,the ,duke himself was deeply in love with his wife4 ,a week after his marriage he wrote that he had never met a more comely1 merry1 or sweet girl1 who to a most amiable disposition added a surprisingly precocious judgment1 which gained for her general admiration4 ,eleanora1 on her part ,a showed an undeviating affection for her husband1 and they lived together happily4 ,from the date of her marriage1 we can reckon that the ,duchess must have been well into her thirties when she came to ,venice to live4 ,from a portrait ,titian painted of her1 when she was about forty1 we see that much of the fresh beauty of her girlhood had faded4 ,she had1 however1 good features1 with large1 fine eyes and arching brows4 ,her figure was graceful and her neck beautiful3 the head was particularly well set4 ,all these qualities kindled the artistic imagination of ,titian4 ,in the matron of forty his inner eye caught a vision of the belle of twenty4 ,thereupon1 he wrought an artist's miracle3 he painted pictures of ,eleanora as she had looked twenty years before4 ,one of these1 and perhaps the most famous1 is the ,bella of our illustration4#ad ,the identity of the original is hidden under this simple title1 which is an ,italian word1 meaning the ,beauty4 ,an ancient legend tells of a wonderful fountain1 by drinking of which a man1 though old1 might renew his youth and be1 like the gods1 immortal4 ,there were some who went in quest of these waters1 among them1 as we remember1 the ,spanish knight1 ,ponce de ,leon1 who1 thinking to find them north of ,cuba1 discovered our ,florida4 ,the ,duchess of ,urbino found such a fountain of youth in the art of ,titian4 ,comparing her actual portrait with the ,bella1 painted within a few years1 it seems as if the lady of the former had quaffed the magic draught which had restored her to her youthful beauty4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son4 ,sc4 ,,the ,,bella ,pitti ,gallery1 ,florence ,the ,bella is what is called a half length portrait1 the figure standing1 tall1 slender1 and perfectly proportioned4 ,the lady turns her face to meet ours1 and whether we move to the right or the left1 the eyes of the enchantress seem to follow us4 ,we fall under their spell at the first glance2 there is a delightful witchery about them4 ,the small head is exquisitely modelled1 and the hair is coiled about it in close braids to preserve the round contours corresponding to the faultless curves of cheek and chin4 ,the hair is of golden auburn1 waving prettily about the face1 and escaping here and there in little tendrils4 ,over the forehead it forms the same perfect arch which is repeated in the brows4 ,the slender throat is long and round1 like the stalk of a flower2 the neck and shoulders are white and firm1 and shaped in beautiful curves4 ,the rich costume interests us as indicating the fashions in the best ,venetian society of the early #afth century4 ,comparing it with that of the ,empress ,isabella in our other picture1#ae we notice that at the same period the ,venetian styles differed considerably from the ,spanish1 to the advantage of the former4 ,instead of the stiff ,spanish corset which destroyed the natural grace of the figure1 the ,bella wears a comfortably fitting bodice1 from which the skirt falls in full straight folds4 ,the dress is of brownish purple velvet1 combined with peacock blue brocade4 ,the sleeves are ornamented with small knots pulled through slashes4 ,a long chain falls across the neck1 and jewelled ear-rings hang in the ears4#af ,it is pleasant to analyze the details of the figure and costume1 but after all the charm of the picture is in the total impression it conveys4 ,applied to this lovely vision of womanhood the words of ,castiglione seem no flattery4 ,in her are united grace1 beauty1 courtesy1 gentleness1 and refined manners4 ,the essence of aristocracy is expressed in her bearing3 the pose of the head is that of a princess4 ,there is no trace of haughtiness in her manner1 and no approach to familiarity3 she has the perfect equipoise of good breeding4 ,the picture gives us that sense of a real presence which it was the crowning glory of ,titian's art to achieve4 ,the canvas is much injured1 but the ,bella is still immortally young and beautiful4 ,x ,,medea ,,and ,,venus 7,formerly called ,sacred and ,profane ,love7 ,a charming story is told in ,ovid's ,metamorphoses of ,jason's adventures in search of the golden fleece1 and of his love for ,medea4#ag ,jason was a ,greek prince1 young1 handsome1 brave1 and withal of noble heart4 ,he had journeyed over seas in his good ship ,argo1 and had at last come to ,colchis to win the coveted treasure4 ,the ,king tes had no mind to give up the fleece without a struggle1 and he set the young hero a hard task4 ,he was ordered to tame two bulls which had feet of brass and breath of flame4 ,when he had yoked these1 he was to plough a field and sow it with serpent's teeth which would yield a crop of armed men to attack him4 ,while ,jason turned over in his mind how he should perform these feats1 he chanced to meet the king's beautiful daughter ,medea4 ,at once the two fell in love with each other1 and ,jason's fortunes took a new turn4 ,medea possessed certain secrets of enchantment which might be of practical service to her lover in his adventure4 ,she had a magic salve which protected the body from fire and steel4 ,she also knew the charm--and it was merely the throwing of a stone--which would turn the earth-born crop of foes from attacking an enemy to attack one another4 ,finally she had drugs which would put to sleep the dragon guarding the fleece4 ,to impart these secrets to ,jason might seem an easy matter1 but ,medea did not find it so4 ,she was a loyal daughter1 and ,jason had come to take her father's prized possession4 ,she would be a traitor to aid a stranger against her own people4 ,the poet tells how in her trouble the princess sought a quiet spot where she might take counsel with herself4 ,in vain1 she cried1 ,medea6 dost thou strive6 ,some deity ,resists thee6 ,ah1 this passion sure1 or one ,resembling this1 must be what men call love6 ,why should my sire's conditions seem too hard8 ,and yet too hard they are6 ,why should ,i shake ,and tremble for the fate of one whom scarce ,these eyes have looked on twice8 ,whence comes this fear ,i cannot quell8 ,unhappy6 from thy breast ,dash out these new-lit fires6--,ah6 wiser far ,if so ,i could6--,but some new power constrains1 ,and reason this way points1 and that way1 love4 ,the struggle goes on for some time1 and the maiden's heart is torn with conflicting impulses4 ,summoning up all images of right and faith and shame and natural duty1 she fancies that her love is conquered4 ,a moment later ,jason crosses her path and the day is lost4 ,together they pledge their vows at the shrine of ,hecate1 and in due time they sail away in the ,argo with the golden fleece4 ,illustration3 ,from a carbon print by ,braun1 ,clment ,co4 ,john ,andrew ,son1 ,sc4 ,,medea ,,and ,,venus ,borghese ,gallery1 ,rome ,our picture illustrates the scene of ,medea's temptation at the fountain4 ,the tempter is love1 in the form of ,venus1 the ,greek goddess represented in the old mythology as the inspirer of the tender passion4 ,she is accompanied by the little love-god ,cupid1 the mischievous fellow whose bow and arrow work so much havoc in human hearts4 ,the perplexed princess sits beside the fountain1 holding her head in the attitude of one listening4 ,venus leans towards her from the other side and softly pleads the lover's cause4 ,cupid paddles in the water as if quite unconcerned in the affair1 but none can tell what mischief he is plotting4 ,we notice a distinct resemblance between the faces of the two maidens1 and perhaps this is the painter's way of telling us that ,venus is only ,medea's other self3 the voice of the tempter speaks from her own heart4 ,the expression is quite different on the two faces1 tender and persuasive in ,venus1 dreamy and preoccupied in ,medea4 ,if we turn again to ,ovid for the interpretation of the picture1 we may fancy that ,venus is describing the proud days when1 as ,jason's bride1 ,medea would journey with him through the cities of ,greece4 ,my head will touch the very stars with rapture1 thought the princess4 ,the dress of ,medea is rich and elegant1 but quite simply made2 the heavy folds of the skirt describe long1 beautiful lines4 ,in one gloved hand she holds a bunch of herbs1 and the other rests upon a casket4 ,the figure of ,venus is conceived according to classic tradition1 undraped1 as the goddess emerged from the sea-foam at her birth4 ,in the ,greek religion the human body was honored as a fit incarnation for the deities4 ,sculptors delighted in the long flowing lines and beautiful curves which could be developed in different poses4 ,titian's picture translates the spirit of ,greek sculpture1 so to speak1 into the art of painting4 ,the figure of ,venus may well be compared with the marble ,venus of ,milo1 in the pure beauty of the face1 the exquisite modelling of the figure1 and the sweeping lines of grace described in the attitude4#ah ,the painter contrasts the delicate tint of the flesh with the rich crimson of the mantle which falls from the shoulder4 ,the landscape is a charming part of the picture1 stretching on either side in sunny vistas1 pleasantly diversified with woods and waters1 hills and pasture lands1 church and castle4#ai ,sunset lights the sky1 and lends its color to the glowing harmonies of the composition4 ,,xi ,,the ,,man ,,with ,,the ,,glove ,the ,man with the ,glove is so called for lack of a more definite name4 ,nothing is told by ,titian's biographers about the original of the portrait1 and the mystery gives a certain romantic interest to the picture4 ,not being limited by any actual facts we can invent a story of our own about the person1 or as many stories as we like1 each according to his fancy4 ,the sitter certainly makes a good figure for the hero of a romance4 ,he is young and handsome1 well dressed1 with an unmistakable air of breeding1 and singularly expressive eyes4 ,such eyes usually belong to a shy1 sensitive nature1 and have a haunting quality like those of some woodland creature4 ,the title of ,the ,man with the ,glove is appropriate in emphasizing an important feature of the costume4 ,in the days of this portrait1 gloves were worn only by persons of wealth and distinction1 and were a distinguishing mark of elegance4 ,though somewhat clumsily made1 according to our modern notions1 they were large enough to preserve the characteristic shape of the hand1 and give easy play to the fingers4 ,they formed1 too1 a poetic element in the social life of the age of chivalry4 ,it was by throwing down his glove 7or gauntlet7 that one knight challenged another2 while a glove was also sometimes a love-token between a knight and his lady4 ,the glove has its artistic purpose in the picture1 casting the left hand into shadow1 to contrast with the ungloved right hand4 ,the texture of the leather is skilfully rendered1 and harmonizes pleasantly with the serious color scheme of the composition4 ,besides the gloves1 the daintily ruffled shirt1 the seal ring1 and the long neck chain1 show the sitter to be a young man of fashion4 ,not that he is in the least a fop1 but he belongs to that station in life where fine raiment is a matter of course1 and he wears it as one to the manner born4 ,his hands are delicately modelled1 but they are not the plump hands of an idler4 ,they are rather flexible and sensitive1 with long fingers like the hands of an artist4 ,the glossy hair falls over the ears1 and is brushed forward and cut in a straight line across the forehead4 ,the style suits well the open frankness of the countenance4 ,we must note ,titian's rendering of both hair and hands as points of excellence in the portrait4 ,there is a great deal of individuality in the texture of a person's hair and the shape of his hands1 but many artists have apparently overlooked this fact4 ,van ,dyck1 for instance1 used a model who furnished the hands for his portraits1 irrespective of the sitter4 ,titian1 in his best work1 counted nothing too trivial for faithful artistic treatment4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son1 ,sc4 ,,the ,,man ,,with ,,the ,,glove ,the ,louvre1 ,paris ,if we were to try to explain why ,the ,man with the ,glove is a great work of art we should find the first reason1 perhaps1 in the fact that the man seems actually alive4 ,the portrait has what the critics call vitality1 in a remarkable degree4 ,again1 the painter has revealed in the face the inner life of the man himself2 the portrait is a revelation of his personality4 ,it has been said that every man wears an habitual mask in the presence of his fellows4 ,it is only when he is taken unaware that the mask drops1 and the man's real self looks out of his face4 ,the portrait painter's art must catch the sitter's expression in such a moment of unconsciousness4 ,the great artist must be a seer as well as a painter1 to penetrate the secrets of human character4 ,the young man of our picture is one of those reticent natures capable of intense feeling4 ,in this moment of unconsciousness his very soul seems to look forth from his eyes4 ,it is the soul of a poet1 though he may not possess the gift of song4 ,he has the poet's imagination as a dreamer of noble dreams4 ,the time seems to have come when he is just awakening to the possibilities of life4 ,he faces the future seriously1 but with no shrinking4 ,one recalls the words of ,gareth1 in ,tennyson's ,idyll3 ,man am ,i grown1 a man's work must ,i do4 99 99 99 99 99 ,live pure1 speak true1 right wrong1 follow the king-- ,else wherefore born8#bj ,the lofty ideals of the knights of ,king ,arthur's ,round ,table are such as we feel sure this gentle spirit would make his own3-- ,to reverence the king as if he were ,their conscience1 and their conscience as their king1 ,to break the heathen and uphold the ,christ1 ,to ride abroad redressing human wrongs1 ,to speak no slander1 no nor listen to it1 ,to lead sweet lives in purest chastity1 ,to love one maiden only1 cleave to her1 ,and worship her by years of noble deeds ,until they won her4#ba ,it may be of these noble deeds of chivalry that our young man is dreaming1 or it may be of that one maiden for whose sake they are to be done4 ,certainly these candid eyes see visions which we should be glad to see1 and show us the depths of a knightly soul4 ,,xii ,,the ,,assumption ,,of ,,the ,,virgin 7,detail7 ,the ,virgin ,mary1 mother of ,jesus1 has for over nineteen centuries represented to ,christendom all the ideal qualities of womanhood4 ,in her character1 as revealed in ,st4 ,luke's gospel1 we read of her noble1 trustful humility in accepting the message of the ,annunciation2 of her decision and prudence shown in her visit to ,elizabeth2 of her intellectual power as manifested in the song of the ,magnificat2 of the contemplative nature with which she watched the growth of ,jesus2 of her maternal devotion throughout her son's ministry1--and of her sublime fortitude and faith at his crucifixion4#bb ,such was the woman so highly favored of ,god1 she whom the angel called blessed among women4 ,art has pictured for us many imaginary scenes from the life of ,mary4 ,the most familiar and best loved subject is that of her motherhood1 where she is seen with her babe in her arms4 ,there are other subjects1 less common1 showing her as a glorified figure in mid-air as in a vision4 ,one such is that called the ,immaculate ,conception1 which the ,spanish painter ,murillo so frequently repeated4#bc ,another is the ,assumption1 representing her at her death as borne by angels to heaven4 ,the ,golden ,legend relates how the right fair among the daughters of ,jerusalem 444 full of charity and dilection was joyously received into glory4 ,the angels were glad1 the archangels enjoyed1 the thrones sang1 the dominations made melody1 the principalities harmonized1 the potestates harped1 cherubim and seraphim sang laudings and praisings4 ,also1 the angels were with the apostles singing1 and replenished all the land with marvelous sweetness4#bd ,the ,assumption of the ,virgin is the subject of a noble painting by ,titian1 one of the most celebrated pictures in the world4 ,a group of apostles stand on the earth gazing after the receding figure of the ,virgin as she soars into the air on a wreath of cloud-borne angels4 ,from the upper air the ,heavenly ,father floats downward with his angels to receive her4 ,as the canvas is very large1 over twenty-two feet in height1 a small reproduction of the entire picture is unsatisfactory1 and our illustration gives us the heart of the composition for careful study4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son4 ,sc4 ,,the ,,assumption ,,of ,,the ,,virgin 7,,detail7 ,venice ,academy ,the ,virgin rises buoyantly through the air1 and the figure is so full of life and motion that it seems as if it would presently soar beyond our sight4 ,the heavy folds of the skirt swirl about the body in the swiftness of the ascent4 ,the rushing air fills the mantle like the sail of a ship4 ,yet the source of motion is not within the figure itself1 for we see the feet resting firmly on the cloud4 ,it is as if she were borne aloft in a celestial chariot composed of an angelic host4 ,the face is lifted with a look of rapture2 the arms are extended in a gesture of exultation4 ,the pose of the head displays the beautiful throat1 strong and full like that of a singer4 ,the features are cast in a large1 majestic mould4 ,the hands1 turned palm outward1 are large and flexible1 but with delicate1 tapering fingers4 ,we have already seen in other pictures what was ,titian's conception of the ,virgin in her girlhood and motherhood4 ,we find little of the ethereal and spiritual in his ideal1 and nothing that would in any way suggest that true piety is morbid or sentimental4 ,other painters have erred in this direction1 but not ,titian4 ,to him the ,virgin was no angel in disguise1 but a strong1 happy1 healthy woman1 rejoicing in life4 ,but though a woman1 she was in the poet's phrase a woman above all women glorified4 ,she possessed in perfection all the good gifts of human nature4 ,titian's ideal coincided with the old ,greek formula1 ,a sound mind in a sound body4 ,the ,virgin of the ,assumption is in fact not unlike a ,greek goddess in her magnificently developed physique and glorious beauty4 ,our illustration includes a few of the baby angels from the wreath supporting the ,madonna4 ,they are packed so closely together in the picture that their little limbs interlace like interwoven stems in a garland of flowers4 ,yet the figures are cunningly arranged to bring into prominence a series of radiating lines which flow towards a centre in the ,madonna's face4 ,we see in the corner of our print a little arm pointing to the ,virgin1 and above it is a cherub's wing drawn in the same oblique line4 ,frolicsome as is this whole company of angels1 they are of an almost unearthly beauty4 ,a poetic critic has told of standing before the picture contemplating these lovely spirits one after another1 until1 as she expresses it1 ,a thrill came over me like that which ,i felt when ,mendelssohn played the organ and ,i became music while ,i listened4 ,she sums up the effect of the picture as mind and music and love1 kneaded1 as it were1 into form and color4#be ,when we analyze the drawing of the ,madonna's figure we see that it is drawn in an outline of long1 beautiful curves4 ,the principle of repetition is skilfully worked into the composition4 ,the outer sleeve falls away from the right arm in an oval which exactly duplicates that made by the lower portion of the mantle sweeping out at one side4 ,by tracing the main lines of the drapery one will find them running in parallels4 ,,xiii ,,flora ,besides the portraits intended as actual likenesses of the sitters1 ,titian was fond of painting what may be called ideal portraits1 or fancy pictures4 ,while real persons furnished the original models for these1 the painter let his imagination have free play in modifying and perfecting form and feature4 ,we have seen an illustration of this process in the picture called the ,bella1 an idealized portrait of ,eleanora ,gonzaga4 ,the ,flora is another example4 ,we do not know the name of the original1 but we may be sure that it represents an actual person4 ,there is a tradition that she was the daughter of one of ,titian's fellow-painters1 ,palma1 with whom he was in love4 ,as a matter of fact1 ,palma had no daughter1 and the young woman was doubtless only a favorite ,venetian model whom both painters employed4 ,apparently it was she who posed for both figures in the picture of ,medea and ,venus which we have studied4#bf ,flora's hair is of that auburn tint which the ,venetians loved1 and which1 it is believed1 was artificially produced4 ,it is looped into soft1 waving puffs over the ears1 and gathered back by a silken cord1 below which it falls like a delicate veil thinly spread over the shoulders4 ,the skin is exquisitely white and soft1 and the thin garment has been allowed to slip from one shoulder so that we may see the full1 beautiful neck4 ,we notice with what art the painter has arranged the draperies4 ,from the right shoulder the garment falls in delicate1 radiating folds across the figure4 ,over the garment is thrown a stiff1 rose-colored brocade mantle1 contrasting pleasantly with the former both in color and texture4 ,a glimpse of this mantle is seen at the right side and above the left shoulder and arm1 over which the hand gathers it up to prevent it from slipping4 ,this action of the left hand introduces a new set of lines into the picture1 breaking the folds of the drapery into eddying circles which offset the more sweeping lines of the composition4#bg ,the drawing here is well worth studying1 and we may give it more attention since we must lose the lovely color of the painting in the reproduction4 ,the main lines flow in diagonals in two opposite directions4 ,there is the long line of the right arm and shoulder drawn in a fine1 strong curve across the canvas4 ,parallel with it is the edge of the brocade mantle as it is held in the left hand4 ,the counter lines are the curve of the neck and left shoulder1 with which the upper edge of the undergarment runs parallel4 ,the wide spaces between these enclosing lines are broken by sprays of radiating lines1 one formed by the folds of the undergarment1 and the other smaller one by the locks of hair on the left shoulder4 ,illustration3 ,picture from ,carbon ,print by ,braun1 ,clment ,co4 ,john ,andrew ,son4 ,sc4 ,,flora ,uffizi ,gallery1 ,florence ,the graceful pose of the head1 inclined to one side1 suggests the soft languor of a southern temperament4 ,it was often adopted by ,titian1 and we see another instance in the attitude of the ,venus4 ,we fancy that the painters liked particularly the long curve thus obtained along the neck and shoulder4 ,the angle made on the other side between head and shoulder is filled in with the falling hair4 ,the title of ,flora is given to the picture after the fashion of ,titian's time for drawing subjects from mythology4 ,the revival of classic learning had opened to ,italian art a delightful new field of illustration4 ,we see how ,titian took advantage of it in such pictures as ,medea and ,venus4 ,in ,england the love of the classics was seen in the poetry which took much the same place there that painting held in ,italy4 ,flora was the ancient goddess of flowers and is made much of in ,elizabethan verse4#bh ,some pretty lines by ,richard ,carlton describe ,when ,flora fair the pleasant tidings bringeth ,of summer sweet with herbs and flowers adorned4 ,in our picture the goddess holds a handful of flowers1 roses1 jessamine and violets1 as a sign of her identity4 ,we confess that her type of beauty hardly corresponds to our ideal of ,flora4 ,she is a gentle1 amiable creature1 but not ethereal and poetic enough for the goddess of flowers4 ,were we to choose a character for her from mythology it would be ,juno1 the matronly ox-eyed goddess1 who presided over marriage and whose emblem was the productive pomegranate4 ,as we compare ,flora with the other fair women of our collection1 we see that her beauty is of a less elegant and aristocratic type than that of the ,bella1 and less delicate and refined than that of the ,empress ,isabella4 ,her face is perhaps too broad to satisfy a connoisseur of beauty1 and she is quite plainly of plebeian caste4 ,like ,lavinia her charm is in the healthy vitality which was the special characteristic of the ,venetian beauties of the time4 ,the figure glows with warm pulsing life4 ,,xiv ,,the ,,pesaro ,,madonna ,high on a great marble pedestal1 between the stately pillars of a temple1 sits the mother ,mary with her child ,jesus1 receiving worshippers4 ,beyond the pillars is seen the blue sky veiled with fleecy clouds4 ,a tiny cloud has floated within the enclosure1 bearing two winged cherubs1 who hold a cross between them1 hovering over the group below4 ,the company of worshippers kneel on the tessellated pavement3 we see from their dress that they are wealthy ,venetians of the sixteenth century4 ,it is the family group of a certain ,jacopo ,pesaro1 who was at that time bishop of ,paphos4 ,he is known by the familiar nickname of ,baffo1 and played an important part in ,venetian history4 ,when the ,venetians went forth in the ,new ,crusade to attack the ,turks1 ,pesaro or ,baffo was the commander of the galleys sent by the ,borgia pope ,alexander ,,vi4 ,the expedition being successful1 the bishop wished to show his gratitude for the divine favor4 ,accordingly1 in the course of time1 he ordered this picture as a thank-offering commemorative of his victory4 ,he comes with his kinsman ,benedetto and other members of his family to consecrate the standards taken from the enemy4 ,the bishop himself has the most prominent place among the worshippers at the foot of the throne steps1 while ,benedetto1 with a group behind him1 kneels opposite4 ,the victorious commander is accompanied by ,st4 ,george1 who carries the banner inscribed with the papal arms and the ,pesaro escutcheon4 ,he leads forward two ,turkish captives to whom he turns to speak4 ,st4 ,george was a warrior saint1 and being besides the patron of ,venice his appearance in this capacity is very appropriate here4 ,there are other saints to lend their august presence to the ceremony4 ,as the picture was to be given to a church dedicated to the ,franciscan friars or ,frari1 two of the most celebrated members of this order are represented4 ,they are ,st4 ,francis1 the founder1 and ,st4 ,anthony1 of ,padua1 the great preacher1 and they stand in the habits of their order beside the throne4 ,midway on the steps ,st4 ,peter is seated reading a book from which he turns to look down upon ,jacopo4 ,the key1 which is the symbol of his authority in the church1 stands on the step below4 ,the saints1 we see1 form a connecting link between the exalted height of the ,madonna and ,child and the worshippers4 ,st4 ,peter introduces the bishop1 and ,st4 ,francis seems to ask favor for the group with ,benedetto4 ,the scene is full of pomp and grandeur4 ,the superb architecture of the temple1 the rich draperies of the sacred group1 the splendid dresses of the worshippers1 the red and gold banner1 all contribute to the impression of magnificence which the picture conveys4 ,the colossal scale of the composition gives us an exhilarating sense of spaciousness4 ,the color harmony is described as glorious4 ,illustration3 ,d4 ,anderson1 photo4 ,john ,andrew ,son4 ,sc4 ,,the ,,pesaro ,,madonna ,church of the ,frari1 ,venice ,though the bishop of ,paphos comes to render thanks1 his attitude is far from humble4 ,there are no bowed heads in the kneeling company4 ,these proud ,pesari all hold themselves erect in conscious self-importance4 ,it is as if they were taking part in some pageant4 ,only the face of the youth in the corner relaxes from dignified impassivity and looks wistfully out at us4 ,the ,madonna leans graciously from her high throne and looks into the face of the bishop4 ,she1 too1 has the proud aspect and demeanor which these haughty ,venetians would demand of one whom they were to honor4 ,her splendid vitality is what impresses us most forcibly4 ,the child is a merry little fellow who does not concern himself at all with the ceremony4 ,he has caught up his mother's veil in the left hand1 drawing it over his head as if in a game of hide and seek with ,st4 ,francis4 ,the little foot is kicked out playfully as he looks down into the good saint's face4 ,let us consider a moment the skill with which ,titian has united the various parts of his picture4 ,the canvas was of an awkward shape1 being of so great height4 ,to fill the space proportionately1 the ,virgin's throne is placed at a height which divides the picture4 ,the little cloud-borne cherubs break the otherwise undue length of the temple pillars4 ,the composition of the group is outlined in a rather odd-shaped triangle4 ,all its main lines flow diagonally toward a focus in the face of the ,virgin1 who is of course the dominant figure in the company4 ,notice the continuous line extending from the top to the bottom of the group4 ,the folds of the ,madonna's drapery are ingeniously carried on in the rich velvet throne hanging2 and ,st4 ,peter's yellow mantle falls well below1 where the bishop's robe takes up the lines and carries them to the pavement4 ,there is a veritable cascade of draperies flowing diagonally through the centre of the picture4 ,the staff of the banner describes a line cutting this main diagonal at exactly the same angle1 and thus avoiding any one-sided effect in the picture4 ,in the right of the composition the outline of the ,christchild's figure1 the arm of ,st4 ,francis1 and the stiff robe of ,benedetto make a series of lines which enclose the triangle on that side4 ,the critic ,ruskin has enunciated a set of laws of composition nearly all of which find illustration in this painting4#bi ,principality is well exemplified in the prominence of the ,virgin's position and the flow of the lines toward her4 ,repetition1 ,contrast1 and ,continuity1 are seen in the drawing of the compositional lines1 as has been indicated4 ,finally1 the picture is perfect in ,unity1 which is the result of masterly composition1 its many diverse parts being bound closely together to form a harmonious whole4 ,,xv ,,st4 ,,john ,,the ,,baptist ,st4 ,john the ,baptist was the cousin of ,jesus1 and was the elder of the two by about six months4 ,before his birth the angel ,gabriel appeared to his father1 ,zacharias1 and predicted for the coming child a great mission as a prophet4 ,his special work was to prepare the way for the advent of the ,messiah4 ,zacharias was a priest and a good man1 and both he and his wife ,elizabeth were deeply impressed with the angel's message4 ,not long after1 their cousin ,mary came from ,nazareth to bring them news of the wonderful babe ,jesus promised her by the same angel4 ,he was to be the ,messiah whom ,john was to proclaim4 ,the two women talked earnestly together of the future of their children1 and no doubt planned to do all in their power to further the angel's prediction4 ,the time came when all these strange prophecies were fulfilled4 ,as ,john grew to manhood he showed himself quite different from other men4 ,he took up his abode in the wilderness1 where he lived almost as a hermit4 ,his raiment was of camel's hair fastened about him with a leathern girdle2 his food was locusts and wild honey4 ,at length the word of ,god came unto him1 and he began to go about the country preaching4 ,his speech was as simple and rugged as his manner of life4 ,he boldly denounced the ,pharisees and ,sadducees as a generation of vipers1 and warned sinners to flee from the wrath to come4 ,the burden of all his sermons was1 ,repent1 for the kingdom of heaven is at hand4 ,the fame of his preaching reached ,jerusalem1 and the ,jews sent priests and ,levites to ask him1 ,who art thou8 ,his reply was in the mystic language of the old ,hebrew prophet ,isaiah1 ,i am the ,voice of one crying in the wilderness1 ,make straight the way of the ,lord4 ,it was a part of ,john's work to baptize his converts in the river ,jordan4 ,he explained1 however1 that this baptism by water was only a symbol of the spiritual baptism which they were to receive at the hands of the coming3 ,messiah4 ,one mightier than ,i cometh1 he said1 the latchet of whose shoes ,i am not worthy to unloose3 he shall baptize you with the ,holy ,ghost and with fire4#cj ,at last ,jesus himself sought to be baptized by ,john4 ,the ,baptist protested his unworthiness1 but ,jesus insisted1 and the ceremony was performed4 ,and it came to pass that 444 the heaven was opened1 and the ,holy ,ghost descended in a bodily shape like a dove upon him1 and a voice came from heaven1 which said1 ,thou art my beloved son2 in thee ,i am well pleased4#ca ,this was the promised sign by which ,john knew ,jesus as the ,messiah1 and he straightway proclaimed him to his disciples4 ,illustration3 ,d4 ,anderson1 photo4 ,john ,andrew ,son4 ,sc4 ,,st4 ,,john ,,the ,,baptist ,venice ,academy ,his life work was now consummated1 but he was not permitted to see the fruits of his labors4 ,for his open denunciation of ,king ,herod he was cast into prison1 and was soon after beheaded4 ,in our picture ,st4 ,john stands in a mountain glen preaching4 ,as his glance is directed out of the picture it is as if his audience were in front1 and we among their number4 ,his pointing finger seems to single out some one to whom he directs attention1 and we know well who it is4 ,this must be that day when seeing ,jesus approach the prophet exclaimed1 ,behold the ,lamb of ,god which taketh away the sin of the world4 ,this is he of whom ,i said1 ,after me cometh a man which is preferred before me2 for he was before me4#cb ,the lamb which lies on the ground beside him is the outward symbol of his words4 ,the slender reed cross he carries is an emblem of his mission as the prophet of the crucified one4 ,from head to feet the ,baptist impresses us with his muscular power4 ,there is no hint of fastings and vigils in this strong athletic figure4 ,here1 as elsewhere4 ,titian will have nothing of that piety which is associated with a delicate and puny physique4 ,he is the art apostle of that muscular ,christianity of which ,charles ,kingsley used to preach4 ,the ,baptist's skin is bronzed and weather-beaten from his active out-of-door life4 ,yet the face shows the stern and sombre character of the prophet4 ,there are traces of suffering in the expression1 as of one who mourns profoundly the evil in the world4 ,something of the fanatic gleams in the eyes1 and the effect is heightened by the wild masses of unkempt hair which frame the countenance4 ,nature too seems to be in a somewhat wild and sombre mood in this spot4 ,a dark bank rises abruptly at the side1 and ,st4 ,john stands in its shadow1 just under a tuft of coarse grass and bushes jutting from its upper edge4 ,the sky is overcast with clouds4 ,a narrow stream falls over a rocky bed1 and in the distance slender trees lift their feathery branches in the air4 ,in ,titian's time landscape painting had not developed into an independent art1 but was an important part of figure compositions4 ,our painter always took great pains with his landscapes1 making them harmonize1 as does this1 with the character of the figures4 ,the picture reminds us of the ,st4 ,christopher which we have examined1 being1 like it1 a study direct from the life of some athletic model4 ,yet here we see to better advantage ,titian's work in modelling the nude figure4 ,we can understand that one reason why he could make a draped figure so lifelike was because he studied the anatomy of the human body in undraped models4 ,the figure here stands out almost as if it were done in sculpture4 ,,xvi ,,portrait ,,of ,,titian ,probably no other painter in the world's history was ever granted so long a life in which to develop his art as was ,titian4 ,he was a mere boy when he began to paint1 and he was still busy with his brush when stricken with plague at the age of ninety-nine4 ,the years between were full of activity1 and every decade was marked by some specially notable work as by a golden milestone4 ,the ,assumption of the ,virgin was painted at the age of forty1 the ,pesaro ,madonna at fifty1 the ,presentation of the ,virgin in his early sixties1 the portrait of ,philip ,,ii4 at about seventy1 and ,st4 ,john the ,baptist at eighty4 ,how interesting it would be if we could have a portrait of the man himself painted at each decade6 ,titian1 however1 seems to have been quite lacking in personal vanity4 ,though a handsome and distinguished-looking man1 a fine subject for a portrait1 he seldom painted his own likeness4 ,we value the more the fine portrait of our frontispiece painted at the age of eighty-five4 ,the years have dealt so gently with him that we may still call him a handsome man4 ,yet the face has the shrunken look of old age1 there are deep hollows about the eyes1 and the features are sharpened under the withered skin4 ,there is an expression which seems almost like awe in the eyes4 ,the painter gazes absently into space as if piercing beyond the veil which separates this world from the next4 ,the mood does not seem to be one of reminiscence1 but rather of grave anticipation4 ,as we study the face we are interested to read in it what we know of the man's character and history4 ,titian was1 as we have seen1 a man who enjoyed very much the good things of life1 and passed most of his days in luxurious surroundings4 ,he was thoroughly a man of the world1 at ease in the society of princes and noblemen1 and a princely host in his own house4 ,our portrait shows that his courtly bearing did not fail him in his old age3 we can fancy the ceremonious courtesy of his manner4 ,the figure is extended well below the waist1 perhaps that we may see how erect the old man is4 ,titian1 too1 had not a little taste for literature and the society of the learned4 ,his fine high brow and keen eyes are sufficient evidence that he was a man of intellect4 ,that he was a fond father we have no doubt1 and we like to trace the lines of kindliness in the fine old face4 ,age cannot quench the old man's ardor for his art4 ,the brush is still his familiar companion1 and will go with him to the end4 ,he holds it here in his right hand1 in the attitude of a painter pausing to get the effect of his work4 ,it may be from this that he would have us think that his glance is directed toward his canvas4 ,in that case1 the serious expression would indicate that the subject is a solemn one1 perhaps the ,ecce ,homo1 or the ,pieta1 which he painted in his later years4 ,we see that his hand had not lost its cunning in summoning before us the real presence of a sitter1 and that he could paint his own likeness as readily as that of another4 ,the portrait shows us the best elements in a man of a many-sided nature4 ,this is ,titian the master1 whom the world honors as one of the greatest of his kind4 ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words ,the ,diacritical ,marks given are those found in the latest edition of ,webster's ,international ,dictionary4 ,,explanation ,,of ,,diacritical ,,marks4 ,a ,dash 77 above the vowel denotes the long sound1 as in fate1 eve1 time1 note1 use4 ,a ,dash and a ,dot 747 above the vowel denote the same sound1 less prolonged4 ,a ,curve 777 above the vowel denotes the short sound1 as in 7add1 7end1 7ill1 7odd1 7up4 ,a ,dot 747 above the vowel a denotes the obscure sound of a in p4ast1 4abate1 ,americ4a4 ,a ,double ,dot 737 above the vowel a denotes the broad sound of a in fther1 lma4 ,a ,double ,dot 737 below the vowel a denotes the sound of a in ba3ll4 ,a ,wave 77 above the vowel e denotes the sound of e in her4 ,a ,circumflex ,accent 77 above the vowel o denotes the sound of o in brn4 ,a dot 747 below the vowel u denotes the sound of u in the ,french language4 ,n indicates that the preceding vowel has the ,french nasal tone4 th denotes the sound of th in the1 this1 sounds like s4 _/c sounds like k4 g sounds like z4 g is hard as in get4 4g is soft as in gem4 tes 74ee't4ez74 ,andalusia 77an-d4a-loo'z7i-4a or n-d-loo-the'74 ,anthony 77an't7o-n7i74 ,argo 7r'go74 ,armada 7r-m'd or r-ma'd4a74 ,augsburg 7owgs'boor,g74 ,baffo 7bf'f4o74 ,bldss'r7e4 ,b7el'l4 ,belvedere 7b7el-v7e-da'r7e or -der'74 ,benedetto 7ba-na-d7et'to74 ,b7eth'lehem4 ,biri 7be're74 ,borgia 7br'j74 ,brussels 7br7us'7elz74 ,csar 7se'z4ar74 ,calvary 7k7al'v4a-r7i74 ,canaan 7ka'n4an or ka'n4a-4an74 ,carlton 7krl't7un74 ,casa ,grande 7k's grn'd4a74 ,castiglione 7ks-tel-yo'n4a74 ,caxton 7k7aks't7un74 ,ceneda 7cha-na'd74 ,christopher 7kr7is't4o-f7er74 ,cleodolinda 7kl4a-4o-d4o-l7in'd74 ,cl7os's7on4 ,colchis 7k7ol'k7is74 ,cornelio 7k4or-na'l4e-4o74 ,cristoforo 7kr4es-to'f4o-ro74 ,cu'p7id4 ,diocletian 7d4i-4o-kle'sh7i-4an74 ,ecce ,homo 77ek'k7e1 or 7ek'se1 ho'mo74 ,eleanora 74a-l4a-4o-no'r74 ,elizabeth 74e-l7iz'4a-b7eth74 ,emmanuel 77em-m7an' 4u-7el74 ,fer'd7in7and4 ,fl7em'7ing4 ,flr7ence4 ,francesco 7frn-ch7es'ko74 ,franciscan 7fr7an-s7is'k7an74 ,frari 7fr're74 ,gabr7i7el4 ,ga'r7eth4 ,giorgione 7jr-jo'n4a74 ,g7onz'g4 ,gr7an'd4a4 guimpe 7g7a,np74 ,guinevere 7gw7in'7e-ver74 ,hebrew 7he'broo74 ,hecate 7h7ek'4a-t4e74 ,herod 7h7er'7ud74 ,herodians 7h7er-o'd7i-4anz74 ,isabella 77iz-4a-b7el'4a74 ,isaiah 7i-za'y4a74 ,israel 77iz'r4a-7el74 ,jacopo 7y'ko-po74 ,jameson 7ja'm7e-s7un74 ,jason 7ja's7un74 ,jerome 7j4e-rom' or j7er'7um74 ,j7erus4al7em4 ,joachim 7jo'-k7im74 ,jrd4an4 ,jude'4a4 ,ju'no4 ,kingsley 7k7ingz'l7i74 ,lv7in'7i4a4 ,legenda ,aurea 7l7eg-7en'd ow'r7e- or le-j7en'd4a a3'r4e-4a74 ,leon1 ,ponce de 7pon'tha da la-on'74 ,leonardo 7la-o-nr'do74 ,levites 7le'vitz74 ,l7ot'to4 ,lynette 7,l7i-n7et'74 ,m4ad7on'n4a4 ,m7agn7i'f7ic7at4 mandola 7mn-do'l74 ,m7an't4u4a4 ,maximilian 7m7ak-s7i-mil'i-4an74 ,mede'4a4 ,m7en'd7elssohn4 ,m7essi'4ah4 ,m7et4amrphoses4 ,milan 7m7il'4an or m7i-l7an'74 ,mi'lo4 ,murano 7moo-r'no74 ,murillo 7moo-rel'yo74 ,naz'areth4 ,netherlands 7n7eth'er-l4andz74 ,offero 77of'f4e-ro74 ,ovid 77ov'7id74 ,p7ad'4u4a4 ,p7al7estine4 ,pallavicino1 ,argentina 7r-4g7en-te'n pl-l-ve-che'no74 ,pl'm4 ,pa'ph7os4 ,pr'm4 ,pesari 7pa-s're74 ,pesaro1 ,jacopo 7y'ko-po pa-s'ro74 ,pharisee 7f7ar'7i-se74 ,pieta 7p4e-a't74 ,portugal 7por't4u-g4al74 ,portuguese 7por't4u-gez74 ,priscianese 7pr7is-che--na's4a74 ,reggio 7r7ed'jo74 ,rovere1 ,francesco ,maria della 7frn-ch7es'ko m-re' d7el'l ro-va'ra74 ,r7us'k7in4 ,sadducees 7s7ad'4u-sez74 ,salome 7s7a-lo'm4e74 ,sarcinelli1 ,cornelio 7kor-na'l4e-o sr-ch4e-n7el'l4e74 ,serravalle 7s7er-r-vl'l4a74 ,seville 7s4e-v7il'74 ,titian 7t7ish'4an74 ,uffizi 7oof-fet's4e74 ,urbino 7oor-be'n4o74 ,van ,dyck 7v7an dik'74 ,vasari 7v-s're74 ,velasquez 7va-ls'kath74 ,venetian 7v4e-ne'sh4an74 ,venice 7v7en'7is74 ,ve'n7us4 ,veronese 7va-ro-na'z4a74 ,v7esa'l7i7us4 ,vi7en'n4a4 ,vinci1 ,leonardo da 7la-o-nr'do da v7in'che74 ,voragine1 ,jacopo de 7y'ko-po d4a vo-r-je'n4a74 ,v7ul'gate4 ,wesley 7w7es'l7i74 ,yuste 7yoos'ta74 ,zacharias 7z7ak-4a-ri'4as74 ,,footnotes #a ,see notes on ,titian in ,vasari's ,lives of the ,painters1 edited by ,e4 ,h4 and ,e4 ,w4 ,blashfield and ,a4 ,a4 ,hopkins4 #b ,notes on ,titian in ,vasari's ,lives of the ,painters1 by ,e4 ,h4 and ,e4 ,w4 ,blashfield and ,a4 ,a4 ,hopkins4 #c ,claude ,phillips4 #d ,compiled from the ,index to ,titian3 ,his ,life and ,times1 by ,crowe and ,cavalcaselle4 #e ,as the various so-called portraits of ,vesalius are said to have little in common upon which to base a resemblance1 one is almost tempted to set up a theory that this portrait may be that of the great anatomist4 #f #a ,samuel1 chapter i41 verses #aa1 #bd-bh4 #g ,the ,golden ,legend1 in ,caxton's translation1 edited by ,f4 ,s4 ,ellis 7,temple ,classics1 vol4 v41 pp4 #aja1 #ajb74 ,the story is retold in ,mrs4 ,jameson's ,legends of the ,madonna1 p4 #aig4 #h ,for instance1 ,lavinia1 ,flora1 and the ,man with the ,glove4 #i ,see the ,acts of the ,apostles1 chapters vi4 and vii4 #aj ,the lives of ,st4 ,jerome and ,st4 ,george are related in detail in ,the ,golden ,legend4 ,see ,caxton's translation edited by ,f4 ,s4 ,ellis 7,temple ,classics71 vol4 v41 pages #aii-bjh1 for ,st4 ,jerome1 vol4 iii41 pages #abe-acd1 for ,st4 ,george4 ,mrs4 ,jameson's ,sacred and ,legendary ,art contains condensed accounts of the same two saints4 ,see page #bhj for ,st4 ,jerome and page #cia for ,st4 ,george4 #aa ,see the story as related in ,mrs4 ,jameson's ,sacred and ,legendary ,art1 page #dcc1 and in ,h4 ,e4 ,scudder's ,book of ,legends4 #ab ,claude ,phillips4 #ac ,matthew1 chapter xxii41 verses #cd-dj4 #ad ,others are the ,venus of the ,uffizi ,gallery1 ,florence1 and the ,girl in the ,fur ,cloak in the ,belvedere1 ,vienna4 #ae ,see page #ae4 #af ,in the later ,venetian art1 as in the pictures by ,veronese1 we see more elaborate costumes4 #ag ,see ,book ,,vii4 in ,henry ,king's translation1 from which the quotations here are drawn4 ,the same story is delightfully modernized in ,hawthorne's ,tanglewood ,tales and ,kingsley's ,greek ,heroes4 #ah ,see the volume on ,greek ,sculpture in the ,riverside ,art ,series1 chap4 xiii4 #ai ,in our reproduction a small portion of the landscape is cut off at each end4 #bj ,from ,gareth and ,lynette4 #ba ,from ,guinevere4 #bb ,this analysis of ,mary's character is suggested in the ,introduction to ,mrs4 ,jameson's ,legends of the ,madonna1 p4 #bh4 #bc ,see the volume on ,murillo in the ,riverside ,art ,series1 ,chapter ,i4 #bd ,see ,the ,golden ,legend1 in ,caxton's translation1 edited by ,f4 ,s4 ,ellis 7,temple ,classics71 vol4 iv41 pages #bch1 #bci1 #bde4 #be ,mrs4 ,jameson in ,sacred and ,legendary ,art1 page #gd4 #bf ,see page #eg4 #bg ,this feature of the picture is pointed out by ,john ,van ,dyke in his notes on ,closson's engraving of the subject4 #bh ,it should be remembered that a portion of ,elizabeth's reign 7#aech-afjc7 fell within ,titian's lifetime4 #bi ,see ,elements of ,drawing1 ,lecture ,,iii4 #cj ,luke1 chapter iii41 verse #f4 #ca ,luke1 chapter iii41 verses #ba1 #bb4 #cb ,john1 chapter i41 verses #bi-cj4