YALE UNIVERSITY
LIBRARY

THE

LIFE

or

TITIAN: WITH ANECDOTES OF
THE DISTINGUISHED PERSONS OF HIS TIME.
BY JAMES NORTHCOTE, ESQ. R.A.
IN TWO VOLUMES.
VOL. I.

¦ \Jt
LONDON.
HENRY COLBURN AND RICHARD BENTLEY,
8, NEW BURLINGTON STREET.
1830.

LONDON :
PRINTED BY C. AND W. REYNELL,
Broad Street, Golden Square.

THE

LIFE OF TITIAN.

CHAPTER I.
HIS BIRTH  EDUCATION UNDER THE BELLINI  OBLIGA
TIONS TO GIORGIONE  HIS FIRST PRODUCTIONS.
It is to be lamented that the long period of
time which has elapsed since the admiring
world saw the genius of Titian appear, has
obliterated too many interesting particulars in
the life of a man so eminently endowed by
nature and so favoured by fortune ; which,
had they been preserved, would doubtless
have gratified curiosity, and have conveyed
useful instruction to future generations. In
deed, the precise time of his birth is left in
uncertainty. De Piles, in his Chronological
Tables, and the authors of the Abrige des
VOL. I. B

2 LIFE OF TITIAN.
Vies des Peintres, fix it in 1477, and make him
ninety-nine at his death ; but as Giorgione was
confessedly older than Titian, and was born in
1478, I have preferred the joint authorities of
Vasari and Sandrart, who affirm that Titian
was born in 1480, at Capo del Cadore, a small
town on the borders of the river Pieve, about
five miles from the Alps and dependent on
Cadore, on the confines of Friuli, under the
Venetian government. His parents were called
Vecelli; of an honourable family, to which
belonged St Titian, Bishop of Odezza, from
whom, no doubt, our artist derived his name.
He was sent, when a child of nine or ten years
old, to Venice, to be placed in the hoiyse and
under the care of his father's brother, who was
possessed of one of those lucrative offices which
were always given to citizens of eminence.
The father of Titian, having perceived in his
son, even at a tender age, strong marks of a
quick and ingenious mind and a particular
bias towards the arts (for surely Nature de
signed him for a painter) was induced to take
this step with a view to forward his studies
in drawing ; and his uncle directly carried the
child to the house of Sebastian Zuccati of Tre-
viso (father of the elegant Valerio) and his
brother Francis, to be instructed by them in

LIFE OF TITIAN. 6
the principles of the art ; for these two were
the only masters in mosaic-work, and had
brought it to the utmost degree of perfection.
From thence he was soon after removed to the
tuition of Gentile Bellino (brother of John, but
much inferior to him) who was at that time at
work with his brother in the great council-
chamber in the palace of St Mark. But Titian,
urged on by the bent of his genius to greater
excellence in the art, could not endure to follow
the dry and laboured manner of Gentile, but
designed with boldness and expedition. The
latter, on seeing this, told him he would make
no progress in painting, because he forsook his
manner. Titian upon this left the ignorant
Gentile, and applied to his brother John, who
was very famous in his art. Under the guid
ance of this new master, Titian attended closely
to design, and soon showed both his genius and
judgment by the rapid progress he made in
the acquirements necessary to become a painter.
Still he was not perfectly satisfied with Bel-
lino's manner, and felt within himself that infi
nitely more might be done in the art, than any
thing he had hitherto seen : for in that early
period neither John Bellino nor any of his con
temporaries had the least knowledge of the
works of the ancients, but always copied ex-

4 LIFE OF TITIAN.
actly the individual model in nature which
happened at the moment to be before them,
with all its accidental imperfections ; and even
this was done in a hard, dry manner, without
the slightest approach to taste or elegance ; and
Titian's productions partook strongly of this
character. However, such a beginning did no
hurt to a genius like Titian's ; as his education
under Sebastian Zuccati and John Bellino "ren
dered him a diligent and subtle observer of every
thing which strikes the senses ; so that when at
a maturer age he entered into a competition in
high-finishing with Albert Durer, and painted
at Ferrara the picture of " Christ with the
Tribute Money," (now at Dresden) he excelled
in pencilling even that great master of minute
ness : with this one difference of result, that
although the hairs on the head and eyebrows of
his figures might be counted, and though every
pore was discriminated, and the objects re
flected in the pupils of the eyes, the effect of
the whole was not diminished, but seemed to
gain more breadth and grandeur by distance.
But to that work he made no companion. This
mode of study is, I am convinced, the best that
can be adopted by learners, as it gives them so
completely a knowledge of the parts, that as
their practice increases, they are enabled to

LIFE OF TITIAN. 5
add more freedom to their execution, without
departing from the true and essential character
well knowing how to leave out what is trivial ;
as that man will walk most firmly who is best
acquainted with the ground he treads upon.
Titian, when young, is said to have engraved
both on copper and on wood. This was pro
bably in his leisure-hours, and before he be
came so well known as to be better employed.
There is a long frieze of eight or ten prints by
him, dated 1505 : but it does not appear to
have been published till 1508. It represents
the " Triumph of Faith," by a procession, com
posed of an almost infinite number of figures,
among which are our first parents, the patri
archs, the prophets, the sybils, the saints, the
innocents, the martyrs, the apostles, and our
Saviour in full triumph, supported by the four
evangelists and the doctors of the church, fol
lowed by a train of the holy confessors. This
work raised the credit of Titian, as it evinced
his power of composition, his judgment, and his
great advance of practice.
The other plates attributed to him are seve*-
ral large landscapes from his own designs,
which are etched on copper in a slight but
masterly manner, among which is one of a
shepherd leading his flock to the brook, and

6 LIFE OF TITIAN.
playing on his pipe.* Of his wood cuts, the
following are considered the most authentic :
" The Marriage of St Catherine," inscribed,
Titianus Vecellinus inventor delineavit.
" Samson and Dalilah" (no mark).
Algarotti's opinion of another of these is as
follows: "As to the satirical print or rather
pasquinade of the Great Titian (as he styles
him) in which he represented a parcel of young
monkies aping the group of the Laocoon and
his sons, he intended nothing more by it than
to lash the dulness and poverty of those artists
who cannot so much as draw a figure without
having a statue before them as a model."
It is very uncertain if all the etchings on
wood ascribed to Titian were actually en
graved by him. The designs are undoubtedly
his, and drawn for the express purpose of being
engraved on wood ; but the mechanical part
was perhaps undertaken by his nephew, who
was a professed engraver ; as may be seen by a
book of dresses, which are all designed by
Titian, but engraved by his nephew.
There is also a set of anatomical figures, said
to be drawn by Titian with the help and in-

* This Rubens has imitated in a fine landscape at Dulwich
College.

LIFE OF TITIAN. 7
struction of his intimate friend Vesalius, the
greatest anatomist of that time.
In the year 1504, there happened in Venice
a most terrible fire, which entirely consumed
the Fondaco di Tedeschi, or German-office,
with all the property in it, to the incalculable
loss of the merchants. This building was situ
ated just at the foot of the Rial to, and the
Senate gave immediate orders to have it rebuilt
in a more magnificent style, and one more
convenient for the inmates, and also that it
should be highly ornamented. When this
beautiful edifice was finished, Giorgione of
Castel-Franco, whose fame at that time was
fast increasing, was consulted as to the orna
mental part : and it was accordingly entrusted
to his care on his return to Venice in 1507.
— When this aspiring genius first saw the dry
and tasteless mode of execution of the Venetian
painters, he was not much more satisfied with
it than Titian had been ; and soon began to
give his works more breadth and softness and
a greater degree of relief, with a freer touch.
However, he still only aimed at a finer imita
tion of the model before him, either living or
inanimate, and distinguishing, to the best of his
power, the texture of the surface in the things
he represented ; and this he did at once with

8 LIFE OF TITIAN.
colours on the canvas, without ever making any
previous arrangement in outline, being of opi
nion that a masterly representation of the
object before him was all that was required to
produce a good picture. He had no idea of the
necessity of making a sketch of the whole com
position, or studies of particular parts ; nor was
he aware of the great advantage to be gained
by making a variety of essays in different dis
positions on paper, to see how the whole would
accord when put together. It . is impossible for
the mind of itself to form a conception of the
effect of a whole, till it is in some manner pre
sented to the eye, in order to enable us to
decide with clearness and certainty on its pro
priety. Neither did any of the Venetian artists
of that period understand the importance of a
thorough knowledge of anatomy, so as to qua
lify them to trace the parts with distinctness
in the model before them, and to express them
with accuracy in their outward appearance.
For those who are well prepared by learning
and study, work with greater freedom and dis
patch, as. well as effect; and both their style
and execution become more perfect, and with
out that labour, slowness, and uncertainty,
which are manifest in the works of the ignorant
and inexperienced. Besides, it becomes a

LIFE OF TITIAN. 9
painful drudgery to require a model, either
draped or naked, to be perpetually before us ;
and by making a previous sketch and by a
thorough inquisition into the component parts,
the mind is relieved of the perplexity occa
sioned by ignorance of the principles of the art,
which was too common in the Venetian school
of painting. Pordenone and others of his coun
trymen had never seen Rome nor any of those
works of deep study, which are to be found
there. Giorgione, who was also bred up at
Venice, had never visited Rome, yet had the
merit of being the first that took up the modern
Tuscan manner ; for having by chance met with
some works of Leonardo da Vinci, which exhi
bited a new and striking effect of strong sha
dows, they pleased him so much, that he fol
lowed the same method all his life after, and
succeeded in it perfectly in all- his oil-paintings.
He drew after the life, and had an excellent
eye for colour, and gave a spirit to all he did,
which had not been seen in any Lombard
painter before him. Leonardo da Vinci and Fra
Bartolomeo were both Florentines. The former
was a most -excellent colourist, and the disco
verer of that fine manner of relievo and effect of
light and shade, which was afterwards carried
to that high degree of perfection which distin-

10 LIFE OF TITIAN.
guishes the Venetian school. Fra Bartolomeo's
colouring is very little inferior to that of Titian
himself. Da Vinci, however, had the merit of
inventing the new method, and pointing out the
errors of his predecessors, by setting an example
of the opposite excellencies : for besides strength
and manliness of design, he gave his works all
the subtle detail and exactness of nature, yet
with sound rules, good arrangement, true pro
portion, and fine expression. This great exam
ple (though at some distance) Giorgione fol
lowed ; and in certain respects surpassed.
As soon as young Titian saw this splendid
effect in the works of Giorgione, he instantly
quitted the manner of John Bellino, which he
had hitherto pursued ; and made himself so
effectually a master of the new practice, that
it became difficult to distinguish his works from
those of Giorgione.
Titian, advancing in years, in practice, and
in judgment, was soon employed to execute a
great many works in fresco in different places,
which it is now impossible to ascertain : it is
enough to say that j udges saw sufficient merit
in them to foretel his future eminence ; and
yet, at the time we speak of, he was only
eighteen years of age.
At this period he painted the portrait of a

LIFE OF TITIAN. 11
gentleman who was his friend, and head of the
noble family of the Barberigi, which gained
him universal admiration, being deemed extra
ordinarily fine in respect to likeness, colour,
and careful finishing ; and Vasari speaks of it
with particular commendation, by saying that
the hair was so well imitated, that you might
count each single hair on the head. This
appears to me injudicious praise, as I should
think it could not be like real hair. It was
also admired for the rich drapery or doublet of
satin embroidered with silver. It is said this
portrait might very well have passed for the
work of Giorgione, had not Titian written his
name in the dark corner of the picture : for he
had now acquired that freer and less anxious
manner adopted by Giorgione, who was first
his fellow-student and afterwards his rival.
Sebastian Zuccati and the Bellini, his first mas
ters, under whom he had adhered to a servile
and laboured imitation of nature, were now
regarded by him with contempt ; but let it be
remembered, that it was not until he had seen
the works of Giorgione, that he relinquished
the tame and spiritless style which characte
rized his earlier productions, and was enabled
to become the founder of a new school of art.
I will in this place venture to give my opi-

1 2 LIFE OF TITIAN.
nion, that there is no way so improving to a
student, as to finish his pictures to the utmost
minuteness in his power ; by which means he
will acquire a thorough knowledge of the exact
forms and character of the parts. If he has a
genius for the art, he will soon discover what
he may treat slightly or leave out of his work ;
and if he has none, he will be enabled, by this
method, to give such an air of truth to his
productions as will pass for merit with a large
part of the community, by which he will be
secure of employment, and will also have a cer
tain claim to respect. But a careless, and what
is often supposed to be a bold manner, when
practised by the ignorant, is detestable, and
shows a kind of unfeeling assurance, as if the
artist said, " Anything is good enough for the
public !"
Giorgione having been commissioned to paint
that front of the new building of the Fondaco di
Tedeschi, which is towards the Grand Canal,
Titian, by the interest of his friend, Signor
Barberigo, was employed to paint some sub
jects on the front which is towards the Mer-
ceria. In this work he painted a Judith so
admirably, both as to design and colouring,
that on its being presented to public view it
was generally thought to be the work of Gior-

LIFE OF TITIAN. 13
gione, ~ insomuch that one day some gentle
men of Venice meeting with the latter artist,
and not knowing that any one but himself
was engaged in that undertaking, gave him
joy of his great success, particularly on that
side towards the Merceria, and told him that he
had outdone his performance on the side which
was towards the Grand Canal. Giorgione, with
shame and regret, replied, that " It was not his,
but his master's ;" and/in fact, was so mortified,
that before the work was completed, he shut
himself up in his house for several days, and
from that time forward renounced all friendship
with Titian, but yet gave him high praise, say
ing that " he was a painter from his mother's
womb." His next work was a composition undertaken
by desire of Signor Andrea Loredano, at St
Marcula, in'Venice. In this picture he painted
the Flight of the Virgin into Egypt : the back
ground represents a wood, which is wonderfully
fine, with a distant landscape. He has also
introduced animals, which were all taken from
nature, and most exquisitely painted. For this
work Titian had prepared himself by devoting
several months in the country to the study of
landscape alone. He also kept three Flemish
landscape-painters in his house. These were

14 LIFE OF TITIAN.
John Calcar, Deterie Brandt, and Lambert
Zuotris, who excelled in their profession, but
unfortunately all died young.
After this he painted a portrait, of the size of
life, of his godfather, Signor Giovanni D'Anna,
a rich German merchant. Next, he made a
picture of an Ecce Homo, in which he intro
duced a multitude of figures. He himself is
said to have been much pleased with it ; and it
was highly extolled by all who saw it. He also
painted a Madonna and angels, accompanied
by several other figures, of the full size of
nature, and studied from living models.
The diligence with which he pursued his
studies is sufficiently evident from his success.
Statesmen and warriors may grow great from
unexpected accidents, and from a fortunate cor-
currence of circumstances, neither procured nor
foreseen by themselves ; but reputation in the
fine arts or the learned world must be the effect
of industry and capacity. Titian never lost an
hour — always endeavouring to add excellence to
excellence. His works were various and exact,
profound and agreeable ; and indeed Vasari says,
that once, in conversation with Padre Bastiano
del Piombo, he remembers his saying, when
speaking of Titian, that " had he been at Rome
and seen the works of Michael Angelo, those of

LIFE OF TITIAN. 15
Raphael, and the antique statues, and had
attended more to correct drawing and propor
tion, he Would have produced miraculous works,
seeing the practice he had in colouring, and his
being undoubtedly the most faultless imitator
of nature of his time. Could he but have ac
quired correctness of outline, the world would
then have seen a perfect painter."

10 LIFE OF TITIAN.

CHAPTER II.
FARTHER ACCOUNT OF HIS WORKS  DEATH OF
GIORGIONE AND OF JOHN BELLINO.
Titian's next work was at Vicenza, where he
was invited to paint in fresco the gallery of the
Court of Justice in that city. In it he intro
duced the Judgment of Solomon, which was
much esteemed. When he returned to Venice,
lie was employed to ornament the front of the
Grimani palace. He then went to Padua,
where he painted also in fresco, in the church
of St Antony, several miracles imputed to that
saint. He also completed, in, the church of
Spirito Santo, a small picture in oil of St Mark,
seated in discourse with other saints, in which
he has introduced portraits from nature, finished
with great diligence and care ; and in truth
this was taken by some for the work of Gior
gione. It was at this time (1511) that the Venetians
had to lament the loss of Giorgione, who died

LIFE OF TITIAN. 17
of the plague (which he caught from his mis
tress) in the thirty-fourth year of his age. Oh
his death, Titian succeeded him in several
important commissions, in which he had been
engaged. Giorgione, whose real name was Giorgio
Barbarelli, was born at Castel-Franco, in the
Trevisan, in the year 1478, when Giovanni
Mocenigo was Doge of Venice ; and from the
nobleness of his person, and the greatness of his
abilities, he acquired the surname of Giorgione.
He was brought up in Venice, and first applied
himself to music ; for which he had so great
a talent, and became so famous for playing on
the lute and singing, that he was invited to all
concerts- and public music-meetings. After
wards, he devoted his time to the art of design,
in which nature gave him great facility ; and he
in return studied her most attentively, drawing
every thing after the life itself: which enabled
him, not only in a short time to outdo the Bel
lini, then much in vogue, but to stand in com
petition with the Tuscan painters, who were
the inventors of the modern school of design.
Some of Leonardo da Vinci's works coming
into his hands, wherein there was great strength
and an admirable management of the shadows,
he was so captivated with that manner, as I
vol. i. c

18 LIFE OF TITIAN.
have already observed, that he never forsook it,
but endeavoured to imitate and improve upon
it in all his oil-paintings ; which was the rea
son that his works had a spirit and life, never
before witnessed in that country ; and adding
to this a beautiful colouring, he was far beyond
all the Lombard school. He first applied him
self to portraits, and succeeded in them won
derfully ; particularly in that of the great Gon^-
salvo, whom he painted clad in armour, when
he came to pay a visit to Agostino Barberigo,
the Doge. This picture, in which a Page is
helping him on with his armour, so pleased
Gonsalvo, that he took it with him into Spain.
Many copies of it are spread over Italy.*
Some of the best masters had been employed
to decorate the Grand Council-Chamber with
their compositions. To these were afterwards
added two pictures by Titian, and it is much to
be wished that he had executed the whole.
Had it been so, the result would now have
presented one of the most admirable and beau-
ful spectacles in Italy. The same may be said,
even when Giorgione himself was employed to
adorn the Fondaco di Tedeschi, as is proved by
the superior taste of that front which was exe-
* One is to be seen in the Louvi'e at" Paris.

LIFE OF TITIAN. W
cuted by Titian. For Giorgione, thinking he
had no better opportunty to display his skill,
drew such figures as best suited his powers,
without confining himself to any set story or
appropriate subject : accordingly, you see in
some places figures of women, in others those
of youths in various attitudes ; lions' heads,
angels, Cupids, and other objects, blended
together ; the meaning of which no one to this
day could ever discern. The figures, however,
are admirable in their kind.
In the year 1512, died John Bellino, Titian's
master, at the age of ninety. F. E. du Fresnoy
says of this artist, that his manner, according
to the taste of the time, was extremely dry ;
but that he perfectly understood architecture
and perspective. There is, however, an excel
lent picture of his in the church of St Zachary
at Venice. Bellino, at his death, leaving a
composition imperfect, which he was painting
in the Sola del Gran Consiglio, Titian was
called upon to finish it ; and he most willingly
undertook the task, making great alterations in
the design of his master. The picture repre
sents the homage of the Emperor Frederic
Barbarossa to Pope Alexander the Third ; he
is kneeling at the porch of the church of St
Mark, and the Pope has his foot on his neck.

20 LIFE OF TITIAN.
This certainly conveys a singular idea of Chris
tian humility.
The story is this : Frederic Barbarossa suc
ceeded his uncle Conrad the, Third. He up
held three anti-popes against Alexander the
Third; took Milan in 1162, razed the city, and
sowed its scite with salt, for which Alexander
excommunicated him. Frederic affected to
treat this as a jest ; but having lost a decisive
battle between his own army and the Pope's,
he at length solicited a reconciliation ; and in
August 1177, the Pope absolved him. Titian
has in this picture introduced among the spec
tators, a multitude of portraits of his intiv
mate friends and other persons then living, ,
among which are to be particularly noticed
those of Cardinal Bembo, Navagero, and San-
•nazarius. It was very proper he should leave
in his public works a representation of the
countenances of three of the most illustrious
poets of the age. Raphael did the same in the
groups on the walls of the Vatican. This work
of Titian's was so much approved of by the
Senate, that as a reward they bestowed upon
him an office called La Senseria, worth about
three hundred crowns a year. This office was
always bestowed upon the best painter of the
city, oh condition that he should paint the

LIFE OF TITIAN. 21
portrait of each succeeding Doge, created in
his time, for the low price of eight crowns,
to be paid, by the Doge himself. The por
trait was to be placed afterwards in the pa
lace of St Mark. By the tenure on which
he held this place, Titian was obliged to take
the portraits of Pietro Lando, Francesco Do-
nato, Mark Antonio Trevisano, and the Venieri.
But as to the two Doges, brothers of the family
of the Paoli, who were the last in his time, he
was become so very infirm by reason of his
great age, that he could not execute the task.
After he had finished the picture of Frederic
Barbarossa's homage to the Pope, he was em
ployed to paint, for the church of St Roque, a
Christ bearing his cross on his shoulders, with
a rope round his neck, dragged along by a Jew.
This picture has been considered by many the
work of Giorgione. It is held in such high
estimation and is an object of so much devo
tion at Venice, that there has been more money
offered to it in pious donations, than Titian or
Giorgione ever received in the whole course of
their lives.
About the year 1514, Alfonso the First,* duke

* Alfonso da Este, one of the first commanders of the age, and
adored by his subjects for his fatherly care of them, which was

22 LIFE OF TITIAN.
of Ferrara, gave orders for the decoration of
certain chambers in his palace, in which were
painted the history of iEneas ; Mars and Venus:
and in a grotto, Vulcan, with two smiths work
ing at a forge. These were all painted by one
Dosso of Ferrara.
The Dossi were two brothers, one of whom
studied under Titian, and the other in Rome
under Raphael; and yet both of them adopted
so bad a manner, that they were unworthy of
the praises of Ariosto, who mentions them in
his writings. In the same apartments were
several pictures by John Bellino ; in particular,
one in which is represented a large vat of red
wine, surrounded by Bacchantes with their
musical instruments ; nymphs and satyrs in
drunken gambols ; and Silenus, a naked figure,
riding on an ass, his hands full of grapes and
other fruit, and surrounded by his crew. This
performance, for colour, execution, and care, is
remarkable in a petty prince of those turbulent times. Though no
scholar himself, his encouragement of learned men was such, that
he made use of his own plate and purse to relieve the wants or pay
the salaries of those he had invited to his court, whom he always
treated as friends and equals. Among these was Ariosto, who
pays a high tribute to his merits. He had a perfect knowledge of
the mechanical arts, in moulding, casting, and directing artillery ;
and was an excellent engineer. He died in 1534, after a reign of
Swenty-nine years.

LIFE OF TITIAN. 23
the best picture ever painted by that artist : yet
it is too much in the dry hard manner of the
German school of that period ; for, in reality,
he was imitating a picture of Albert Durer,
which had just been sent to Venice, and was
placed in the church of St Bartholomew, being
much admired. It was filled with a multitude
of figures painted in oil. This picture Bel
lino tried to imitate in his composition at the
Ferrara palace ; but not being able to go on
with it on account of his great age, Titian was
sent for, as being considered the most excellent
of their painters, and the fittest to finish the
work. He, being very desirous of increasing his
fame, undertook what was required' with great
readiness, and added a fine landscape to it.
Though so superior in skill to his old master,
he had such respect for him, that he gave him
all the glory of the performance and wrote these
words on the vat, Johannes Bellinus, mcccccxiv.
When this work was finished, Titian began two
other subjects from his own designs, to embel
lish two compartments of the chamber, which
remained to be filled up. In the first, he
painted a river of red wine, with groups of
figures, male and female, dancing, singing, and
playing on various instruments. They appear
to be half-drunk. Among them is one naked

24 LIFE OF TITIAN,
woman asleep, of such exquisite beauty, and
truth of nature, that she seems to breathe and
be alive. On this picture Titian has written his
name. In the other, which is next to the
above, and the first at the entrance into the
room, he has painted a multitude of Cupids,
most agreeably diversified in their attitudes,
which have been the admiration of all who ever
saw them. The principal group is about a
pedestal in form of an altar, upon which stands
the statue of Venus, with a shell in her right
hand. This figure is executed with infinite
grace and beauty. His mistress, Violante,
served him as a model for all these female
figures. Upon the door of an armoury there, Titian
executed a group of half-figures ; our Saviour,
and a Jew offering him the, piece of Tribute-
money. This and the pictures before-men
tioned were considered by all the artists as the
best that Titian had ever painted, and he was
accordingly most liberally rewarded by. the
Duke of Ferrara ; whose portrait he at the
same time drew, wkh his hand resting on a
large cannon; for which he received three hun
dred crowns. It was on this picture that
Michael Angelo, when he first saw it, was so
lavish, of his praise, that in the warmth of his

LIFE OF TITIAN. 25
admiration, he said he could- not have con
ceived the art capable of such perfection; and
that Titian alone was worthy the name of a
painter. Titian likewise took the portrait of
the Signora Laura, who afterwards married the
Duke. These portraits are wonderfully fine ;
and it is certain that he worked with greater
spirit and desire to excel, knowing that he had
to do with a liberal and judicious patron. These
two portraits are engraved by Giles Sadeler.
He also painted for the same prince, his
famous picture of Bacchus and Ariadne. The
three Bacchanalian subjects were afterwards
in the possession of the Cardinal Aldobrandini.
It is thought that in these three pictures he
still retained somewhat of the style of Gior
gione. It was during his residence at Ferrara, that
Titian gained the friendship of the divine Ludo-
vico Ariosto, who was thoroughly sensible of
his transcendant merit, which he has celebrated
in his Orlando Furioso.
" E Tizian che honora
Non men Cador, che quei Venezia, e Urbino."
" Cadora, blest by bounteous fortune's hand,
Distinguished for her Titian's birth shall stand."
Ariosto bestows his praises no less liberally

26 LIFE OF TITIAN.
on another painter, who had also been the
disciple of Bellino and Giorgione. This was
Sebastian of Venice, generally called Fra Bas-
tiano del Piombo, from an office he held under
Clement VII. He came to Rome with Agos-
tino Ghigi, where he was undeservedly put in
competition with Raphael. He died in June
1547, aged sixty-two. Titian, when at Fer
rara, painted the portrait of Ariosto as well as
that of Hippolito da Este.*
Titian having finished his task at Ferrara,
returned to Venice, where he was employed
by the father-in-law of Giovanni da Castel-
Bolognese, to paint a picture in oil, the sub
ject of which is a naked figure of a shepherd
teaching a rustic to blow on the flute. It is
enriched by a most delightful landscape. This
picture was placed in Giovanni's house at
Faenza. Not long after, he was employed on a pic
ture for the high-altar of the Church of the
Minor Friars. It is in oil. The subject is
* Hippolito da Este, son of Alfonso, was elected Archbishop
of Milan when only fifteen. Residing at the French court, he
obtained many benefices, and was at length made a Cardinal in
1539. According to the ruling bias of his family, Hippolito was
a'great patron of artists and learned men, in whose company he
was accustomed to relieve his mind from the vexations and tedious
cares of state.

LIFE OF TITIAN. 27
the Holy Virgin ascending into heaven, accom
panied by angels : God is seated above, be
tween two angels. The Virgin really seems
to ascend. She has an expression full of humi
lity, and her drapery floats lightly in the air.
On the ground are the Twelve Apostles sur
veying the miracle, and expressing their joy
and wonder by divers attitudes. They are for
the most part larger than life ; and it has been
said of this picture, that it combines the gran
deur of Michael Angelo, the pleasing grace and
venustas of Raphael, and the proper colouring
of nature. Yet this was the first public work
Titian ever executed in oil ; and he was not
long about it. He was at this time about
thirty-four years of age. With all its merit,
ignorant and envious cavillers, and the blind
vulgar, who had hitherto seen nothing but the
dead, cold works of the Bellini and Vivarino,
which were without any relief (Giorgione had
done no public work in oil, or at most only half-
figures and portraits) busied themselves in
decrying this picture. At length, envy grow
ing cool, and truth by degrees opening their
eyes, the people began to wonder at the new
manner introduced by Titian. It is true, this
picture did not please the Friars ; but the Im-

28 LIFE OF TITIAN.
perial Ambassador expressing a great desire to
purchase it, they saw their error, and held it
in high esteem : and all the painters from that
time studied to imitate our artist; but being
put out of their usual way, found themselves
at a loss. And in truth it seems almost a
miracle, that Titian, without ever having seen
the antiques at Rome, which had afforded light
to all the most excellent painters, and with
only the little glimmering he had received from
the works of Giorgione, should have conceived
the idea of perfect painting. But this picture
was, even in Vasari's time, so damaged by
neglect and ill-usage, that he says it could be
but little understood, and that the figures were
scarcely discernible. However, it has recently
been found and restored to its original state,
and proves to be a most inestimable work.
There is a print taken of it by Hayter, a young
English artist.
Titian also painted the altar-piece of the
Holy Conception, in the same church where
he now lies buried under the altar of the
Crucifix. Monsignor Giovanni della Casa, of
Florence, a man not more illustrious by birth
than distinguished for his learning, was so
pleased with a portrait which Titian had

LIFE OF TITIAN. 29
painted of a Venetian lady, whom della Casa
admired, that he honoured him with a sonnet,
beginning —
" Ben' vegg'io Tiziano, informe nove
L'idolo mio, che i begli ocche apre, e gira," &c. &c.

30 LIFE OF TITIAN.

CHAPTER III.
TITIAN INVITED TO ROME BY LEO THE TENTH  SOME
ACCOUNT OF BEMBO AND NAVAGERO  PAINTS THE
PORTRAIT OF FRANCIS THE FIRST AND OTHERS  HIS
ACQUAINTANCE WITH ARETINE.
The fame of Titian now began to spread ; it was
no longer confined within the bounds of Venice,
but diffused itself far and wide all over Italy.
Many of the principal nobility now became
desirous of securing some of his works ; among
whom were the Duke of Ferrara (who already
possessed some) Frederic, Duke of Mantua,
Francis Maria, Duke of Urbino, and many others.
His name having reached Rome, Pope Leo the
Tenth, by means of Cardinal Bembo, whom
he had lately made his secretary, invited him
with the offer of honourable appointments, in
order that Rome, in addition to the works of
Raphael and Michael Angelo, might possess
some of the exquisite productions of his hand.
But his friend Navagero, foreseeing that in

LIFE OF TITIAN. 31
being deprived of Titian, Venice would lose
one of her greatest ornaments, prevailed on him
not to go, although Raphael as well as others
were very anxious that he should visit the
capital. The death of Leo, as well as that of
Raphael, happening in the year 1520, Titian
abandoned all thoughts of going to Rome, at
least for that time. He painted a little picture
for the Church of Santa Maria Maggiore, of
St John the Baptist in the desert among the
rocks, in which there is an angel that seems
absolutely alive. There is also a distant view
of the country on the borders of a river, beauti
fully painted ; and indeed it is scarcely possible
for anything to surpass the whole performance,
either in colouring or design.
It was the earnest wish of Bembo, however,
that Titian should have made a visit to Rome,
where he would have seen so much to his profit
and the advancement of his studies ; for Bembo
was his friend, had known him long, and had
been painted by him, as I have before hinted.
Having again mentioned the names of Nava-
gero and Bembo,, it will not be improper in
this place to give some account of two men
who were so well acquainted with Titian, and so
much distinguished and admired in their day.
Andrea Navagero, born in 1483, was a great

32 LIFE OF TITIAN.
Greek and Latin scholar, an admirable colla-
ter of manuscripts ; and his editorial skill was
displayed at the press of Aldus the elder, and
Andrea d'Asola, in revising the editions, for
the former of Quintilian, Lucretius and Virgil •
and for the latter of Ovid, Horace, Terence,
and the orations of Cicero. These orations
were published in three volumes, and dedicated
severally to Leo X, Bembo, and Sadoleto.
The dedicatory epistles are written with
classic eloquence and purity. Modern oratory
never took higher flights, than in the discourses
delivered by Navagero before the Senate, on
the death of the General D'Alviano, and the
Doge Loredano. In the former, he gives a rich
and animated description of the qualities which
form the perfect commander ; and having drawn
the character of D'AlvianO correspondent to
those qualities, the hearts of his auditors ac
knowledged the greatness of their country's, loss;
The eulogium on Loredano is in the same
style ; and in both these discourses the lan
guage is as dignified as the ideas. Every thing
is classical. He addresses the Senate by Roman
names. He invokes the superior powers under
the title of the Immortal Gods ; and to crown
the whole, his Latin is so elegant, that the illu
sion of his speaking before a Roman Senate is

LIFE OF TITIAN. 33
complete. This would sound like affectation in us ;
but at that period of the revival of letters and
enthusiasm for the ancients, it would not do so.
He was one of the best modern Latin poets.
His verses are a successful imitation of the grace
and simplicity of the Greek Muse, which none but
cultivated and elegant minds can admire. Like
most other scholars of his time, he preserved no
medium in his opinion of ancient authors. He
hated Martial so utterly, that he was accustomed
annually to burn a copy of his works, with solem
nities and speeches explaining the reason of the
act. Some unskilful flatterer thought to please
Navagero by comparing some of his verses to
those of Statius. Navagero immediately threw
them into the fire. He was not however a pre
sumptuous man. Just before his death, he de
sired that his fragment of the History of Venice
might be burnt, as also his other works : for not
having had time to give them his last corrections,
he apprehended that they would not answer the
expectations of the public.
Navagero died in France, at the premature
age of forty-six, when on his road to meet, the
French king. Only a short time before, he had
returned to Venice from the court of Charles the
Fifth of Spain, where for four years he had
represented the Venetian republic. After the
death of Sabellico, he had been appointed keeper
vol. r. o

34 LIFE OF TITIAN.
to the noble library bequeathed by Cardinal
Bessarion to the Venetian state.
Pietro Bembo was born at Ravenna, in the
year 1470. He was celebrated for his erudition
and literary accomplishments. He had received
an excellent education under the best discipline
of some of the most learned universities of the
age. He had so highly distinguished himself
before the reign of Leo the Tenth, that on that
pontiff's exaltation to the papal chair, he was
made his secretary with a salary of three thou
sand crowns,' in addition to considerable bene
fices. On the death of Leo, Bembo, having
amassed some property, and giving way to his
passion for a beautiful lady called Morosini,
no less than to his love of letters, returned to
Padua. He there collected a splendid library,
and formed intimacies with the learned and
scientific characters of that place. He founded
a Museum and a botanic garden; and such was
his liberality to poets and scholars, that his
house became a centre of union for the taste and
literature of all Italy.
Paul the Third,* though ambitious of adding
such a name to his college of cardinals, was dis
suaded from it by the malicious accusations of
* Alessandro Farne'se, dean of the Sacred College, a learned and
distinguished man, succeeded Clement the Seventh by the name of
Paul the Third, in 1534.

LIFE OF TITIAN. 35
atheism and dissipation, industriously brought
against Bembo by his enemies. But on the
death of Morosini, having answered the charge
of want of orthodoxy, he was elected in 1 539,
and invited to Rome. He soon showed, by his
great qualities, how well 'entitled he was to this
dignity. He had the merit of restoring the Latin
language to the polished style and grace of
Cicero ; and of leading back his countrymen to
a purer taste in Tuscan poetry, by imitating
Petrarch. He has, however, been censured for
following too closely in the steps of these two
great men, as well as for too anxious a study of
refinement and elegance of style. He was after
wards made bishop of Bergamo. He died in
1547, from a hurt he received in his side, occa
sioned by his horse running with him against a
wall. His works in verse and prose, written in
Latin and Italian, are very numerous. They
were the admiration of his time ; but the polish
of the language is hardly seconded by corre
sponding propriety of sentiment. Bembo's por
trait was introduced by Raphael into his School
of Athens in the Vatican. He wears a long white
beard. On the death of Raphael, he wrote his
celebrated epitaph, which is under the bust of
that painter in the Pantheon: —
 Raphael, timuit quo sospite, vinci
Rerum magna parens, et morienti, mori.

36 LIFE OF TITIAN.
This has been paraphrased by Pope in his
epitaph on Sir Godfrey Kneller in Westminster^
Abbey.
" Kneller, by Heaven and not a master taught,
Whose art was nature, and whose pictures thought ;
Now for two ages having snatch'd from fate
Whate'er was beauteous or whate'er was great,
Lies crown'd with Princes' honours, Poets' lays,
Due to his merit and brave thirst of praise.
Living, great Nature fear'd he might outvie
Her works j and dying, fears herself may die."*
The renown of Titian had now extended into
France ; nor did Francis the First fail to solicit
him with tempting offers to come to his court :
but Titian would not leave Venice, where he
had come when a child, and which he had
chosen for his adopted country.
In the house of M. Francesco Sonica, the ad
vocate (Titian's godfather), was to be seen a
* Inscription for a Grotto by Cardinal Bembo : —
Hujus Nympha loci, Sacri custodia fontis,
Dormio, dum blandae sentio murmur aquae :
Parce meum, quisquis tanges cava marmora, somnum
Rumpere, si bibas sive lavare, tace.
Lines by Pope, on an antique figure of a Nymph sleeping in a
grotto. A spring of water issues from a rock, and falls into a bath
under it. " Nymph of the grot, these sacred springs I keep,
And to the murmur of these waters sleep ;
Ah spare my slumbers, gently tread the cave !
And drink in silence, or in silence lave.

LIFE OF TITIAN. 37
portrait of the former by his godson. He also
painted for him a large picture of the Flight into
Egypt. The Virgin has alighted from the ass,
and is sitting on a stone by the road-side.
St Joseph stands near her; and St John is
presenting to the infant Christ some flowers,
brought by an angel from a neighbouring wood,
which is filled with animals. This picture was
placed by its possessor in his palace at Padua,
in Santa Justina. In the house of a gentle
man at Pesino, near St Mark's, is a most admi
rable portrait of a lady by our artist.
Titian was now employed on the portraits of
Prince Grimani and Loredano, of the size of life.
They are very fine. Shortly afterwards Francis
the First quitting Italy for his own capital, in
the year that Andrew Gralle was made Doge,
Titian painted the portrait of that king, and it
was considered a mighty performance. He
afterwards executed a picture of the Virgin
Mary, with St Mark and St Andrew ; to the
latter he has given the visage of the reigning
Doge. This exquisite performance is in the hall
of the college at Venice. Notwithstanding the
importance of these works, the remuneration he
received for them was not sufficient to place him
in easy circumstances ; and he is said to have
been in a state bordering on indigence, when the

38 LIFE OF TITIAN.
praise bestowed on him by his friend Peter
Aretin recommended him to the notice of
Charles the Fifth, as we shall see presently :
so necessary is patronage to bring forward even
the most transcendant abilities.
Some time before the Sacking of Rome by the
French, in 1528, the celebrated poet, Peter Are
tin, came to pay a visit to Venice ; and being
a man of great genius himself, was naturally
attracted by men of congenial minds, and soon
formed intimate friendships with Titian and San-
sovino, the sculptor. His acquaintance was not
only a compliment to the former, but a great
advantage, by spreading the fame of his pencil
as far as that of the poet's pen : and particularly
among that class of people, where it was of most
importance, such as sovereign princes and others
of the highest rank, which appears by the nume
rous portraits of them which he has transmitted
to posterity.
Pietro Aretino, of whom I shall have frequent
occasion to make mention, was the natural son
of Ludovico Bocci, a gentleman of Arezzo.. He
became famous as a poet, critic, and satirist.
Being of excellent natural parts, and having by
the spirit and boldness of his writings raised a
high reputation, he repaired to Venice, where
he was called " the Scourge of Princes." King

LIFE OF TITIAN. 39
Francis the First, Charles the Fifth, the Ita
lian princes, cardinals, and even the Sophi of
Persia, and other great personages, attempted
by large bribes to purchase his friendship, either
dreading his invectives, or liking his writings.
On this he became so arrogant, that he had a
medal struck with these words on one side —
" 7/ divino Aretino" and on the reverse, he was
represented sitting on a throne, receiving the
presents of obsequious potentates, with this
motto, " I principi tributati da Popoli, tributano
il servidor loro." His lampoons, it was observed,
had subdued more princes than the most power
ful conqueror ever had done by the sword. It
is to be lamented that a genius, which so
strongly possessed the powers of satire and
genuine humour, was not always employed in
lashing the vices of men. The name of Aretin
will be hated by the modest and the virtuous,
for the indecencies, the profane and immoral
writings, with which he is commonly under
stood to have insulted the world. His comedies
were highly applauded ; his letters are valu
able ; and his works of devotion may be read
with equal satisfaction and surprise. He is
said, in the latter part of his life, to have aban
doned his profligate manners.
Among others, he ridiculed Peter Strozzi,

40 LIFE OF TITIAN.
who threatened revenge, not by the pen but the
dagger. In this he was joined by an accom
plice, named Nicolas Franco, which so terrified
the poet, that he confined himself to his house,
till the departure of his enemy from Venice.
The Church prohibited the reading of his works,
on account of their licentious and profane
tendency. Yet before he died, he wrote a
paraphrase on the penitential psalms, the lives
of the Virgin Mary, St Catherine of Sienna,
and St Thomas Aquinas, under the name of
Partineo Etiro, an anagram of his own name,
as if he had been ashamed of having written
a pious book.
Aretin was very well skilled in the art of
design; and the best professors of his time
valued him on that account. Vasari had such
an esteem for him, that in his painting at the
ducal palace at Florence, he introduced his
portrait near that of Bembo and Ariosto. Se
bastian del Piombo, Raphael, Leoni d'Arezzo,
the engraver, and Serlius, the architect, were
among his admirers. But his most intimate
friend was Titian.
Aretin died at Venice, in the year 1556,
aged sixty-five. His death is said to have been
occasioned by his falling from a chair and in
juring his head, when laughing immoderately

LIFE OF TITIAN. 41
at some indelicate conversation at which he
happened to be present. He lies buried in
St Luke's church, with this epitaph by an un
known hand :
Condit Aretini cineres lapis iste sepultos,
Mortales atro qui sale perfricuit :
Intactus Deus est illi, causamque rogatus
Hanc dedit, — " Hie," inquit, " non mihi notus erat."
In the letters of Aretin, we can find nothing
but what indicates a mind teeming with grati
tude, friendship, charity, and benevolence. He
seems to have hated vice, and has daringly
attacked it in its highest places, and has ex
posed the knaveries practised under the cloak
of religion and the holy church : and the pious
ecclesiastics, as might naturally be expected,
have taken their full revenge upon his memory.
They have loaded him with every possible vice,
and have blasted his name to all posterity ; and
he may be held up as a terrible example to
deter all those who may be inclined to meddle
with priests or priest-craft. The only testimony
that can be brought forward to vindicate his
fame, or screen him from this deplorable cha
racter, is his firm attachment to and friendship
with Titian, Sansovino, Vasari, Raphael, Bembo,
the emperor Charles the Fifth, Francis the First,

42 LIFE OF TITIAN.
and others of equal eminence. If Aretin was
so bad a man as he is represented, how can we
account for the esteem in which he was held
by those whose characters are now so much
respected ? Titian indeed might have been gra
tified by his praise, of which he was not sparing,
and greatly assisted by his recommendation;
and so have courted his friendship, in spite of
the blemishes in his private character. But
then Charles, Francis, and Pope Paul the
Third, whose exalted rank would have ren
dered all his efforts vain, had he been their
bitterest enemy, treated him as a friend and
companion. There is great reason to suspect
that his faults have, at least, been greatly ex
aggerated by a host of enemies, such as ever
will attend on those who satirize the vices of
the great, or who differ, in the smallest iota,
from the faith of the established church.

LIFE OF TITIAN. 43

CHAPTER IV.
THE ST PETER MARTYR.  OPINIONS OF ALGAROTTI
AND SIR JOSHUA REYNOLDS ON THIS PICTURE. 
LETTER OF PETER ARETIN TO TRIBOLO THE SCULP
TOR ON THE SUBJECT.  BENVENUTO CELLINI.
Let us now return to Titian and his works.
It was at this time (1520) that he painted for the
altar of the chapel of San Pietro Martire, in the
church of St John and St Paul at Venice, the
death of that saint. In this composition, the
saint is represented larger than life, fallen on
the ground, attacked by a soldier. He is mor
tally wounded in the head, and the agonies of
death are in his face. His companion is flying,
whose looks exhibit N great terror. In the air
are two or three little angels, descending with
the crown of martyrdom, and surrounded by a
sudden blaze of glory, shedding a light over the
landscape, which is most admirable. It is a
woody country. In the foreground are several
alder- trees, executed with such perfection as it is
much easier to envy than to imitate. The fear
in the friar's face, who is making his escape, is
well expressed. It seems as if one heard him

\

44 LIFE OF TITIAN.
crying out for mercy. His action is rapid, as
that of one who is in extreme danger ; and his
friar's dress is exquisitely managed, so as to
show the proper developement of the figure in
swift motion. There is no example of drapery
better disposed for effect. The face of St Peter
has the paleness usually attendant on the ap
proach of death. He puts forth an arm and
hand so well expressed, that, as a good critic
has said, nature seems conquered by art. The
tall branching trees, with the flashing lights of
the troubled sky, would seem to indicate that
something terrible was passing below, even if
it were not visible ; and the distant Alps disco
vered between the trees impress the spectator
with horror of the dreary and desolate spot (so
fit for such a deed) on which the murder is per
petrated. Indeed this composition is the most
celebrated of any he ever painted, being the
best understood of all his works ; and I think
that it is justly deserving of the name given
to it, and by which it is universally known,
"The picture -without a fault." This inimit
able chef d'ceuvre was one of the first objects
that attracted the attention of the French,
and was for a time one of the principal orna
ments of the Louvre. It is now restored to its
original place in the church of St John and
St Paul at Venice.

LIFE OF TITIAN. 45
Algarotti, in speaking of this picture, says,
" Titian, the great confidant of nature, is the
Homer of landscape. His scenes have so much
truth, so much variety, and such a bloom in
them, that it is impossible to behold them
without wishing, as if they were real, to take
an excursion into them. Perhaps the finest
landscape that ever issued from mortal hands
is the back-ground of the St Peter Martyr,
where, by the discrimination of the trunks and
leaves of the trees, and the disposition of the
branches, one immediately discovers the dif
ferent sorts of trees : while the various soils are
so well expressed, and so exquisitely clothed
with their proper plants, that a botanist has
much ado to keep his hands from them."
" When Algarotti," says Sir Joshua Rey
nolds, adverting to this criticism, " praises it
for the minute discrimination of the leaves and
plants, even, as he says, so as to excite the admi
ration of a botanist, his intention was undoubt
edly to give praise even at the expense of truth,
for he must have known that this is not the cha
racter of the picture. Connoisseurs will always
find in pictures what they think they ought to
find : he was not aware that he was giving
a description injurious to the reputation of
Titian."

46 LIFE OF TITIAN.
Again Sir Joshua observes,. "The same
excellence of manner that Titian displayed
in history and portrait-painting is equally
conspicuous in his landscapes, whether they
are professedly such, or serve only as back
grounds. One of the most eminent of this
latter kind is to be found in the picture of - St
Peter Martyr.: The large trees here introduced
are plainly distinguished from each other by
the different manner with which the branches
shoot from their trunks, as well as by their
different foliage, and the weeds in the fore
ground are varied in the same manner, just
as much as variety requires, and no more.
" It is to Titian we must turn our eyes to
find excellence of colour and light and shade,
in the highest degree. He was both the first
and the greatest master of the art. By a few
strokes, he knew how to mark the general
image and character of whatever object he
attempted ; by this alone conveying a truer
representation than his master, Giovanni Bel
lino, or any of his predecessors, who finished
every hair. His great care was to express the
general colour, to preserve the masses of light
and shade, and to give, by opposition, the idea
of that solidity which is inseparable from na
tural objects."

LIFB OF TITIAN. 47
I will also give the judgment of Peter Aretin
on this picture, contained in a letter addressed
to Tribolo, the celebrated Florentine sculptor,
some years after the period we have now ar
rived at.

"TO TRIBOLO, THE SCULPTOR.
" Master Sebastian the architect* knowing
my love for sculpture, and that I have some
little judgment in it, has been endeavouring to
explain to me the soft and easy folds of the
drapery of the Virgin, which your genius, in
fluenced by his desire, is so kind as to execute
for me. He has also described to me the
languid drooping fall of the limbs of our dead
Saviour, which you have placed on his mo
ther's knees with all the perfection of art. So
that I have in his discourse beheld the afflic
tion of the mother and the misery of the son,
even before I have seen your work. But the
miraculous effects of your industry have been
also recounted to me by the author of that
Saint Peter Martyr, which converted you and
Benvenutof into statues of astonishment when
you first beheld it. Your eyes were dazzled
* Probably Sebastian Serlio, a celebrated architect.
t Benvenuto Cellini.

48 LIFE, OF TlT IAN.
and your intellects confounded in looking at
that work, which displays at once all the ter
rors of death, and all the real sorrows of life,
in the countenance and person of him who has
fallen on the ground. You were struck with
wonder at the exact imitation, at the cold and
livid hues which appear on the point of the
nose, arid at the extremities of the body ; and
you could not ' refrain from expressing your
admiration _ aloud, when contemplating the
figure of the dying man's companion, who pre
sents in his whole appearance the agonies of
cowardice and the paleness of fear. Truly,
you pronounced a very just sentence on the
merits of this grand picture, when you said to
me that there was nothing in Italy that was
finer. What can be more beautiful than the
wonderful group of cherubs in the air, and
the wind, which seems as if it were rooting up
the trees, and throwing about branches and
leaves in every direction? What a landscape
is displayed in all the simplicity of nature 1
What beautiful rocks, clothed with grass, and
bathed in the waters flowing from their springs J
These are the wonders produced by the divine
Titian, whose benign modesty^ salutes you
most warmly, who offers himself and all he
possesses to you, meaning that the love and

LIFE OF TITIAN. 49
affection he bears your fame are unequalled.
I cannot express to you how anxious he is to
see the figures, which I before said you are so
kind as to make me a present of. Believe me;
I shall not pass over it in silence or without
gratitude. " PrETRO Aretino.
" Venice, Oct. 9, 1536."
The history of St Peter Martyr is this. He
was the General of the Dominicans^ and of
course a most powerful person in the Inqui
sition, and a violent persecutor for the faith,
which made him many inveterate enemies i,
There was one family in particular, whom he
had treated with excessive cruelty ; and their
relatives, , who. were officers in the army, were
so enraged at his barbarity, that they resolved
to revenge themselves on the tyrant with the
very first opportunity : and having been in
formed that he was to make a visit into some
distant province,, in pursuance of his blood
thirsty schemes of piety, they lay in wait for
him in a wood, through which they knew he
must pass, accompanied by one person only,
a lay-brother of the Convent. Accordingly,
in this place they attacked him, and cleft his
skull with a sabre, leaving him dead on the
vol. r. E

60 LIFE OF TITIAN,
Spot ; and this Saint is always represented with
the sabre stuck in his head.
It was in the year 1523, when Titian was
forty-three,* that Signor Gralle, having seen
this renowned picture, and being a true friend
to the artist, procured him a commission to
execute a grand historical painting in the. hall
of the great Council-Chamber of Venice. The
subject was the Victory of the Venetians over
the Giaradadda or Turkish Janissaries; In
this piece he has depicted a terrible battle.
The fury of the soldiers is awful, as the fight
took place in a tremendous fall of rain, like a
deluge from heaven. It is a- faithful represen
tation of the action, and is esteemed by far the
best of all the many historical pieces, that are
in the Great Hall. The picture contains many
different attitudes of the soldiers, the horses*
and other remarkable objects.; among them is
a young man, who having fallen into a ditch,
is gaining the bank by a violent effort of his legj
This . figure had a number of admirers from
its strong resemblance to nature. The picture,
with some others, was unfortunately burnt; but
the grandeur of the composition has been pre-
L *,The St -Peter Martyr was painted in 1520, when Titian was
forty years old.

LIFE OF TITIAN. 51
served to us in the print engraved by Fontana,
which is now very scarce.
In the same palace, at the foot of the stairs,
he painted, in fresco, a Madonna; and not long
after, having painted for a gentleman of the
family of Contarino a most excellent picture of
Christ sitting at table with Cleofas and Saint
Luke, the gentleman, when he saw it, said it
was so excellent that it ought to be in some
public place, and not confined to the possession
of any private person ; therefore, for the love of
his country and the good of the public, he
presented it to the Doge and the Council, and it
was for a length of time kept in the chamber of
the Doge, but was afterwards removed to a
situation where it might be seen by every one ;
that is, in the Salotta cCOro, or Golden Cham
ber, facing the hall of the Council of Ten, over
the door. At the same time, he painted for
the school of Santa Maria della Carita, the
Madonna when a girl, going up the steps of the
Temple, in which are a multitude of figures,
many of them portraits.
Also in the school of San Fontino, he painted
a St Jerome in penitence, which gave great
satisfaction to that society ; but which, together
with the church, was two years after destroyed
by fire.

52 LIFE OF TITIAN.
Benvenuto Cellini has given the following
account of his visit to Venice, at the time when
he saw and so much admired the St Peter
Martyr, " In some conversation with Tribolo, he told
me that v Giacopo Sansovino, his first master,
had sent for him to Venice ; and as he had
never seen that city, and expected to gain con
siderably there, he was glad of the opportunity
of making the trip. He asked me whether
I had ever seen Venice? I answered in the
negative ; whereupon he pressed me to accom
pany him. I immediately accepted his pror
posal, and told the Duke Alexander that I was
.about to take a journey to Venice, and upon
my return, should be at his service."
The duke was satisfied, gave him his consent,
and a purse of fifty crowns. After relating
many particulars concerning himself, -not to
--our purpose, he continues : —
"Having received the money, I repaired to
my friend Tribolo, who was ready for his jour-
, ney. So we set out with the Procaccio or post?
> man of Venice, called Lamehtone, and travelled
with him. In this manner we arrived at Venice,
where I obtained permission of the Cardinal Corr
naro to wear a sword. Having succeeded in my
desire, we went to visit Giacopo del Sansovino,'

L1FR OF TITIAN. 53
the statuary, who had sent for Tribolo. He
caressed me greatly, and invited us to dinner.
In his conversation with Tribolo, he told him
that he had no business for him then,1 but that
he might call another time. Hearing this, I
burst out a-laughing, and said jestingly to
Sansovino,, ' His house is at too great a dis
tance from, yours for him to call again.' Tri
bolo, quite shocked at his behaviour, ' said, * I
have your letter in my pocket,; inviting me
to come and see you.' Sansovino replied,
' that such men as himself, of abilities and un
exceptionable character, might do that and
greater things.' Tribolo shrugged up . his
shoulders, muttering ' patience' several times;.
Upon this occasion, without considering the
splendid manner in which Sansovino had treated
me, I took my friend Tribolo's part, who was
certainly in the right ; and as the former had
never ceased boasting at table of his own per
formances, whilst he made very free with
Michael Angelo and all other artists, however
eminent, I was so disgusted, that I had no
appetite for my dinner. I took the liberty of
expressing my sentiments to him in this man
ner : ' Oh, Signor Giacopo, good men are known
by their deeds ; and men of genius, who dis
tinguish themselves by their works, are much

54 LIFE OF TITIAN.
better known by other people's commendations;
than by vainly sounding their own praises.'
When I had said this, we rose from table, and
left the house, muttering our discontent; and
a few days after set off on our return to Flo
rence." At the time Cellini was at Venice, Sansovino
and Titian were in high estimation; and being
both so eminent in their professions, they were
also great friends. The latter, during a life
which was prolonged to nearly one hundred
years, was one of the most fortunate artists
that ever lived. Men of letters, princes, and
cities vied with each other in loading him with
honours and riches. Nevertheless, he would
never abandon Venice, but lived there in splen
dour, and in the enjoyment of his liberty. So
highly were he arid Sansovino esteemed by the
Seriate, that when a general tax was iinposed
on the inhabitants, they were the only citizens
who were declared exempt. His friend Gia
copo was born at Florence, and assumed the
name of Sansovino, from the master under
whom he studied, Andrea Contucci da Monte
a Sansovino, one of the most eminent sculptors
of his time. Giacopo's family-name was Tatti.
His works gained him a high reputation at
Florence and Rome. In 1527 he visited

LIFE OF TITIAN. 55
Venice ; where being appointed architect to the
Procuratore, he renounced the study of sculp
ture, to devote himself entirely to his new pro
fession, by which he obtained great credit and
emolument. He was enabled to leave his son
Francesco a noble fortune, which may perhaps
account for the latter's having written so many
indifferent books. Giacopo died in 1570, at the
age of ninety-three .
Nicolo de Pericolo, to whom the above anecr
dote relates, was a Florentine by birth, whose
extraordinary humour and vivacity, from his
earliest years, acquired him the name of Tribolo.
He was an eminent sculptor, and produced
some specimens of such great merit, that they
were believed to be from the hands of Michael
Angelo. He was also equally excellent in other things ;
and among other ingenious works, exhibited a
topographical model of the city of Florence,
one of the earliest efforts of that branch of
art, which has been since carried to such a
degree of perfection by Signor Exchaquel, and
by George Pfaffer of Lucerne. His success in
hydraulics, to which he also applied himself,
was not equally great.
I add the following from Benvenuto Cellini :-r-
" When I came to Venice, I, reflected upon

56 LIFE OF TITIAN".
the variety of rnearis by which my adverse
fortune persecuted me ; but as I found myself
in good health and spirits, I resolved to struggle
with it as usual. Thus I passed my time very
agreeably in that beautiful and opulent city,
where I visited the great painter, Titian, and
Signor Giacopo Sarisovinb, an excellent sta
tuary and architect of Florence, who had a
considerable pension from the Senate of Venice.
As. we had been acquainted in our youth at
Rome and Florence, I was highly caressed by
both those ingenious artists. The day follow
ing, I met Signor Lorenzo de' Medici, who
took me; by the harid, and received me with
the greatest affection imaginable. We had
known one : another in Florence, when I was
employed to stamp coins for Duke Alexander,
and afterwards in" Paris, when I was in the ser
vice of the King of France. He had resided
at the house of Signer Giuliano Buonaccorsi ;
and as he did riot know where else to' go for
amusement, without running considerable" risk,
he passed much of his time at my house, ob
serving the progress of the great works above-
mentioned. On account, therefore, of our for
mer acquaintance, he took me by the hand, and
carried me with him to his own house, where
was Signor Priore degli Strozzi, brother of

LIFE OF TITIAN. 57
Signor Pietro. They were very merry, and
asked me how long I proposed staying at Venice,
thinking I intended to return to France. I told
them the affair that had made me quit Florence ;
and added that I intended to return to that
city in two or three days, to re-enter into the
service of my sovereign, the Duke. At this,
the Signor Priore and Signor Lorenzo looked
very sternly at me, and paid, ' You would act
much more wisely in returning to France, where
you are sure of money and friends : if you go to
Florence, you will orily meet with disgust, and
disappointment.' I made no answer, but set
out next morning, .with all possible ! secresy,
taking the road to Florence."*
* Lorenzo de Medicis was at this time keeping out of the way,
in consequence of his concern in the 'assassination of Duke Alex
ander, as will be. seen hereafter. ~,

58 LIFE OF TITIAN.

CHAPTER V.
Some account of mosaic-painting — advantages of
fresco-painting  school of titian  paul vero
nese, tintoret, and others.
It is not iriiproper that I should make a few
observations on that branch of the art of copy
ing pictures, which was kept alive by the
Serene Senate of Venice, when nearly dis
missed in every other place ; I mean the art of
Mosaic, This was • chiefly owing to the atten
tion and assistance afforded it by Titian in his
designs for different works, as well as by his
procuring salaries for those who practised it.
By his means, a number of persons were em
ployed in divers works in the church of- St
Mark, and also to repair the old works of this
kind ; thus this branch of the art was brought
to a degree of excellence that had never been
attained either at Florence or Rome, in the
time of Giotto, d'Alesso Baldinetto, Ghirlan-
daio, or Gherardo in miniatum. All that was
done at Venice in this branch, was from the

LIFE OF TITIAN. 59
designs of Titian and other excellent painters,
who furnished sketches and cartoons in colours,
as the ground- work of the composition; To
what perfection this art was carried may be
seen from the specimens in the portico of St
Mark's, where is inlaid in a niche the Judgment
of Solomon so excellently well, that it would
be impossible to surpass it with the pencil. In
the same place is the Genealogy of the Virgin*
by the hand of Ludovico Rosso, full of Sybils
and Prophets, done with great taste and
strength of relief. But none have succeeded
better in this art than Vineentio and Valerio
Zuccati of Treviso, who have left many histo
rical pieces in St Mark's, particularly from the
Apocalypse. Among them is one, represent
ing the throne of God, supported by the four
Evangelists, in the form of animals ; also the
Seven Candlesticks, and many other subjects,
so well executed, that when viewed from , be
neath, they appear to be wrought in colours.
Besides these, there are by the same hands,
others near them of a smaller size, full of
little figures, finished with wonderful care. In
short, they are masterly miniatures, made with
small pieces of stone of different colours. In
the same manner, they executed rriany por
traits ; particularly of the Emperor Charles the

60 LIFEl OF JITIANl
Fifth, of his brother Ferdinand, who succeeded
him, and of Maximilian, the son of Ferdinand,
who succeeded his father ; -also the head of- the
illustrious Cardinal Bembo, - the glory , of his
time, and a number of others, highly finished
with harmonious, clear, and glowing colours,
arid great effect of light and shade ;- so that it
is impossible to desire any thing more perfect in
Its, kind. - In truth, -it is to be regretted that
this . most ~ excellent art of working in Mosaic,
both for its beauty and eternal durability, is
not more in use, and patronised by Princes and
such persons as could be at the expense of it.
v Besides the above-mentioned, who adorned
the church of St Mark's with works in Mosaic,
was Zucchere' Bartolomeo Bozzato, who was
also greatly admired. But- the one who stood
highest in public estimation, having the advan
tage: of being advised and assisted by Titian,
was one Girolamo. Indeed, all those who
were the most excellent in this work, owed -
•much of their reputation to his instruction and
guidance.
• ¦" I cannot but think that Titian had a consi
derable advantage in the improvement of his
taste for colouring, from having been in his
first studies taught fresco-painting, by which
his eye was early inured to that fresh, clear,

LIFE OF TITIAN,! 6T
arid "unadulterated tone which is unavoidably
preserved in all those works that are done with
out oil. It was by degrees he crept- into the
knowledge of the use of oil, without having
had his eye familiarised by early habit to the
heavy, dingy, slimy effect of various oils and
megilps ; which, as they more and more pre
vail, soak up and destroy the wholesome fresh
ness and purity of the tints, and reduce them
at last to the saturated appearance of an oiI-»
skin umbrella. Artists who paint in water-;
colours justly wish to give their pictures the
force and finish of oil ; as those who paint in oil
should endeavour to impart to their tints, the
clear and vivid purity of water-colours. And
the clearness of the one, with the depth and
solidity of the other, is what Titian possessed
the power of uniting beyond any other painter
that ever lived.
At this time; painting arrived at a higher de-:
gree of perfection than the moderns have ever
attained ; having acquired from Michael An->
gelo the utmost boldness of outline, the forms
of the most robust bodies, and the highest gran
deur of conception. . In, Raphael, it could boast
invention, composition, variety of character,
expression of the state of mind, and appropriate

62 LIFE OF TITIAN.
draperies to his figures. Titian perfected the
knowledge of the colours of bodies, with all
the accidents which the modifications of light
can produce in them ; and finally Cbrreggid
added delicacy and the gradations oi chiaro
scuro ; a lovely style of painting, combining all
the exquisite fascinations of grace and fancy.
Painting having reached so high a point of
excellence, it was very natural that it should
either advance under such great masters, or
that it should degenerate into caprice and affec
tation ; the latter of which unfortunately proved
to be the case. The Tuscans, wishing to follow
Michael Angelo, retained only something of his
gigantic forms, his fierce contours ; but without
the knowledge, the feeling, and the genius of
their master. Such were Salviati, Bronzino,
Vasari, and others. In like manner, the dis
ciples of Raphael took only some part of his
style, but none of them took the essence. Julio
Romano, studying to rival his gravity and ex
pressiveness of countenance, made the phy~
siogriomy horrible and distorted. Polidoro,
while aiming to give an air of ease to his figures,
fell into licentiousness. Pierino della Vaga
inclined always to the Tuscan style. Penni
was cold and inanimate ; Pellegrino Manari was

LIFE OF TITIAN. 63
of short life : and thus finished. that illustrious
school. Correggio left no disciples worthy of him,
because Parmegiano, who immediately followed
him, made a mixture of the style of Raphael
and the grace of Correggio, which he over
charged. Although Titian had not disciples who imi
tated him in everything, the Venetians. were
nevertheless more fortunate in Paul Veronese
and Tintoret, who though they imbibed .the
principles and formed their style from Titian-,
did not neglect the study of nature,7 and were
therefore superior to the servile copyists of any
master whatever. Titian, by reason of his great
age, continued the practice of his art nearly as
long as his scholars. He also happily outlived
the turbulence of the wars which wasted Italy
in his time, and was in that part of it which felt
the calamity the least. His jealousy of others,
however, prevented him from properly founding
a school ; for as soon as they gave any promise of
excellence, he drove them from him, or diverted
them from the pursuit of art. This happened
with respect to Tintoret, and to his brother.
Tintoret was placed by his father as a dis
ciple of Titian, under whom he had the advan
tage of studying for some time. The rapidity

64 LIFE OF TITIAN!
of his advancement, which outstripped that of
all his fellow-students, alarmed the apprehen
sions of his instructor, who had; the meanness to
expel him from his school. This indignity, so
unjust and unmerited, did not abate his courage
nor interrupt his progress ; it only served to
inspire him with more vigorous and extensive
views, and he formed the daring project of creat
ing a new style of composition. In a short
time he established a school of art, founded
on a union of the beauties of Venetian colouring
with the Florentine grandeur of design; and
to excite the emulation of his disciples, he had
the following precept inscribed on the wall of his
painting-room, II disegno di Michel Angelo, e il
icolorito di Tiziano. He furnished himself with
the best casts from the figures of the Tomb of
the Medici, by Michael Angelo : these mbdels
were sent to him from Florence. They were
taken by Daniel da Voltefra, from the marbles,
on the ' tombs. From these, Lanzi says, his.
studies were unremitted; he often continued
them by lamp-light, for the purpose of giving
greater breadth and effect to his light and shade.
To acquire a perfect acquaintance with fore-:
shortening, which was less studied by the
Venetians: than the- Lombards, he is said tO;
have suspended his models in the, air, and fre*

LIFE OF TITIAN, 65
quented the lectures and dissections of ana
tomists to gain a complete knowledge of the
muscular construction of the human figure.
I have given this account of Tintoret as an
example of an excellent mode of study, and as
demonstrating the good sense of the artist in
correcting the errors his countrymen had fallen
into. " It might be wished," says Mr Fuseli,
" for the honour of the artist and the man, that
the mean jealousy of Titian and its meaner con
sequences, the expulsion of Tintoret from his
school, had been less authenticated. What has
been said of Milton, that at certain periods he
was but one of the people, might be equally
true of Titian, whenever he was not before his
canvas. Folly, always a principal if not the
chief ingredient in the character of jealousy and
ambition, generally runs into the extremes it
wishes to avoid, and accelerates the effects it
labours to repress. The genius of Tintoret was
not to be circumscribed by the walls of his
master's study, and to one who under his eye
had the hardiness to think and to choose for
himself what he should adopt or not of his me
thod, dismission was in fact emancipation. He
now boldly aimed at creating himself the head
of a new school, which should improve upon the
VOL. T. f

6G LIFE OF TITIAN.
principles of that established by Titian, and
supply its defects ; he wrote over the door of
his apartment, The design of Michael Angelo
and the colouring of Titian."
Francesco Vecelli, the brother of the great
Titian, was born at Cadore in the Friuli, in 1483.
After being instructed by his brother, in the
elements of the art of painting, he served some
years in the army, and was probably induced
to turn his thoughts to painting as a profession,
by the extraordinary success of his brother.
He painted some pictures for churches and
other public edifices at Venice, which were of
sufficient merit to alarm the jealousy of Titian ;
particularly a picture of the Transfiguration
in the Church of San Salvador, which gained
him great reputation. But his most celebrated
performance, which has been often taken for his
brother's, is a picture of the Nativity in the
Church of St Joseph at Belluno. By the per
suasion of Titian, it is said, he abandoned
painting in 1531, and devoted himself to com
mercial pursuits.
Battista Zelotti was bom at Verona in 153(2,
and was brought up in the school of Antonio
Badile. He was the fellow-student and friend
of Paul Veronese, whom he assisted in several
important works for the public edifices at Venice.

LIFE OF TITIAN. 67,
He is called by Vasari, Battista da Verona; and
is numbered by that author among the disciples
of Titian. His picture of the Holy Family, in
the Carrara collection, is painted entirely in the
style of that master ; and it is to his studies in
that school that he was indebted for the warmth
and harmony of colouring, in which he sur
passed Cagliari. He particularly excelled in
fresco-painting, and his ability in that branch
induced Paul Veronese to ask his assistance in
many of the great works on which he was en-<
gaged ; and some of the frescos by Zelotti have
been attributed to him. The great emblemati
cal subjects painted by Zelotti in the hall of the
Council of Ten, in the Palace of St Mark at
Venice, have been engraved by Valentine Le
Fevre as the works of Paul Veronese. He
was more successful in fresco than in oil,
although some of his works in the latter are
deservedly admired ; particularly his two pic
tures of the Conversion of St Paul, and Christ
with his Disciples in the fishing-boat, in the
cathedral at Vicenza. He possessed great
fecundity of invention; his compositions are
learned and judicious, and his touch is bold and
. animated ; but he is inferior to Veronese in the
grace of his figures arid the beauty of his heads.
He died in 1592, aged sixty.

68 LIFE OF TITIAN.
Girolamo, mentioned above, was called II
Titiano. According to Redolfi, the family-name
of this artist was Dante. He was brought up"
in the school of Titian,' arid was employed by
that master to assist in several of his works.
By frequently paintirig in conjunction with him,
and sometimes copying his works, some of his
pictures retouched by Titian have been taken
for the latter artist's. He sometimes painted
from his own designs : and his pictures in the
church of St John at Venice, representing St
Costno and St Damian, are worthy of the
school in which he was educated.

LIFE OF TITIAN. 69

CHAPTER VI.
GENERAL REFLECTIONS.  TITIAN'S ST. SEBASTIAN — :HIS
ALTAR-PIECE IN THE PESARI CHAPEL  ONE BY RU
BENS AT ANTWERP  COMPARED BY REYNOLDS AND
FUSELI.
It may be observed, that the times which pro
duced so many great masters in the arts of
painting and sculpture, were not deficient in
men who excelled in polite literature. Phidias,
Praxiteles, Parrhasius, Apelles, and Zeuxis
were contemporary with the greatest men and
best writers of Greece ; with Alexander, So
crates, Sophocles, Demosthenes, and Xenophon.
The same age that produced Titian, Raphael,
and Michael Angelo, also boasted of Leo,
Ariosto, Bembo, &c. Le Brun, whose fame
has of all the modern painters most nearly ap
proached to them, and Girardon, probably the
greatest sculptor since the age of Clement the
Seventh, were contemporary with Racine, Cor-
neille, Boileau, Moliere, and the most cele
brated wits of France. This may be ascribed
to the strict affinity of the elegant arts among

70 LIFE OF TITIAN.
themselves ; to the mutual assistance they lend
each other ; to the similarity of their objects,
so that they delight in the same sphere ; and to
the temper and genius of their patrons, which
forbade to divide arts so strongly united by
nature. The truth of this theory was, I think, fully
shown in our own country in the last century,
when we had to boast of the greatest painter in
Europe, a native of England, who was surrounded
by a set of most illustrious friends and compa
nions, such as have not been surpassed at any
period; viz. Dr Johnson, Goldsmith, Burke,
Sterne, Fox, &c. — I shall now return to Titian.
In the cloister of the little Church of St
Nicholas, belonging to the Convent of the Bro
therhood, Titian painted a picture for the high
altar. The Saint is the middle figure, arrayed
in a golden cope, where the brilliancy of the
metal is clearly discernible, so that it seems
really interwoven with the dress. On one side
are St Francis and St Catherine ; the last figure
has a most graceful turn of the head, and is
altogether truly elegant. On the other side is
a naked Sebastian, copied exactly from nature;
without any additional beauty in the body or
limbs beyond what he found in the subject he
designed from ; but so faithfully represented as

LIFE OF TITIAN. 71
to colour, the texture of the skin, and effect of
light and shade, that it seems not painting but
the life itself. Pordenone, when he saw the
St Sebastian, said, " I believe Titian has in
this case really made use of flesh, and not co^
lour." Yet the most extraordinary thing in the
picture is, that there is not the least artifice or
attempt at composition. The figures, all taken
from nature, are ranged in a line, so as to be
equally conspicuous, They all appear as it
were intent upon a Madonna represented above,
with the infant Christ in her arms, a very grace
ful figure, attended by a group of cherubs. The
saints have an expression of modesty and sanc
tity that is inestimable. The Virgin looks
down upon them with calm benignity. The
head of St Nicholas is particularly fine, and full
of infinite majesty. Titian is thought to have
imitated it from that of the Laocoon ; which
Poussin in the Ecstacy of St Paul also took for
a model : but both painters have softened the
expression. This picture was engraved on
wood by Titian's own hand, and afterwards by
others. The church of this cloister is said to
have been burnt down in the great fire, which
destroyed a large part of the city in 1706.
I saw the lower part of this picture at Rome
in 1778. It had been separated from the Vir^

72 LIFE OF TITIAN.
gin and Child above, without any inj ury to the
composition ; for the upper and lower parts
were, nearly as void of connection as if they
were two different pictures. ' The lower part
was then in the possession of. the Pope. On
this performance, Sir Joshua Reynolds observes ;
"We cannot entirely refuse Titian, the merit
of attending to the general form of his objects,
as well as colour ; but his deficiency lay (a
deficiency at least when he is compared with
Raphael) in not possessing the power, like the
latter, of correcting the form of his model by
any general idea of beauty in his own mind.
Of this his St Sebastian is a particular instance.
This figure appears to be a most exact repre
sentation, both in form and colour, of the subject
he then happened to have before him : it has
all the force of nature, and the colouring is flesh
itself; but unluckily the model was an, ill-
formed one, especially as to the legs. Titian
has preserved the defects with as much care
as the beauties. In his colouring he was large
and general, as in his design he was minute
and partial. In the one he was a genius : in
the other not much above. a mere copier. I do
not, however, say this of all his pictures. , In
stances enough may be produced in his works,
where these objections could not with any pro-

L1FE0F TITIAN. 73
priety be applied : but it is in the manner or
language, as it may be called, in which Titian
and other painters of that school expressed
themselves, that their chief excellence lies."
In the same church is a chapel, where the
font of holy water is placed. On the font is a
small figure in -marble of St John the Baptist,
by Sansovino. In this chapel, at the instance
of the noble family of the Pesari, to whom it
belonged, Titian painted a grand piece for the
altar, representing the Madonna seated with
the infant Christ in her arms, gently holding
up one of his feet, and resting the other on one
of her hands. Before her is St. Peter, of a
venerable aspect, looking at her, with one of
his hands on an open book supported by the
other, and the keys lying- at his feet. There
is also St Francis, and a man in armour holding
a standard, with a Turk behind him, who seems
to be a prisoner. At the lower part of the pic
ture are the portraits of some of the Pesari
family on their knees, which have the look of
nature itself. Amongst these is the Bishop of
Baffo, and his brother, just returned from a
victory over the Turks, of which the Bishop is
informing the others.
Had the Romish church never imposed any
higher veneration for pictures and images than

74 LIFE OF TITIAN.
as memorials of the persons and aetions they
represent, the reformed churches would not
have considered themselves under the necessity
of banishing these sublime ornaments from all
places of public worship.
On the above picture, Mr Fuseli makes the
following excellent remarks : —
" The true medium between dry apposition
and exuberant contrast, appears to have been
preserved by Titian in an altar-piece of the
Franciscans or Frari at Venice: of which the
simple grandeur has been balanced by Rey
nolds, against the artificial splendour of Rubens
in a similar subject. It probably was what
it represents, the thanks-offering of a noble
family for some victory obtained or conquest
made in the Morea. The heads of the family,
male and female, presented by St Francis, oc
cupy the two wings of the picture, kneeling,
with hands joined in prayer, in attitudes nearly
parallel. Elevated in the centre stands St
Peter at the altar between two columns ; his
hand on the bible, the keys before him, address
ing the suppliants. Above him, to the right,
appears the Madonna holding the infant ; and
with benign countenance seeming to sanction
the ceremony. Two cherubs on an airy-cloud,
right over the centre, rear the cross ; an armed

LIFE OF TITIAN. 75
warrior with the standard of victory, and be-^
hind him a turbaned Turk or Moor approach
from the left, and round the whole.
" Such is the invention of a work, which;
while it fills the mind, refuses utterance to
words ; of which it is difficult to say whether
it subdues more by simplicity, commands by
dignity, persuades by propriety, assuages by
repose, or charms by contrast. A great part
of these groups consists of portraits in habile
ments of the time, deep, vivid, brilliant : but
all are completely subject to the tone of gravity
that emanates from the centre. A sacred
silence enwraps the whole : all gleams, and
nothing flashes. Steady to his purpose, and
penetrated by this motive, though brooding over
every part of his work, the artist appears no
where. " The composition, and in some degree the
lines, but neither the tone nor effect, may be
found among the etchings of Le Fevre.
" To no colourist before or after him did
nature unveil herself with that dignified fami
liarity in which she appeared to Titian. His
organ, universal and equally fit for all her exhi
bitions, rendered her simplest or her most com-'
pound appearances with equal purity and truth.
He penetrated the essence and general principle

76 LIFE OF TITIAN.
of the substances before him, and on these
established his theory of colour. He invented
that breadth of local tint which no imitation has
attained, by taking the predominant quality of
colour in an object for the whole."
As it contains so excellent a lesson, I cannot
.omit introducing the criticism of Sir Johua Rey
nolds on these two pictures of Titian in the
ehurch of St Nicholas. Comparing them with
similar subjects by Rubens in the church of
,StAugustin at Antwerp, he says, —
" The altar of the choir is by Rubens. From
the size of the picture, the great number of
figures, and the skill with which the whole is
.conducted, this picture must be considered as
one of the most considerable works of that
artist. " The Virgin and Infant Christ are represented
at some distance, seated on high on a sort of
pedestal, which has steps ascending to it : be
hind the Virgin is St Joseph. On the right is
St Catherine, receiving * the ring from Christ.
St Peter and St Paul are in the back-ground ;
and to the left on the steps, St John the Baptist
with the Lamb and Angels. Below are St
Sebastian, St Augustin, St Lawrence, Paul the
Hermit, and St George in armour. By way of
link, to unite the upper and lower part of the

LIFE OF TITIAN. 77
picture, are four female saints half-way down
the steps. . The subject of this picture, if it
may be called a subject where no story is repre-<
sented, has no means of interesting the specta
tor : its value therefore must arise from another
source — from the excellence of art, from the
eloquence, as it may be called, of the artist.-
And in this the painter has shown the greatest
skill, by disposing of more than twenty figures
without confusion, and without crowding. The
whole appears as much animated and in mo
tion as it is possible for a picture to be, where
nothing is doing ; and the management of the
masses' of light and shade in this picture is
equal to the skill shown in the disposition of
the figures.
" There is a' similar subject to this painted
by Titian, which was in the church of St Nicolo
de Frari at Venice, where he has represented
the same saints, placed in a line without any
connection with each other ; and above are the
Virgin and Infant, equally unconnected with the
rest of the picture. It is so completely sepa
rated, that it has been made into two pictures ;
the lower part forming that which is now in the
Pope's collection in the Capitol.
" By this disposition, Titian has certainly
saved himself a great deal of that trouble of

78 LIFE OF TITIAN.
contrivance which composition requires. This
artless manner is by many called simplicity;
but that simplicity which proceeds either from
ignorance or laziness cannot deserve much com
mendation. As ignorance cannot be imputed
to Titian, we may conclude it was inattention ;
and indeed he has sufficiently shown that it
did not proceed from ignorance, by another
picture on the same kind of subject, in the
church of the Ffari at Venice, where it is treated
in a very different manner. Here the Virgin
and Child are placed on an altar, looking at
St George and another figure, which is kneel*
ing. On the other side is St Francis, looking
up at Christ, and recommending to his protec
tion a noble Venetian, with four other figures
who are on their knees. Nothing can exceed
the simplicity and dignity of these figures.
They are drawn in profile, looking straight
forward in the most natural manner, without
any contrast or affectation whatever. The
figure on the other side is likewise in profile,
and kneeling : which, while it gives an air of
formality to the picture, adds also to its gran
deur and simplicity. This must be acknow
ledged to be above Rubens ; that is, I fear he
would have renounced it, had it occurred to
him. Rubeas's manner is often too artificial

LIFE OF TITIAN. 79
and picturesque for the grand style. Titian
well knew that so much formality or regularity,
as to give the appearance of being above all the
tricks of art (which we call the picturesque)
is of itself grandeur. There is a calm dignity
in the composition of Titian, and an animation
and bustle in that of Rubens ; one is splendid,
the other grand and majestic These two pic
tures may be considered among the best works
of those great painters, and each characterizes
its .respective author. They may therefore be
properly opposed to each other, and compared
together. I confess I was so overpowered by
the brilliancy of that of Rubens, whilst I was
standing before it and under its fascinating in
fluence, that I thought I had never before seen
so great powers exerted in the art. It was not
till I was removed from its presence, that I
could acknowledge any inferiority in Rubens to
any other painter whatever.
" The composition of Titian is of that kind
which leaves the middle space void, and the
figures are ranged round it. In this space is
the white linen that covers the altar ; and it was
for the sake of this white linen, I apprehend,
that he made an altar instead of a pedestal, in
order to make the linen the principal light,
which is about the middle of the picture. The

80 Life of titian.
second light is the Virgin and Child, and the
heads of the figures. The principal light in the
lower part of Rubens's picture is the body of
St Sebastian : that of the upper is the light in
the sky. In this respect there is no apparent
superiority on either side. Of both these pic*
tures there are prints. That of Titian's is by
Le Fevre, and those of Rubens's are engraved
by SnyerS and Remoldus Eynhovedts : there
are parts of the Virgin and St Catherine, and
the lap of St Augustin,- which are unfinished."

LIFE OF TITIAN. 81

CHAPTER VII.
TITIAN PAINTS THE PORTRAIT OF CHARLES V.  TRICK
PLAYED HIM BY ALFONSO LOMBARDI  CHARACTER
AND HISTORY OF THIS ARTIST.— VASARI.
Charles the Fifth, Emperor of Germany, ac
companied by the Cardinal Hippolito de Medicis,
having come at this time to Bologna, Titian, by
means of his friend Aretin, caused himself to be
sent for to take the Emperor's portrait, of whom
he made an admirable picture. He is repre
sented in full armour : and hislmperial Majesty
was so much pleased with it, when finished, that
he not only gave him a commission to paint
several Other subjects for him, but sent him a
thousand crowns, as it is said ; but it was in
fact only five hundred, for he was ordered to
pay one half of it to Alfonso Lombardi, the
young sculptor, who had made a small figure
in wax of the Emperor, and had been required
by him to execute a larger one in marble.
This affair, I imagine, was not a slight vexa
tion to our artist, as it put him on a footing with
VOL. J. G

82 LIFE OF TITIAN.
one whom he considered vastly his inferior in
art, as was in truth .the case ; but what in
creased his mortification was, that he found he
had been in some degree outwitted by Lom-
bardi, in making this figure of the Emperor,
which he had done by stratagem, and thus
deprived Titian of the honour of being the only
artist who had that distinction to boast of, and
which had cost him some pains to accomplish,
while Lombardi gained his object without any
trouble at all .
The affair is thus related.
Alfonso Lombardi was at this time at Bologna.
He was well known to Titian, who had a great
friendship for him, both as a man and as an
ingenious sculptor. Alfonso had a great desire
to make a wax model of the Emperor : and as a
very small apparatus was necessary for this pur
pose, he could easily conceal it. So without
giving Titian the slightest hint of his intention,
he earnestly intreated the latter to be so gracious
as to permit him to be in the room at the time
his Majesty sat to him ; and he would be con
tented to pass and act as his servant, to help him
to his colours, &c. Titian being in a courteous
humour, and having a kindness for Alfonso, as
he was not a painter, readily consented to his
request ; and accordingly, the cunning Alfonso

vLIFE OF TITIAN. 83
: very humbly followed our artist to the Emperor's
apartment, and placed himself behind Titian's
chair, so as to see him at work but not to be
seen by him, as he was fully occupied by his
own task.
Alfonso having as good a view of the Emperor
as .Titian himself, now secretly took out of his
sleeve a little box in the form of a medal, and
began to make a portrait of his Majesty in clay
or wax ; and had just completed it when Titian,
having also finished his, was making his obei
sance. The Emperor rose from his seat, and
Alfonso was hastily shutting up his 'little box,
and putting it in his sleeve, when his Majesty
said to him — " Show me what you have been
doing." He then was obliged, though with fear
and humility, to deliver his work into the Em
peror's hands, who having attentively looked at
it, appeared highly delighted, and asked him —
" Can'st thou execute this in marble?" " May
it please your Sacred Majesty; yes!" replied
Alfonso. " Do it then," said the Emperor,
" and when it is finished, bring it to me at
Genoa." When Titian discovered this artful trick, I
will leave it to any one's imagination to conceive
his surprise, as he probably thought that Al
fonso did it in a kind of competition with himself.

84 LIFE OF TITIAN.
But whatever Titian's feeling on the occasion
might be, Alfonso was much encouraged by the
Emperor's praise, and applied himself to his
work with more diligence than ever ; and in the
end finished the head in marble, which was
considered by all who saw it as most excellent.
He accordingly carried it to the Emperor at
Genoa, when his Majesty generously gave him
three hundred crowns more.
Having introduced this friend of Titian to the
reader, it may not be improper to give some
short account of his singular character. Al- .
fonso of Ferrara was in his youth chiefly em
ployed in works of stucco and small medallions
in wax, in which he made an infinte number of
portraits from nature of the nobility and gentry
of his native place, several of which may yet
be seen, both in wax and plaster. They are
very faithful, and evince his ingenuity, taste;
and judgment, particularly those of Prince Do-
ria; Alfonso, Duke of Ferrara; Pope Clement
the Seventh; the Emperor Charles the Fifth;
the Cardinal Hippolito de Medicis ; Cardinal
Bembo ; Ariosto, and other eminent person
ages. He was held in high estimation, as
being the first who introduced that excellent
method of making portraits from the life in the
manner of medals. He was at Bologna at the

LIFE OF TITIAN. 85
coronation of Charles the Fifth in that city.
He was employed to ornament the gate of
St Petronius ; and there was nQt a nobleman of
that court that did not .employ ."him for some
thing or other, both to his profit and honour.
His ambition, however, was not satisfied by his
occupations in china, wax, or stucco ; his desire
was to work in marble. Though he gained
much by the former works, they appeared to
him of small importance. He therefore pro
cured employment at the convent of Saint
Michelle in Bosco, out of the city of Bologna,
to make the monument of Remuzotto, by which
he acquired very ' great fame and honour.
After this he was employed in the city to exe
cute several small histories in half-relief in
marble, for the arch of St Dominic, at the foot
of the altar. He also adorned the gate of St
Petronius, on the left hand as you -enter the
church, with several small marble tablets and
histories, of which one of the Resurrection is
particularly fine. But the work which the
Bolognese admired most, was the Death of the
Virgin, in round figures, made with a mixture
of stucco, and very durable. This work was
placed in an upper chamber of the Hospital
della Vita ; in this piece, among other excellent

86 LIFE OF TITIAN.
ces, is an unbelieving Jew, who fixes his hands
on the bier of the Madonna.
He also made of the same materials a grand
figure of Hercules, with the Hydra dead at his
feet. This statue was placed in the public
palace of the city, in the hall over the apart
ment of the Governor, and was done in compe
tition with Zachary da Volterra ; and it was
universally allowed that Alfonso's was by far the
most successful work. At the church of La
Madonna del Baricano, he made of the same
xind of stucco, two Angels supporting the Pavi
lion or Throne, in half- relief ; and in the church
of St Joseph, in the nave between the arches,
he has represented in clay the Twelve Apostles
(half-figures in circles) in alto-relievo. In the
same city, in the arch of the cieling of -La
Madonna del Popolo, he made in plaster four
figures larger than life in the same mixture of
stucco : namely, St Petronius, St Proculus,
St Francis, and St Dominic ; excellent figures,
and executed in a great style.
There are also many of his works in the
castle of Bologna, and some others in Cesena,
in the convent of the Friars of St John* It
has been a subject" of wonder why this able
sculptor should have worked so much in clay,

LIFE OF TITIAN. 87
&c. and so little in marble ; for we find few be
sides himself who have been inclined to trust
their fame to such perishable materials.
I: As he grew up, he was considered very hand
some, having a very fine-proportioned person!,
with a healthy and spirited countenance. This
^undoubtedly was the chief cause of his being
idle ; and accordingly he seemed to practise the
art as if more for his amusement or for a cer
tain vanity only, having no relish for the slow
and laborious process of cutting and chisel
ing marble : and (what is not very uncom
mon in the youthful period of life) he became a
very great fop, and attired himself most fan
tastically. He used to wear round his neck
and on his arms, as well as on different parts
of his dress, fine ornaments of gold, and ap
peared more like a gallant or high-born cour
tier, than a studious artist desirous of fame in
his profession ; and in truth when he was thus
decked out, he carried it very aukwardly ; for
his dress was more gaudy and extrayagant than
that of persons of quality ; so that, while he
put himself into competition with them, and
wished to be taken for a man of wealth and
consequence, instead of being admired and re
spected, he was laughed at and despised by all
men of sense, and became the jest of his asso-

88 LIFE OF TITIAN.
ciates. Alfonso, being thus enamoured of him
self, became abandoned to pleasure and to
pursuits little befitting a prudent and ingenious
artist; and at length, by these habits, lost all
the fame he had acquired.
He next took it into his head to fall in love,
and this with a noble lady. One night, being
at a wedding-ball in the palace of a Bolognese
Count, this young lady happened to be there
also ; and she by chance became his partner.
In the midst of the dance he turned towards
her ; and heaving a profound sigh, said, as he
looked in her face with what he thought ineffa
ble softness in his eyes, —
" S'amor, non e che dunque e quel ch'io sento ?"
"If it be not love that I feel, pray then what is it?"
The lady, to put a stop to his impertinence,
smiled and answered, —
" E' sera qualche pidocchio."
" Perhaps it is a 1 — se."
This answer being overheard by the com
pany, was soon talked of through all the city
of Bologna, and he became the jest of the
whole town. But had Alfonso given his mind
to his profession, instead of this wretched kind
of vanity, he would certainly have done won-

LIFE OF TITIAN. 89
ders. For if he produced such praiseworthy
works with so small a degree of attention, what
might he not have done, had his thoughts been
bent on the art alone !
Alfonso's likeness of Charles the Fifth,
though obtained by artifice, gained him great
credit, as well as the praise and patronage of the
Emperor ; insomuch that Hippolito de Medicis,
who had a prodigious number of sculptors, pain
ters, and other ingenious men in his train,
added Alfonso to the list, and took him with
him to Rome. There he made a most admira
ble copy of the head of Vitellius, which gained
him much fame in Rome, and confirmed the
high opinion already conceived of him by the
Cardinal. He was immediately commissioned
to execute a statue in marble, the size of life,
of Pope Clement VII, and afterwards one of
Juliano de Medicis, Hippolito's father. This
latter was never finished ; and was afterwards
sold at Rome to Vasari, who bought it with
several pictures at the desire of the Magnificent
Octavian de Medicis. It is at present in the
collection of the Grand-Duke of Tuscany.
When first bought, it was placed in the saloon
of the new palace, in which Vasari says he
himself had painted the history of Leo X. It
stands over the great door, and is made of the

90 LIFE OF TITIAN.
fed clay found near Florence. In the same
saloon there are heads of many others of the
illustrious house of Medicis. Alfonso was em
ployed by the Cardinal on a multitude of works
of sculpture ; but being things of small size,
they are now either lost or destroyed.
At the death of Clement VII, in 1534, whilst
Alfonso was at Rome, it was determined that
a tomb for Clement and another for Leo X,
should be made, and the business was entrusted
to the hands of Alfonso, by the kind offices of
the Cardinal Hippolito ; and since he had taken
a sketch of Michael Angelo, a model with
figures in wax, which was considered very ex
cellent, he was sent with money to Carrara to
purchase the marble for the work. But shortly
after, unfortunately for Alfonso, the Cardinal
Hippolito died at Itri on his way to Africa;
and the work was then taken out of his hands,
and he was dismissed by the Cardinal Sal
viati, the nephew of Leo, and the Cardinals
Redolfi, Pucci, Cibo and Gaddi, who were now
become the directors of the affair. By the
influence of Lucretia Salviati, the daughter of
the great Lorenzo de Medicis, and sister to
Leo X, the work was now given to Baccio
Bandinelli, a sculptor of Florence, he having
made a model in his life-time of Pope Cle-

LIFE OF TITIAN. 91
ment VII. These two monuments I have Seen
in the church of the Dominicans at Rome, called
Santa Maria sopra Minerva, and very tasteless
things they are. The loss of this important
work, so very unfairly taken out of his hands,
drove Alfonso almost to distraction ; he quitted
Rome, and returned to Bologna. Thence goirig
to Florence, he presented to the Duke Alexander
a most beautiful head in marble of Charles V,
which is now in Carrara, where it was sent by
Cardinal Cibo, who, after the death of Alex
ander, begged it of the Chamberlain of that
Prince. When Alfonso arrived at Florence, the Duke
wished him to make a bust of him. He had
already had his likeness taken by Domenicb de
Polo, who worked with a wheel in precious
stones, by Francesco de Gerolamo del Prato in
a medal, by Benvenuto Cellini for his coin for
the mint,* and in painting by Georgio Vasari
* In a letter from Bembo to Varchi, dated July 15, 1535, he
says, " I have received the impressions of the seven different coins
from the hand of Benvenuto, all as excellent as his other works."
The opinion of his contemporary Vasari, though he was by no
means on favourable terms with Cellini, is no less honourable to
him : — " When Benvenuto had the making of the coins in the
Roman mint, they were the most beautiful that had ever appeared
tliere. After the death of Clement, the reputation he had thus
acquired obtained him the same situation at Florence, where he

92 LIFE OF TITIAN.
of Arezzo, and by Giacomo da Pontormo. He
was very desirous that Alfonso should take his
bust ; because he had made one in relievo, that
was very fine, arid far better than those exe
cuted by the artists of Ferrara. He was to
do it in marble exactly from his model. At
his return to Bologna he was to be furnished
with every assistance he could require for the
purpose. Alfonso having received many presents and
much courtesy from the Duke, returned indeed
to Bologna ; but had received a blow from the
death of his patron Hippolito, which depressed
his spirits to such a degree, and he pined so much
for that and the disappointment of the great
work of the two monuments, that it brought
on a most pestiferous and incurable disorder,
that preyed upon and consumed him by slow
degrees, till at last it conducted him from this
life to a better. He died in the year 1536,
aged forty-nine, lamenting to the last moment
his unhappy destiny, that had taken from him
a patron, of whom he had just reason to expect
every thing that can make life happy; and
made such exquisite specimens, representing the head of the Duke
Alexander, that they are held in as high estimation as the ancient
medals; and I think very deservedly so, as in this effort he, ap
pears to have even surpassed himself."

LIFE OF TITIAN. 93
grieving that he had not died before so great a
misfortune had happened to him.
Among the heterogeneous crowd which com
posed the retinue and filled the palace of Hip
polito de Medicis, there was one who more
particularly claims our notice, as the well-
known friend of Titian, and also his biographer,
correspondent, and profound admirer. Georgio
Vasari was one of the most eminent artists and
versatile geniuses of the ,age, but too much
inclined to dictate to his companions, for which
he frequently came under their lash. Defi
cient in that purity and delicacy requisite in a
fine colourist, his pictures are rather distin
guished for facility and freedom of design, ac
quired in the schools of Michael Angelo and
Andrea del Sarto, than for grace and softness.
He was a complete master of architecture and
ornamental design. But however excellent in
these branches, his reputation was raised still
higher by his great work on the fine arts and
biography of the most celebrated artists of Italy ;
a history to which the talents of his most dis
tinguished contemporaries also contributed, and
which was thus rendered one of the most au
thentic, elegant, and delightful productions in
the Italian language. He is accused of partia-

94 LIFE OF TITIAN.
lity to the Florentines ; but in a work abourid:
ing in such general interest, we can almost
pardon that.
His letters to his friends have equal merit
with the more laboured works by which he
acquired his fame ; and. as in these letters he
gives an ample account of the arts in Florence,
which cannot so well be explained to the reader
by any other means, I shall have recourse to a
literal translation of several of them from the
original Italian.

LIFE OF TITIAN. 95

CHAPTER VIII.
PART OF THE CORRESPONDENCE OF GEORGIO VASARI
WITH HIS FRIENDS, SHOWING THE STATE OF THE ARTS
AND ARTISTS AT FLORENCE, AND THE PATRONAGE
: AFFORDED THEM BY HIPPOLITO AND ALEXANDER DE
MEDICIS, INCLUDING THE HISTORY OF VASARI.
I shall now quit Titian for a short time. As
to the arts in general, they have been so often
and so copiously dwelt upon, that I shall con
tent myself with giving as much as I am able
that is new, from these authentic letters, which
are unknown in this country. In them may be
seen the character of Vasari ; his simplicity, his
gratitude, his enthusiasm, his sorrows, his joys,
described with sincerity and truth, displaying
most distinctly the character of a good man de
voted to the arts. If not a genius himself, he
was an admirer of genius in others. The first
letter I have of Vasari is addressed to Nicolo
Vespucci, who had been his great patron and
friend.

96 LIFE OF TITIAN.
" TO NICOLO VESPUCCI, KNIGHT OF RHODES.
" I know not in what words to express my
gratitude to you, my dear Knight, a~s it is by
your means I am returned to that state which
I enjoyed four years ago, when I was in your
house and under your patronage. For my good
father Antonio, of happy memory, could do but
little for me; although he spent the greatest
part of what he got to support me in Florence,
where he sent me when a child, supposing I
had as much judgment as a man grown : think
ing that I should consider his burden of a
family of three girls, all younger than myself,
and two sons, all of whom he had to maintain
without the means ; and added to this, that
while he lived, my mother at every nine months
brought him a child, still increasing his poverty.
You know, Sir, too, that in the year 1527, in the
month of August, the calamity of the plague
took him from us, which reduced me to the
low state you remember when I was obliged
to quit the city and retire into the country,
where I made pictures of saints for country-
churches and private persons. I often wept
when I reflected on the loss of the advantages
that I enjoyed while he lived, when compared
to the inconvenience I suffered after his death,'

LIFE OF TITIAN. 97
till I returned to Rome, and was taken into the
service of the great Hippolito de Medicis. I
then found the same comfort as I had expe
rienced before in your house at Florence, in
my infancy, when patronised by you and the
Duke Alexander, the Cardinal's brother, and
the most reverend the Bishop of Cortona, at a
period when my childish innocence domesti
cated me, and made me an interesting object
(through your means) for their favour and sup
port. And what still adds to this is, that I find
this great Lord not only affords encouragement
to me, who am but a shadow, but to all inge
nious men in every science and department of
knowledge. How much then, after God, am
I indebted to you, my honoured Sir, who in
troduced and recommended me to this great
Cardinal ! It is through you that my poor
family, so lately in the shade, has been brought
into light, and by such patronage I may in
time perhaps become rich. And if God grants
a continuance of my health and the happiness
of remaining in the good graces of yourself and
my Lord Cardinal, I trust that my desire and
my diligence will not abate, not only to recover
my lost time, but that my improvement in my
profession may be such that all the trouble you
VOL. I. H

98 LIFE OF TITIAN.
have taken on my account may not be thrown
away. " I do not know how to express in words the
abundant favours that are done me, nor the
infinite kindnesses that I constantly receive.
And this is so encouraging, that I am ready to
fly in the air, thinking I may at last be among
the number of those who by the excellence of
their works have gained offices in the Piombare*
of the Pope or other honourable premiums
given to artists. Certainly my spirits are quite
revived, seeing that the time will soon pass, in
which there was no one to provide a mainte
nance or portion for my three sisters, and that
by my studies I may in time become useful
and honourable. I return you many thanks
for your good advice, in saying I should remem
ber to be modest, amiable, and kind to every
one, and not fantastic or brutal, as too many of
our class, are. I am very sensible that the
greatest ornaments are virtue, affability, and a
noble ingenuousness. I am at this time em
ployed on a canvas with my colours, to execute
* The office of the Piombare is to put the seal of lead to the
Pope's bulls, a place of so much profit, that it has been given to
several celebrated professors as a recompense; for instance, to
Bramante, Bastiano Veneziano, Guglielmo della Porta, &c.

LIFE OF TITIAN. 99
a picture for my Lord Cardinal from a large
sketch I have made. It represents a naked
Venus, seated, attended by the Graces ; one of
whom on her knees is holding a mirror, another
is lightly binding up her tresses with a string of
pearls and coral to set off her beauty ; the third
is pouring the purest water out of a vase of
emeralds into a shell of mother-of-pearl, filled
with odoriferous herbs, to make a bath. Cupid
is lying asleep on the robe of Venus, with his
bow and quiver by his side. Around them are
little Loves scattering roses and other flowers
plentifully on the ground. Behind is a rocky
country ; and from apertures in the rocks issue
streams of water, at which doves and swans are
drinking. Between the branches of the trees is
seen a Satyr slily contemplating the beauty of
Venus and the Graces : he is so enamoured at
the sight, that his eyes look like madness, and
as one totally possessed. In short, his expres
sion was what delighted the Cardinal and Pope
Clement so much that when I have finished
this, I am to paint a picture for them on a
much larger scale, of a battle of Satyrs, Bac
chanals, Fauns, and other rural deities. In
deed, my dear sir, as I said before, I am ready
to fly into the air with joy, and I wish I could
thank you enough for my good fortune. It is

100 LIFE OF TITIAN.
scarcely more than two months sirice I came
here ; and I am accommodated with a hand
some apartment and a bed-room, with a servant
to wait on rrie. The Cardinal has also given
me a new suit of clothes. Every time I go Out
to make any drawings, from the antiquities or
pictures in Rome, on my return I show them
to my Lord, who receives them with pleasure,
as the dessert after his meals, both morning
and evening.
" My protectors, are Signor Jovio, Signor
ClaudioTolomeo, and Casario, who express their
favour and friendship to me as if I were their
child, by frequent advice and admonition to
make me good and noble. I have thus written
the whole of my affairs to you, that you may
be easy on my account ; and to say that what
I can save, except those necessaries that I must
have, I shall give to my family. Nor shall I
ever forget that I was bred up in your house,
and ever honour you, as is my duty and your
just merit ; nor will it be ever possible for me
to forget your kindness. Christ preserve you
in health. " Georgio Vasari.
" Rome, February 8th, 15—."

LIFE OF TITIAN. 1Q1
" TO THE LORD DUKE ALEXANDER DE
MEDICIS.
" The high commendation which your most
illustrious Lordship has been pleased to bestow
on the picture of the dead Christ I have painted
for the Cardinal, will render it of much more
estimation to his most reverend Lordship when
he hears of it. It now occupies a place in his
chamber, that he may have it near him ; and
he is graciously pleased to think well of it, and
my work is held in as much respect by him as
it was by yourself, and even riiore.
" When I return to Rome and have farther
improved myself, I shall not fail to do some
thing for your Lordship. And if it be agreeable
to your Excellency that I should make a pic
ture in which shall be the portrait of the Mag
nificent Lorenzo the elder,* in the very clothes
he used to wear in-doors, I will look out for
the portrait that is thought to be most like him
in countenance, and take mine from it. The
rest of the picture I have intended to, be com
posed of my own invention, if it so please your
Excellency ; not but that your Lordship must
be much better acquainted with the actions
* Lorenzo, surnamed the Magnificent, father of Leo the Tenth. ,

102 LIFE OF TITIAN.
and manners of this most rare and exemplary
citizen than I can be. It is my design in this
portrait to introduce every ornament significant
of the great qualities that made him illustrious
in life, and show that all his honours were
solely of his own acquirement.
" I shall represent him sitting, habited in a
long gown of purple, lined with fur of white
wolves. In his right hand he holds a hand
kerchief, from which hang the strings of a very
large red velvet bag or purse of an antique form,
which is under it. The hand rests on the base
of a pilaster made to imitate marble, which
supports an antique of porphyry, and on the
pilaster is the head of Falsehood, biting her
tongue at being discovered when touched by
the magnificent Lorenzo. At the base of the
pilaster, I shall insert this inscription :
' Sicut majores mihi, ita et ego post mea virtute praeluxi.'
Above this I have made a mask of a most
brutish and ugly visage, which is pressed down
by the weight of a transparent and beautiful
vase filled with roses and violets, with these
words written on it, Virtus omnium vas. To
this vase there is a spout which pours water in
divers directions ; one of these streams enters
the mouth of a mask most beautiful in form,

LIFE OF TITIAN. 103
and highly polished and crowned with laurel.
On this mask are the words, Prcemium virtutis.
On the other side is another porphyry vase,
representing an antique lamp, which has feet
of a fantastic shape. The top is a mask of a
grotesque countenance; and the oil from the
spout of the lamp descends into the mouth of a
mask, the tongue of which, serving like a sheet
of paper, supplies the flame. This is to express
or imply his singular excellence in govern
ment; not only his eloquence, but that in
every way he was great and judicious, and
made his descendants illustrious, and the city
prosperous. " If this my design should be satisfactory to
your Excellency, please to send your commands
to me at Poggio. However deficient my poor
abilities may be, yet in this I have done my
best, and entreat your Excellency's mildest
judgment on it. I have desired Signor Octa-
vian de Medicis, by whom I have sent this, to
make my excuses to your Lordship : and can
only say, my most illustrious Lord, that what
ever I do for your Excellency will be always
done with my whole heart. " Georgio Vasari.
" Florence, Jan. 1531.",,

104 LIFE OF TITIAN:
. Paulo Jovio, to whom the next letter is ad
dressed^ was one of the literary circle of Leo
the Tenth. He was originally a physician. It
is said that he obtained his selfish ends by
crooked means ; and he found his reward in
several valuable situations in the church, parti
cularly the sinecure bishopric of Nocera, in
the kingdom of Naples. After the death of
Leo, he lived in a magnificent palace which he
built on the ruins of Pliny's villa, near the Lago
di Como. He consumed his wealth in sensual
luxury, as well as in the liberal arts ; and was
not anxious to revive the primitive decorum of
the episcopal character. His General History
of the World, from the year 1494 to 1547 is his
most celebrated work. The elegance of. the
narrative has been much admired ; but the
author can never be implicitly relied upon ; for
he was deficient in literary honesty. He was
not a faithful chronicler. His own confessions,
however, have prevented his readers from being
deceived, and at the same time make a lament
able exposure of many public characters. He
avows that he had two pens, one of gold, the
other of iron. He promised an ancient gene
alogy and immortal glory to such as could pay
him well for his labours; and he defamed all

LIFE OF TITIAN., 105
those who would not purchase his flatteries.
He offered his pen to Don John the Third,
King of Portugal ; and because that prince
would not accept his services, he made no
mention of a victory which gave consequence
and renown to the Portuguese. If he had been
well paid to write the history of Portugal, he
would have inserted imaginary conquests, in
stead of suppressing the real one.
The Emperor Charles the Fifth, Francis the
First, many of the Medici princes, and the
Dukes of Ferrara, Mantua, Milan, and Urbino
paid for the eulogiums of this literary profligate.
There is a pleasant story told of Jovio and Pope
Adrian VI. His Holiness took, from the histo
rian the pension and title which Leo X had
given him, but appointed him, in lieu, to the
canonry of the cathedral of Como, upon the
express condition that Jovio should celebrate
him in his history. The meed of praise was
profusely poured forth. But in another work
(De Romanis Piscibus) published a year after
Adrian's death, Jovio speaks of that prelate in
terms of sovereign contempt, exhibiting him as
a man perfectly stupid and incapable of busi
ness. There was a private reason for giving
this unqualified censure. The vanity of our
author had been reproved by the Pope. The

106 LIFE OF TITIAN.
historian entertained an unfortunate idea of his
being a great poet. His Holiness held no con
verse with the Muses, and was no friend to
those who did. When he gave Jovio his bene
fice, he told him he did so because he (Jovio)
was a learned man, an elegant writer, and no
poet. " TO THE MOST REVEREND BISHOP JOVIO.
" MY REVEREND LORD,
" I seem lost to myself by the absence
of my Lord Cardinal and those many noble per
sons, that were my masters and my guides to
every good. I was nourished by their presence
and improved by their experience, by which I
might have been enabled to acquire great skill
in the art of design. But now, through my sor
row, I am weakened and have lost all my spirits.
I no longer feel that ardour and fondness for my
work which I had at first. The cause perhaps
is that I have no one now, as formerly, to whom
I cart show my performance ; there is no one
now to raise my spirits by commendation or to
facilitate my advancement by advice like my
most Reverend Monsignor : therefore, I daily
have less and less wish to do anything. Yet
this aversion which might hinder my progress

LIFE OF TITIAN. 107
to fame as a painter, my sense and the force of
my mind rebel against. I am also reduced to a
most infirm state of health by the attack of a
violent fever, which, I believe, was caused by
my over-working myself the last winter. In
this most forlorn state I lay, when Canigiano
called in Master Paul Ebreo, a physician ; and
when I saw that Batista del Borgo, my servant,
had taken the infection, I held myself as dead,
not thinking more or less than that I should
render up my spirit to him who gave it.
" But when, by way of comfort, my friends
proposed sending me and Batista in a litter to
Arezzo, I instantly recovered my health at the
sound of the words ; and accordingly every
thing proper was prepared to convey me safely
and commodiously to my family there ; fully
confiding in the good management and affection
of my mother. However, soon after my arrival
at Arezzo, owing to the ignorance of those about
me, who did not understand my disorder, I had
two relapses, which reduced me so low, that
the smallest accident would have finished me.
I often thought of you, my Lord ; for had you
been at Rome, when this happened to me, I
should never have left it till I died, still com
forting myself, that under the shade of the Car
dinal, although I was not yet come to perfec-

108 LIFE OF TITIAN.
tion, nor had achieved the end of our art, I
should have died gloriously by having studied
under his patronage. Thus would have perished
that fame I might have acquired by time and
diligence, if I had still enjoyed life. I beheld
with great concern the situation of my mother,
left a widow with very little from her husband,
and so ill- prepared for the loss of a son, the chief
hope of the family, with three little girls and
one boy, only three years, of age, without any
prospect of receiving assistance from any one
else. I deplored her state so much, and the
love I bore her made me so miserable, that I
thought it must certainly have killed me. See
ing the nourishment she had to subsist on was
little more than bitter tears, it went near to kill
me with grief, even more than the continual
fever which never left me a moment. I cannot
but think that the Almighty turning his eyes on
the purity of the three little girls, on the inno
cence of the boy, and the affliction of my mo
ther, took compassion on my distraction, and the ,
destitute condition of my family, caused by the
loss of my father and the brother next to me,
who in the year 1530, caught the plague from
the army, at that time near Florence, and died, .
consigning the remainder of the family to misery.
I: think my fever abates, and that by small

LIFE OF TITIAN. 109
degrees I am improving ; but at present it is
turned to ague. Yet by recovering my spirits,
and returning to my former residence, I am
in hopes of regaining my health entirely; for
I think that change of air will, by the blessing
of God, restore me to that good state of health
I enjoyed before this illness attacked me.
" My having been so long confined to my
chamber has occasioned some people to write
to the Cardinal that I was dead ; but when you
read this letter, you will be inclined to think
me alive ; and more thari that, I have made a
design on paper, which accompanies this letter,
and which I offer to your most reverend Lord
ship rather as a mark of my respect than any
thing else. This capriccio is the invention of a
gentleman, a friend of mine, who has supported
me through all rny illness. I hope you will
like it ; but that your Lordship and the Cardi*
nal may the better comprehend its meaning, I
have here given a description of it in as few
words as I could.
"The tree in the middle is the tree of For
tune, which has its roots not all above the earth,
nor all under it : an*d the branches are entangled
with each other, and wherever they are clear
of this .entanglement, they are full of a multitude
<if knots, which bear a sort of fruit of those

110 LIFE OF TITIAN.
f
honours and titles which fall to the lot of
mankind, though sometimes iriterrupted. The
leaves are round and light, to express volubility.
The fruits are tiaras of popes, imperial and royal '
crowns, cardinal's hats, bishop's mitres, coro
nets of dukes, marquesses, and earls, tonsures
of priests, friar's hoods, nun's veils and coifs,
helmets and other secular dresses, as well for
males as females. Under the shadow of this
tree, are wolves, serpents, bears, asses, bulls,
sheep, foxes, mules, hogs, cats, owls, goats,
parrots, magpies, cuckows, bull-finches, water-
wagtails, jays, snails, black-birds, grasshoppers,
crickets, butterflies, and a swarm of other
creatures. All these are in expectation of the
gifts of fortune, who, with her eyes bandaged,
is at the top of the tree, and with a pole
batters down the fruit on the heads of the
animals assembled under it. Thus the sove
reign crown falls to the share of a wolf, who,
consistently with the qualities given him by
nature, drives his subjects to distraction, and
devours his kingdom. The same of the ser
pent, who oppresses all that are under him, and
poisons every good : or if the kingly crown falls
on the bear, he acts according to his nature,
with tyranny, ill-humour, and madness. The
cap of the cardinal descends on the head of an

LIFE OF TITIAN. 1 1 1
ass ; such as pay no regard to virtue of any sort
in any one ; but live in a state of ignorance,
feeding like animals, and often doing, injury
to others, like the M  ¦ of B  , who
shows more favour to slaves and parasites than
to men of real merit. The coronet of a duke,
a marquess, or an earl falls on the head of a
fox, a tiger, or a lion. The cap of the priest
lights on the head of a goat or a mule; the
one begets young ones to supply the place of
the husband, and the other gormandizes and
spends his time in sloth and folly. It also
falls on the hog, who wallows in filth ; such
priests we know, who practice every sort of
dishonesty and vice.
"The nun's veil falls on the head of "a cat;
for we often see it happen that the government
of a convent of nuns is in the hands of a woman
with very shallow brains. The helmet of the
soldier falls on the head of a wood-pecker, a
cuckoo, or a parrot. The hat of a commoner
falls on the sheep, the owl, the bullfinch, or
the falcon. The female head-dress falls on the
water-wagtail, the grasshopper, the cricket, or
the butterfly. Thus all are invested with dis
tinction, according as chance directs, and the
fruit that drops from the tree, determines the
fate of those on whom it falls. I have exhibited

112 LIFE OF TITIAN.
the capriccio of my friend to your Lordship by
the means of my drawing, which I have sent,
notwithstanding the subject is rather* satirical
and profane ; but I thought it so ingenious, as
to be worth your notice, and that it might divert
the Cardinal a little. In the meantime, I attend
to the recovery of my health.
" Pray inform my Lord Cardinal that I have
sent his letter to the Lord Duke Alexander,
who, in return, has given me to understand that
I am to go to Florence. But I shall remain
here till the end of September ; and in the be
ginning of October I shall obey his commands.
From that city you shall be informed of my
daily proceedings. Pray remember me to all
my friends in your academy ; and on my part
kiss the hand of the cardinal. " Georgio Vasari.
"Arezzo, 4th September, 1531." ;
I have preserved the foregoing letter as a
curious and instructive specimen of activity of
mind, the simplicity and pains-taking spirit
of this early period; and to shew that when
ingenious men bestowed such labour and
attention on the merest trifles, we need not
wonder they were able to excel in the greatest
things.

LIFE OF TITIAN. 113

"TO THE MOST ILLUSTRIOUS THE CARDINAL
HIPPOLITO DE MEDICIS.
" A few days after my arrival in Florence,
I was enabled, through the gracious reception I
met with from the Duke, to recommence my
studies in design ; and riot only am I now free
from the misery of the ague, but by the air of
this place I am entirely restored, and feel
myself as young and strong as ever. You, my
Lord, are going to BolOgna to the court. But
I hope (if it please God) that at your return to
Rome I shall be under your protection, as I
was before you left it. Not that I am in want
of any thing here, but I hope to increase in
knowledge, as I increase in years ; and that,
assisted by your Lordship's munificence, I may
arrive at the highest degree of skill that I can
possibly attain.
" Not to deviate from the ordinary course of
study of those who practise drawing and
colouring together, I have made a sketch from
which I intend to paint a large picture for the
chamber of your most reverend Lordship. In
this I have represented Our Lord Jesus Christ
after Joseph of Arimathea has taken his- body
from the cross to bear it to the sepulchre. I
VOL. I. I

1 14 LIFE OF TITIAN,
endeavour to give the reverence and respect
with which the aged Joseph sustains the weight,,
One of the figures has hold of the body under
the arm ; the back of Christ rests on his breast,
moving on sideways. Another with both arms
holds round the waist as he walks on; while
St John, having thrown down his garment,
supports the body with one hand at the knees,
and with the other at the legs. As he proceeds
to the sepulchre, he contemplates with sorrovtf
the dead body of his Saviour, accompanied
by Mary Magdalen, St James, and Salome,
weeping and comforting Our Lady, who is iri
a dark dress, and her eyes streaming, ex
pressive of her grief for the loss of her son.
" In the back-ground are several heads of
young and old, which give a richness to the
composition. In the distance I have shown
the two thieves with the wounds they have
received when on the cross. The people are
taking down their bodies to bury them. One
person takes the legs on his shoulders ; another
twists one of the arms round his neck, carrying
the weight negligently and rudely. I intend
to colour it with the utmost of my power arid
ability. I have indeed good reason to do so,
in return for the attention your most reverend
Lordship pays me; and not to refrain from

LIFE OF TITIAN. 115
following every sort of study, with a hope that
the bread which you grant me for my sup
port may enable me to do credit to your most
reverend Lordship's patronage and that of your
most illustrious house, which ever befriends
and assists the poor and ingenious, as I know
in my own particular case. I pray then, that
by the grace of God, I may be able to produce
fruit equal to your wishes, and to satisfy the
wants of my poor family. With my whole
heart I pay my humble reverence, as is my
duty. " Georgio Vasari.
" Florence, December 1531."

116 LIFE OF TITIAN.

CHAPTER IX.
TITIAN'S PORTRAIT OF HIPPOLITO DE MEDICIS. — SOME
ACCOUNT OF THE LIFE OF THAT PRINCE.  REFLEC
TIONS ON PATRONAGE.
Pope Clement* set out for Bologna to have
an interview with the Emperor Charles V, in
the year 1529, for the purpose of crowning
him. In 1530 the Emperor again paid a visit
to that city ; he was then on his return from
Hungary with his army ; and by appointment,
he there met Pope Clement, at which time the
ceremony of his coronation was performed by
the hands of that pontiff.
In the midst of all this magnificence, Titian
was not forgotten- Charles sent for him ; and
on his arrival sat to him for his portrait a
* Clement VII, called Julio, a natural son of Juliano de
Medicis, brother of Lorenzo, who was assassinated in the con
spiracy of the Pazzi, in 1478. He succeeded Lorenzo, a son of
the unfortunate Pietro, in the government of the republic in
1519 ; and in 1523 was elected Pope, by the name of Clement VII.
He died in 1534.

LIFE OF TITIAN; 1 1 7
second time. It was at this time, also, that
the artist took the portrait of the Cardinal
Hippolito de Medicis, in his Hungarian dress
of crimson velvet over a coat of mail, with a
cap and feathers on his head. In one hand he
holds a mace, and in the other a sword. He
likewise painted a smaller portrait of the Car
dinal, in full armour : both which are preserved
in the Duke of Florence's collection.
As Hippolito was at this time a personage
of the first degree of consequence, being the
chief favourite of his kinsman the Pope, and
endowed by him with vast revenues, and being
a friend to men of merit in every branch, of
the fine arts, and a most eminent and liberal
encourager and patron of them all, through the
whole period of his short life ; I therefore
conclude that some record of him is indis-
pensibly necessary when giving an account of
the arts in the country in which he flourished.
Though fond of literature and painting, he
was still more fond of the profession and
reputation of a soldier, which is the reason why
the portraits of this churchman, by Titian, are
always drawn in armour like those of a military
hero. Hippolito was the natural son of Juliano
de Medicis, Duke of Nemours, the youngest

118 LIFE OF TITIAN.
brother of Leo X. He was born, April 19,
1511, (before the marriage of his father with
Filiberta of Savoy) but his mother's name is
not known. She was a lady of Urbino. She is
said to have intended to destroy him ; but his
life was preserved by those who had been
charged to murder him. Hippolito, like the
rest of his family, acquired a considerable share
of reputation in the limits of a short life. As
he was acknowledged by his father, though
illegitimate, he was educated with the utmost
tenderness and care under the eye of Pope
Leo X and Clement VII. He gave early
indications of an uncommon vivacity and judg
ment. His manners were extremely graceful ;
his person was pleasing, except that his legs
were not perfectly straight, and he was accom
plished in every manly and elegant exercise.
He possessed all the qualities of a prince, but
by no means those of an ecclesiastic. Alex
ander de Medicis was also the natural son of
the Duke of Nemours, or at least passed as
such; but was more generally thought to be
the sori of Clement VII, as that pontiff showed
him the most parental attention and: partiality,
and on the first opportunity made him Duke, of
Florence. This preference , of the Pope greatly
exasperated Hippolito, against the J)uke; and

LIFE OF TITIAN. 119
his mortified ambition discovered itself upon
every occasion. Clement saw this with great
uneasiness ; and to preclude Hippolito from
harbouring any crirninal designs against Alex
ander, he obliged the former, much against his
will, to quit the profession of arms and enter
the church, when he made him Archbishop of
Avignon. He also created him a Cardinal
(January 10, 1529) when Hippolito was only
eighteen. Notwithstanding this promotion, his
inclinations were still more bent on war and
poetry, than on prayer and divinity. He was
oftener to be seen in a soldier's than a Cardi
nal's habit, and would frequently scour the
streets at night with the wild gallants of Rome^
He was, however, very liberal and hospitable
to strangers.
I should here observe, that on the failure
of the legitimate branch of Cosmo de Medicis,
(usually styled the father of his country) by
the death of Lorenzo the Magnificent, Alex
ander and Hippolito became necessary instru
ments in the hands of Clement VII, to prevent
the credit and authority of the family from
passing to the collateral branches derived from
Lorenzo, the .brother of Cosmo, which had
gradually risen to great distinction in the state ;
and its representatives, at the time I am

120 LIFE OF TITIAN.
speaking of, were two brothers, Giovanni and
Lorenzo. The talents and accomplishments of
the latter recommended him to Clement VII,
under whose countenance he resided for some
time at the Court of Rome ; but an extravagant
adventure deprived him of the favour of the
Pope, and compelled him to quit the city.
It appeared one morning, that during the
preceding night the statues in the arch of Con-
stantine, and in other parts of the city, had
been broken and defaced ; a circumstance
that so enraged the Pope, that he issued
positive orders that whoever had committed
the outrage, unless it should prove to be the
Cardinal Hippolito de Medicis, should be
immediately hanged. This exception indeed
strongly implied that the Cardinal was not
free from suspicion ; but whoever was the
delinquent, Lorenzo bore the whole odium of
the affair ; so that it required: all the influence
that Hippolito possessed with the Pope ; to
rescue his kinsman from the denunciations
issued against the offender. It is said that
the heads of the statues thus defaced and
carried off, are yet extant in the museum at
Florence. Lorenzo gladly took :the earliest
opportunity' of quitting Rome, and returned to
his native place, where he soon engaged in a

LIFE OF TITIAN, 121
scheme of a much more atrocious nature, the
assassination of Alexander de Medicis, his
sovereign and kinsman, whom the Pope had
made Duke of Florence, and had strengthened
his power by a marriage with Margaret of
Austria, a natural daughter of Charles the Fifth.
The Pope at the same time sent Hippolito as
apostolic legate into Germany to the court of
Charles, who was probably requested to watch
him and prevent his return without leave.
Some time afterwards, the Emperor set out
for Italy; and the young Cardinal, who, as
I have before observed, was more devoted to
arms than to his present profession, and gene
rally appeared in the accoutrements of war,
out of a youthful vanity went thus attired with
several other persons of consequence before the
Emperor, whose suspicions were always awake,
and who concluding that some treachery was
designed, ordered Hippolito to be arrested.
This juvenile folly being explained, he obtained
his freedom, and was suffered to withdraw into
the dominions of the Church. He next raised
an army of eight or ten thousand Hungarians,
or as some say, Italians, with which he contri
buted to the driving the Turks out of Istria,
and acted in such a steady and prudent man
ner, that to him was given the care of protect-

122 LIFE OF TITIAN.
ing the coasts of the Holy See, then invaded
by Barbarossa, whose depredations caused uni
versal alarm, as there were not more than two
hundred Papal guards to defend the country
from the fury of that ferocious infidel. Bar
barossa, however, did not wait for Hippolito's
arrival, so that he returned to Florence without
having had occasion to risk his own person or
the troops under his command.
Hippolito, who was now a Cardinal and an
eminently wealthy man by the favour of Cle
ment, became at once the patron, the compa
nion, and the rival of all the poets, the musi
cians, and the wits of his time. Without
territories or subjects, he maintained at Bo
logna a court far more splendid than that of
any Italian potentate. His associates and at
tendants, all of whom could boast of some
peculiar merit or distinction which had entitled
them to his notice, generally formed a body of
about three , hundred persons, amongst whom
were many eminent military men. Shocked at
his profusion, which only the revenues of the
Church were competent to supply, Clement VII
is said to have enjoined the maestro di casa of
Hippolito to remonstrate with him on his con
duct, and to request him to dismiss some of his
followers, as unnecessary to him. " No," said

LIFE OF TITIAN. 123
Hippolito, " I do not retain them in my court
because they are necessary to me, but because
I am so to them."
His uncle Clement dying, the conclave sat to
elect a successor to the papal throne, at which
Hippolito assisted, and was the chief means of
making Alexander Farnese Pope, who took the
title -of Paul the Third. But the Cardinal soon
repented of his good, offices when hefound him
self defrauded of the Legation of the Marches of
Ancona, which Alexander had promised him in
case he succeeded to St Peter's, chair. Hippolito
now openly avowed his resentment, left Rome,
and returned to Florence.
Clement had had great difficulty in bringing
about a seeming reconciliation between the Car
dinal and;Duke Alexander; but even this was only
in compliment to their uncle, and neither intended
to keep up appearances longer than an occasion
offered for ruining the other. Hippolito envied
and hated Alexander, who equally detested and
feared the Cardinal. He knew his sacerdotal
rank might be laid down, and that Hippolito
wished for nothing more than an opportunity to
doit. His inclination, he knew, led him to a
married life ; for it was with great concern that
Hippolito had been prevailed upon to give up
the alliance with Isabella, the heiress of Vespa-

124 LIFE OF TITIAN.
siano Colonna, who had bequeathed her to him.
Every passion of the soul was wounded, in Hip-
polito's apprehension, by Alexander's elevation ;
and the Duke thought every thing in danger so
long as the Cardinal lived. Each therefore re
solved to destroy his rival. Clement's authority
alone prevented their resorting to violent means.
The death of that Pontiff left them to act as
they chose, and they immediately set to work
to accomplish their wishes.
Hippolito had before attempted to seize upon
the Government, but was disappointed ; and he
now, disgusted with his ecclesiastical trappings,
which ill suited the rapidity of his motions and
the Vivacity of his character, conspired with
Filippo Strozzi (who had married Clarice, the
sister of Lorenzo, duke of Urbino) to deprive
Alexander, of his new, dignity. Lorenzino de
Medicis was intimately connected with the
Strozzi; two of his sisters' haying married into
that family, one to Pietro, and the other to
Roberto, the brothers of Leone Strozzi.
Alexander was surrounded by his guards.
Hippolito had in his palace a multitude of men
of all nations : for he afforded protection to all
who asked it. - He was sometimes addressed by
them in twenty different languages. Among
the motley crowd were individuals of the most

LIFE OF TITIAN. 125
flagitious characters ; men who would not scru
ple at perpetrating any crime, howsoever odious
and detestable.
With some of these he laid a plan for de
stroying the Duke, by means of a machine filled
with gunpowder, similar to that made use of by
the royalists in France to kill Napoleon, which
was called the Infernal Machine. The Cardinal
firmly hoped that on the Duke's death he should
become sovereign of Florence, by the help of a
disaffected mob or rather banditti in that city.
But the design being discovered by the Duke,
he immediately communicated it to the Pope,
who had his eye on the great benefices pos
sessed by the Cardinal Hippolito, which would
be so convenient for his nephews, or (rather as
I should say) his sons. Though he was loth to
touch the Cardinal lest he should appear rapa
cious, yet he could not pass over this conspiracy
without notice. He caused Octavian Zonza, a
servant of Hippolito's, to be seized, a man of bad
character, and a participator in his secret councils.
Hippolito finding that the plot was detected,
before any attempt had been made, overwhelmed
with shame and a guilty conscience, fled frbrri
Rome to a castle near Tivoli ; but not conceiving
himself safe there, and knowing the impossibility
of being reconciled to or forgiven by the exas-

126 LIFE OF TITIAN.
perated Alexander, he set out for Naples, or, as
some say, with intent to accompany Charles V
to Tunis, when he was suddenly taken ill at
Itri, on the Appian way, between Gaeta and
Fondi. Here he was rendered unable to pro-1
ceed by the violence of his disorder, occasioned
-either by agitation of mind, the badness of the
air in that part of the country, or, as is most
generally believed, by poison ; which proved
fatal at the end of five days. He died on the
14th August, 1535, in the twenty-fourth year of
his age, leaving his competitor in the undis
turbed possession of his newly-acquired, power.
His body was brought to Rome, and buried
in the church of St Lorenzo. His death was a
source of grief to his needy dependants, but
highly pleasing to his enemies, arid particularly
so to Paul the Third, who imihediately enriched
his sons with his wealth ; and especially Alex
ander Farnese, to whom he gave the high office
of vice-chancellor, and the monastery of Tre
Fontane, both which had been possessed by
Hippolito. Thus died in early life the illus
trious Cardinal de Medicis. To the character of
this extraordinary man, I may add that he di
vided his time between the theatre* hunt
ing, poetry, and music. He was a person of
eminent abilities, "and had riiade considerable

LIFE OF TITIAN. 127
proficiency in several of the "arts. His transla
tion of the second book of the iEneid into Tus
can blank verse is considered as Jorie of the
happiest efforts of the language, and has been
frequently reprinted. Amongst the collections
of Italian poetry, may be found some pieces of
his, which are very creditable to him. He de
tested his clerical functions ; and he never put
on his cardinal's robes, unless when any public
ceremony particularly demanded it.
He left one natural son, Asdrubal, who be
came a knight of Malta, arid died in that island,
in 1565.
There is little doubt that Hippolito died by
poison. It is said to have been administered to
him by Giovanni Andrea di Borgo San Sepulcro,
his steward or bailiff, who was instigated to it
by Alexander. This Suspicion was confirmed
by his escaping punishment when he had conr
fessed his giiilt, and by his being afterwards
received at the court of Alexander.
In contemplating the character or rathe/ the
conduct of Hippolito, I cannot omit the oppor
tunity of making a few observations relative to
patronage, its direction, and influence iri respect
to science and the fine arts. Good and evil,
like the blending colours of the rainbow, are
frequently so intermixed with each other, that

128 LIFE OF TITIAN.
it perplexes the reflecting mind to mark the line
of separation.
We hold the opinion that the Roman Catholic
religion is big with evil : yet, on examination,
we cannot deny that it has some peculiar ad
vantages. If, for instance, we look into the
records of history and science, to whom shall
we trace the foundation of those numerous
seminaries for the promotion of learning or
those splendid buildings, which have employed
industry and called forth taste in their erection,
whether colleges, universities, public libraries,
schools, churches, or palaces ? Are not our
thoughts drawn immediately to a Wolsey, the
Medicis, Bembo, Farnese, Este, Barberini,
Montalto, Ximenes, Rovera, Richelieu, or Ma-
zariri with many others, who having had less
power, are of less note ? Yet all seemed to con
cur in one aim, which was that of adopting all
men of talents and virtue as their family and
kindred ; and by providing asylums for those
who should arise in after-time, to perpetuate
their names to posterity as universal benefactors
and everlasting patrons of every species of abi
lity which can dignify mankind. Having them
selves been bred in the school of science, they
distinguished and valued it in others ; and by
means of their well-bestowed patronage, have

. LIFE OF TITIAN. 1 29
given to the world many individuals eminent
either for learning, science, or virtue, that with
out their fostering care would have been lost to
society. Again, it may be observed, that when the
prime minister of a country has been a Catholic
prelate, it has been productive of several ad
vantages : particularly, from his not having the
same number of family-connections, so nearly
allied to him by blood or marriage, as to produce
in him a desire to aggrandise them even more
than himself. Therefore that portion of natural
affection which in others is warped or partially
confined, as in fathers of families to their chil
dren, is in him diffused to the more general
benefit of mankind at large, as he directs the
influence of all his power, and bestows all his
superfluous wealth towards the encouragement
of learning, the sciences and the arts, which, at
the same time that they contribute abundantly
Xo his own glory, most materially assist the
welfare of the community.*
The good effects of such praiseworthy ex
amples extend their favourable influence often -
* Lord Bacon observes, in his Essays, that the greatest works
have proceeded from childless men ; and that, for the same reason,
the charity of monks not being confined to their progeny overflows
on human kind.
VOL. I. K

130 LIFE OF TITIAN.
times where we might least expect it. We
have an instance in the Venetian territory when
under its former government. That country,
though more absorbed in trade than any other,
was yet not so lost to all refinement but that it
could follow a laudable example. Hence we
find the public halls of each fraternity richly
adorned with appropriate paintings, executed
by such of their countrymen as had gained the
highest eminence in their profession, thus be
stowing and receiving honour at the same time ;
and further, we often find annexed to those
buildings a magnificent library, to which the
most indigent student has free access.
As a contrast to the above, we have only to
turn to those states where the power and wealth
of a kingdom are thrown into the hands of a few
grasping individuals whose sole object is the ad
vancement of their families, who must be accom
modated with titles of honour ; and, of course,
to support their rank, must be endowed with
large pensions, and become a burden on the
public. Swarms of such adventurers roll in
affluence, whose scanty portion of intellect
would hardly fit them for the lowest employ
ments of life. Hence no lofty examples of mu
nificence are held out to excite emulation. The
desire of fame by high achievements is never

LIFE OF TITIAN. 131
once thought of: nor the appropriating a small
part of their abundance to the service of Apollo
or the Muses, which they more readily devote
to Bacchus. For need it be remarked, that it
is the government in all states that forms the
character and\ habits of the people, as parents '
mould those of their children ?

132 LIFE OF TITIAN.

CHAPTER X.
CLEMENT VII.  CATHERINE DE MEDICIS.  VASARl's
CORRESPONDENCE RESUMED.
I shall return to Vasari and his letters to his
friends, having premised a few particulars which
are necessary to understand the first of them.
Much important business was pretended by
Pope Clement VII, in order to bring about
a meeting with the King of France, which was
encouraged by the French Cardinals. The real
object of his Holiness was to marry his niece
Catherine de Medicis to the second son of the
King of France. To this end, attended by a
great retinue of Cardinals, he embarked at Pisa
in his own gallies, and after a prosperous voy
age of a few days, landed at Marseilles, and
was received with a salute of three hundred
pieces of cannon. He was lodged the first night
in the palace of the Duke of Montmorenci,

LIFE OF TITIAN. 133
Grand Master and Mareschal of France. The
next day he made his progress through the city,
habited in his pontifical robes, and borne in a
chair upon men's shoulders ; before him a white
horse was led by two men with silken reins,
carrying the sacrament of the altar ; then fol
lowed the Cardinals in full dress, mounted on
their mules ; after them came Catherine de
Medicis, Duchess of Urbino, attended by a
great number of Italian and French ladies and
gentlemen. In this manner the Pope passed
through the streets to the lodgings provided for
him. Next day, the French King arrived, and
immediately went with great solemnity to. pay
his duty to his Holiness. The marriage between
the Duke of Orleans and Catherine was treated
of and concluded, and the parties were married
.by the Pope himself.
Catherine de Medicis, called by the French
historians the ornament and the scourge of
France, was born at Florence in 1519. She was
the daughter of Lorenzo, son of Pietro de Medicis,
and Madeline della Tour, a relation of Francis I.
She was the only legitimate descendant of Lo
renzo the Magnificent, and would have succeeded
to the Florentine throne, had not Leo X, and
afterwards Clement VII, given the preference
to the illegitimate male children of that family.

134 LIFE OF TITIAN.
This princess, who was considered one of the
most beautiful women of the age, and was thrice
Regent of France, carried the ambition and poli
tical sagacity of her race to the highest pitch.;
Placed in the midst of civil and religious factions,
it was her sole aim to rule them, and to render
them subservient to her own purposes. Without
being a zealot for the Catholic religion, she was
the principal contriver of the celebrated mas
sacre of 1572, which commenced on StBartho-
fomew's-eve, and continued for seven days
throughout France, and in which more than forty
thousand Hugonots perished. She died in 1589.
at the age of seventy. It is curious, in the fol
lowing letter, to trace the full-grown fury in the
playful and mischievous girl of fourteen, and to
hear Vasari's praises of all those virtues of good-,
ness and benevolence, for which (according ta
immemorial usage) he gives her credit from his
dread of the summary effects of the opposite
vices, should he entertain any doubt on the
subject. "TO MASTER CARLO GUASONI.
" I have received your letter which you wrote
to me from Rome, in which, Sir, you desire the
portrait painted by me of the Duchess Catherine
de Medicis, the sister of our Duke. The truth:

LIFE OF TITIAN. 135
is, I have riot at present in my hands one of the
size of life, and down to the knees, as you re
quire. But such a one I have painted of the
Duchess by order of the Duke, which as soon
as finished was sent away to France to her new
husband, his Grace of Orleans. From this I
had to make a copy, which is now in the posses
sion of Lord Octavian de Medicis ; and from that,
Sir, if you have patience, I will make another
copy to be at your service. You have been in
the service of the lady, and know the affection
she has shewn to us all, and how justly she
deserves that her resemblance should remain
with us ; and when she-departs, her image will
continue engraven on my heart. Indeed, my
friend Carlo, I have so great an affection for her
singular virtues, and for the kindness she bears
not only to me but to all my countrymen, that I
adore her (if I may be permitted to say so) as if
she were a saint in Paradise. Her sweetness of
temper cannot be painted ; nor can I make a
memorial of it with my pencil.
" A very laughable circumstance happened
this week. I had left my colours with which I
had beeri working on her portrait the whole
morning, when returning after dinner to finish
what I had begun, I found that my pencils had

136 LIFE OF TITIAN.
been most busily employed in colouring my pic
ture as dark as a mulberry or a blackamoor, so
that it looked like thirty devils all alive; and
had I not taken to my heels and scampered down
stairs, I guess, from this commencement, that
the young Duchess (for it was she who had done
it) would most probably have painted the painter
with as little remorse as she had his picture.
But rest satisfied,- you shall be served.
" Francesco Rucellai is here, and we are so
happy in each other's friendship that we cannot
desire more.' I work much at the Convent of
the Servites, Where, by order of the Duke, I have
a chamber ; because first I have the portrait to
finish, and after that I have to finish for my Lord
Octavian a picture of Christ in the Garden. It
is to represent the obscurity of night ; and I have
introduced, in various attitudes, Peter, James,
and John sleeping, with their heads covered.
The angel of the Lord with a bright light illu
mines our Saviour, whom he encourages in the
name of the Father, to endure the impious death
prepared for him for the rederription of our un
happy souls, and by his blood to cleanse the
world from everlasting sin. Besides this, I do'
not cease from pursuing my studies in design,
which is the reason of my continually improving

LIFE OF TITIAN. 1 37
myself, being desirous of increasing the grandeur
of our prince, and of serving him to the utmost
of my power.
" We most earnestly desire your return to
us, that we may enjoy your presence as we
frequently do your letters. But pen and paper
ill supply the place of tongue and voice, and
the presence of a true friend ; for I am neither
comforted nor moved by written words. There
fore, return soon. I know you lose a continual
consolation in being absent from the society we
have here, by which I have been so much in
formed and improved, that if I remain but one
day without seeing them, I suffer more torment
than if I were beaten with rods. I know you
would be delighted to see the animation of their
open hearts, and to find their readiness to serve.
you. I hope you are in good health. I beg
you would for me kiss the hand of the most.
reverend the Cardinal de Medicis, my perpe
tual Lord. I thought to have visited you with
one of my pictures of the Three Fates, naked
figures : one of them spins, another unwinds
the yarn, and the third cuts the thread of
human life.
" I have much still remaining to tell you,
but unluckily my chamber is immediately over
the court, where all the poor, the blind, and
the lame assemble to say their prayers, as to-

138 LIFE OF TITIAN.
day is Saturday, and to receive alms. It has
been my fate to be tormented with them all
the morning, and they have so distracted my
brain, that I am scarcely able to recollect my
self sufficiently to write these few lines, or to
pay you the respect which is due to you, and
which I ought to do in return for your most
courteous and kind letter.
" Georgio Vasari.
"Florence, 1533."

" TO MASTER ANTONY OF MEDICIS.
" Soon after Philip Strozzi and your brother
the magnificent Octavian had seen the picture
done by Andrea del Sarto, which represents
Abraham * going to sacrifice his son Isaac,
which is now sent to Ischia to the Marquis
del Guasto, they were both so much pleased
with it. that Master Octavian desired me to
make a copy of it for him ; but it was not in
my power to make even the design, as it was
soon cased up and sent away, so that very little
of the original will be seen in the copy ; and I
have thus finished it at a venture. But accord-
* Andrea del Sarto painted this picture, which for a long time
was in the gallery of the Duke of Modena, and was afterwards
transported to Dresden. It was engraved ; and the print may be
found in the collection of the King of Poland.

LIFE OF TITIAN. 139
ing to my commission,. I have sent this work
of mine, that when my Lord returns from Mu-
gello, you may present it to him from me.
And if he does not find in my picture that
spirit, that effect, that fervour, and that promp
titude shewn by Abraham in his ready obedi
ence to the command of God to sacrifice his
son, please to make my excuses to Master
Octavian, and say that although I know what
it ought to be, yet I have not been able to
execute my desire. All are born ignorant, and
from youth are learners ; the hand is not al
ways obedient to the head ; nor can the young
have that perfection which proceeds from ex
perience and judgment.
" I know the Cardinal is all goodness, and
that he will be satisfied ; for I am sure this is
the best picture I ever painted. I hope that
by little and little I shall advance from one
thing to another ; and that one day it may not
be necessary for me to make excuses for my
labours. " May it please God to grant us his grace,
and make you as obedient to his holy service as
he was who is represented in the picture I have
now sent you ! " Georgio Vasari.
" From my house atJ?lorence,
' V "February."

140 LIFE OF TITIAN.

" TO THE MAGNIFICENT MASTER OCTAVIAN OF
MEDICIS.
" Behold I have now finished the portrait of
our Duke ; and on the part of his Excellency,
I have sent it to your house. As to the orna
mental part of the picture, his Excellency hav
ing placed but too much confidence in me,
supposing I had a genius like his own, gave me
full liberty to use my own invention, and follow
my own caprice, being very much satisfied with
that which I did in the portrait of the Magnifi
cent Lorenzo the Elder. I do not know if I
shall give equal satisfaction in this much greater
subject or please your Lordship, which is of
the utmost importance to me, as you have the
key to the Duke's heart. Pray, Sir, consider
it minutely ; and let me know if there is any
thing wanting, or by which it can be made
more complete, and appear more finished to
every one's eyes : for my sole wish is, to give
satisfaction to so honourable a Prince, and to
be entirely obedient to you, who have so gra
ciously kept me in your . house, as if I had
been your own son. And if I have not yet
done any thing to be thought praise-worthy, the
greater your bounty appears, as the whole fault
must be in my want of talent; and this will

LIFE OF TITIAN. 141
urge me on to study > hard to improve myself
as much as possible, that 1 may not be less
acceptable to Alexander of Medicis, than Apel-
les was to the great Macedonian.
"I shall now give you an explanation of the
picture. ".The shining bright armour at the back of
the Duke is made to resemble a mirror: be
cause the Prince ought to be such an example
that the people may be enabled to see, as in a
glass, the actions of his life. I have clad him
in complete armour, all except the hands and
feet, . to signify that for the love he bears his
country, he is always prepared against every
dissension either public or private. The sitting
attitude implies his having: taken possession of
the throne ; and in his right hand he holds the
truncheon of dominion in gold to support or
command Princes or Generals.
"On his right (alluding to times past) are
the ruiris of buildings and broken columns,
figurative of the siege of the city in 1530 ; and
from an opening in the wall you see a man
looking out with a countenance expressive of
the restored peace, and with the sky above him
now perfectly serene. The seat on which the
Duke sits is round, having neither beginning
nor ending, to show that his reign is perpetual.

142 LIFE OF TITIAN.
Three trunks of bodies serve as feet to the
seat : the number three being the perfect num
ber. These bodies represent the people who
are guided according to the will of him who
holds authority over them, they, having neither
hands nor feet. The termination of these
figures is the paw of a lion, being part of the
animal which is the emblem of the city. There
is also a mask tied With fillets, which is meant
to signify the fickleness of these unstable peo>-
ple, who are bound together and pressed down
by a fortress* erected by his grateful subjects
to shew the love they bore his Excellency.
" The fed cloth under the seat signifies the
blood that Was spilt in the suppression of those
who conspired against the grandeur of the most
illustrious' house of Medicis; and the edge of
the cloth partly covering the piece of armour
on the thigh is to show that the house of Medi«-
cis also lost blood in the conspiracy by the
death .of Giuliano and the wounding of Lorenzo
the elder. | The dry trunk of a laurel-tree, that
shoots out a straight branch bearing fresh
leaves, represents the house of Medicis almost
decayed, but now in the persdri of the Duke
* The castle of St John the Baptist. This fort was built by
Duke Alexander, and commands the city.
-f The conspiracy of the Pazzi.

LIFE OF TITIAN. 143
likely to be increased by a plentiful offspring to
perpetuate his name. The Duke's helmet burn
ing in the fire is to imply the lasting peace
which proceeds from the Duke, who by his
good government renders his people rich, tran
quil, and happy.
"This, my Lord, is the way I have taken
to declare my thoughts; and if the picture
prove satisfactory to you and his Excellency, it
will be the greatest recompence I can receive.
And because from the obscurity of the matter,
many will not be able to understand it, a friend
of mine, who is in yours and the Duke's service,
has expressed in a short poem, what I have
given in so many words and lines. In these
verses you will see the lofty flight of the poet.
Arma quid ? Urbis amor : per quem alta ruina ? Per hostes.
Sella Rotunda quid hsec ? Res sine fine notat.
Corpora trunca monent tripodi quid vincta ? Triumphum :
Hsec tegit unde femur purpura? Sanguis erat.
Quid quoque sicca virehs ? Mediceum genus indicat arbor
Casside ab ardenti quid fluit ? Alma quies.*
" Georgio Vasari."

* What means this armour? — Love for one's country. Who
made these ruins? — The enemy. What does this round chair im
ply ? — Authority without end. What do these trunks of bodies
bound to the chair signify ? — Triumph. Why does this red cloth
touch the thigh? — It represents blood. What does the budding
branch on the dead tree mean?— It is the Medici family. What
results from the burning helmet?— Calm peace.

144 LIFE OF TITIAN.
In explanation of the foregoing letter, it may
be proper to remark that Octavian de Medicis
was related to neither branch of the Medici,
who succeeded to the government of Florence.
He was, however, a decided friend of their
party, and possessed considerable influence and
authority in that city. This was further pro
moted by his marriage with a daughter of
Giacopo Salviati, no less than by his thriving
qualifications as a courtier. He was arrogant
and overbearing to his inferiors, hated by his
equals ; and was generally thought unworthy
.of the high station, which by little merit of his
own he had obtained. He had the direction of
all affairs under Duke Alexander.
Philip Strozzi was a wealthy Florentine, who
married the daughter of Peter of Medicis. He
was a person of distinguished merit and consi
deration in Florence, and was sent as chief
minister from the Medici to the courts of France
and Rome. When Alexander in 1535 usurped
the throne of Florence, he joined the discon
tented citizens ; but falling into the hands of
Duke Cosmo, after many fruitless attempts to
escape, he was thrown into a dungeon, where,
after languishing a year, he put a period to his
existence, like another Cato, in 1539.
Peter Strozzi, son of the Philip just men-

LIFE OF TITIAN. 145
tioned, had at first entered into the ecclesias
tical career, and had been many times flattered
by Clement VII, with the expectation of a Car
dinal's hat, .the only dignity wanting to his
powerful family ; but finding his hopes of attain
ing this object defeated by the jealousy which
had already begun to display itself between the
Medici and the Strozzi, he betook himself to the
profession of arms ; and being cousin-german
to Catherine of Medicis, entered into the service
of the French in Piedmont, where he distin
guished himself in battle, in 1536, as a colonel,
under Count Guido Rangoni. In 1537, Duke
Cosmo having succeeded to the throne of Flo
rence, Strozzi placed himself at the head of
the banished Florentines, who were desirous of
fnaking a last attempt to re-establish the ancient
form, of government in their city; but having
advanced with too much temerity, and being
obliged to engage with a superior force, he was
completely .defeated at Moriteiri'urlo, where his
father remained a prisoner. " In spite of so many
misfortunes, Peter does not appear to have left
Italy immediately, but to have lived some years
in retirement at Rome and at Veriice.
He afterwards conducted a body of soldiers
from Italy to France, while the treaty of peace
of Crecy was yet pending; and in July 1545,
VOL. I. L

146 LIFE OF TITIAN.
embarked at Havre, where twenty-five Italian
gallies joined the French fleet. Although subor
dinate in command to Annebaut, Strozzi had a
great share in that maritime war, which was
carried on to a great extent between France and
England. The two fleets repeatedly engaged.
near the Isle of Wight ; but as the English kept
close to the shore, where it wasdifficult to com-.
bat them with advantage, Admiral Annebaut
determined upon reconducting his forces to
France ; and landirig at Dieppe proceeded to
Arques, where the Court then was, on the 16th
August.— See Father Daniel's Account.

" Among all the friends of my late father, I
have not yet found one who can be compared
to' you in zeal and .affection; and on that ac
count all the time I was at Rome till this hour
that I am come back to Florence, I have sought
how I might make a return for those obligations
I owe you, and which were left me by 'my
father to be paid in the best manner in my
power. You have ever been a diligent and sea
sonable adviser to me, and have managed my
affairs for me a thousand times better than I
could have done myself. I say, therefore, that

LIFE OF TITIAN. 147
I earnestly look Out for some means, by which
I might be able to return the obligations I have
to you. And if it is my earnest wish to do my
duty to the memory of him that is dead, it cer
tainly becomes me to do so to those friends who
are living, among whom I distinguish you in
particular, knowing what an interest you take
in the welfare of my family. I may, therefore,
inform you that they have a protector and guide
in Don Antonio, my uncle. And I may say,
that in him my father is revived ; and by the
consolation I feel that my family are under his
inspection, I can sleep in peace and attend to
the pursuit of my art, as I am fully convinced
of his bounty, and the desire he cherishes that
I should become able in some degree to support
my depressed, sorrowing and helpless orphan-
family. And perhaps God Almighty in taking
away my father so early in life meant to invi
gorate and spur>me on ; for had I been always
in my present easy situation, and had not had
the weight of the maintenance of three sisters on
me, perhaps I should not have gone on with the
same promptitude as you daily hear I am doing.
Instead of being like my father a poor citizen
and artisan, I am now, by the mercy of God,
patronised by two of the richest, most powerful,
most celebrated and most liberal Princes in all

148 LIFE OF TITIAN.
Italy. One of these is Octavian ef Medicis,
my director and :friend, who has recommended
me to my other, patron Duke Alexander ; and I
have given satisfaction to the latter and all his
court by the portrait I have; painted of him. I
am now in fortune's favour to such a degree that
the Duke has desired the Cardinal to let me
remain here to paint a chamber in the Medici
palace, the dome of which John of Ud-ina in
the time of Leo X. had painted in fresco ; and
that painting at this day is accounted the most
beautiful and refriarkable thing in Florence. If
I succeed in my work, besides the fame and
honour I, shall gain, his Excellency the Duke
has promised that when I have finished the
chamber, I shall have a portion for my elder
sister, and I have accordingly written to Don
Antonio that, he together with yourself may look
out ,for a husband, for her. The last letter you
sent, has .raised my spirits. in informing me that
my second sister desires to be in the service of
God, and to enter the monastery of the Murati ;
and that you have agreed with the nuns about
the portion to be paid with her, and that they are
quite content to. receive as a part of it a picture
in oil, for, the interior of the , convent, to be
painted by me. Oh ! where- is, the friend to be
found that with so much compassion endea-

LIFE OF TITIAN. 149
vours to relieve another from the burden which
presses him down to the ground, as you have
done for me, who have been loaded with misery
till I was almost driven into the earth? My
obligations to you are the greater arid more sin
gular, because without being at all allied by
blood, your bounty has been the sole thing
which prompted you to do so much for me. I
am poor in every : thing, except the grace of
God ; and unable to do you any service in re
turn, v. But I shall ever pray God to continue
you in prosperity ; for you are always doing
acts of piety, and your hand is ever stretched
out to help and support the indigent and
afflicted. ;
" I have sent you my design for the picture
desired of me by the nuns, in order to satisfy
them as well as yourself, who were the means of
procuring it for them ; and assure the convent
that as soon as ever you return the design to me
I shall begin the picture, and I will immediately
give orders for the pannel to paint it on. They
seem to think that the figure of the Madonna in
the sketch of the Annunciation, is expressive of
too much agitation for a female ; but they should
consider the word of the angel Gabriel, who says
' Fear not.' However I shall moderate the
expression according to your advice. In respect

150 LIFE OF TITIAN
to the angels, I have made more than one;
considering that an ambassador from heaven
coming down on earth to give health and peace,
and to save us from perdition, could not come
alone. The cloud with God the Father, in the
air, attended by cherubims and sending forth
the Holy Spirit, they think makes the picture
too full of figures. This was my first thought of
the subject, because in such an event the great
cause of it should be attended by the whole'
heavenly choir. But pray give me freely their
opinion ; for as you have so kindly taken upon
you to relieve me of the charge of my sister, I
shall be happy to work months for the nuns, as
it relieves me of that which has disturbed my
quiet for many years.
" I remain,
" Always obedient to your commands,
"Georgio Vasari.
" Florence, March 1533."

LIFE OF TITIAN. 1 5 1

CHAPTER XL
[VASARI'S LETTERS CONTINUED.]

" TO MASTER PETER ARETIN.
" It is but justice due to you, in return for the
protection you have given me in retaining nie in
your house as your son, that I should imme
diately comply with your wish of seeing some
work of mine. This has obliged me : to send
you, by means of Lorenzo the courier, one of
the four Cartoons that I am now painting for a
chamber in the angle.of the Medici palace, which
not many years since was the public gallery.
And if it had not been that it would have made
too large a package, I was determined to send
you not only this but all the four in one roll.
But you can judge of those that remain with me
by that which I have sent ; and you will be able
also to judge of my manner and expression in
the figures, and in the disposition of draperies
according to the rank and quality of the persons.

152 LIFE OF TITIAN.
Our most illustrious Duke has a vast partiality
for the character and actions of Julius Caesar,
whom he imitates in his conduct ; and if I live
long and continue in his service, the palace shall
be filled with the whole history of Caesar, and
all the actions he performed. But it is my in
tention to paint first all those subjects which are
full of figures and of the size of life, like those
I have in hand.
" The one I am now about is, where in Egypt
Caesar flies from Ptolemy, and seeing the de
struction of the enemy's ships as well as his own,
and knowing his perilous situation, he throws
himself into the sea, and swimming with won
derful energy, whilst he holds in his mouth the
Imperial banner, and in one hand his Commenta
ries, he boldly combats the waves with the-other,
and arrives safe on land, ainidst boats full- of
bowmen and men with darts, who however do
not oppose him. You will perceive I have intro
duced a number of naked figures fighting, for the
purpose of showing study in the art, and also to
explain the story where the galley-slaves engage
furiously to conquer their enemies. If you are
pleased with this, I shall be highly gratified; for
it was your wish that there might arise a painter
in your own country,* whose hand should
* Arezzo.

LIFE OF TITIAN. 153
execute figures with an expression that speaks.
Oh, my fellow-countryman ! if God is to grant
you that wish, pray for me that I may spurn the
seductive enticements of the young and profli
gate, whose enjoyments deaden the intellects,
and render them so sterile that they no longer
bear such fruit as nourishes and keeps the name
alive after death. But enough of this. Oh, my
dear Master Peter, I have now resolved to become
famous among the great geniuses of the age.
Do not doubt but that I shall labour intensely if
heaven grant me power, since Arezzo, that has
never produced a painter above mediocrity,
though fruitful in warriors and men of letters,
has left it to me to break the ice.
" To return to my work. I am now revising
my design for the second Cartoon. It is a
night-scene, where the figures are displayed in
the moonlight. Here Cassar is leaving his troops
on the banks of a river.. They are lighting their
fires and raising entrenchments. He being left
alone enters a bark for the purpose of escaping^
and encounters so tempestuous a sea that the
mariners, thinking the heavens against them,
begin to murmur, which he observing says;
' Fear riot, for you carry Caesar and his for
tunes.' The sailors upon this fall to work, and
steer the vessel through the wind and waves

154 LIFE OF TITIAN.
with redoubled skill and courage. In the third
picture, Caesar is represented receiving all the
letters his pretended friends had written against
him to Pompey. He orders a large fire to be
kindled in the midst of the citizens. (This
subject I am sure you will be much pleased
with.) The people are lending their assistance,
full of admiration. Some are bending down to
blow the fire ; others are bringing wood, ' while
the rest fetch the letters and papers. Caesar is
surrounded, by his express command, by all the
chief people of the army to witness the act.
" The fourth and last represents his cele
brated triumph. Around his car are a multi
tude of captive kings, of whom the buffoons are
making their sport: next come the cars bear
ing the statues of the conquered cities, loaded
with an infinite quantity of spoil, the prize and
glory of the soldiers.
" This last one, in consequence of being
interrupted by other matters for his Excellency,
I have not yet been able to begin, although
the other three are finished. They are in oil.
I hope you are in good health, and that you
still bear me in mind, who have so great a de
sire to see you again. Pay my respects to
Titian and Sansovino ; and when you have done
with the Cartoon, send it to me ; and be so

LIFE OF TITIAN. 155
obliging as to tell me what they say about it,
and give me your own judgment upon it. And
with this I take my leave. " Georgio Vasari.
" 1533."

" TO RAPHAEL* DEL BORGO A SEPOLCRO.
" At the time I was finishing the third pic
ture of Julius Csesar, which Duke Alexander
had employed me to paint for his palace, there
came an express from Naples from .his Excel
lency, saying that the Emperor was to pass
through Florence, and it was ordered, that
Louis Guicciardini, John Corsi, Palla Rucellai,
and Alexander Corsini should superintend the
works of ornament and triumph which were to
do honour to his Majesty, and to embellish this
magnificent city. I have written to those gen
tlemen who are to be employed with me, and
told them all I knew about the matter : and I
myself have not neglected to make designs and
think of inventions ;< but as for the four men
tioned, they are men of abilities and can act for
themselves, so that altogether I think you will
see a most beautiful sight. I have solicited
* This was Raffaello dal Colle, who studied under Raphael
d' Urbino and Julio Romano.

156 LIFE OF TITIAN.
leave to finish my histories, because this cham^
ber is to be the apartment of his Majesty ; and
instead of the story Ihad intended, I shall
merely put up the Cartoon and finish it after
his departure. The very great service you will
be of at this moment, and the great need I have
of you, make me intreat you (and I shall be
very grateful for it) on the receipt of this letter,
which I have sent by one of his Excellency's
couriers, to set out for this place, without stay
ing for your boots, sword, spurs, or hat. In
short, lose no time ; for those articles you may
think of when you are more at leisure. • This
being the news, you will firid me fully occupied
in the hall of the palace of the Podesta at
Florence; surrounded by bannaroles of drapery,
on which are all the coats of arms and devices
of his Majesty, fifteen yards in height and
thirty-five in length. To paint these and deco
rate them with gold, there are sixty men em
ployed; the best for this kind of work in Flo
rence. These are for the service of the Duke
in the mask at the castle. The lords of the
festival have made me promise to make a front
to St Felice in the piazza, full of columns and
arches. This frontispiece is to project and be
covered with ornaments, and will be a most
superb affair, being thirty-one yards high with

LIFE OF TITIAN. 157
stories and figures of a vast size. The gentle
men who were entrusted with this commission,
would not undertake it, terrified by the vast-
ness of the scheme and the shortness of the
time ; and as the plan has been drawn by
Louis Guicciardini and the others, I have taken
the whole burden upon my own shoulders.
" I should certainly not have required your
assistance in such a troublesome task, had not
these gentlemen, doubting my ability to do jus
tice to their design, conspired against me ; and
thinking I am not aware of it, want to hinder
me in the execution of my work; fearing that
the Horse of Arezzo would deck itself out with
the skin of the Lion of Florence.* I have there
fore much need of assistance at this time of
great haste. Come then, my dear friend, come
and be near me. I call upon you to help me :
pray do not disappoint me. Enable me to
show these gentlemen that, I, who have not a
beard on my chin, am little in person, and
young in years, can serve my Lord Duke with
out their aid : and that when I am asked who
did the work, I may say that it was I who did
it, and that wholly without their assistance.
" Dear, kind, good Raphael, do not fail to
* The Horse is the emblem of Arezzo, as the Lion is that of
Florence.

158 life of titian:
come, to your Vasari, or you will be cruel to
your friend, and strangle my rising fame by the
hand of Michelotto. In the mean time, before you
come, I will have a sketch just put up (if you
approve of it) of an engagement of cavalry be
tween the Turks and our own soldiers (for the
middle compartment, which is thirteen yards in
height by nine broad) in which I shall repre
sent the Turks driven by the Christians, still
keeping up the fight, out of the gates of Tunis ;
therewill be a great slaughter,' and numbers of
the dying and the dead trampled upon by
the horses. In the air, aiding the Christians,
are two large figures of Justice and Faith,
armed and attacking the Infidels who fly before
them. There are also two figures of Victory,
which must be similar (each seven yards high) :
also a figure of Sculpture, working in marble
the story of Goletta in Africa, and another
figure representing the Expedition to Asia.
" I shall also do the story of the Coronation
of the King of Tunis, and a multitude of other
matters for those places where they are wanted;
such as erhblems of Victory, trophies, sports,
and a thousand different ornaments. Pray do
not delay coming; for the fervour that urges
me on, and the indignation I have conceived
against my competitors,, makes me think that

LIFE OF TITIAN; 159
if I had a sufficient number of hands to work
under me, so much do I feel myself disposed in
strength and will, I could do the whole work
for the festival myself. Meanwhile I labour
to finish the arch of the Gate of St Peter Gat-
tolino, where there are two pillars of sixteen
yards in height, each with a plus ultra, and on
the basement a sea-piece with shipping. There
is a large inscription on the gate, the letters of
which will be two feet high : also a figure of
large size, representing Falsehood biting her
tongue. It will prove to my rivals that one,
who is the most insignificant person in the
state, as to his youth and slight knowledge,
has been enabled, by honest endeavour and
good will, to become their equal or even supe
rior. Pray come joyfully. I wait for you with
the utmost anxiety. " Georgio Vasari.
"Florence, March 15th, 1533."

TO MASTER PETER ARETIN.
" I am greatly fatigued from having worked
most extraordinarily hard for a whole month
together to do myself honour. I have been five
days without sleeping, in order to get my work
finished by this day. For know, my good

160 LIFE OF TITIAN.
Master Peter, it was this very day that the Em
peror entered Florence; and I will this evening
give you a full account of my decorations and
the magnificence of this grand city : of the
triumphal arches, where they, stood ; by whom
made ; and whose invention they do honour to ;
and also how beautifully they were placed.
All this was by the orders of our most illus
trious Duke Alexander, who is Worthy not only
of this city, though the first in Tuscany, but of
all Italy, at this time so distressed, miserable,
infirm and troubled : because it is this great
physician alone that could cure her heavy
calamities. " Now then you shall see - the order of the
decorations, and imagine the grandeur of our
invincible Prince, when he receives a visit
from his father-in-law. His Majesty slept last
night at Certosa, a most beautiful lodging,
richly ornamented : it was built in the year
1300, by Nicholas Acciajuoli, Seneschal to the
King of Naples. The Emperor was accom
panied there by our Duke, who returned in the
evening to Florence, to attend in person to the
engineers who were employed in these works.
"Accordingly by eight in the morning, the
statues and the arch with all its ornaments were
quite finished. So that on his return in the

LIFE OF TITIAN. 161
evening he visited all the works, which made
the workmen more ready to lend assistance
where it was needed, and gave spirit to all by
his particular attention to the ingenuity of the
work and the indefatigable labour of those who
had done or were doing things worthy of praise.
But my hopes were but small, when at an early
hour in the morning his Excellency mounted
on horseback, attended by all his court, and
went to meet his Majesty at Certosa; and,
in passing by, examined every place where
there were either statues, triumphal arches, or
any sort of ornament. Many of these were not
quite finished. When he came to St Felice in
the Piazza, (where I had erected a front of wood
forty yards high, witli pillars, historical pieces,
and various other devices) when he came, I
say, to this place, and saw that the whole was
quite finished, he was wonderfully surprised at
the grandeur of the spectacle, and the expedi
tion with which it had been done, independent
of the beauty of the work. He then asked for
me, and was told that I was half-dead with
fatigue, and that I was now sleeping* in the
church, in order to recover a little frbrii my las
situde, when, laughing, he ordered me to be
called immediately. Thus roused suddenly out
of my sleep, scarce half-awake, tired and fright*
VOL. I. M

162 LIFE OF TITIAN.
eried, I came before him in the presence of the
whole court, and he addressed me in the follow
ing words : ' The work, my George, that thou
hast done here is the largest, the; most beautiful,
the best-understood, and has beeri firiished with
more expedition than that of any other master.
I see by this the love thou bearest me, and for
this obliging conduct, it shall not be long before
thou shaft find that Duke Alexander does not
fprget this and all thy other labours. But how
is it that at this hour, when thou shouldst be
most awake, thou Wast asleep V Then coming
up to me, and putting his hand on my head, he
kissed my forehead and went away.
" I felt myself so moved by this kindness that
my spirits which were but a moment before
overcome by drowsiness were now quite awake,
and the lassitude in my limbs seemed entirely
gone, as much as if I had had a month's repose.
This act of Alexander to me is not less in
liberality than that of Alexander- to Apelles,
when he gave him a city, great wealth, and the
lovely Cariipaspe. The Duke, examining in his
way all the rernaining works, at last arrived at
Certosa, from which the whole cavalcade with
the Emperor did not depart till about an hour
after mid-day, in order to give us time to
finish the decorations ; and in this manner the

LIFE OF TITIAN, 163
procession came at a slow pace towards Flo
rence. " The gate of St Peter Gattolino Was that at
which his Majesty entered ; for we had de
stroyed the outer gate that it might not inter
fere with the magnificence of the city- gate,
which had on each side a pillar with a basement
of eighteen yards, which had on each square
side of t it some sea-fight, and on the pillars of
Hercules, we represented the acts of the Impe
rial navy at the island of Pera. On the part
that crosses the gate over the arch, supported
by the pillars, on a large space is a concise in
scription, in which, are letters that measure two
yards each, with his Majesty's motto, plus
ultra ; and in the front of the tower over the
gate is another inscription, with letters so largie
that you rnay read theni at the distance, of a
third of a mile, with ornaments of wood to
imitate marble ; and above this are his Majesty's
arms ten yards in height, held by an eagle,
that rests his, feet upon the tablet of the said in
scription. Under this tablet with the rriofto by
way of bracket or support is a head of Falsehood
biting her tongue, and bound by the fillets or
baridages, that decorate the tablet for'the inscrip'-r
tiori. Upon this tablet are the words : Ingre-
dere urbem, Gcesar,MajestQti tuce devotissimam, qum

164 LIFE OF TITIAN.
nunquam majorern, nee meliorem Principem vidit.
But as this is the work of my own hand, I say
no more about it.
" Inside the gate, banks of earth were made
for seats, and covered with tapestry, on which
sat all the elder citizens and the nobility of
Florence, properly habited in the ordinary mode
of the time. These were to offer their duty
and homage to the Emperor, to whom, as he
entered accompanied by the Duke, they pre
sented the keys of the city, which were accepted
by his Majesty, but immediately returned to
them. Then there came out to meet the Em
peror at the gate of the city, all the wealthiest
and most honourable gentlemen, and the Magis
trates and Counsellors at law. The forty-eight
Senators of Florence and their principal walked
alone. Then followed the eight Governors ;
and after them all the officers, habited in man
tles or gowns of velvet, satin, or damask, every
one according to his ability or pleasure. The
poorer officers and servants of his Excellency
closed the procession. His Majesty now en
tered, having before him all his court, with his
pages dressed in the richest liveries : then came
the Duke of Alva, and the Prince of Benevento,
and between them our Duke. The sword of
state was carried before them by a mace-bearer.

LIFE OF TITIAN. 165
" His Majesty was attired in a plain dress,
and was met at the gate by fifty young men of
the first rank, all drest in fine purple linen,
spotted with gold. One party of them walked
close by his stirrups, and another party sup
ported the canopy of cloth-of-gold over his
head. Passing the gate he came to the
street that leads to the Convertiti, and arrived
at the corner of the Cuculia, which was filled
with people on the ground and at the windows.
Multitudes of women and children were assem
bled, testifying their delight at the sight. At
the side of the principal path and between the
two crossings, was a large statue nine yards
high, which moved a step forward, and turning
towards his Majesty laughed and made a re
spectful reverence, and on the basement were
these words: Hilaritas Augusta. This
figure was well done and was most highly ex
tolled. The contriver of it was John Agnolo de
Servi. It was gilt all over. The other half of
the crossing, which leads towards St Felice in
the Piazza, was a triumphal arch right across,
and to be seen on each side, as well as under
neath, finished with much labour. It had four
fluted pillars, two on each side, which served as
ornaments to the arch in the middle. The other
side was a companion to. the first ; and at each

166 LIFE OF TITIAN,
corner was a basement, in which was a flint and
steel that set fire to the festoons which encircled
the pillars of Hercules, on which were the In
signia of his Majesty adorned with flowers,
Cupids, and various other devices. Between
the two pillars were two niches for each part,
divided by an ogee which moved the length of
half the circumference.
" In one of these was a figure of Imperial
mercy, surrounded by little children, who ap
peared stripped of their clothing, with these
words above them : Ob cultum Dei Opt. Max. et
beneHcentiam in cunctost mortales. The other was
a figure of Imperial power, with spoils strewed
around, and these words over : Scepe omnes mor
tales, scepius teipsum superqsti. Of the other
two, one was the Christian Faith expressed by
symbols applicable to the sacerdotal office,
with this motto : Ob Christi nomen ad alterum
terrarum orbem propagatum. Over this was a
device with a cornucopia filled with regal crowns
inverted ; among which was that of Ferdinand,
the Emperor's brother; of the others which
came out of the mouth of the cornucopia was
that of the King of Tunis, who had been rein
stated in his throne by his Majesty the Em
peror. Another appeared only half in sight,'
to show that Tuscany ought to be made a king-

LIFE OF TITIAN. 167
dom, and the crown given to Alexander, with
this inscription above : Divitias alii, tu provin-
cias et regna'largiris. On the other part of the
arch were two histories on each side ; that on
the right was the coronation of Ferdinand King
of the Romans, with these words over it :
Carolus Augustus Ferdinandum fratrem C&sarem
salutat. The other was the defeat of the Turks
at Vienna, with these- words over it: Carolus
Augustus Turcos a Noricis et Pannoniis iterum
fugavit. Under the arch, at the bottom, there
was a most beautiful design with a variety of
ornaments and figures ; and at the angles be
tween the pillars, in front of the arch, were
two figures of Victory on each side. And on
the opposite side of the arch were pictures
corresponding with those on the front; and
instead of the four figures of Victory, there
were a number of African prisoners delivered out
of the hands of the Turks, and Turkish prison
ers bound between a pile of warlike trophies.
The architrave, frieze, and cornice similar to the
columns, were of the Corinthian order, and cut
in wood most superbly. Above the cornice, and
in the same direction as the columns, was a quan
tity of spoils ; and above the arch an inscription
with letters of a vast size ; and over all at the top
were the arms of the Emperor, with the Eagle

168 LIFE OF TITIAN.
bearing a branch of laurel for his triumphs, and
an olive-branch to imply peace. The words of
the inscription were : Imperatori Ccesari Carolo
Aug. felicissimo ob elves civitati, et civitatem civi-
bus restitutam, Margaritamque filiam Duci Alex-
andro conjugem datam, quod fdustum felixque sit,
Florentia memor semper Iceta dicavit.
"All the wood -work was entirely manufac
tured by Baccio d'Agnolo, and his son Julian,
who was born, I think, in this city. It was a
most excellent performance, and finished with
the greatest care, and an exact imitation of mar
ble touched with gold in some places. The histo
rical groups were by Ridolpho del Ghirlandajo,
a man of. great practice, assisted by Michael
his disciple, also a man of great talent. After
passing this arch, his Majesty turned towards
the Piazza of St Spirito to go to St Felice,
where he saw, right facing him, the front
before St Felice in the Piazza, done by my
hand. This, by being placed a little obliquely,
came to the head-angle of the street, and in
clined to face the greater street. Thus it served
to ornament both of them, and presented an
object most magnificent and superb. The work
had a basement of four yards in height, of the
Doric order, supporting two columns of thirteen
yards in height each. Between these columns

LIFE OF TITIAN. 169
is a large historical picture of the same height,
arid nine feet in breadth, in which his Majesty
is represented driving Barbarossa out of Tunis.
In the middle are groups of horses larger than
the life ; some lying dead on the ground, others
fighting with the Turks, who, as they fly, turn
and annoy their pursuers with their long jave
lins. In the air are the figures of Justice and
Faith, with naked swords, fighting in defence
of the Christian religion. Above, in the frieze,
are these words, Carolo Augusto domitori Africa:.
This picture is between two others of a less
height. In one is a figure of Victory, working
in marble, to perpetuate for ever the capture of
the gallies. The other is a similar figure of
Victory, painting a picture of Asia and the
preparations making to attack her.
" Above the grand cornice, supported by
carved brackets, was the architrave and frieze,
projecting over the historical piece in- the
middle. It had a grand frontispiece with
a crown, which gave a wonderful grace to
it. Above this is another series of histories.
In the middle is the coronation of the King of
Tunis, whom his Majesty had reinstated in his
throne ; in which are an infinite number of
Africans returning their thanks to the Emperor
for restoring their King to them. This picture

170 LIFE OF TITIAN.
is in the centre ; and directly over the figures
of Victory are two circles with two female
figures, supporting an inscription. That over
the, two figures who represent Happiness and
Fortune has the motto, Turcis et Afris victis.
The other, placed over the figures of Oppor
tunity and Liberality, Regno Mustapha resti-
tuto. Above these is an order like the last
cornice, and in which are cut pilasters, that
project over, the middle picture of the .Corona
tion of the King of Tunis: and another circle;
which exhibits Peace and Eternity, finishes the
front. " In the finishing, it was interspersed with
trophies of spoils in relief, to ornament the
work ; and under the base were a number of
groups of . boys carrying barrows of ari antique
form, loaded with trophies ; others bearing
branches and limbs of broken trees, with
armour, and the fetters of galley-slaves ; arrows,
and Turkish bows and turbans, which gave a
varied and novel richness to the whole.
" As to any opinion concerning the beauties or
defects either of the composition, the particular
figures, or indeed any of the parts that I have
been describing, I shall not say a word, as they
are the work of my own hand, for it would be
vanity in me to praise them, and madness to

LIFE OF TITIAN. 171
point out the faults. Therefore we will pass
them over in silence. I will only say that [the
frame- work, made by Antony Particini, a most
excellent mechanic, merits the highest enco
miums ; being contrived to support such vast
beams across, and such a canopy of work
above. All the rest depended on myself. And
this work was completely finished when that
of. many others wanted something yet to be
done to them.
" At the upper end of the great street, there
was made in relief a grand figure of Hercules
killing the Hydra, the ancient symbol and seal
of Florence. This work having been done by
Tribolo with his own hands, was a most excel-
cellent performance, and most highly- praised.
On the basement, which raised the figure very
high, were these words : Sicut Hercules labore
et czrumnis monstra varii generis edomuit ; ita
C&sar virtute et dementia victis vel placatis hosti-
bus pacem orbi terrarum et quietem:restituit. His
Majesty, in his progress,' stopped at the facade
of St Felice, and at the Hercules .in the great
street ; it being a most enchanting scene;
On the causeway and at the windows were
the most noble and beautiful ladies of Florence;
Proceeding to the bridge of Santa Trinita, there
was a vast colossal figure recumbent, that made

172 LIFE OF TITIAN.
a motion with one arm, to four other figures of
the same size. Two were on the first bank of
the Arno, on the side of the bridge nearest, and
two on the other side of the .bridge. The figure
turned his head towards his Majesty, and held
in his hand an oar; and with the other arm
rested on a lion, with a rich frieze, on which
were displayed groups of men such as get a
livelihood by occupations on the river. This
was a figure of the river Arno ; and under the
basement was this inscription : Arnus Floren-
tiam interluens ; venire ab ultimis terris fratres
isti amplissimi mihi pro gloria C&saris gratula-
tum, ut junctis una meis exiguis, sed perennibus
aquis ad Jordanum properemus. This statue
moved its head with so much ease, that it
seemed to be really alive. It was executed by
Friar John di Servi.
" Of the first two colossal figures, one was
to represent the Rhine, and had these words on
the basement : Rhenus ex Germania. The other,
with an oar in its hand, and some lizards round
in the water, was meant for the river Bragada,
and had these words : Bragadas ex Africa.
These two rivers were by the hand of Tribolo,
and were of great beauty, and very exactly
finished. As to the other two statues on this
side the bridge, one was the Danube, a full

LIFE OF TITIAN. 173
figure with a huge paunch, carrying an oar, his
hair and beard streaming with wet; these
words were on the basement: Danubius ex
Pannonia. The other was the river Iberus,
a recumbent figure with an oar in his hand, and
leaning on a very large vase overturned, spout
ing water from its mouth, with this motto :
Iberus ex Hispania. These were executed by
Raphael Montelupo with wonderful expedition,
and were of great excellence, superior indeed
to all the other statues ; and being all gilded,
theyi made a very rich appearance. When his
Majesty saw the Arno and the ornaments on
the bridge and the palace of Spini, with the
Piazza of the Trinity, he was astonished, and
said his eyes had never beheld a sight equal to
this ; for in the Piazza was a basement which
supported an immense horse in relief, with the
statue of his Majesty on it in complete armour,
gilt all over, a work equally rich and beautiful,
from the hand of Tribolo. The basement was
the work of Tasso, on which these words were
carved : Imperatori Ccesari Augusto gloriosissimo
post devictos hostes, Italia pace restituta, et salutato
Ccesare Ferdinando fratre, expulsis iter urn Turcis,
Africdque perdomita, Alexander Medicis dux
Florentiee. P. D.
" Proceeding through the city, his Majesty

174 LIFE OF TITIAN.
found, at the corner of the street Strozzi,: a
Victory in full relief, six yards high, which
presented to his Majesty a crown of laurel, and
on the basement were these words in very large
letters : Victoria Augusta. If this figure, want-:
ing a master's hand as it did, had been exe
cuted by one more .skilful, it would have sur-;
passed all the others, as there was so much
meaning in the action : however, it was not
altogether bad. The:artist was one Cesare, a
sculptor, who by this: his first Victory did not
excite much envy. "::¦-•
<¦ << "Wei^ his Majesty rode on through the
street ?Torriabubni to' the corner of the Carnese-.
chi; where was presented to his view a colossus
of a vast size. It was a Jason offering the
golden fleece to his Majesty. The figure
was in armour, with a drawn sword in his
hand ; and on the basement were these words :
Jason Argonotaurum dux, avecto e Colchide aureo
vellere, adventui tuo gratulatur. This was by
the hand of John de Servi;>but though equally
excellent did not strike so much as his first
figure of Hilarity, near the Arno.
" Proceeding on, his Majesty came to the
Piazza of St John, at the gate of St Maria del
Fiore ; where over the gate was a most impos
ing inscription, with the three theological

LIFE OF TITIAN. 175
virtues, and on it these words : Diis te minorem
quod geris, imperas. These, being by my hand,
I shall pass over in silence. The Emperor
then dismounting, the canopy was held over
him by the young nobility, and he entered the
church, which was adorned with tapestry on
the inside, and lights all round the cornice and
cupola. Indeed the cupola was most particu
larly beautiful, as it was divided into eight
compartments, with a quantity of. lights, and
adorned with large draperies that . hung grace
fully down some way, arid had a most admirable
effect. His Majesty having paid his reverence
to the sacrament, came out of the church, sur
rounded by the populace. He then remounted
his horse, and proceeding to the street Martelli,
he there beheld two immense figures, on two
separate basements. One held in her hands a
sword, a balance, and a book. The second had
a serpent and a mirror in one hand, and the
other was held up in the air, sustaining a globe
of the world, on which were marked the sea,
the land, islands, ports and cities, done with
judgment and correctness. On this globe was
an eagle, and above that a scroll visible on
both sides. That towards the Piazza of
St John, had '¦ this motto, Ego omnes alites :
the other side, towards the Piazza of St Mark

176 LIFE OF TITIAN.
had: Caesar omnes mortales. Of these figures,
one was Prudence, the other Justice ; hav
ing these words, Prudentid paravimus — Jus-
titid retinemus. This work was executed by
Francesco da S. Gallo. The invention and
effect were most excellent. Pity that the
figures had not been a little better! This
brought his Majesty to the corner of the Me
dici Palace, where there was, by the hand of
Tribolo, a female figure all in silver in relief,
which was eight yards high, and held in her
arms naval spoils and implements of war in
abundance, and presented an olive-branch to
his Majesty. On the basement was written, —
Fiat pax in virtute tud. The entrance of the
palace, the hall and the stairs, were all orna
mented and gilded. The columns, the cornice,
the gate, and the arch above were separated
into beautiful compartments by a quantity of
foliage of ivy and vines, all full of insignia of
the Emperor, wrought in relief, with friezes of
every sort, so that it seemed the favourite abode
and paradise of the sylvan deities. The whole
of the entrance was most superbly done in
compartments with similar foliage, friezes and
devices of his Majesty's arms ; and on the
inside you saw in a circle over the middle arch
these words : Ave, magne hospes Auguste. The

LIFE OF TITIAN. 177
fountain of marble in the court-yard continued
to throw up supplies of water. The chambers
above stairs as well as below, that looked into
the court towards St Lorenzo, were all hung
with cloth-of-gold, and the other rooms with
purple and crimson velvet, satin, and damask.
Those below were the same as the first and
second floor. The third story was hung with
a variety of new and beautiful tapestry; in
short, it was impossible to imagine any thing
more rich and magnificerit than the whole. His
Majesty, in an extacy of admiration, said,
' There is only one Florerice.' .;. .
" I krlow I have been prolix in my account,
but my wish to satisfy you, "and your having
desired that when his Majesty came I should
be very particular, has made me dwell so long
on this relation ; and moreover those magnifi
cent subjects make every thing seem trifling
but themselves. Do not be surprised, there
fore, at this over-long letter, thus filled. How
ever I will venture to send it, only saying
in addition, that the nobility, the court, the
strangers and the citizens remain struck with
admiration at the grandeur and spirit of the
Duke, and they all confess he is worthy of a
much' greater dominion than this. It now only
remains for me to say, that this evening the
VOL. I. N

178 LIFE OF TITIAN.
Duke on parting from me in the palace, said,
' If you write to Aretin, give him an account of
the whole affair, that he may participate in this
grand show, and remember me to him kindly.'
And afterwards he addressed, me in these kind
words: — ', Because you have had great fatigue
in haying completely finished the whole of the
work you had undertaken, leaving nothing im
perfect, while so many others, both painters
and sculptors, have left theirs with something
still to be added, and also considering the value
and honour you have conferred on this triumph
by your talent and zealous labour, it has alto
gether raised my esteem for you, and I hold
you far more deserving than the rest who
have been tardy in their work. Therefore I
have ordered for you three hundred Crowns
above that which was intended to be paid you
by the Commissioners who had the care of this
business.' " In the meantime, I hope for the recovery
of my former strength, for I am at present
quite exhausted. I will give you daily ac
counts of my other successes. Remember me
to Sansovino and Titian. — I remain yours at
command, " Georgio Vasari.
" Florence, May 1533."

LIFE OF TITIAN. 179

" TO MASTER PETER ARETIN AS A MOST
HONOURED FATHER.
" Most divine Master Peter, I salute you ;
and because I have reason to know the since
rity and liberality there is in all your actions,
I do not hesitate to send you a head in wax by
the hand of that Prince and Sovereign of art,
that only rival of Nature, that supernatural
man,* desiring from the knowledge and judg
ment of art with which Heaven has endowed
you, that you will keep it near you as j& thing
most precious. It being a mirror and repertory
Of every kind of science, 1 am certain you can
not have a greater or fitter ornament for your
room ; and I know that from the spirit which
in this sketch is joined to such a profound
knowledge of design in so remarkable, so won
derful a manner, you will not be able to refrain
from praising it highly. I assure you I have
had the greatest trouble in getting it from those
who abound in such things, and who, though
they know nothing about them, are fond of
keeping them, merely to have the credit of
possessing them. This is the reason why com-
* Michael Angelo Buonarotti.

180 LIFE OF TITIAN.
mon people are so covetous of works of art. I
assure you if I had not had the protection and
favour of my most excellent Master Girolamo
da Carpi, I doubt much whether I should ever
have been able to procure this head. Such as
it is, I freely give it you, not merely send it
you to look at. And I do not at all regret
depriving rnyself of it that I may make you a
present of it. For as you have given me so
many things, and as Heaven has endowed you
with such understanding, you must certainly
know that it is better lodged with you than
with me. If you examine well my mind in
regard to yourself, you will perceive that I have
made you a gift of myself, of which you may
be well assured. Therefore having me, you are
also entitled to my property, and so we will
make no more ceremony about it. Speaking of
this, I am sorry that I forgot to send you the
ears and some other things, together with a
sketch of St Catherine by his hand. But I
will send them in a packet, with some things
of my own doing. The last you may always
have ; for being of a middle class, they are not
difficult to be procured, like divine and perfect
Works. And if what I wrote in my last be
not presumptuous, I hope you will remember
about your portrait, which I expect with the

LIFE OF TITIAN. 181
greatest delight, and shall prize it highly, as it
will in some sort give me your company : be
sides, I shall value it as a fine picture, and as
a favour from you. I should be glad of your
other printed works, either bound or loose, to
complete those I already have ; and also if you
have by you any writings that you consider of
importance, they would be very precious to
me ; for in fact I read, I study, I adore nothing
but your productions. Our courier, an honest,
good man, will bring them with the same care
as he has done other things of yours. You
ought to notice him, for he bears you the
greatest affection, and is miserable if I give
him letters to others and not to you.
" As to your money, I have not, at present,
any in my hands ; the other sum which I ex
pect every hour for you, I think cannot be now
long in coming, arid as soon as I have it and
have seen what it amounts to, or if it be so
much as you told me, I will not fail to send it
you. It is true that since I left Arezzo, I have
received letters from your sister, to whom I
replied that till I heard from you I could not
move in the business. I know you will not
think it troublesome to kiss in my name the
hand of the most excellent Master Titian ; arid
to tell him that I adore him, and that in all I

182 LIFE OF TITIAN.
can do for him I am always at his service, and
that I expect him with more eagerness than
the beggars do the soup on the feast-day of
St Antony.
"The most reverend Marii, Master Giro
lamo, Alessandro, and Master Bernardino de
sire to be remembered to you, as I do myself;
I, who am always at your service, as prompt
and ready-drest as a new-made priest.
" Georgio Vasari,
" Florence, Sept. 7th, 1535. Painter of Arezzo."

" TO FRANCESCO RUCELLAI.
" Since you went into the country, my good
Master Francesco, we have heard the news,
that our Duke Alexander chooses that Signora
Margaretta, his consort, should come here to
lodge in the house of Master Octavian, your
uncle. Therefore your chamber as well as
mine and those of others must be given up to
her Excellency. Master Octavian has deter
mined that himself and all of us should take up
our habitation in the Hospital of Lelmo. I never
dreamt that in the midst of all our gaiety, we
should all of a sudden have to go to the Hos
pital. Donna Francesca, his wife, will not hear
a word of such a thing ; knowing that in about

LIFE OF TITIAN. 183
a month she will be brought to- bed, and would
have to be visited by so many of her noble kins
folk in so horrid a place, and would have such
bad accommodation. As to myself, it is of little
importance, as my ordinary abode is one of the
servants' rooms, where since I came, I have com
menced my picture. I have begun that, and
the other that I had to do for the Society of
St Roque. In this picture I have pourtrayed on
a cloud God the Father, angry with sinners, and
hurling thunderbolts on them, figurative of the
plague. He is surrounded by cherubs ; and on
the ground on their knees are St Roque and
St Sebastian, humbly praying that God would
cease this scourge and have compassion on our
weakness. Our Lady appears in the middle,
holding her Son in her arms. Near her are
St Ann, her mother, and St Joseph with a book
in his hand, reading. There is likewise St
Donato in the dress of a bishop, also praying
for the people of Arezzo, he having been their
pastor. Also St Stephen, the proto-martyr. I
have in this picture occasion for a dog with a
rough coat, and I am informed that you have
such a one : if you will send him to me, I will
take his portrait for the dog of St Roque, who
carried bread to him in his cell. In short, you
must make haste, so as to be here in two days,

184 LIFE OF TITIAN.
for it is determined that I shall make a grand
ornament for this ducal marriage; and this very
morning I was commissioned to paint a variety
of decorations over the whole of the apartments
at the entrance of the court- yard, and orders
have been given for preparing the scaffolding for
the work immediately. There has already been
a meeting of the artists ; and Tribolo has begun
at the -gate of the palace an ornament of Ter
mini, that reach to the imposts of the cornice of
the arch; above which he will put naked figures
enveloped in festoons that are to support the
coat of arms, which is to be very large, and
grasped by an eagle with two heads. On each
of them is an imperial crown, and on the shield
are tlie arms of the house of Medicis, with those
of the house of Austria. Again I must solicit
your return, because, besides a thousand fan
cies of stories I have thought of to, paint, I have
also great need of the help of Master John
Amoretto with you. I am thinking of a figure
of Hymen of a very large size, which I would do
with my own hand. I intend that he should be
surrounded by an infinite number of young vir
gins, whom he' consigns to the vows of their
husbands, and conducts them to celebrate their
marriage by the nuptial-ring and consummate
the chaste rites of holy matrimony. In the mean?

LIFE OF TITIAN. 185
time, they will prepare at the gate of the Prato
a triumphal arch, with historical pieces on it,
and figures representing the rivers of this coun
try and the cities of the duchy, rejoicing and
offering tribute according to their degree and
quality to this most illustrious lady. The city
is thronged with painters and architects,, so that
the work may be finished quickly. We under
stand that his Excellency and his. lady are now
at Pisa, and within two days are resolved, to a
certainty, to be at Poggio,* in order that the lady
may recover from her fatigue and prepare her
self to go on. They -say that she will take a
considerable circuit to make her entrance into
Florence. Therefore we are not willing to de
stroy the works made on account of his majesty
the Emperor, but shall let them remain as they
are, in case his Excellency should choose to
pass through the same way : that is, when they
come to the bridge of Carraja, passing the Arno
at the corner of the Cuculia at St Felice, going
by the Corso as the Emperor did. But this
* Now called Poggio Imperiale, a magnificent villa, formerly
a castle belonging to the Canellieri of Pistoja ; it ^came into pos
session of the Strozzi, and afterwards of the Medicis, who retained
it. It was famous even in the time of Lorenzo the Magnificent,
who kept a menagerie of wild beasts there, long before any other
prince in Europe had even thought of such a thing. —

186 LIFE OF TITIAN.
morning a courier of the Duke's, who came
from Pisa, said the report was that his Excel
lency would not pass the bridge of Signa, but
go on to the gate of St Friano, and by the Piazza
of the Carmini, taking his way from the corner
of the Cuculia, and then as I have above de
scribed. " Now you understand the whole matter, and
must leave me to the business which prevents
me at present from saying any more, especially
as tomorrow we shall be all busy in making the
preparations for their Excellencies. " Georgio Vasari."

LIFE OF TITIAN. 187

CHAPTER XII.
THE DEATH OF ALESSANDRO DE MEDICIS. — VASARl's
LETTERS CONCLUDED.
The Lady Margaret was a natural daughter of
Charles V and Margaret Van Gest. She was
betrothed, as I have before said, to Alexander
in 1530. The nuptials were celebrated at
Naples, February 1536, when the Duke visited
that place, for the purpose of dissuading Charles
from his intended expedition to Tunis. The
bride did not arrive in Florence till the May
following; having then but just completed her
fourteenth year. But all these pleasing pagean
tries were soon followed by a dreadful reverse,
in consequence of the assassination of the un
fortunate Duke Alexander by his kinsman, the
infamous Lorenzo.
This Lorenzo de Medicis, called also Loren-
zino, was descended from Lorenzo, a brother of

188 LIFE OF TITIAN.
Cosmo, surnamed, " the father of his country."
He was at that time about twenty years of age,
by no means deficient in talent, and that well
cultivated. He was in strict intimacy with
the Strozzi, avowed republicans ; but faithless
to both parties, he betrayed their designs to the
Duke, in order to obtain his confidence. Hav
ing by these means become his favourite min
ister and the companion of his pleasures, he
induced him to abandon himself to his incli
nations without restraint. Lorenzo had long
meditated the assassination of his cousin, a£
appears from the well- known anecdote of the
reverse of Cellini's medal, which Lorenzo
amused himself with turning into a pun. He
had been humorously, called a philosopher by
the Duke, not because he studied, but because
he, was fond of going alone, and appeared to
pay no attention to wealth and honours.
Lorenzino took the Duke privately to his
house, on the night of the 6th of January 1537,
under pretence of meeting a lady, a relation of
his, of whom Alexander was deeply enamoured;
When he got him to the chamber, he fastened
the door, and drawing his dagger, stabbed hiiri
to the heart. This ferocious act is related by
Varchi, in his fifteenth book, and also by Segni

LIFE OF TITIAN. 189
in his severith, but both these writers suppose
the event to have taken place in 1536.
The crime committed by Lorenzo was ren-r
dered worse than useless : he himself fled like a
madman to Venice, while the party, of the Medici
soon prevailed over the weak divided friends of
the Republic. Cosmo was elected Duke of
Florence, on the 9th of January following, and
exercised his power with justice and mode
ration. Lorenzo after residing some time at
Constantinople went to France, and thence to
Veince in 1547, where he was assassinated by
two soldiers, who would take no reward, as one
of them had been among the guards of the
Duke Alexander.
There is an affecting letter of Vasari, describ
ing the above event, which I shall insert.

TO DON ANTONIO VASARI.
" Behold, honoured uncle, the hopes of
the world, the favours of fortune, and the frail
support derived from Princes, since the recom
pense of my great labour and fatigue is
vanished like a dream, is brought to an end, and
blasted by a breath. Behold the Duke Alexan-:
der, my lord on earth, is dead, murdered like a

190 LIFE OF TITIAN.
savage wild beast, by the envy of Lorenzo and
Pietro Francesco his kinsmen. I and all his house
hold are dissolved in tears at the unhappy
fate of this Prince,: whom so many swords,
so many arms, so many soldiers, So many
guards, and so many fortresses could not de
fend from one single dagger and two such atro
cious traitors. My sorrow is not like that of a
great many others, who lament only their own
misfortune, and who are too common in a court,
which is a continual pasture for flatterers, de
bauchees, cunning knaves and ruffians, whose
only care is themselves. It grieves, me to think
that this vile deed is not solely the death of
the Prince, but also the destruction of all those
whom the world most esteem, and that it is an
open defiance to God. The misery in which last
night Was passed by her Excellency and her
attendants was only equalled by my own.
" I must own my pride was raised Very high
by the favours I received first from the Cardinal
Hippolito de Medicis, and afterwards from'his
uncle Clement VII, of both of whom I have
been robbed by death. Thus fell all my hopes
of ecclesiastical preferment for you, and all my
own hope of being able to support my mother,
my sisters, and brother ; and by means of such
great patrons, of obtaining for you the reward

LIFE OF TITIAN. 191
of your virtues and your constant bounty to us,
and of seeing you in a station to do honour to
us and all our house. And even after their
deaths, I had still some hopes of seeing your
brother, my uncle Cosmo, in a better situation,
and deriving an income from some good place
or other, which I might possibly obtain by the
services I had done for our late unfortunate
Prince. " I do not grieve for the loss I sustain in my
professional capacity, since every court that
pays any attention to the arts, will always give
bread for ingenious performances ; so that when
we are deprived by death of one patron, we are
sure to find another. My tears are for those
who depended on his support, many of whom
were of noble blood ; and for those who had
served him for many years, and had been faith
ful to him through every thing, and have had
the staff of command and government given to
them for their services. As to myself, I believe
that the same providence, which feeds the birds
of the air and the beasts of the field, will also
provide continual work for me ; and that by the
sweat of my brow I shall be able to assist you
and the rest of my family. Besides, if I chose
to offer my services to his Excellency the Duke
Cosmo de Medicis, who has succeeded the un-

192 LIFE OE TITIAN.
fortunate Alexander, I might have the same
place and the same provision as before. There
fore comfort yourself, and do not be in any
doubt about me ; I will send the picture of St
Roque I have done for the convent, as soon as
possible. I have sawn the picture in two at the
middle, and shall leave it to them to rejoin it. I
am greatly annoyed , about the other picture I
have undertaken, that is to be placed at the side
of the high altar of St Dominic ; for I am also
engaged by the monastery of the Corpus Domini,
to do a picture for them within a twelvemonth.
If I do not succeed in procuring two wooden
pannels for those two pictures here, I shall go
to Rome, where I have been earnestly invited
these many years by a multitude of friends.
Besides this, my heart is bent on improving
myself in the art.
" Pray to God, my dear Uncle, to preserve
me with whole ribs, for I swear that all of us
who were in the service of the late Duke are in
the greatest danger of our lives. As for myself,
I have retired to my chamber, and have removed
all my things into the houses of various friends,
to take care of them for me, so that I may be
enabled to pass the gate without incumbrance.
" I am about a picture, the subject of which
is Christ converting the bread and wine into his

LIFE OF TITIAN. 193
own flesh and blood. I have finished the Christ,
and begun the Twelve Apostles ; and that I may
be in readiness to go, I shall do but little else,
and finish it soon, to leave as a present to the
magnificent Octavian at my departure. As
Christ, when he parted from his apostles, left a
record to them as this picture represents, so I
leave this sign of my good will and gratitude on
leaving the court to retire to a better life.
" I have ordered a case for the pictures, so
that I may comfort myself with having made
my peace with you and the rest at Arezzo,
Please to get my house in readiness for me,; I
shall soon arrive, and hope to spend the rest of
my days there in peace.
" Georgio Vasa,ri.
« Florence, Jan. 7th, 1537."

" TO MARTIN NICHOLAS SERGUIDI.
" Behold, my honoured friend Nicholas,
after all my good fortune, and no less state ®f
great danger, more by my fate than by my wffl,
I am thus quickly returned to my own country,
Arezzo, but not without some difficulty. Here,
by the charity of my mother, the amiable kind-
vol. i. . o

194 LIFE OF TITIAN.
ness of Don Antonio, iriy uncle, the sweetness
of my sister, and the friendship which every one
in the city shews me, I am made to feel more
keenly the galling chain of servitude we suffer
in a court, the ingratitude, the cruelty, the vain
hopes, the contagious poison of nauseous adula
tion, in short, all the miseries that are attached
to it, and death seems the only means by which
we can escape it. For when a delinquent has,
by the mercy of God, been once set at liberty,
if he again commits the same crime, he not only
deserves the punishment of corporeal death, but
of eternal or worse, if worse there be. So I
have lost a servitude which I acquired in my
boyish days, and my pride and grandeur en-
creased with my improvement in my art. But
never again will I undertake any thing, except
where I have the perfect liberty of my own
mind, and am not subject to another's caprice ;
for this is the truest grandeur and the safest
hope. If youthful vanity or avarice has sown
in us the seeds of inclination to bow down and
subject ourselves, either through frivolity of
mind or avarice or ambition or desire of praise,
all these things when gained involve us in
deeper misery than even the end so eagerly
sought can atone for. I return you ten thou-

LIFE OF TITIAN. 195
sand thanks for your mature counsel, now that
I am freed from those enemies to God and
happiness. " You are perhaps aware that I enjoyed the
patronage of the great Hippolito de Medici,
and Pope Clement VII, and that I had consi
derable hopes, that by means of one or the
other, I should have .been able to afford some
assistance to my family. Being deprived of
both of these by death, the light of my hopes
was so far kindled, as to induce me to pay my
devotions to Duke Alexander, by whom I was
received into favour, and was so little able to
govern myself, that I became blinded by pride
and conceit, which is perhaps the reason that I
am now made an example of ; and not only my
self, but all the others who were in his service
now feel the same unhappiness, and how little
certainty attends the hopes of those who rely
on the favour of the great. I am quite in ear
nest, and assure you that I am now become
perfectly insensible to the things of this life. I
know myself thoroughly; and were it not for
some little talent I have shown, I should have
no hope remaining, in this world. But when I
consider that I have a heavy weight upon me,
one unmarried sister, without any provision for
my mother, an aged uncle, and a brother, it is

196 LIFE OF TITIAN.
purely through my desire of assisting them that
I have been prevented from putting an end to
myself with the dagger or by poison. Behold
me then resolved to live always by the sweat of
my brow, and to labour continually for any one
who will employ me ; and if they come Hot to
my house, I will go to theirs, let it be where it
will; and thus placing all my confidence in
God, occasion pictures to be bespoke by those
who never delighted in them.
" The study of the art I shall practise in this
place, as an example of forbearance to those
who strive to be courtiers ; by Avhich means I
shall less offend my God, my neighbours, and
myself. My solitude I have in exchange for the
society of that herd of men, who, to get them
selves patronised, are obliged to be all submis
sion, admiration, and praise, and must dance
perpetual attendance. But here I pass my
time in reading and contemplating the Deity,
without sin, and without offending my neigh
bours with malicious scandal. The village is
my resource when melancholy; and to view
the rural prospect, morning and evening, so
soothes my mind, that, next to God, I am in
debted to it for the tranquillity I enjoy. Now
mind that the ibreakang of my long silence to
you is to put an end t© all your persuasions to

LIFE OF TITIAN. 197
a change of my situation, to barter liberty for
slavery, humility for pride, and now that I am
whole, to make me become weak again. But
enough of this. I proceed to answer your en
quiries as to what I am at present engaged upon.
I have now finished the St Roque, and have
engaged with that brotherhood to paint the front
of their chapel and all the ornaments ; in which
I have painted in compartments, under the St
Roque, a design of the Plague when David num
bered the people, and the Prophet Nathan was
sent to him, saying, ' You have sinned against
God, who will punish you ; you have therefore
to make choice of either famine, pestilence, or
exile.' These I have represented in this man
ner : Famine is a starving, meagre figure in the
air, with stalks of corn without the seed in her
hand, leading a hungry wolf. Exile I have
pourtrayed by a Ring running away from his
people, who are pursuing him. Pestilence is
signified by a serpent flying in the air, pouring
forth fire and noxious vapour. The sky flashes
with thunderbolts ; and there is a horn filled
with poison, which with its smoke and stench
spreads desolation around. In another part
you see the Destroying Angel of the Lord!, dart
ing vengeance on the people, who are falling
dead upon the ground ; which fills David with

198 LIFE OF TITIAN.
compassion, and he prays to the Lord that Ven
geance might fall upon himself alOne, who was
the sinner, and not on the people. This stops
the hand of the angel'of the Lord, and the scourge
ceases. David buys the threshing-floor of
Arauriah the Jebusite, where he raises an altar
to the Lord, and there offers up sacrifice. I
have also, in the cieling, painted in small dimen
sions the history of Moses ; and below that, the
figures of St Peter and St Paul, larger than
life. In the front of the chapel, over two
doors, is a tabernacle or recess, and for each I
have done a prophet, seated, accompanied by
children. In the great front, oVer each pro
phet, is a figure: one is Charity, with chil?
dren round her on their knees ; the other is
Hope, lifting her eyes towards heaven, with
her hands joined in prayer, in expectation of
the reward for her labours ; and above the
arch, in the middle, is a figure of the Chris
tian Faith, with a vase, in which is a new
born infant, who being baptised with water, is
made a Christian. At her side are to be the
emblems of the other sacraments of the church,
and in her hand is the cross of our Lord Jesus
Christ. My abilities seem to give perfect
satisfaction to my countrymen. I shall now
soon have finished my work at this place, arid

LIFE OF TITIAN. 199
when I have done what I have promised for
them, I shall look about for myself. Therefore,
as you see I get work, do not talk to me any
more about the court. — I am yours,
" Georgio Vasari.
" Arezzo, July 6th, 1537."

"TO MASTER BACCIO RONTINt.*
" I am under great obligations to you, my
dear Master Baccio, as you know that by your
skill, under the mercy of God Almighty, you
at one time saved my life, and at another time
restored me to health. You desire to know
whether I am dead or alive, because you have
not had any knowledge of my existence, either
by powder or smoke. You now see my
answer, inforrning you that I am at this time.
shut up in my room making a design for a
picture that is to be placed here in Arezzo,
over the high altar in the church of the mo
nastery of the Corpus Domini. Since I parted
from you, I have been so very melancholy about
the death of Duke Alexander, that it nearly
drove me mad. So to divert my chagrin, and to
keep my thoughts from distraction, I undertook
* A celebrated physician of that time.

200 LIFE OF TITIAN.
this work, the subject of which is Christ taken
down from the cross by Nicodemus. There
are four figures who, with great difficulty and
care, have unnailed the body of our Lord ; one
man has his arms round the middle, bearing the
greatest part of the weight ; another takes the
right leg at the knee, and helps to support the
other parts as a counterpoise ; another holds
the left arm, descending like the other two,
who have begun to move down ; another man
has placed a ladder against the cross, and is
wrapping the body in a long piece of drapery
round the middle : holding one end of it in his
hand, he lowers down the body very gently,
and supports part of the weight. The other
part, of the drapery is thrown over the cross.
One man below is supporting the dead body
with his hand, and receiving it from those
above. "Thus all the figures are assisting to take
down the body of their Saviour, and to give
him a sepulchre more honourable than his
death. The Madonna, overcome by grief, has
fallen senseless on the earth. Mary Magda
len and the other two Marys are all in tears,
and plunged in the deepest sorrow. St John,*
unable to endure the sight of this impious
* He should have said Joseph of Arimathea.

LIFE OF TITIAN. 201
sacrifice of pur Lord and of the fainting Mother,
and yet unwilling to discover his tears, turns
away his face, and with both his hands raised
to his head, he stoops forward, as if trying to
abate the bitterness of his grief. There are also
the centurions on horseback, who after seeing
the body laid in the sepulchre, consign it to the
soldiers of Pilate. The sky is darkened by the
eclipse of the sun. On the north of the moun
tains in the back-ground is seen a part of the
country near Jerusalem.
" Thus while I work on this picture of the
pure and righteous Son of God, who for our
salvation was most vilely put to death, I, fully
confiding in that divine mystery which gives
hope and comfort to my soul, shall moderate
my afflictions, and be humbly content to live
in this my quiet poverty. By not suffering
any tormenting, vain thoughts to interrupt me
while employed in this work, and thus going on
without annoyance, I think I shall finish it in a
short time. If it be your design, as you inti
mate in your letter, to come to us at Arezzo, I
shall be gratified in the highest degree, for,
besides that you will see one who loves you,
you would be able to do a great service to my
sister, who has a defluxion in her arm, from
which probably she would soon be relieved by

202 LIFE OF TITIAN:
that skill, which was given you by God. And
there is nothing that is in my power to do for
you, that you have not a claim on me to per
form, and to help you more than your own
Galen or Dioscorides.
" Therefore to . you I have dedicated ten
drawings of various herbs by my own hand,
coloured exactly from nature, just like those
which I did before. I shall be much obliged,
if when you come, you would bring with you
that book of the bones and anatomy, which I
gave you the last year, because it will serve me
here a little, not having advantage at this place
of the dead body, as we had at Florence.
" Wishing you health, I remain yours more
than ever I was, and with this I shall conclude
my letter.
" Georgio Vasari.
" Arezzo, February 1537."

" TO MASTER GIOVANNI POLLASTRO.
" If every disease were as well understood by
the physicians, as you most accurately compre
hended mine, I believe that death would have
but little power over the human race. Behold
me a lost and dispirited man in Arezzo, become

LIFE OF TITIAN. 203
desperate from trouble for the death of Duke
Alexander, disliking all commerce with man:
kind, dull to. the kindness of a parent or the
tender solicitude of my family, I was a melan
choly object, shut up in my chamber, attending
to nothing else but my work ; yet my work
itself seemed to distract my brain. At last I
became so ill at one time, that I was really out
of my senses, and my imagination was filled
with horrid dreams which had so infected my
intellects, that I verily believe that had I per
severed long in the same course, in a short time
it would have brought me to an untimely end.
But it was you, my dear Master Giovanni,
(blessed be God for it a thousand times) it was
by your means that I was conducted to the
Hermits of Camaldoli,* and it was impossible
for me to have been conducted to a fitter place
to bring me to my proper senses, because I
passed my time in a way that did me infinite
service ; for by communing with those holy
hermits, they, in the space of two days, worked
such an alteration in my mind for my good and
my health, that I began to be sensible of my
former folly and the madness with which I had
been blinded. But now, in this chain of lofty
* The principal hermits of that religious order in Tuscany.

204 LIFE OF TITIAN.
mountains of the Apennines, beautified by the
straight fir-trees, it is that I am made to feel
the high value of a life of peace. Every year
these holy hermits make a hut of the branches
of trees, with a cross fixed to it, pointing
straight to heaven. This they imitate in their
lives : and here they have their abode together,
leaving the vain world below them with a fer
vent spirit elevated to God. Thus striving at
perfection, they are continually approaching
nearer to it. Here are no temptations from the
wickedness and vanities of the world ; and al
though we may treat them with derision,
exposed as they are to the blowing of the winds
and battering of the tempest, which often assails
them, yet afterwards, when the air becomes
clear, they find themselves more alert, more
healthy, more hardy, and more perfect than
ever ; as they know to a certainty, that Heaven,
which gave them their constancy and their faith,
ever gives the same resigned spirit to all who
serve the Lord.
" I have seen and conversed for an hour with
five old hermits, neither of them under eighty
years of age, and who are strengthened to per
fection by the Lord,; and it seemed to me as
if I had heard the discourse of five angels of
Paradise. It quite astonished me to see those

LIFE OF TITIAN. 205
men at such an infirm age work in the freezing
nights like young men, to remove the snow that
rose high about the fence which surrounded their
cells, in order that they might be able to go to
church in the morning or at any hour of the day,
thus clearing the way for the space of a hun
dred and fifty paces from the fence of their cells,
and all this done with a joyfulness and plea
sure as if they were going to a wedding. Here
reigns such silence amidst those mute brethren,
that one fears to draw one's breath, and the
very leaves of the trees seem not to dare to stir
with the wind : even the water that is conducted
by wooden troughs to the whole hermitage,
carrying it from one cell to another, runs so ex
quisitely clear that it seems to pay a wonderful
respect. It gave me pleasure to find to every cell
a walk of about twelve paces, and also a little
study to read, write, or contemplate in; and near
it the bed and a little table, and a window that
projects forward like the rota or wheel in a nun
nery, a narrow opening, at whieh the iay-toro*
ther puts in the pittance to the hermit who takes
his meal at his own time, and having made his
dinner, sets the empty platter in the same place
to be taken away, and the same person who
brought it removes it silently, without a word
ever passing.

206 LIFE OF TITIAN.
, " There is a good provision of wood for fire,
both for winter and summer : a little chapel
ornamented with subjects of piety, for the pri
vate devotions and meditations of any despair
ing soul.
" Added to an infinite number of accommo
dations, there is a convenience for washing their
linen, and a most beautiful garden, which af
fords very great comfort, and which they much
enjoy. Therefore you may imagine the satis
faction it affords to those who see it.
" It is the desire of these holy hermits that I
should paint a picture for the high altar, and the
whole front of the chapel, down as far as the
partition in the church, where there are a mul
titude of ornaments and figures done in fresco ;
and afterwards, I am to paint two pictures to
be placed at the gate, which leads into the
choir. I am at present about one of these, to
show to the Reverend Father Abbot, that he
may judge what I am able to do ; for it seemed
to him that I was very young, considering the
character he had heard of me. But I hope by
the help of God to execute a work that would
not disgrace me if I were an older and more
experienced artist. I have already finished the
sketch, though it was no longer ago than the
day before yesterday in the evening, that he

LIFE OF TITIAN. 207
gave me the commission to make the design for
one of those middle pictures, pointing out the
subject. The same night, fired by the desire
I had to surprise and give him satisfaction, I
finished my sketch ; and at an early hour in the
morning took it to the Reverend Father Abbot,
who seemed lost in astonishment at seeing it,
saying that if he had not known that he had
given me the order himself, he should have
verily believed that I had brought it with me to
the Hermitage already done. We have agreed
upon the price, and at this time I have begun
the work; when I have finished it, I will let
you know. I have now told you every parti
cular. I am perfectly comfortable with these
fathers. " I am, yours, " Georgio Vasari.*
" From the Hermitage of the Camaldoli."

* All these paintings of Vasari's are still in being, and have been
well preserved, and are the best works he ever did.

208

LIFE OF TITIAN.

CHAPTER XIII.
TITIAN EMPLOYED BY CHARLES V. — HIS PORTRAIT OF
THE MARgUJS DEL GUASTO.  FINDS A RIVAL IN
PORDENONE.
The visit made by the Emperor Charles to
Bologna in 1530, brought about an event of the
first importance in the history of the arts in
Spain ; I mean the introduction of the works of
Titian, and some time after a journey of Titian
himself into that country. At the period when
Charles made his entry into Bologna, Titian was
in the full lustre of his fame ; scarce a character
of eminence in Europe but was to be found
pourtrayed on his canvas ; and to be delivered
down to posterity in the glowing colours of his
pencil was an object of general ambition, and
in some degree an anticipation of immortality.
Charles, though not very cordially attached
to his Spanish subjects, nor ever partial to that
country, cultivated notwithstanding the genius

LIFE OF TITIAN. 209
of its painters ; and this he effected not only
by sending them to study under Italian mas
ters, but also by inviting the latter into Spain.
The splendid example of Titian might have
been alone sufficient to illuminate a kingdom ;
and there were many others of no mean pre
tensions. Julio and Alexandre, Italians of the
school of John of Udina, a disciple of Raphael,
were artists of great distinction. Charles en
gaged them in a royal work, the beautifying
the Alhambra of Grenada ; they also enriched
the hospital of Santiago, in the city of Ubeda,
with many noble paintings; and the famous
Duke of Alva found various other employ
ment for their talents.
The Emperor, as I before observed, sat to
Titian as he passed through Bologna. He was
then in the meridian of life; and though he
could not be said to inherit the beauty of
Philip the Handsome, he was nevertheless of a
majestic, comely aspect; the portrait pleased
him well, and though so weak an ingredient as
vanity was not to be found in Charles's com
position, yet he was not insensible to outward
impressions, and henceforward determined never
to trust the representation of his likeness to
other hands than those of Titian. He was a
lover of the arts, not an enthusiast ; he knew
VOL. i. p

210 LIFE OF TITIAN.
the value of their influence ; and reverenced
them for their power without being captivated
by their charms'. To men of talent he was
liberal without familiarity; in short, his senti
ments in this, as in every other instance, were
directed by reason, not hurried away impetu
ously by constitution or passion. He rewarded
Titian for his portrait, with a thousand golden
scudi, consulting therein no less his own mag
nificence, than the artist's merit:, and he also
gave him two hundred ducats for a small pic
ture, the subject of which is not stated.
Titian, at the time that he was sent for to
Bologna, not only drew the portrait of Charles
the Fifth and the Cardinal Hippolito de Medicis,
but likewise was commissioned by the Emperor
to paint several other pictures for him. He at
the same time drew the portrait of Alfonso
d'Avalos, Marquess of Guasto, and his friend
Peter Aretin, by whose means he was made
known to and gained the favour of Frederic
Gonzaga, Duke of Mantua, whom he accompa
nied back to his own state, where he painted
his portrait and that of his brother the Car
dinal. After having finished these, he orna
mented a room between those which had been
painted by Julio :Romano for the Duke. Here
he represented the twelve Caesars half-length,

LIFE OF TITIAN. 211
rather larger than life, taken partly from medals
and partly from antique marbles. These, says
a contemporary author, are of such exquisite
perfection, that vast numbers go to that city
only to see them, thinking that they see the
Caesars themselves and not their portraits.
Giulio Romano afterwards painted a story from'
the life of the Caesars under each of the pictures.
Of the persons above-mentioned whose por
traits are handed down by Titian, some parti
culars may be acceptable. Alfonso d'Avalos,
Marquess of Guasto or Vasto, succeeded to the
immense riches, as well as to the reputation
of the great Ferdinand d'Avalos, Marquess of
Pescara. He had just returned at the time we
speak of, from the expedition to Tunis, where
he had served as Lieutenant-General under
the Emperor. To fine military qualities he
added lofty but generous manners ; and a cool
calculating mind, equal to any undertaking.
When Governor of Milan, he caused two of
the Ambassadors of Francis the First to be
assassinated on their way to Venice and Con
stantinople, in order to possess himself of their
instructions and traverse their designs. War
being on this declared, in the famous battle of
Cerecola, he was seized with such a panic of

212 LIFE OF TITIAN.
falling into the enemy's hands, that he lost
the victory by retiring precipitately in the early
part of the day. He did not long survive his
fame, dying in his forty-second year.
The Marchese Frederic Gonzaga was a vali
ant commander and liberal patron of the arts.
He received his dukedom in 1530 from Charles
the Fifth. Julio Romano was introduced into
his service by Balthazar Castiglione in 1524.
He was here very fortunate, but at the same time
narrowly escaped the just vengeance of the
Pope for designing a series of immoral prints,
engraved by Marc Atitonio, and accompanied
by the licentious sonnets of Aretin. Ercolo
Gonzaga, brother to the above, bishop of Man
tua and made a cardinal in 1527, was one of the
brightest ornaments of the church in the six
teenth century. Being of an elevated genius
and excellent disposition, he not only made a
rapid progress in literature and the arts himself,
but gave them every encouragement in his
power ; and took singular pleasure in the com
pany of artists and learned men. After the
death of Duke Frederic, he was for sixteen
years regent of Mantua, during the minority of
his nephews.
Titian, on his return to Venice from Bologna,

LIFE OF TITIAN. 213
had the mortification to find that a party 'of
gentlemen-connoisseurs had taken up and pa
tronised Pordenone, bestowing the most extra
vagant praise on some picture he had painted
in one of the public buildings, as also a small
picture in a part of the church of St Giovanni
Eleemosynario. This by accident brought him
into an unlooked-for rivalry with Titian, who
had but a short time before painted for the
same church a picture of St Giovanni Eleemo
synario attired like a bishop ; but the power
of execution to be found in this picture throws
the work of Pordenone to an immeasurable
distance behind it. Indeed there can be no
comparison made between them.
How exactly we find the same thing in our
days, when scarcely a year passes but we are
called upon to bestow our wonder and attention
on some new and surprising genius, who makes
a prodigious noise for a season, and then is
heard no more ! The earnest desire of mankind
for novelty, and the pleasure it gives to those
who fondly hope they have had the sagacity
to bring the hidden treasure to light, tempts
them to decry the most established reputation,
and leads them to suppose that their new-disco
vered favourite may supply the vacant place, the

214,

LIFE OF TITIAN.

frequent failures they experience being passed
over without making them wiser.
Of so formidable a rival of Titian, I shall here
give a short account. The original name of this
eminent master was Giovanni Antonio Licenio,
which he changed for that of Regillio ; but he is
generally called II Pordenone, -the name of a
small town in Friuli, where he was born in
1484. He discovered an early propensity for
the art of design, and was sent to Udina, where
he studied the works of Pellegrino di San Dani-
ello. Having attained a respectable degree of
proficiency, he went to Venice, where he formed
an intimacy with Giorgione, of whom he became
the friend rather than the disciple, as has been
sometimes asserted. -With still less probability
can he be supposed to have been a fellow-
student with Titian under John Bellino, as
stated by Count Rinaldio in his Pittura Friuliana.
The other followers of the style of Giorgione
acquired something of his manner ; but Porde
none is said by his admirers to have adopted his
verv mind and the grandeur of his conceptions ;
than which it would be difficult to produce any
thing more elevated, bold, and original in the
Venetian school.
After a residence of some years at Venice, he

LIFE OF TITIAN. 215
returned to his native town, where he painted in
1515, for the Collegiate-Church, his picture of
the Holy Family with St Christopher ; and soon
afterwards for the church of St Peter Martyr at
Udina, the Annunciation, an admirable picture;
which has since been considerably damaged and
retouched. He then returned to Venice, where
he painted his well-known picture of St Lorenzo
Justiniani with St Agostino and St Giovanni
Battista, one of his finest pictures in oil. The
celebrity of this performance and others brought
his talents into comparison with those of Titian;
who is said to have, conceived some apprehen
sions at his success, and to have expressed no
little indignation at being put on a level with
Pordenone. This jealousy was also aggra
vated by the latter's being commissioned by
the convent Degli Angeli, at Murano, to paint
a picture of the Annunciation, instead of one by
Titian, which had been rejected on account of
the exorbitant price demanded for it. These
animosities proceeded to such a length, that
Pordenone thought it prudent to guard against
violence, and is said to have painted his frescos
in the cloisters of St Stephen with his sword by
his side, and his shield laid near him, like the
bravos of that time. This state of open hostility
so little congenial with the disposition of Porde-

216 LIFE OF TITIAN.
none, occasioned his. quitting Venice ; and he
visited Mantua,' where he painted the facade of
the Palazzo Caesarei. Thence he went to Pla-
cenza, where he was employed to paint a picture
of St Augu&tih, in the tribune of S. Maria di
Campagna; and two chapels in fresco. Inonieof
these he represented the History of St Catherine,
and in the other the Nativity, and the Adoration
of the Magi. Cremona, Treviso, and Parma
successively received the. benefit of his labours.
At length he returned to Venice, where he was
immediately employed to paint the cupola ofrSt
Roque, one of his most considerable undertak
ings. In this he represented God the Father
with angels in heaven ; also the four Evangelists
and the four doctors of the church, which gained
him great applause. And in the large niche
over the altar he introduced the Transfiguration,
with the Prophets and Apostles. The fame of
Pordenone reached Germany, whither he was
invited by Charles V. who employed him to
paint the Grand Saloon at Prague, and some
emblematical subjects representing the Cardinal
Virtues. These performances were highly
esteemed by the Emperor, who; remunerated
him with great liberality ; and conferred on him
the honour of knighthood. His last works were
his Cartoons designed for a series of tapestry,

LIFE OF TITIAN. 217
undertaken for Ercolo, the second Duke of Fer
rara, and describing the labours of Hercules.
Pordenone, though not equal to Titian, holds
an elevated rank among the painters of his
country. Less tender in his tones and less
seductive in his contours than the head of the
Venetian school, he at least rivals him in the
energy of his style and the boldness of his exe
cution. His fresco works are preferable to those
in oil ; though he arrived at great excellence in
both. To a grand character of design, he added
the rich and glowing colouring of Giorgione.
He was more successful in the robust and mus
cular delineation of men than in the softness
and delicacy of female forms. In every thing
he exhibited a daring and vigorous mind. He
was an experienced and expeditious workman ;
and delighted in fore-shortening and in terrible
situations, having no fear of encountering the
most arduous difficulties of the art. In his works
at Venice he seems to have surpassed himself.
There is a Mercury in the front of the house of
Talente that is very well fore-shortened ; a battle-
piece and a horse, which are much commended;
and a Proserpine in the arms of Pluto, which is
a most elegant figure. The rivalship or rather
enmity which existed between him and Titian
appears to have acted as a spur, which contrir

218

LIFE OF TITIAN'

buted to the excellence of both, like the compel
tition between Buonarotti and Raphael ; to which
it bears a further similarity, as the one is distin
guished by energy and gravity, and the other by
elegance and grace. To have contended with
Titian for the prize of Fame, is no ordinary claim
to glory ; and it will be considered highly ho
nourable to the reputation of Pordenone that he
is entitled to the second rank in the Venetian
school, at a period when it was so fertile in able
artists. He died at Mantua, in 1540, aged
fifty-six, and was strongly suspected to have
been poisoned.
It was indeed necessary that Pordenone
should have been possessed of great qualities,
having to contend with Titian, to whom, after
all, he was much inferior. Nor is it any wonder,
since in Titian alone (be it said without dispa
ragement to other painters) are collected toge:
ther almost all the excellences of the art, which
are found dispersed in so many others. As
to invention and design, Very few have ever
exceeded him. In colouring none ever was his
equal. To Titian alone must be given the palm
of perfect colouring. For it is highly improba
ble that the ancients could have attained it, being
confined in their mode of execution. But if they
did colour well, it has always been wanting in a

LIFE OF TITIAN. 219.
greater or less degree among the moderns. It
may be said of Titian that he almost equalled
Nature herself; and that his figures seem to
move, breathe, and live.
Titian did not indulge in any vain or osten
tatious display, but aimed at a propriety 'of
colouring : there are no affected ornaments, but
the modesty of nature given with a master's
hand : there is no crudeness, but the tender
pliancy of real flesh. In his pictures the lights
always contend with the shades ; and diminish
and lose themselves in the same manner as in
nature. Such was the painter that Pordenone
dared to enter into competition with.
Pordenone had also two relations, both of
whom gained great credit as painters. The
first was Julio Licenio da Pordenone. He was
the nephew and scholar of Gio. Antonio Licenio,
and was born at Pordenone in 1520. He dis
tinguished himself as an historical painter, par
ticularly in fresco. He resided great part of his
life in Germany, where he left many proofs of
his ability, especially at Augsburg. He etched
some plates from his uncle's designs.
The other was Bernardino Licenio da Por
denone. He was a relation of his celebrated
name-sake, and from the resemblance of style
discernible in his pictures at the Conventuali at

220 LIFE OF TITIAN.
Venice, may be presumed to have been his
scholar. He was an eminent painter of portraits,
which so nearly approach to those of Pordenone
himself as to be frequently attributed to that
master. The great defect in the character of Titian
seems to have been that perpetual jealousy that
annoyed him, of which there are so many in
stances given that we cannot but conclude it
was the truth. Wherever he found more than
common ability, he became an enemy. Such
was not the character of Raphael or of Michael
Angelo : and it was to this difference of cha
racter that we probably owe the superior gran
deur and refinement of their ideal conceptions.
Every man's genius pays a tax to his vices.

LIFE OF TITIAN. 221

CHAPTER XIV.
TITIAN'S SCHOLARS.  PARIS BORDONE.
Though a great many studied under Titian, yet
there were but few who attained to any great
eminence. Numbers attempted his manner
with more or less success ; but amongst his
other pupils there was one Giovanni Fiamingo,
who in the representation of the human figure,
either large or small, was considered a great
master ; in portrait he was truly excellent, as
may be seen by many of his pictures in Naples,
where he lived for some time. He died young.
There is extant by this man (what will forever
do him honour) a set of anatomical designs, that
have been engraved and published by that
most excellent engraver Andrea Vesalio in his
works. However the best of all the followers
of Titian was Paris Bordone, who was born at
Treviso ; his father being of that country, his

222 LIFE OF TITIAN.
mother a Venetian. He was at eight years of
age sent to Venice, to the care of a relation.
Here he learnt grammar, and became an admir
able musician. He next placed himself under
the tuition of Titian ; but did not continue long
with him, as he perceived that he had not the
method of improving his scholars in the art of
design ; nor was he much inclined to assist any
promising youth, in whom he might hereafter
raise up a rival. It grieved him much that
Giorgione was no longer living, whose manner he
held in the highest admiration, and whose advice
he had hoped to receive. For as to Titian,
although earnestly begged and even implored
to communicate his knowledge, it was lost
labour. He therefore gave himself entirely
up to study, and to imitating the works of Gior
gione; and this he did with so much success
as to gain great credit ; and at the age of eigh
teen he was commissioned to paint an altar-piece
for the church of St Nicolo dei Frati Minori ;
which circumstance coming to the knowledge of
Titian, he attempted by every means he could
devise to have the work takenout of his hands,
or else to throw such difficulties in his way as
might prevent his displaying before the public
his early genius or even to gain a little money.
This certainly is a very heavy charge against

LIFE OF TITIAN. 223
Titiari, and bears too much an appearance of
truth. After this, Paris Bordone was sent for to
Vicenza, to paint a 'history in fresco in the
Loggia of the hall of Justice, where he went
with much good will, and painted his picture,
which is at the side of that by Titian of the
Judgment of Solomon. His is the subject of
Noah and his children, which for careful finish
ing, correct design, and sound sense, is thought
not in the least inferior to its companion. In
deed, to say the truth, they are so equal in
merit, that they appear as if they had been
both executed by the same hand.
At his return to Venice, Paris was employed
to paint in fresco certain naked figures at a
place near the Rialto : and these being ap
proved of, he was called upon to paint the
fronts of several palaces in Venice. After
wards he was sent for to Treviso, where he
likewise adorned several fronts of houses, and
did other works, and in particular, a great
many portraits that gave the highest satisfac
tion : such as that of the Magnifico M. Alberto
Unigo, that of M. Marco Serarville, of M.
Francisco da Quer, of the Canonico Rovere,
and Monsignor Alberti.

224 UFE OF TITIAN.
For the cathedral of that city, he. painted
a picture in the middle of the church (at the
instance of the Signor Vicario) of the Nativity
of our Lord, and near it, one of the Resurrec
tion. In the church of St Francis, an altar
for the Cavalier Rovere, and an altar in St
Girolamo; and also in All-Saints'-Church an
altar-piece with a great number of Saints;
both male and female; the heads very fine,
with great variety in the attitudes and cos
tume. He painted an altar in St Lorenzo, and in
St Paul's he painted three chapels. In the
principal one he painted the Resurrection of
Christ (the figures the size of life) in which is
introduced a multitude of Angels. In the se
cond, some Saints appear surrounded by a
number of Angels; and in the third is seen
Christ in the Clouds, with the Virgiri present
ing St Dominic to him, all which works proved
him to be a man of great talents, and gained
him very high commendation in this his native
city. In Venice also, where he principally
dwelt, he at divers times painted many other
pictures ; but that which was esteemed to be
his best and most worthy of particular notice
and praise, was a history (in the school of

LIFE OF TITIAN. 225
St Mark) of St John and St Paul. In this is
represented the ceremony of the Fisherman pre
senting to the Signiory of Venice the Ring of
St Mark. In this are seen seated the whole
Senate, with the Doge at their head. A great
many portraits are introduced, painted from
the life excellently. The beauty of this work,
so well coloured in fresco, was the cause of
the artist's being employed by a multitude of
noblemen. In the Grand Palace of the Foscari
di San Barnaba, he painted many pictures ;
amongst which was one of Christ delivering
the Holy Fathers out of Purgatory, which is
considered very fine. In the church of St Job,
on the canal Rejo, he painted a very fine pic
ture of, St John in Bragola : and another, in
the same church, of the Virgin Mary in Hea
ven with St Marina. But Paris Bordone found
by daily experience, that whoever was very
successful in Venice must be subject to great
servility and pay homage to all sorts of people ;
and being of a quiet and modest disposition,
unfit for the intrigues of a great city, he re
solved to take the first opportunity fortune
might offer him, of removing to some distant
place ; yet not like a strolling painter in want
of work, but in honourable employment. Ac-
VOL. I. Q

226 LIFE OF TITIAN.
cordingly, in the year 1538, he went to France,
in the service of Francis the First.* Here he
painted a great many portraits of ladies of
rank, besides many other pictures. Thus for
Monsignor Guise, he painted a picture for a
church, that was much admired, and one, a
Venus and Cupid, for his gallery. Among the
rest, for the Cardinal of Lorrain he painted an
Ecce Homo, a Jupiter and lo, and many others.
He sent the King of Poland a most excellent
one of Jupiter and a Nymph. Two very fine
ones he sent into Flanders, one a Mary Mag
dalen in the Desert, accompanied by Angels ; and
the other, Diana with her Nymphs at the Bath.
These two he painted for II Candiano, a Mila
nese, and physician to Queen Mary, to be
presented to her Majesty. For the Armourers'
Company he painted a large work to be placed
in their hall, for which he received the value
of three thousand crowns. He painted for the
Chief Magistrate of a town in Flanders a large
picture, in which he very ingeniously intro-
* Francis the First, in 1540, inhabited the palace of the Louvre,
where several of Paris Bordone's pictures are to be seen. It had
been the abode of Charles the Fifth, during his stay in France ; and
besides the members of the Royal Family, the King of Navarre,
Madame d'Estampes, the Constable, and the Cardinal de Tour-
non resided there.

LIFE OF TITIAN. 227
duced the five orders of architecture in per
spective ; and another for the charnber of the
Cardinal d'Augusta. In Cremona, he painted
for the church of St Augustin two pictures, in
one of which he drew the portrait of Signor
Julio Manfrini, " as St George, in complete
armour. In the same city he painted many pictures in
the Civitate di Belluno, which are much praised,
particularly one of the Virgin Mary, and ano
ther of St Joseph, which are indeed very fine.
He sent to Genoa the portrait he had painted of
Signor Octavian Grimaldi, the size of life ; and
along with it a fine picture of the same size,
the figure of a naked female. After this Bor-
done went to Milan, and painted for the church
of St Celsus a picture in which are Angels
and Saints seated on clouds, and below a most
beautiful landscape. This, it is said, was by
order of the Cardinal Charles Boromeo at
Rome (the same who has since been canonized).
And in the palace of this Cardinal he painted
two large pictures in oil ; one, Mars and Venus
in the net of Vulcan ; the other, King David
when he sees Bathsheba in the bath, — curious
subjects for the chamber of a Saint. Near
these is the portrait of St Carlo himself, and of
his dear friend Signor Paulo Visconti ; also

228 LIFE OF TITIAN.
several landscapes, not large but very fine. At
the same time he painted many stories from
Ovid for the Marchese d'Astorga, who carried
them to Spain. Likewise for Signor Tomasb
Marini he painted many pictures, the subjects
of which do not fall within my knowledge.
I have now said enough of Paris Bordone,
who having reached his seventy-fifth year,
retired to the quiet enjoyment of an easy for
tune ; working only for his own pleasure or at
the request of princes or of his most intimate
friends, avoiding all vain ambition or show, and
determined not to be allured by appearances
from that tranquillity and peace, which alone
are of real value (according to his own words)
— nor to encourage that pride which will em
bitter our comforts, and destroy every senti
ment of charity. Thus he passed his latter
days in perfect simplicity of manners, with a
certain goodness natural to him, without sub
tlety or weakness. He at this period painted a
very excellent picture for the Duchess of Savoy,
a Venus with a sleeping Cupid. This picture
is so admirable, that it cannot be praised above
its merits.

LIFE OF TITIAN. 229

CHAPTER XV.
TITIAN SENDS HIS PICTURE OF THE ANNUNCIATION TO
CHARLES V.  LETTER OF ARETIN ON THE SUBJECT 
PICTURES AT THE SANTO SPIRITO  VARIOUS PORTRAITS.
About this time (1537) Titian had painted for the
Church of St Maria degli Angeli at Murano, a
most excellent piece of the Annunciation, for
which he demanded five hundred crowns ; but
those for whom it was painted refusing to come
up to his price, he, by the advice of his friend
Peter Aretin, sent it as a present to Charles V.
who was so much pleased with the compliment,
as well as with the picture, that he made him in
return a present of two thousand crowns, and
dismissed a picture by the hand of Pordenone,
to give it a place. As it may be some gratifi
cation to the curious reader, I shall here insert
Aretin's description of this picture contained in
his most friendly epistle to Titian on that occa
sion.

230 LIFE OF TITIAN.
" TO MASTER TITIAN.
" Your judgment was certainly excellent, my
dear Friend, in sending the picture of the Queen
of Heaven to the Emperor of the Earth; nor
could the lofty genius which traces this wonder
of art, have chosen a destination more deserv
ing for a composition, which describes or repre
sents the Annunciation. One is dazzled with
the refulgence which proceeds from the glory of
Paradise, whence the Angels slowly descend
in various attitudes on white and brilliant
clouds. The Holy Ghost, encircled with the
fulness of his glory, so much resembles the
dove whose form he has taken, that one almost
hears the fluttering of his wings. The rainbow,
which overarches the air and discloses the
dawn of day, is more natural than that which
appears to us after a shower towards the even
ing. But what shall I say of Gabriel the
divine messenger? He fills every part with
light, and illumines the dwelling with unex
ampled splendour. He bends so mildly, with
a gesture of reverence, that one is forced to
believe that in such a guise he first appeared
to Mary. He has celestial majesty in his
countenance ; and his cheeks tremble with a
softness which seems to proceed from the milk
of human nature and the life-blood so naturally

LIFE OF TITIAN. 231
expressed in the contrast and the union of your
colouring. The head has an air of modesty,
notwithstanding the dignity of his commission ;
his eyes denote the greatest sweetness, aud the
waving ringlets of his hair seem to fall in the
most natural order. The slight vest of yellow-
coloured cloth does not take away from the
simplicity which envelopes him, and only hides
the nakedness without concealing the form,
while the zone by which it is confined seems
to play in the wind. I never saw feathers to
equal those in his wings for variety and soft
ness ; and the lily which he bears in his left-
hand seems to send forth a fragrance, and
shines with extraordinary whiteness. In short,
it appears that the mouth from which proceeds
this salutation must express it in angelic
language with sounds divine. I am silent
respecting the Virgin, at first adored, and then
consoled by the messenger of God, because
you have painted her in so miraculous a man
ner, that all other eyes must be dazzled by
the splendour of hers (so full of serenity and
piety) as scarcely to be able to look at her ;
neither must I at this time, being engrossed by
the novelty of this last miracle of your art,
praise the story you have painted in the palace
of St Mark, in honour of our great Lords, and

232 LIFE OF TITIAN.
to the vexation of those who, being unable to
deny your genius, grant you the first "place as
a portrait-painter; as they grant me that of
evil-speaking, as if our works were not to be
seen all over the world. " Pietro Aretino.
" Venice, 9th Nov. 1537."
In the year 1541, Titian painted for the friars
of Santo Spirito, in Venice, the picture at the
high altar, in which is represented the descent
of the Holy Ghost upon the Apostles. God
appears in the bright glory above; and the
Holy Spirit is figured as a dove. But unfor
tunately this picture, by some mischance,
nearly perished in a very short time after it was
put up; and after much altercation between
Titian and the friars, he had to repair and restore
it to the state it is now seen in at the altar. In
Brescia he also painted for the church of St
Nazzaro five compartments. The central one is
the representation of Christ, with the soldiers
surrounding the tomb. The four others round
this are St Nazzaro, St Sebastian, the Angel
Gabriel, and the Annunciation of the Virgin ;
and below are the Apostles. This group
was held by the people of the city to be the
best modern picture.. In the same year (1541),

LIFE OF TITIAN. 233
he painted the portrait of Don Diego di Men-
doza, at that time ambassador from Charles to
Venice. This portrait was at full-length,
standing; and it now became not uncom
mon to have a portrait at full-length, after
Titian had produced this fine specimen. He
also painted, at full-length, the Cardinal of
Trent, then in his youth ; and another of Peter
Aretin, for Francesco Marcolini ; but this was
not so fine a picture as that which he painted
before ; and which Aretin made a present of to
Duke Cosmo de Medicis, to whom, at the same
time, he sent a head of Signor Giovanni de
Medicis, father to the Duke. This last portrait
was eopied from a cast in plaster-of- Paris, that
had been taken just after his death, which took
place at Mantua, at the time Aretin was there,
and who caused the cast to be taken. These
two portraits are now in the Duke's collection
at Florence,* with a great many other noble
pictures. In this year, also, Vasari came to
Venice, where he tarried three months; in
which time he painted several apartments for
Signor Giovanni Cornaro, and some things for
the company of the Calza. Sansovino, who
was director of the building of the Santo
* At the Palace Pitti.

234 LIFE OF TITIAN.
Spirito, had designed that he should have
painted three grand pictures in oil in the apart
ments leading to the gallery ; but Vasari leav
ing Venice at the time, the work was given to
Titian, and he executed a set of pictures that
struck with astonishment all who saw them.
For having made himself master of the art of
fore-shortening, he painted on the ceiling over
head three compartments. In the one is Abra
ham going to sacrifice his son Isaac; next
David slaying Goliah, and then Abel killed by
Cain, his brother. At this period Titian painted
his own portrait, to leave as a memorial to his
children. Aretin, in one of his letters, makes
allusion to an historical subject composed by
him about the same time.

" Would to God, my dear friend, that I could
feel convinced I possessed those qualities you
ascribe to me ! Certainly I should rejoice at it,
not only as an ornament to myself, but for the
good of the age, which really has a great
scarcity of persons adorned with the virtues
you are so kind as to attribute to me ; but as
every one dips his fingers in the honey of
praise, when presented to him by those who

LIFE OF TITIAN. 235
delight in speaking well of their friends, so I go
about collecting with vain-glorious lips that
flattery which is given me by your exceeding
courtesy. Not having any other means of
returning your kindness, I have not failed using
every exertion to induce Master Titian to put a
finishing hand to the picture, which you will
soon have again, retouched with that care and
diligence which in truth it wanted ; and which
you for his honour desired. He has added to it
the protector of your country, armed ; and
instead of the cherubims, you will see two
angels of heavenly beauty and exquisite grace.
However, I lament much that I cannot be with
him enough to make him satisfy you in deeds, as
I try to please you with words. This being the
case, I fear you will confess when you receive
the picture of the Nativity, that it is rather a
miniature than an oil-painting' ; and although I
make excuses for him, yet I do assure you that
he has a great desire to please you, as you are
both an extraordinary architect, and a mag
nificent gentleman, together with his respect
for excellent Messer Girolamo, who is an ho
nour to the medical profession, a credit to-
Novarro, and a worthy relation of yours.
" Pietro Aretino.
"Venice, August 6th, 1542."

236 LIFE OF TITIAN.
Our artist now painted a portrait (the size of
life) of a citizen of Venice, his particular friend,
called Sinestri ; and another, whose name was
Paolo di Ponte. At the same time, he painted
the daughter of this person, a beautiful young
woman, called La Signora Julia di Ponte; she
was also Titian's god-daughter. He likewise
drew the portrait of La Signora Irene, a maiden
lady, very learned, an excellent musician, and
with considerable talents for the art. Accord
ing to Ridolfi, this ingenious lady, whose name
was Irene di Spilembergo, was of an illustrious
family of Venice, and flourished about the year
1550. Although she only practised painting
as an amusement, she applied herself to the
study of it with all the zeal of a professor ; and
is said to have had the advantage of receiving
lessons from Titian. Lanzi mentions three pic
tures by her, representing subjects of sacred
history, preserved in the Casa Maniago ; which,
though not very correctly drawn, are coloured
with a richness and harmony worthy of the
ablest artists of that school. The portrait Titian
painted of her is said to have been a most ad
mirable likeness of his noble pupil, with whose
family he lived in habits. of intimacy. She has
the honour of being celebrated by most of the
authors of Italy.

LIFE OF TITIAN. 237
There is somewhere a picture by Titian of
the Death of Germanicus, in which he has con
cealed the mother's face with a veil, thus imitat
ing Timanthes, who in his famous picture of the
Sacrifice of Iphigenia has hid the father's face, a
circumstance which has been much admired.
But this contrivance to avoid a vast difficulty
and excellence in the art cannot be resorted to
a second time with any credit, as the whole
merit of it lies in the originality of the thought.
Titian (now in his sixty-third year) painted a
picture for his native place, Cadore, in which he
represented the Holy Virgin with St Titian, a
Saint of his own family, who was also a Bishop.
He has introduced a likeness of himself on his
knees behind the Bishop, and supporting the
crosier.

238 LIFE OF TITIAN.

CHAPTER XVI.
SENT FOR TO BOLOGNA BY POPE PAUL III. — EMPLOYED
. BY THE DUKE OF URBINO  PORTRAIT OF THE INFANT
DAUGHTER OF SIGNOR STROZZI.
In the year 1543, Pope Paul III visited Bo
logna and Ferrara. Titian on that occasion
came to Court, and painted the portrait of that
pontiff; a most excellent work, of which he
made a copy for the Cardinal Santa Fioie.* For
both of these he was most handsomely re
warded by the Pope. There is another copy
of this picture in the palace of the Cardinal
Farnese at Rome ; as well as that belonging to
the family of the Cardinal Santa Fiore. In-

* Sforza Sforza, son of Bosio, Count of Santa Fiore, and Cos-
tanza Farnese, a natural daughter of Paul HI. He was at this
time only a youth of sixteen ; but had at that period volunteered
into the veteran army of Charles V, and afterwards proved one of
the first commanders of the age— Vide Ratti's " History of the
Sforza Family."

LIFE OF TITIAN. 239
deed, a multitude of copies were taken from it,
which are dispersed all over Italy.
The Pope was so well satisfied that he in
vited Titian to Rome; but having formed an
engagement with Francesco Maria della Rovera,
Duke of Urbino, he was under, the necessity of
declining the offer. Accordirigly, he painted
the portrait of the Duke of Urbino, a most ad
mired performance, insomuch that his friend
Peter Aretin celebrated it in a sonnet, which
begins thus —
" Se il chiaro Apelle, con la man dell arte,
Rassembra d'Alessandro il volto ed il petto," &c.
There are also in the collection of the Duke
of Urbino, two female heads by Titian, which
are extremely beautiful ; and a young Venus,
reposing on a bed with flowers and a thin
veil thrown over her, finely painted and highly
finished ; also a half-figure of Mary Magdalen,
with dishevelled hair, a rare work of like excel
lence. In the same collection are to be seen
the portraits of Charles the Fifth, of the French
king Francis the First, when young; also the
portrait of the Duke Guidobaldo the Second ; of
Pope Sixtus the Fourth, of Pope Julius the
Second, Pope Paul the Third, the old Cardinal
of Lorrain, and of Solyman, Emperor of the

240 LIFE OF TITIAN.
Turks : all which are said to be by the hand of
Titian, and are extraordinary fine. In the same
gallery are a multitude of curiosities ; among
others an intaglio, on an antique cornelian, of
Hannibal, the Carthaginian; also a very fine
head, in marble, by the hand of Donato.
In the preceding year Titian had painted a
most excellent and admired picture of the infant
daughter of Signor Robert Strozzi, a nobleman
of Florence. .This picture had not been seen
by Aretin till the year after, when he wrote
Titian the following complimentary letter, which
was discovered long after at the back of the
picture. The date, 1542, is marked in one
corner. " TO MASTER TITIAN.
" I have seen, my friend, your portrait of the
child of Signor Robert Strozzi,* a worthy and
excellent gentleman ; and as you wish to have
my opinion upon it, I will tell you, that if I
* Titian was at this time sixty-three years of age This truly
excellent picture is now in the palace of the Dukes of Strozzi at
Rome, and is very well preserved. Count Lorenzo Magalotti
speaks of it in the highest terms in one of his letters, printed at
Florence, addressed to Monsignor Leone Strozzi.

LIFE OF TITIAN: 241
were a painter, I should be in despair ; for when
I saw it, I thought I ought to possess know
ledge almost divine even to comprehend all its'
beauties. It is certain that your pencil pre
serves its miraculous powers in the maturity of
your age. Therefore, I who am not blind in
those matters, swear most conscientiously that
I did not believe it possible so wonderful a work
could have been so happily accomplished ; and
that it deserves to be preferred to any picture
that ever was or ever will be painted. Nay,
should this work of art assert that it is alive,
Nature herself might be deceived, and maintain
that it was no counterfeit. I must also give
due praise to the little dog, that the child is
caressing : nor can I say enough of its lively
action. I now conclude my letter in a state
of astonishment that stops all utterance of
speech.' ' " Pietro Aretino.
" Venice, July 6th, 1543."
Notwithstanding the defects which Titian
might have in designing the human figure in a
more advanced age, yet he , has most certainly
represented children more beautifully than any
other painter ; insomuch that Fiamingo, who
took Titian for his model in this respect, has
VOL. I. R

242 LIFE OF TITIAN.
produced in sculpture figures of children infi
nitely more natural than any that are to be
found in the works of the ancients.
I remember that when -I was at Venice in
the year 1780, I had the curiosity to visit the
house that had been the habitation of Titian ;
and although great alterations had been made
in it since his time, yet there remained fixed in
the wall of one of the rooms a basso-relievo, in
marble, of a group of children extremely grace
ful and much in his own manner, and which, I
was informed, had been his guide and model ;
but whether it was a modern work or an
antique, I cannot say. I think the person who
showed the house said it was an antique ; but
for myself, I have never seen any thing of the
sort by the ancients half so beautiful.
Titian certainly gave great satisfaction by his
picture of Paul the Third, as is proved by the
many copies that have been taken from it : and
although it is an exquisite Work of art, yet
the good sense of the Pope is seen in his ap
proval of it, as it is very evident that there is
no flattery in the likeness, which represents him
as he was, a little, thin, and rather mean figure,
much bent with age, with skinny hands and
fingers like a bird's claws. But he has given
him an eye of piercing sagacity. Such was the

LIFE OF TITIAN. 243
picture, the merit of which the court of Rorrie,
as well as all Italy, knew how to appreciate ;
and which, among other testimonies in its
favour, produced the following highly flattering
letter from Aretin. "TO MASTER TITIAN.
" Fame, my dear friend, seems to take parti
cular pleasure in proclaiming the wonders of
your pencil in the portrait of the Pontiff; how
alive it is, how like it is, and how true it *s
to nature! But fame would very insufficiently
have trumpeted forth your praise, had it not
been at the same time obliged to publish to all
the world the generosity you have shewn in
refusing the office of the Seals of Lead, which his
Holiness wished to give you as a reward for
your merit. For all your other works, although
divine, are still inferior to this noble act in de-
clining to accept what others would have been
but too happy to obtain.
" In not accepting this offered rank, you have
not only demonstrated how inferior in beauty
and excellence you esteem Rome compared to
Venice; but also how much riiore noble is the
secular habit than the vile garb of a friar.
Neither my tongue nor pen can sufficiently give
praise to your integrity and goodness of heart,

244 LIFE OF TITIAN.
in not wishing to enrich yourself at the expense?
of two others, for it would have been necessary
for you to take part from one and, part from
another, in order to make, yourself their as
sociate. Thus your labour would have, been
remunerated without any cost to him who is
bound to pay for it.*
*' Long live Vecelli, sirice he prizes his good
name more than riches or honours !
" Pietro Aretino.
" Verona, July 1543."
I add the following letter of Aretin to Titian,
dated in the same year.
" to m. TITIAN.,
" Your friend and mine, Captain Adriano,
Perugino, seeing me accidentally when accompa
nying the Grand-Duke, of Urbino, after saluting
me as usual, immediately said that he had had
the greatest difficulty in the world to, induce
you to believe what you always concluded to
be impossible ; namely, that I had been able to
absent, myself from my terrestrial paradise by;
persuasion of his Excellency. But I do not
* At this time Sebastian del Piombo possessed the office of
Piombare with a partner ; and had Titian accepted it, these two
must have given up part of their profits to him. :

LIFE OP TITIAN. 245
wonder that it seems incredible to you when I
myself doubt if I am not in the city I so much
admire. Therefore I said to the Cavalier, ' If
I can hardly believe it rnyself, how can you
expect that he should?' It is very true, my
brother, that the love I feel for the Grarid
Canal is most excessive. I never put my foot
in the stirrup without sighing on recollecting
the repose and comfort of the gondola. A fati
gued body, a worn-out stocking, and an anxious
family are the horseman's portion. So I say,
but yet I return here. But if once I get out of
this scrape, if once I take the bull by the horns,
nothing in the world shall prevent my making a
hasty escape. All other places seem like fur
naces, hovels, and caverns in comparison with
my beloved, mOst excellent, and adorable Venice.
However, forget all your notions imbibed from
the times past : and believe my prorriises as
well as you cati, that having once bent my knee
to Caesar, I will return to my country with a
Solemn vow never to depart from it again.
" Pietro Aretino.
" Verona, July 1543."

246 LIFE OF TITIAN.
I can find no other record of the next year
(1544) than the two following letters. The
first is to Titian from Aretin, in which he de
scribes with much pleasure the picturesque
appearance of ari evening sky in spring, which
he saw at Venice. The other is also from Are
tin to his friend, Gualteruzzi, who seems to have
been one of the Pope's household, wherein he
earnestly intercedes in behalf of his friend Titian,
for promoting whose interest he seefns never
to let slip any opportunity, and who was at
that time in expectation of being called to Rome
by the Farnese family.
"TO M. TITIAN.
" MY DEAR FRIEND,
" Having, contrary to my usual custom,
supped alone, or rather in the company of this
tiresome quartan-ague, , which will not permit
me to enjoy the taste of any food, I rose from
table in despair, as I had sat down to it ; and
then leaning my arm on the frame of the window,
and upon that my breast and the whole of my
body, my attention was attracted by the appear
ance of an innumerable quantity of boats full of
people from the country, as well as the inhabit
ants of the city. I thought at first they were

LIFE OF TITIAN. 247
assembled to be spectators of the_ Grand Canal,
that object of delight to every one; but suddenly
I saw an opening was made, when out started
two gondolas, in which some famous watermen,
well skilled in the management of their oars,
came forward and gave great satisfaction to the
multitude, who to see this regatta, were gathered
in crowds on the bridge of the Rialto, on the
banks of the Camerlunghi, in the Peschiera, on
the pathway of St Sophia, and in the Casa
Mosto. And whilst this crowd, after joyful
shouts of applause, were gradually dispersing,
each his own way, I who was dissatisfied with
myself and did not know in what way to pass
away my time, being weary of my own thoughts,
and restless in my mind, turned my eyes to
wards heaven, which, since God created it, had
never been embellished with such charming pic
tures of light and shade. In short, the atmo
sphere was so resplendent, that desirous to
express its colours, I felt envious of your skill,
and wished I were you. However, what I saw
I will describe to you. In the first place, the
houses, though of stone, appeared as if they
were composed of some artificial matter. The
air was in some places pure and light, in others
thick and party-coloured. Consider then the

248 LIFE OF TITIAN.
wonders of this novel scene, with clouds of
condensed humidity, which in the: principal
view appeared to rest half on the tops of the
buildings and the other half ascended to the
sky ; on the right was hanging a greyish or black
smoke. I was really astonished at the various
colours which displayed themselves in the other
quarters of the Heavens. The nearest was
lighted up with the splendour of the fiery sun ;
and in the distance a redder but less resplen
dent tint appeared, as if that part had not yet
acquired its full radiance. Ah ! with what
lovely pictures does Nature's pencil adorn the
air, when remote from palaces ! For which
reason Vecelli leaves these latter out in making
his landscapes. In some places I saw a bluish
green ; in others a greenish blue, composed by
the caprice of Nature, that master of masters ;
who with light and shade relieves and sets off
objects in such a manner that I who know that
your pencil is inspired by the soul of Nature,
could not help crying out three or four times,
' Oh my Titian, where art thou ?' For I am sure
that if you had painted what I relate to you,
the spectators would have been moved with the
same astonishment which I feel, who endeavoured
to nourish my soul with contemplating what I

LIFE OF TITIAN. 249
saw, and grieve to think so lovely a picture did
not last longer. " Pietro Aretino.
"Venice, May 1544."

"to SIGNOR CARLO GUALTERUZZI.
" You, who love Titian yourself, well know
how great my friendship for him is, and that I
may say I love him more than he loves himself ;
and I address myself to you, knowing the friendly
interest you feel for those who repose the care of
their affairs in your hands, trusting to your kind
assistance. I therefore feel assured, that my
supplications in behalf of this extraordinary man
will increase your desire to serve him ; and as
rain swells the course of a river, so does the
confidence that people place in good men in
crease in their hearts the desire of doing good;
But even had you less benevolence, I should have
no doubt but that you would pay some attention
to what I now write ; seeing that he is to visit
you with my letters; and depending on the
excellence of your disposition, he does not
expect that I should move in this affair, to which
I am urged by other and foreign reasons. How-

250 LIFE OF TITIAN.
ever, I am well assured that if I had riot given
you this hint (which I ought to do as a duty) it
would not hinder you from acting as your worthy
nature prompts. Therefore, you will not rest
without endeavouring to promote the benefit of
this great painter ; and we shall then see you
wipe away with the hand of reward the sweat
from the brow of Virtue, Labour, and Genius.
In short, the great Farnese, now reposing in the
lap of Fortune, and having it iri his power to
benefit all mankind, will not permit so extraor
dinary a genius to remain unhappy, who has
placed all his hopes in him. But I am amazed
why it should be necessary to use so many
prayers only for the consolation and courtesy of
a little bread, which he desires in behalf of his
son ; who he prays may be sacristan in the
Pope's household, as was promised him. But
the great revolution of things, which changes
the face of the world, may have obliterated from
the mind of the Sovereign Pontiff many of those
good offices which in other times he in effect had
promised, but now may not in the least re
member. If astonishing changes did not happen
every day, I should be surprised to think that so
small a favour as this should be delayed, and to
so modest a petitioner. What finer example

LIFE OF TITIAN. 251
can the power of princes offer to those that serve
them faithfully than that of a due observance of
their engagements? Not only the illustrious
Cardinal, not only the divine nephew of his
Holiness, but also whoever is nourished by the
benefits of this immortal Pontiff is bound to
pray him to give what he owes to Vecelli. I
give him the epithet * immortal,' because his
sacred portrait* is not only a mirror in which
the Holy Father appears as himself to him
self, but he there beholds also an hea
venly image, which breathes from the style
and spirit given to it by the pencil of the
painter, that soul and body seem to be there
perpetually alive, so that death not knowing
how to distinguish the truth of nature from the
counterfeit of art, will delay to execute the ordi
nance of his own privileges, just like one who
going in an unknown way, comes to a place
with two turnings, and not being willing to
wander in the wrong path becomes so confused
with taking the counsel of yes and no, that he
doubts at last which is right or which is wrong :
and thus perplexed between the two roads,
he often wastes his steps only to turn back
again. * Paul the Third, painted by Titian.

252 LIFE OF TITIAN.
" But let no one reproach me for my anxiety
in behalf of Titian, whose loyal confidence in
me, joined to the graces with which Heaven has
adorned him, has converted the kindness of
friendship into the tenderness of brotherhood ;
and even if our affection were as small as it is
great, I should be forced to exert myself thus
particularly in his favour, because if he remains
in oblivion, it will be to the prejudice of the
promise of that Paul who maintains so highly
the seat of Peter : the zeal for whose honour I
am obliged to maintain by the bounty I receive
from the splendid liberality of that truly worthy
son-in-law of Caesar, I mean Duke Octavio,*
a youth without guile, whose generosity you.
Sir, will not fail to remember. I am silent iri
respect to Bembo, that object of reverence and
respect; and I am so that I may not injure
him ; because his charity ever remembers so
well the necessities of his servarits, when they
place their hopes in his goodness and discretion.
Finally, knowing your intimacy with Michael
Angelo, that gift of God, I conjure you, as
you are familiar with him, to tell him that he
surely does not know that I suffer continual
* Duke of Parma, husband of Margaret, a natural daughter of
Charles V. ,

LIFE OF TITIAN. 253
torment by his means, in expecting the designs
he promised me, and which I desire not less
than I wish to serve him. " Pietro Aretino.
•' Venice, June 1544."

254 LIFE OF TITIAN,

CHAPTER XVII.

LETTERS OF ARETIN, TITIAN, AND OTHERS  A LETTER
of titian's to charles v. — Giovanni di medicis.
The subjoined letters will keep up the thread of
our narrative, for the year 1545, when Titian
was sixty-five years of age, but appears to have
been in unimpaired vigour and reputation.
" TO M. TITIAN.
" I meant sooner to have congratulated you
upon the shame and blushes with which the Ve
netian clemency towards you has covered those,
who, guided by envy, imagined that the state
would not have had so much respect for you as
to exempt you from the tax which is now
caused by that force of necessity, which is
oftentimes occurring in republican governments
from the perverse politics of the world. Yet
the state, I say, would not exempt you in this

LIFE OF TITIAN. 255
manner, from your extraordinary genius alone,
if they did not think it due to you from the ho
nour which redounds to them in your illustrious
name. And if I was as much your rival as I
am your friend, I should then speaking sar
castically with my usual bitterness, curse your
merits and the extreme goodness of their Ex^
cellencies, the Signors of Venice, whose prudent
munificence, besides being friends and benefac
tors to virtue, distinguishes and rewards at all
times whosoever is worthy of their kindness, to
the confusion of those who would have us think
otherwise. So that for the favour which God
permits you to stand in with them, I thank both
God and them : God for his benignity, and them
for their kindness. In short, the large pension
with which they retain and acknowledge the
excellence of art in your person, added to the
quantity of imposts from which they have ex
empted you, proves the sincerity of their High
nesses, and the greatness of your genius ; ex
pecting, from the sacred style of your immortal
works, that you will leave memorials in the
divine circle of this celestial city, such as they
desire and such as are worthy of you.
" Pietro Aretino.
" Venice, Feb. 1545."

256. LIFE OF TITIAN.
" TO DANESE, THE SCULPTOR.
" It was a proof of my friendship, and not to
give you offence, that I said what truth com
pelled me to say when I saw the naked figure
you have done. I believe I possess the prin
ciples and the excellence of a perfect judgment
in regard to painting and sculpture.. And if we
laugh at Nature, who has a reason for all her
works, when sometimes she presents to us a
man with an enormous head on weak and slender
legs, what ought we to do at Art, who having no
occasion to go out of her way in what she pro
duces, yet permits her counterfeit figures to fail
in the necessary proportions ? Titian and Sanso
vino (Heaven bless them !) have done well : yet
they always thank me for giving them hints on
their labours, though they are the most extraor
dinary geniuses in the world.
" But the presumption of knowledge is the
common defect of those who know nothirig.
Therefore, you must pardon your friend, and
forgive him for the anger you feel about this
matter. " Pietro Aretino.
" Venice, August 1545."

LIFE OF TITIAN. 257

" TO SANSOVINO.
" As soon as ever Titian can paint it with
his colours, in order that you, Mr Jacopo, may
carve it in marble, I will send you the head of
Signor Giovanni, because he who performed so
much with his warlike hands, that the learned
languages can hardly praise him enough, de
serves to have his image revived by the power
of your chisel. I do not desire you to give him
youth, althoug-h death has made his face look
old ; because I know it is your common cus
tom in every thing you carve. But although
he looks to be forty, bear in mind that the
noble youth was only twenty-eight. Thus
early night cut short the days of the great
Giovanni. " Pietro Ahetino."
Giovanni de Medicis, father of Cosmo the
First, was a famous warrior of that period. It
was a cast from his face taken after his death,
from which both Titian and Sansovino made
their likenesses of him. He was killed in the
battle fought at Governolo, a small town in the
Mantuan territory, where he received a wound
by a musket-ball in the knee, which rendered
vol. i. s

258 LIFE OF TITIAN.
amputation necessary; he was conveyed to
Mantua, from whence he was distant twelve
miles, and where the operation was performed.
When he was told that some person must be
provided to support him whilst it was done, he
took a candle to hold to the surgeon, and said,
" Proceed without fear; I need nobody." The
fever, which followed the loss of his limb carried
him off, November 19th, 1526, when he had
lived only twenty-eight years. He was buried
in the cathedral-church of Milan. The allied
powers lost in him an able officer ; and Italy
one of the best generals she ever gave birth to.
In his person he was above the middle stature,
and proportionably strong and athletic. None
lamented his death more than his soldiers ; to
express their grief for that event, they assumed
a mourning-dress, and even their standards
were of the same colour. The Tuscan troops
he commanded were called, from this circum
stance, "The Black Bands." In 1516 he mar
ried Maria Salviati, whom he left a widow with
only one child, named Cosmo. He, from the
crimes of Lorenzo, his second cousin, and the
connections the latter had formed with the
republican family of Strozzi, was regarded by
the friends of the Medicean interest in Florence,

LIFE OF TITIAN. 259
as having a right to be deemed the head of their
party.* * I find a fuller account of this celebrated person given as follows.
Giovanni de Medicis, called " The Invincible," was descended
from a brother of Cosmo, "the father of his country." He was
born at Forli in 1498, educated under Jacopo Salviati, and wholly
devoted to a military life. He commanded in the wars of Romagna
for Leo the Tenth ; and afterwards fitted out a squadron at his
own expense against the Moors ; till the conclusion of the League
between Charles the Fifth and Leo the Tenth against the French
in 1521, placed him at the head of the Pope's cavalry. In the
ensuing campaign, in an action under the walls of Parma, and at
the passage of the river Adda, Giovanni distinguished himself.
Through his discipline and valour, the six bands which he com
manded were soon regarded as the finest soldiers of the age. After
the death of Leo, he took the command of a body of Swiss in the
Florentine service against a threatened attack of the Duke of
Urbino ; but he could not bring the enemy to action, they not ven
turing to await his approach. He then returned into Lombardy,
and entered into the service of Francesco, Duke of Milan, who
was chiefly indebted to him for the signal victory obtained by the
Milanese at Abbiategrasso, in 1524.
Through the policy of Clement the Seventh, fearful of the
increasing power of Charles the Fifth, and induced by the splen
did offers made to him by Francis the First, Giovanni at last
accepted a command in the French army; but owing to a wound
received in a skirmish, he was absent from the great battle of
Pavia. In every subsequent engagement he attracted the admira
tion of the whole army, till rashly exposing his person in an affair
near Governo sul Mantouano, he received a wound of which he
died in November 1526, being only twenty-eight years of age.
Out of grief for his loss, the squadrons he had commanded changed
the white ensigns by which they were distinguished for one of
uniform black, which obtained for them the appellation of " Le
Bande Neri" or " The Black Bands." He married the daughter

260 LIFE OF TITIAN.
There was in this year (1545) a report of
Titian's death, as appears by the following
letter written by him to Charles the Fifth.

" TITIAN VECELLI, PAINTER, TO THE INVINCI
BLE EMPEROR CHARLES THE FIFTH.
" Invincible Prince ! if the false report of
my death gave any pain or sorrow to your
sacred. Majesty, to me it has been the source
of the greatest consolation, because it makes
me more certain that your Highness remembers
my humble services, which makes life doubly
dear to me. And I most humbly pray our
Lord God to preserve me (if no longer) at
of Jacopo Salviati; by whom he had one son, Cosmo, first Duke
of Tuscany. t
The young Cosmo, in order to ally himself with his Majesty
Charles the Fifth, solicited the hand of his daughter Margaret,
the virgin-widow of his predecessor, Alexander, Duke of Flo
rence. Charles refused this request, knowing that Cosmo, from
interest alone, must prove a sincere ally. To please Pope Paul
the Third, he gave her to his grandson, Alexander Duke of Parma,
who was at that time only thirteen years old, but who became
afterwards so famous for his valour and skill in war; whom sur
viving, Margaret was entrusted with the Government of the
Netherlands for many years. She was uncommonly masculine and
coarse in her appearance, but sensible and prudent. She re
marked, upon her father's marrying her to the Duke of Parma,
that " when a child she had been married to a man, and now she
was become a woman, she was given to a boy."

LIFE OF TITIAN. 261
least till I have finished the work I am about
for your Imperial Majesty, which is now so
near being completed, that in September next,
it may appear before your Highness, to whom
in the meanwhile I bow with all humility,
and reverently commend myself to your gra
cious favour."
Titian appears to have been still employed
in painting for the Spanish Princes in the be
ginning of the following year.
" TO THE ILLUSTRIOUS AND ONLY TITIAN.
" My dear friend, go on in finishing the
portraits of the King of England and his Son,*
if it be only that you may be of service to
Signor Ludovico D'Allarmi ; and my only rea
son for desiring this of you is on his ac
count alone. For it appears to me that he is
going the road to ruin, through the greatness
that has made him so proud. Thus the very
things which promised to exalt him, have, in
fact, been the means of his degradation.
" Pietro Aretino.
" Venice, March 1546."

^.This must have been Philip the Second and his son Don
Carlos.

262 LIFE OF TITIAN.

CHAPTER XVII.
TITIAN VISITS ROME  HIS WORKS THERE  MICHAEL
ANGELO'S OPINION OF THEM  LETTERS OF ARETIN
ADDRESSED TO HIM IN HIS ABSENCE.
Titian having accomplished his undertaking
at Urbino, he was again invited to visit Rome
by , the Cardinal Farnese ; and arrived in that
city in the year 1545. Here he was received
in the most distinguished manner, and was
lodged in the palace of the Belvidere. At this
time he met with Vasari, just returned from
Naples to be employed in decorating some
magnificent chambers in the Farnese palace,
the subjects being chosen from particulars rela
tive to the family of Paul the Third. Vasari
had been introduced and recommended to the
Cardinal Farnese by Titian ; and these two
friends went in company to visit whatever was
most worthy of notice in Rome. After our
artist had reposed himself some days, he felt
a desire to begin his work. He was now to

LIFE OF TITIAN. 263
paint Pope Paul again ; but the portrait was
to be at full-length with the Cardinal and
Duke Octavio Farnese of Parma in one group ;
in which he succeeded to the highest satisfac
tion of those princes. This picture I saw at
the Capo de Monte at Naples, and it is indeed
one of the very finest examples of portrait in
the whole world, particularly in point of the
expression which is inimitable. Mr Fuseli,
who was then with me, looking at this picture
said, " That is true history !"
Titian was then persuaded by the Farnese
princes to execute a picture to be presented to
the Pope, representing an Ecce Homo. This
work, when compared with those by Michael
Angelo, Raphael, Polidoro, and others, did not
seem to the Roman painters of the same excel
lence, which distinguished many of his pictures,
and particularly his portraits. Although it was
good in many respects, yet they thought it defi
cient in dignity of character.
Piero Luigi Farnese, a natural son of Paul
III, was the father of the two young men
painted by Titian in the same composition with
that Pontiff. The titles of Gonfalonier of
the Church, Duke of Castro, Marquess of
Novara, and lastly, in 1545, Duke of Parma
and Placentia, were in a short period conferred

264 LIFE OF TITIAN.
on him. Ungoverned, rash, and dissipated, his
contempt of his father's counsels, and his usage
of his own courtiers were the cause of his being
assassinated by the latter, in the year 1547.
This catastrophe, which is falsely attributed
to the Landi, owed its origin principally to the
imprudence of Piero in not restraining or con
cealing his antipathy to Charles the Fifth. The
Emperor had refused to acknowledge him in his
new duchy; and as patron of Milan, laid preten
sions himself to the cities Of Parma and Pla
centia, which were renounced by the Church.
These cities, after their conquest by Matthew
Visconti in 1315, had been given to the Pope, in
consequence of a rebellion; and in 1513, had
been newly adjudged to the Duke of Milan.
Piero, deeply irritated at thus finding himself
insecure upon his throne, was continually insti
gating his father and the Court of France
against Charles the Fifth. He, on many occa
sions, gave great offence to the Governor of
Milan, Ferrante Gonzaga; he entered into the
conspiracy of Gian Luigi Fieschi against Andrea
Doria ; persecuted to the utmost the partisans
of the Ernperor, and proposed to reign by mere
force and terror; erecting castles, fulminating
confiscations, and depressing generally the
whole class (at that time a very powerful one)

LIFE OF TITIAN. 265
of feudatories and nobles. These political errors
of Luigi, rather than his personal depravity and
ferocity, were the causes, which in a short time
drew him to the brink of the precipice, and
gave rise to one of the most atrocious conspi
racies, which, although executed by his own
courtiers, had been contrived in concert with
the Imperialists of Milan. It broke out on the
10th of September 1547, about mid-day, and
in the citadel of Placentia itself, in which Piero
then resided. Girolamo Pallavicini assembled
the people in a church of the city ; Giovanni
Luigi, the Gonfalonier, held the German guards
at bay, in the interior of the Ducal palace ;
Agostino Landi occupied the principal gate ;
and Giovanni Francesco Anguissola, with a
body of troops, seized the Duke, in his apart
ments, killed him with their poinards, and
threw his body out of a window. A few hours
after, the Imperialists arrived with the Governor
of Milan, and took possession of Placentia, in
the name of Charles the Fifth. They did not
succeed, however, in surprising Parma, which,
by the vigilance and loyalty of the garrison,
was preserved to Octavio Farnese, son of
Piero Luigi. Octavio, although he had in 1538
married Margaret of Austria, the natural

266 LIFE OF TITIAN.
daughter of Charles the Fifth, was not able to
obtain the restoration of Placentia from his
father-in-law; but, after much trouble, he at
length regained it from Philip the Second in
1557; in consequence of his well-timed decla
ration in his favour against Paul the Fourth,
and France; and thus these duchies became
reunited. In the time of Piero Luigi it was
styled in all acts of state, the Duchy of Parma
and Placentia.
Alexander Farnese, also son of Piero Luigi,
was created a Cardinal by his grandfather (Paul
the Third) in 1534, when only fourteen years of
age. He was remarkable for the precocity of
his talents : and his conduct at that early age, in
the midst of the splendour and luxury and im
portant transactions in which he was engaged,
at once gratified the Pope, and justified his
opinion of him. Fracastario, Sadoleto, Molza,
Flaminio Vettori, and even Charles^ the Fifth
rendered marked testimony to the public and
private virtues of the Cardinal Farnese. In
1541, he was sent Ambassador to Francis the
First at Paris ; and to Charles the Fifth, then
at the same place. From that period he con
trived to conduct the most weighty and diffi
cult negociations at the courts of those princes.

LIFE OF TITIAN. 267
Towards the close of his life, he gave up his
whole time to charitable and religious exercises,
and died in 1589, aged sixty-nine.
During the time that Titian was at Rome he
received the following letters from his friend
Aretin. " TO TITIAN.
" Though I am very angry with you for
taking away the bust of the head of Signor
Giovanni* from me, without its being completed
by your hand, together with my own portrait
rather sketched than finished, yet your letters
are still very dear to me ; and especially when
you tell me of the tears which bathe the eyes of
Bembo ; and I hope he will soon be restored to
that state of health that I, his devoted servant,
wish him. And if he is so kind as to shed tears
on my account, from only being informed by
you of my state of health, I in return am
affected in like manner at hearing of his by
your letters.
" I do most sincerely and with my whole
heart rejoice at the affectionate and most ho
nourable reception you met with from his Holi
ness the Pope. But it is the peculiar charm of
* Giovanni de Medicis, before-mentioned.

268 LIFE OF TITIAN.
the house of Farnese to be lavish of caresses,
which they well know are the parents of Hope.
They seem by nature most excellently formed
for encouraging the expectations and providing
entertainment to please the appetites of those
persons who are always ready to feed on promises
and who can buoy themselves up with an idea of
certain success, even in the lowest state of
improbability and doubt.
" I pity you that the whim that has now
seized you of going to Rome, did not happen
twenty years ago. If you are surprised at its
present state, what would you have been, had
you seen it in the condition that I left it ?* You
must know that this great city, in all its cala
mities, resembles an excellent prince conducted
to exile, who, though he has lost his external
splendor by the perversity of fate, still preserves
the dignity of royal greatness of soul. I nOw
* The Castle of St Angelo was besieged from the 6th of May to
the 5th of June 1527, during which time slaughter and desolation,
accompanied with every excess of impiety, rapine, and lust, on the
part of the Imperialists, devastated the City of Rome. For this
picture of horror I need only refer the reader to the Sacking
of Rome, by Guicciardini, by Jacopo Buonaparte, and by Valdes.
Clement VII, being distressed for provisions, surrendered the
Castle with all its treasures, and remained a prisoner until the 9th
of September; when, disguised as a merchant, he fled almost
alone to Orvieto, having learnt, though too late, the folly of rely
ing upon military conventions.

LIFE OF TITIAN. 269
expect that in about a month it will be time to
hope for your return, which I long for ; if it be
only to hear what you think of the antique
marbles, &c. and in what respect Buonarotti
surpasses or is inferior to them, and if you think
the ancients had more or less skill in painting
than Raphael. I shall enjoy conversing with
you about the plots and machinations of Bra-
mante in St Peter's ; and the works of all the
other architects and sculptors. Pray bear in
mind the manner of all the famous painters,
and of our Fra Bastiano. In regard to engrav
ing, look well at every intaglio, and do not
forget scrupulously to compare the figures of
our friend Jacopo* with the statues of those
who find fault with him, that we may see if he
is blamed with reason. Especially inform
yourself of the manners of the court and the
courtiers, as well as the arts of the pencil and
the chisel. Also attend to the manner of
Pierino della Vaga, who is a wonderful genius.
But above all, remember not to be so lost in the
Contemplation of the Last Judgment^ in the
Sistine chapel, as to forget to make haste back,
* Jacopo Sansovino.
f The Last Judgment, painted by Buonarotti in the Pope's
Chapel.

270 LIFE OF TITIAN.
that you may not be absent all the winter from
me and Sansovino. " Pietro Aretino.
" Venice, October 1545."
In this letter we perceive the high opinion
Aretin held of Pierino della Vaga's work. But
probably he would have been less cordial
towards him, had he known that at the time the
Pope sent for Titian to Rome, it made Pierino
so jealous, and grieved him so much, that it is
said he did all in his power to oblige him not
to stay there long, but to hasten back to Venice,
in which he succeeded.
The following letter relates to the accident
which befell poor Sansovino and his machinery,
while employed in repairing some of the pub
lic buildings at Venice ; such as the cathedral-
church of St Mark and other edifices.
By Aretin's letter it seems that some part of
the works of Sansovino had given way and
fallen to the ground, in consequence of which
he at first suffered disgrace and confinement ;
but was soon restored to liberty and the favour
of the Senate.

LIFE OF TITIAN. 271

" Returning about four o'clock to my house,
I received your letter, and at the same time, an
account of the fall of Sansovino and his machine,
and of his confinement near the place. The joy
that I had felt at so soon hearing from you was
quickly turned into sorrow at the news of his
misfortune : and truly I cannot restrain my tears
whilst I write to you, and that is no small thing
for me. What you may suppose adds to my
vexation is, that I considered him as so free from
all chance of misfortune. All the night instead
of sleeping I walked about the room, thinking
what great disasters fortune had designed for. so
virtuous and honest a man, and condemning Fate
as extrordinarily capricious in making that very
work which appeared so likely to be the taber
nacle of the glory of our brother, become the
sepulchre of his fame. For before this, I did
not despair but that I should have heard no other
account than that those most Serene Fathers, in
their prudence and mercy, would have looked
rather at the excellent intentions of this worthy
man, than at the defects of judgment that he
had shown in some parts of his management.
For I am thoroughly conscious that in all our
actions nothing is more deceitful than the opinion

272 LIFE OF TITIAN.
we entertain of ourselves. Besides, it would
not astonish rne at all, if every«edifice were to
fall that is built at present according to the rules
of Vitruvius, since the construction of ancient
architecture can by no means be made conform
able to the habits of the moderns ; for the ancient
buildings required magnitude to support the
weight of their component parts, and a propor
tionable amplitude of space in which our fore
fathers delighted, totally careless about the
immense treasures expended on them. And,
therefore, their proportions are by no means to
be accbriimodated to the small space to which
the moderns are confined by the desire of saving
expense. For buildings of this kind to be ex
cellent and proper require not only abundance
of wealth but also abundance of room.
" I now return with pleasure to bathe my
eyes in tears of joy at hearing of the magnani
mous goodness of our excellent masters, who
lay all the blame on the hurry of finishing the
work, together with the ignorance of the work
men and the severity of the weather, added to
the damage it received by the shocks from the
explosion of some artillery which were dis
charged upon the arrival of several ships. And so
the worthy man is restored to his original favour,
and his enemy is imprisoned who deprived him

LIFE OF TITIAN. 273
of it, only because he was rash enough to do
what he thought was for the best. I recom
mended to him, smiling, to consider that al
though he failed this time in obtaining the
praise of the multitude which he merited for so
splendid a spectacle, yet he remained as he
was before, and may make amends for the
blame incurred by envy, because he had in part
failed. " PlETRO ARETINO.
" Venice."
One day Michael Angelo, in company with
Vasari, paid a visit to Titian in the Belvidere,
to see a picture he was then finishing of a naked
female figure, representing Danae with Jupiter
descending to her in a shower of gold. While
in the presence of Titian, they bestowed great
praise on his performance ; but as soon as they
were come away and began to make their
observations upon Titian's works in general,
Buonarotti commended him highly, saying his
colouring was most excellent, as well as his
manner of execution ; but that it was a great
pity the Venetian painters had not a better
mode of study, and that they were not early
initiated in sound principles of drawing and
composition. " For I am conscious," says he,
VOL. 1. T

274 LIFE OF TITIAN.
" that if this man was as much assisted by art,
as he is by nature, no mortal could go further.
He has a noble spirit; but at present having no
knowledge of design, he in his imitation of the
life corrects nothing nor attempts to make it
better, though possessed of a manner so easy
and beautiful, so full of truth and animation. But
certain it is, that not having studied the best
works of the ancients, the Venetians know not
how to mend or give a grace and perfection to
their works beyond their model, which is never
perfect in all its parts. The moderns in general
cannot, from their own resources, be correct,
but are obliged to make a literal copy of the
object before their eyes, not knowing what it
ought to be." However, this inimitable figure,
which Titian painted for the Cardinal Farnese,
Michael Angelo frequently went to see, and
gazed at it with rapture and astonishment.
Mengs says of Titian, " That there is no
doubt of his having had the talent to become a
great designer, because he possessed much ex
actness of eye for imitating nature and of course
the antique, if he had chosen to. study it ; but
his fondness for colouring left him no time to
make this part of the art a solid study ; from
whence I run no risk in saying that Titian
might have been an excellent designer. He

LIFE OF TITIAN. 275
was wonderfully easy in the touch of his pencil,
nor ever negligent ; even his pencilling is well
conceived. The effect and the force of the
chiaroscuro in his paintings does not consist in
the obscurity of the shade nor in the clearness
of the light, but in the disposal of the local
tints." Barry says of Titian, that " his style of draw
ing is not remarkable for any excellence. In
this part of the art he has but little selection,
and was closely attached to whatever he saw
that was not grossly faulty in the nature that
fell in his way. His forms therefore, though
well enough rendered, are generally imperfect.
Titian was ideal and scientific only in his
colouring." And yet, if Mengs and Barry had possessed
only the power of drawing in an equal degree to
Titian, it would in them have been considered
as their highest excellence.
Lodovico Dolce relates an anecdote, told him
by Titian himself, which is this. When Rome
was sacked by the soldiers of the Duke of
Bourbon, some Germans among them were
quartered in the Pope's palace of the Vatican;
when unluckily, either by carelessness or de
sign, some of the heads of the figures, in one of
the chambers painted by Raphael, were greatly

276 LIFE OF TITIAN,
injured : and on Pope Clement's return to his
palace, being extremely hurt at seeing those
exquisite heads so much defaced, he employed
Bastiano del Piombo* to repair them. Titian,
while at Rome, went of course to the palace,
and in passing through the apartments, accom
panied by Bastiano, stedfastly fixed his atten
tion upon these pictures of Raphael, which he
had never seen before ; and coming to the parts
that Bastiano had repaired, and discerning the
wide difference between them and the others,
he, with great warmth and resentment, asked
him, " What presumptuous ignorant wretch
had spoiled those heads ?" not knowing, nor
even suspecting, that they had been restored by
Sebastiano.

* Sebastiano del Piombo was born at Venice, in 1485. Invited
to Rome by Agostino Chigi, he gave up his whole time to Michael
Angelo ; but by his advice attempted the manner of Raphael, and
soon acquired a distinguished reputation. As a disciple of Gior
gione, he became extremely successful in colouring, and his portraits
were much admired. Diffident, however, of his talents, he painted
with so much timidity and caution that he left many noble works
unfinished ; and as soon as Clement VII gave him the office of
Keeper of the Leaden Seals, he resolved to abandon the art alto*
gether. Finding himself in easy circumstances, he gave himself up
to a love of ease and pleasure, living in the society of his friends,
and devoting much of his time to the charms of poetry and music,
in which be excelled. He died in 1547. The resurrection of La
zarus was by him, which Mr Angerstein had in his collection.

LIFE OF TITIAN. 277
Dolce, the relater of this anecdote, was one
who ranked high among the literati of the age
of Clement VII, and was intimately connected
with many of the most celebrated persons of his
time, and esteemed by them and his contempo
raries in general for his learning and taste. At
the first performance of his tragedy of Mariamne,
the theatre was so crowded that the actors
could not proceed. He translated into his na
tive language several of the writings of anti
quity, particularly those of Euripides, Horace,
and Cicero. He also wrote several original
works, in which he approved himself a man of
extensive knowledge, an able critic, and an ac
complished gentleman. But what makes him
more particularly an object of our notice is,
that he wrote a dialogue on painting, supposed
to be between Aretin and another speaker,
whom he names Fabrini. This dialogue must
be of great value, if it be true, as is said in his
own country and generally believed, that in its
composition he had not only his own genius and
abilities to consult, but had also the advantage
of the thoughts which Raphael had committed
to writing upon the subject, and which he put
into Dolce's hands to dispose and methodize.
Dolce was born Anno Dom. 1508, and died in
1568.

278 LIFE OF TITIAN:
Titian at this time painted a portrait of M.
Francesco Filetto, an orator of great excellence ;
a picture that (as my author expresses it) seems
alive. It was first in the possession of his son,
and afterwards in the collectiou of Messer
Matteo Giustiniani, a great lover of the arts.
In the same collection is a very fine picture
by Giacomo di Bassano, as indeed there are a
great many very fine performances, by the
same artist, dispersed through the Venetian
territory, and he is held in high estimation,
particularly for small figures and animals of all
sorts. Titian, while at Rome, again painted the
famous Bembo, who was soon after made a
Cardinal. He also painted Fracastorio, and
the Cardinal Accolti of Ravenna. These are in
the collection of the Grand Duke of Tuscany ;
and the Venetian sculptor, Danese, had in his
possession a portrait by the hand of Titian, of a
gentleman of the family of Delpini.
Benedetto Accolti was secretary to Clement
VII, together with his friend Sadoleto. In
1524 he was made Archbishop of Ravenna, and
afterwards a Cardinal in 1527, just three days
before the assault on Rome by the Imperialists.
He is extolled as a very elegant scholar by
Bembo, Molza, and Ariosto. When he. was

LIFE OF TITIAN. 279
governor of the Marches of Ancona in 1535,
Paul the Third ordered him to be imprisoned in
the castle of St Angelo ; but he was soon after
wards set at liberty at the intercession of
Charles the Fifth. After being restored to liberty,
he devoted himself to study and the society of
-men of letters, and led a retired life at Ferrara,
as is proved by the learned Mazzuchelli.
While Titian was at Rome, it is said his
son Horatio gained great credit at Venice by
a very fine portrait he painted of a certain
Master Battista Ceciliano,. a famous performer
on the violin. This son of Titian was born at
Venice, and distinguished himself (even when
very young) as a painter of portraits, which
were done after the manner of his father, and
some of them were esteemed little inferior. He
occasionally attempted historical subjects : one
of the most considerable of these was in the
ducal palace at Venice, but it was destroyed by
fire. He executed several portraits for Guido
baldo, Duke of Urbino. Latterly he painted but
little, being more taken up with chemistry than
painting. He died in the flower of his age, in
the same year with his father (1576) and of the
same dreadful malady, the plague, aged 36.
If the above anecdote is true, that Titian's
son painted this musician's portrait during his

280 LIFE OF TITIAN.
father's stay at Rome, there must be some mis
take as to his age at the time of his death, since
by that account at the time Titian was at
Rome, Horatio could not be more than six or
seven years old
But Titian had a nephew, whom it is said he
took with him to Rome, named Marco Vecelli,
commonly called Marco di Tiziano. He was
the. favourite disciple of his great instructor,
whom he also accompanied into Germany. This
artist was born at Venice, and approached nearer
to the style of his uncle, both in composition
and colour, than any of his other relatives.
There are several considerable works by him
in the palace of St Mark ; amongst the most
esteemed of which is an allegorical subject on
the peace of Italy, in the chamber of the Sala del
Consiglio. Another admired work of Marco
Vecelli is a picture in the Sala della Bussola,
representing the Doge Leonardo Donato kneel
ing before the Virgin and Infant Christ. He also
painted several large works for churches at
Venice, Treviso, and in the Friuli, particularly
a picture of Christ fulminating his judgments on
the world, and the Virgin and several Saints in
terceding. This is in the church of St John and
St Paul at Venice. He died in 1611, aged 66,
leaving a son named Tiziano Vecelli, familiarly

LIFE OF TITIAN. 281
called Tizianello. The latter, in the beginning
of the seventeenth century, acquired some re
putation by the pictures he painted for the public
edifices at Venice. The excellent principles
which had been established by the great founder
of the Venetian school, had however now given
way to negligence and mannerism, which is
evident in all this artist's works. His best pro
ductions are his portraits, which possess the
merit of resemblance and a natural tone of flesh-
colour. As I am on the subject of those of
Titian's relations who were painters, I may add
here some account of Caesar Vecelli, who was
the younger brother of Titian, and flourished
about the year 1560. We have by him a set of
prints engraved from designs by his brother, in
a spirited and masterly style, representing the
ancient and modern habiliments of various parts
of the world, published at Venice in the year
1590, entitled, Degli habite antiche e moderne dei
diverse parte del mondo, libri due fatti da Cesare
Vecellio. A second edition of this work appeared
in 1664, with a more explanatory title, as follows :
Racolta dei figure delineate dal gran Tiziano, e da
Cesare Vecellio suofratello diligentemente intagliate.
On the subject of the portrait from the cast
of Giovanni de Medicis we have the following
curious letter from Aretin.

282 LIFE OF TITIAN.

" TO THE DUKE COSMO DE MEDICIS.
" I send your Excellency the portrait of the
Landgrave with the four verses I have made upon
it ; although I do not hold with such a faction,
nor think much of the troublesome importunities
of the sect of Lutherans, which has almost split
my head ; but of the honour which it appears to
me it acquires from the Emperor in contrasting
the wonderful fate of Captain Quer, with that
of Signor Giovanni.* It is to be engraved how
ever. Titian has taken the features from the
medal, and from the cast of the face itself; and
as soon as it is finished, and the words I com
posed placed under it, it shall be sent to your
illustrious Excellency, that you may impart it
to the world.
" And I kiss your hands with the usual reve
rence of your useless servant, " Pietro Aretino.
" Venice, December 30, 1546."

* Giovanni of the Black Band.

LIFE OF TITIAN. 283

CHAPTER XIX.
TITIAN VISITS THE COURT OF CHARLES V, IN GERMANY 
PICTURES PAINTED BY HIM AT THIS TIME  LETTERS
TO AND FROM ARETIN.
Titian now took leave of Rome, having been
munificently rewarded by the Pope for what he
had done ; particularly by a good benefice which
was given to his son Pomponio. The Pope also
offered him the lucrative office of the Seals of
Lead, vacant by the death of Fra Bastiano del
Piombo, but he. declined accepting, the appoint
ment from motives of delicacy. On his return
to Venice, Titian took Florence in his way, in
order to see the curiosities of that beautiful city,
which struck him (says Vasari) with no less
wonder and delight than he had felt at Rome.
He paid his respects to Duke Cosmo de' Medicis,
at that time at his villa of Poggio a. Cajano, and
offered to paint his portrait. This was declined
by the Duke, probably from delicacy, not being
willing to give offence to the many excellent
artists in his own city and dominions.

284 LIFE OF TITIAN.
Titian being now returned to his own house,
finished a picture of the Marquis del Guasto,
addressing a speech to his soldiers. It was not
long after that he received so pressing an invi
tation from his first protector, Charles V, to visit
the Court of Germany, that he could no longer
refuse it : and it was not only his own inclination
to comply with the flattering request of the Em
peror, but he was also urged to it by the advice
of his faithful counsellor, Aretin, as will be seen
by the following letters. It is certain that
Charles had a very urgent desire to get our
artist into his employ, and pressed him to com
ply with many promises and entreaties, for he
was anxious to wrest the palm of glory from the
brows of his rival, Francis I of France, in arts
as well as arms ; and he perceived that there
was no other living merit but Titian's which he
could oppose to that of Leonardo da Vinci, whom
Francis had several years before taken under his
particular patronage and protection, and who
had died at an extreme old age, in the arms of
the French King. A letter of Aretin shews in
what high estimation he held this request of
the Emperor to Titian. " TO TITIAN.
" Neither Apelles nor Praxitiles nor any
others who have carved images or painted por-

LIFE OF TITIAN. 285
traits of Kings and Princes, can boast of re
wards in gold and jewels that can equal in
value the honor which your excellent genius has
received from his august Majesty in deigning
to call you to his court : demonstrating thereby
how great a part you occupy in his mind even at
the moment when he is framing laws for all the
world, and at a time too when he is perplexed
and thwarted by tumults and by plots. And if
it be true also, as is asserted by envious tongues,
that he who treats with contempt the being-
handed down in sculpture or painting as a hero
or even a companion of the Gods, and desires
only to be engraved in the hearts and painted
in the memories of good and prudent men — I
say, if you believe these reports, then how
great a mark of distinction does he pay to your
extraordinary merit, when he submits to be
represented in picture by you, thus acknow
ledging the power of your inimitable hand! Go
then to him ; and when you are at his feet,
adore him not only in your own name but in
mine also. " PlETRO ARETINO.
" Venice, December 1547."

286 LIFE OF TITIAN.
The following letter of Aretin to Titian, we
perceive, must have been written immediately
after that great man's departure on his journey
to Vienna. Of this journey we have no parti
cular account: though several of. his letters
are preserved. It appears to me very ex
traordinary and unaccountable that Aretin
should be represented by bigots in religion as
an infidel in his opinions : surely the letter
here inserted is a beautiful effusion of pure
piety.

"Of that most excellent picture of Christ
so much alive and true to nature, which you
carried to the Emperor, you have this morning,
being my birth-day, sent me a copy, the most
precious gift you ever bestowed as a memorial
on those you held highest in your favour. The
crown is really of Thorns, and the blood that
is shed from the piercing of the points of it
really blood ; nor could the scourge itself in
flame or make the flesh appear more swoln
and livid than your pencil has done in the re
presentation of this divine, immortal, and holy
subject. The restrained agony in the figure of
Jesus, then the arm bound with cords, which

LIFE OF TITIAN. 287
confine the hands, must move with compassion
whosoever beholds it and is a Christian. One
learns to be humble in contemplating the ex
tremity of wretchedness indicated by the reed
held in the left hand : nor can any one dare to
feel the smallest degree of hatred or rancour
who surveys the tranquil grace which is shown
in the countenance and pervades the whole
figure, so that the place wherein it rests is no
longer a worldly or a stately chamber, but is
converted into an Holy Temple, sacred to God.
I am at my orisons, to convert luxury and
pleasure into honesty and truth ; and I return
you my thanks for this great proof of your
kindness and your skill. " Pietro Aretino.
" Venice, January 1548."
The following letter of Aretin to Sansovino,
the Sculptor, will prove the great gratification
he felt at receiving the precious gift presented
to him by Titian.
" to sansovino.
" Mr Jacopo, my brother, I pray you come
and see the Christ that has been given me by
Titian, because when you see it (as praise
and honour are the nourishment of virtue and

288 LIFE OF TITIAN.
art) we may feast this great genius with our
admiration and praise, and do honour to the
name of this wonderful man. " Pietro Aretino^
" Venice, February 1548."
The next letter from Aretin to Titian seems
expressive of a little jealousy and of an appre
hension that the latter would become proud
of the great favour shown him by the Emperor.
However, Titian makes full amends, as will
be seen in the following letter, which sets the
mind of the sensitive Aretin at rest on that
score. "TO TITIAN FROM ARETIN.
" Though I have had only one letter from
you since you arrived at Court, yet I cannot
think that the favours of his Majesty have
made you so proud that you will not condes
cend to remember your old friends. If this
was the case (which I know it cannot be)
instead of congratulating you on the favours
of Caesar, I should rather lament that you had
them. Because that greatness is truly con
temptible which renders a person insolent; and
besides I know that even if ambition had laid
violent hands on you with its greedy grasp,

LIFE OF TITIAN. 289
yet you would still have preserved your usual
modesty : for you know I should laugh even
at the Emperor, if he attempted to make a
fool of you. Clear yourself, therefore, from
these aspersions, by writing to me two words.
After wishing me health in your own name,
just say, Giovanni shall in three or four days
write to you. Meanwhile Sansovino salutes
you. I also do the same. " Pietro Aretino.
" Venice, April 1548."

" TO TITIAN, THE GREAT PAINTER.
" Signor Giovanni, who is certainly worthy
to be your Nephew, has brought me your
letter, which contains little more than an in
quiry after my health, because you had written
so fully in that which you sent me by Castello ;
so that this has been to me merely as if I
had just received a salutation from your mouth.
However, there never passes a moment without
my seeming to have you before my eyes and
hearing your voice ; as I know very well, with
out Signor Tasso's telling me repeatedly, that
you hear and see me continually. Remain
then, and enjoy with all your soul the favours
of his Majesty, which are now so well known
vol. i. u

290 LIFE OF TITIAN.
and spread all over Italy, that even those who
love you the most can hardly help envying
you. But as I shall soon write to you more
at length, I will now only tell you, that when
you find a proper time and place, pray salute
in my name the doer of every act that is
great. Bend, my dear friend, to the divinity
of this Imperial Charles, who knowing that
the government of kingdoms consists in a per
petual state of solicitude, never can enjoy a
moment's repose. " Pietro Aretino.
" Venice, April 1548."

" Oh, Lotto ! good as goodness, and virtuous
as virtue ! Titian, surrounded by the favours of
the world, has written me a letter from Vienna;
he salutes you and embraces you tenderly. He
would willingly change, he says, the pleasure
he receives in the satisfaction his works give the
Emperor, for an eye practised like yours, for
your advice, which he would be so glad to hear.
This great painter, who joins so much dignity
to his talents, is not deceived in his opinion of
you, for your wisdom is matured by age, by
nature, and by art ; to that you join a most
amiable sincerity ; and when you give your

LIFE OF TITIAN. 291
judgment on the works of others, you do it just
as you do on those of Titian, when he shows
you his works to get your opinion of them.
Your heart knows no envy ; but on the con
trary, you feel a pleasure in seeing in other
masters some beauties of the art which you
think you yourself do not possess, which how
ever produces those miracles which seldom pro
ceed from the style of such as are too much
pleased with their own manner. But if you
excel them in painting, you leave them far be
hind in the practice of a real piety. Heaven
has in store for you a glory which is not to be
compared to the praises of men.
" Pietro Aretino.
" April, 1548."
" TO M. ANDREA ISCHIAVONE.
" Your cruelty in no longer showing me
your pictures, is just like to that of the son
who forgets his father's love to him. Formerly
you used never to paint any thing, whether
profane or sacred, without having it brought
to show me; and the most admirable, Titian
(who is no less dear to the fifth Charles than
Apelles was to Alexander) — Titian, I say, knows
the manner in which I have always praised
the wonderful quickness of your intelligent

292 LIFE OF TITIAN.
pencil. And if this extraordinary painter was
astonished at the practice you showed in making
with the greatest correctness sketches of his
tory-pieces, so well felt and composed, that if
the haste in executing them had been converted
into diligence in finishing, he would have con
firmed me in my opinion of your excellence.
For the invention which you display in putting
the figures together, merits praise without
any thing else ; since very few of those who paint
are expert in giving the beauties which are
comprised in invention. But setting aside all
that I can say to correct you, let me not take
away the profit from time, whose office it is to
teach youth how to amend their faults ; who
whilst they increase in years, increase also in
discretion, which enables them to convert their
errors into knowledge.
" I conclude this with praying you to come
and see me soon, with some new picture ; and
in doing me this favour, you will gladden me
at once with your company and your art.
" Pietro Aretino.
" Venice, April 1548."
For the life of this excellent Venetian pain
ter, Andrea Ischiavone, an imitator of Titian,
see Redolfi, page 227.

LIFE OF TITIAN. 293
" TO BIANCO, THE SCULPTOR.
" That I, Master Simon, have certainly in
my life-time seen many statues of both Gods
and men, you will easily believe without my
swearing it. But of all that were ever pre
sented to my eyes, none ever gave me so much
pleasure or filled my mind with such wonder and
astonishment, as I felt on seeing the bust taken
by your chisel and your genius of the heavenly
beauty, who is united in matrimony to the
magnificent Messer Nicolo Molino, who is not
less my friend and patron than he is yours.
The beauty of this excellent lady is much
obliged to the happy art with which you have
given spirit to marble, with so exquisite a grace
that Nature herself almost confesses that it is
in nothing inferior to the life. It may be pos
sible, though I can hardly believe it, that
Diana, formerly on earth or now in heaven,
possessed such wonderful beauty of counte
nance, her look so commanding, her gesture
so noble, and all her air so replete with
grace, that she enamours the beholders with
that purity and honour, which seems diffused
over every part of this angelic beauty. This
is my judgment, as well as that of Sansovino
and Titian ; nor is it presumption in me to say

294 LIFE OF TITIAN.
I think so, as if I thought that these illustrious
artists had only formed their conclusion from
my opinion, because they themselves affirm,
that if in sculpture or painting they know
how to produce wonders, yet in delivering an
opinion or speaking about art, they must yield
to me, although they will yield to none else.
But what better testimony can you have in
proof of this, than my instantly informing you
of the defect in the hair, which being twisted
together too coarsely, appears as if the tresses
were entangled ? Every body who runs to see
this immortal work, though they extol every
other part to the skies, yet they are ready
enough to cast a slur with their envious
tongues, by repeating this opinion which first
proceeded from my mouth from the most bro
therly motives, and solely for your information.
But I should not have boasted so much of
what I said upon your productions from vain
glory ; but, in truth, I have done it merely that
I may not appear to be one of those who praise
or blame others without being able to give a
reason why they do praise or blame them.
" Pietro Aretino.
" Venice, April 1548."

LIFE OF TITIAN. 295
" TO DANESE, THE SCULPTOR.
" If Titian and Sansovino, the one as extra
ordinary in sculpture as the other in painting,
have been not only once but many times to see
the likeness of the immortal Bembo, in which
your chisel displays its wonders, why may not
I, I pray you, come a thousand times to con
template it ? You should be very thankful, I
will not say to Death, who has given you such
an opportunity of displaying so manifestly your
admirable talents upon so famous a subject,
but to the magnificent M. Girolamo Quirini, who
understands sculpture so well, that he has
known how to select the best hand to do justice
to the memory of that most praiseworthy man.
"Write to me quickly to. settle the day and
the hour when I shall come, upon condition that
after I have gratified my eyes in looking at this
most venerable figure, I may have my ears
delighted by hearing you read some of those
compositions where the style places you nearer
to Petrarch and Dante than many professors of
statuary place you to Michael Angelo and
Jacopo (Sansovino). I shall expect that you
will not delay the favour I ask, because pro
crastination disparages what one wishes to
obtain and is a mortification to those who ask
the favour. " Pietro Aretino.
" Venice, April 1548."

296 LIFE OF TITIAN.

GEORGIO VASARI.
" If your letters alone have filled my soul
with all the joy and tenderness that fathers feel
at receiving letters from their sons, what con
solation do you think I should have felt in my
whole mind and heart, if I had received with
them the portrait of her who gave birth to me
at Arezzo ? I not only beg but supplicate you
by all your affection to virtue, that you will be
so kind as to put aside all other matters and
turn to the gate of St Peter, where the resem
blance of the Virgin receiving the Annunciation
of the Angel stands — take this for your model,
and send me the copy by the way of the Cou
rier Lorenzetto from Florence ; for this portrait
of my beloved mother, in all the graces of your
rare and excellent style, will have so lively ari
effect upon me, that seeing her picture, I shall
feel almost as much joy as I should feel at see
ing her alive. And this pleasure I shall enjoy,
though she is dead, that her being drawn in the
dress and colours in which Mary, the Mother of
Christ is depicted, will be a sufficient testimony
of the holy excellence of this most modest and
pure woman. " Pietro Aretino.
" Venice, December 1548."

LIFE OE TITIAN. 297

" Do you know why I do not complain that I
am of Arezzo ? It is that I may not injure,
together with the antiquity of this country,
those celebrated spirits from whose fame this
noble land has been called the Mother of
Genius. Therefore I, with that share of intel
lect given me by the grace of the God of Nature,
cannot but consider the possession of it as an
instrument of power ; whilst the multitude of
those who cannot endure me because I will not
imitate them in their wickedness, throw blame
upon me, and therefore try to drag me down
with themselves into the ditch where they were
born. I say this in disparagement of such
wretches, but feel the highest reverence for those
(not a few) who in every honourable pursuit
exalt and glorify their family and blood as I
endeavour to exalt and glorify mine, which
solely depends on my own exertions. However,
I must sometimes be dependent upon others ;
for our Illustrious Rulers, merely from friendship,
and not from brotherhood, have buried my
deceased niece, with a state suitable to the
daughter of a Cavalier, and not to a relation of
mine, who have not the honour of being a per
son of quality, but as a man of merit receive

298 LIFE OF TITIAN.
rewards every day from some one or other of
the great lords who rule here. Besides, if it
was only on account of the respect our Duke
entertains for the virtues he thinks I possess,
this, I say, ought to be an example to those
ignorant malicious persons, who, if they were
all destroyed by the plague, it would be an
excellent thing for the country. But as I shall
shortly speak of all this in a letter to our
patrons at Florence, I will leave all these mate
rial facts, and enter at once upon the tender joy
which bathed my eyes with tears at beholding
the portrait of her who brought me into the
world.* But I must confess that I was dis
appointed of the pleasure and benefit I had
expected on its first arrival, because they have
converted her into something very different from
herself. But if she appears still so admirable,
even in a painting of that day when they knew
so little of art, what would she be if she were
painted now by your pencil which is so full of
ability ? I swear to you by the tender charity
that I bear her memory, that every one who
ever saw her, affirmed with a loud voice, that
really she was such a perfect image of modesty
and meekness, that instead of drawing her in
this manner as a portrait, she ought to have
* The portrait of his mother mentioned in the preceding letter.

LIFE OF TITIAN. 299
been like the figures represented in the Annun
ciation, for it was doing injustice to Nature who
created her so beautiful, thus to convert her
image into any other kind of beauty but her
own. And Titian, that great painter, affirms
that he never saw a child who did not discover
some propensity to vice in its countenance,
except Andrea;* who, in the forehead, the eyes,
and the nose is so like Tita (for that was the
name of this admirable woman) that she seems
rather to be her child than mine. I now thank
you for the gift, because I know the fatigue you
have endured in pleasing me is not less dear to
your soul, than it is grateful to mine to do any
work which may be useful to you, as you may
have observed many times. " Pietro Aretino.
"Venice, April 1549."
In the following year Titian was still with
the Emperor's Court, on its way back to Spain.
" TITIAN TO SIGNOR ARETINO, A MOST DEAR
FRIEND.
" Signor Pietro, my Honoured Friend,
" I wrote to you by M. Eneas, that I held
your letter in the core of my heart, waiting for
* Aretin's daughter.

300 LIFE OF TITIAN.
an opportunity of giving it to his Majesty. The
other day, and since Parmegiano went away, I
was called to the Emperor, when after the usual
reverence, and after he had looked at the pic
tures I had brought to him, he asked me about
you, and if I had your letter ; to which I an
swered, Yes, and presented it to him : and the
Emperor, though he read it to himself, yet read
it in such a manner that it was heard by his
Highness his son, the Duke of Alva, Don
Luigi d'Avila, with the other Lords of the
Chamber. But as in this letter I was referred
to, he asked me what you wished him to do. I
answered that it was reported at Venice, in
Rome, and all over Italy, that his Holiness had
a strong intention to serve you. Upon this the
Emperor shewed signs of pleasure in his coun
tenance ; and said that it would gratify him
much, and that he would not fail to do what he
could for your ease and pleasure ; adding many
great and honourable words in commendation of
you. So that now, my dear brother, I have done
that good office for you, which it is my duty to
do for all true friends like yourself; and if I can
serve you in any other respect, you may com
mand me without ceremony. The Duke d'Alva
never passes a day without talking to me of the
divine Aretin ; for he loves you much, and says

LIFE OF TITIAN. 301
he will be your advocate with his Majesty. I
told him you would spend a world of money if
you had it ; that you give away so much, even
all you had ; and that you gave the poor the very
clothes off your back ; and that you are an
honour to Italy, which is the truth, and he
knows it.
" I gave Monsignor d'Arasse your letter to
him ; and you will have an answer shortly.
Signor Filippo Obi set off the other day for
England. He salutes you, and says he shall
not be content till he can do you some service
himself, besides the good offices he hopes to
render you with his own sovereign. Be joyful
then : for, by God's grace, you may be so, and
keep me always in your good graces. Salute
Signor Jacopo Sansovino for me, and kiss the
hands of all my friends.
" Your friend and companion, " Titian.
" Agosta, November 11th, 1550."
Of the above-mentioned Eneas Vicus Par
megiano, who carried Titian's letter to Aretin, I
find the following anecdote, relative to the visit
of Eneas to Charles V.
Both Charles and his son, Philip the second
of Spain, are said to have practised the art of

302 LIFE OF TITIAN.
painting. Parmegiano, the unrivalled engraver
of his time, and a most learned and subtle in
vestigator of all matters relative to history, as
appears by his Treatise upon Medals, and his
Genealogy of the Emperors, having a few years
before returned with the engraving of the por
trait of Charles the Fifth, encircled with various
ornaments, representing his great glory and
enterprises ; the Emperor took it in his hand,
held it in a proper light at the window, exa
mined it a long time very attentively, and
ordered many copies to be taken of it ; but this
could not be done, as the plate had been gilt ;
and again examining minutely the invention and
design, gave proofs that his j udgment was little
inferior to a good artist's, and presented Par
megiano with two hundred crowns.
The art of engraving on copper and other
medals, which was now brought to great per
fection, had been invented by Moses Finiguezzi,
a goldsmith of Florence, in the fifteenth century ;
some say in Flanders, but the former is the
common opinion.
The principal lords of the court of the Em
peror, showing some jealousy at the singular
regard and preference he seemed to have for
Titian, Charles observed to them that he could
never want a court of nobles : " I can make a

LIFE OF TITIAN. 303
thousand of you when I will," he said, "but
God alone can make a painter like Titian."
This speech has been put in the mouth of
other sovereigns besides Charles the Fifth, and
applied to other painters beside Titian. But
who first said it, is uncertain. The following
letter is an answer to the foregoing one.
" TO M. TITIAN.
" Honoured Friend,
" The letter of the fourth of the present
month, which I received by M. Eneas, was de
lightful to me, because it put to rest some
doubts which disturbed my mind concerning
your safe arrival at the Augustan Court; and
the other letter, which I have since received,
dated the eleventh, has given me the greatest
joy and gladness that can be. But whose heart
would not rejoice on hearing what kind, what
affectionate benignity his Majesty expressed to
wards me, that on seeing you he should ask
how I was, and if you had brought him any
letters from me ? How sweetly and agreeably
his promise sounded, that he would endeavour
to do me any good office with the Pope, and
that he would soon write an answer to mine ; at
the saftie time speaking so honourably of me in
presence of his Highness, of the Duke of Alva,

304 LIFE OF TITIAN.
and of D'Avila. For this graciousness towards me
may God grant him blessings : for he is most
dear to me. I cannot but be grateful because I
derive such benefits from his goodness, and not
from any virtue that I possess, or that can be
found in me.
" To you, divine man, I will say nothing : for
since we two are as one in friendship, to thank
you would be superfluous. " Pietro Aretino.
" Venice, November 1550."
At this time the Emperor assigned Titian a
pension of two hundred crowns a year, on the
Chamber of Naples. When he afterwards
painted the portrait of Philip the Second, the
Emperor's son, the latter also granted him a
pension for life of another two hundred crowns a
year. These two pensions, making four hundred
crowns a year, with the three before granted to
him from the Fondaco de Tedeschi by the
Senate of Venice, made together seven hundred
crowns per annum (independent of any other
gains from his works) a great sum at that
period. Titian was recommended, by both
Charles and Philip, to paint the portrait of
Cosmo de Medicis, duke of Florence, which he
executed accordingly, and it is now in the
collection at Florence.

LIFE OF TITIAN. 305
" TO THE EXCELLENT SIGNOR PIETRO ARETINO,
FROM FRANCESCO TERZO, THE ENGRAVER
OF BERGAMO.
" Most excellent Sir,
"It is a great vexation to friends not
to be able to give a proof of friendship, equal in
value to the regard they feel for the beloved
object. But I will not doubt that you will be
pleased with a small pledge of affection, be
cause you who regard the mind of the giver
will excuse the un worthiness of the gift, occa
sioned by that poverty which is imputable to
the ignorance and avarice of the rich, who
neglect genius when buried in obscurity. For
it is not enough to have laboured and given
proofs of merit, if you are not by means of, some
intelligent person made known to those who
can remunerate you. It is entirely owing to
the pen and favours of Aretin, that the works
of Titian have their great reputation, and that
he has obtained the rewards he so well deserves.
This is the reason that has always kept my
talents concealed, having ever been obliged to
work hard for my bread ; but I do not in the
least doubt some time or other to find an oppor
tunity of becoming known, and that the Lord
God, by means of friends, will help me. For I
vol. i. x

306 LIFE OF TITIAN.
know, though I am poor in purse, yet I am rich
in abilities." Signor Pietro, having at this time no more
suitable subject to present to you, I send you
the portrait of a most excellent young woman.
And because she is not known to you, I have
changed the dress and concealed the name, as
I do not wish the reason to be talked of which
induced me to do this work. I hope you will
have patience with me for the present, as with
this I dedicate myself to you and your com
mands. I pray you to accept me in the number
of your most affectionate servants, and that you
will deign to remember me to Doni ; and with
this I kiss your hands.
" Francesco Terzo, Painter.
"Milan, July 11th, 1551."
Poor Terzo seems to think that Aretin made
Titian great, and that he could therefore make
him great also if he chose so to do. But Terzo
did not recollect the Spanish proverb, quoted by
Sancho Panza. In this instance we see the
folly of inordinate self- opinion. Titian contri
buted much more towards his great success
than it was possible for Aretin to do. Of this
secret Terzo's conceit of himself rendered him
insensible. However, Aretin seems to have

LIFE OF TITIAN. 307
much approved of his performance ; and gives
him great encouragement, as we see by his
answer to the above.
" TO M. FRANCESCO TERZO.
" And so, oh rare painter ! you cannot be
lieve that you can produce figures of excel
lence; and why not? For envy itself cannot
help praising the portrait that was given me by
M. Giovanni in your name, in which you have
shewn not less affection than genius. It is so
excellent an imitation of nature, that it appears
rather like the spirit of a living person than a
painted imitation of a lady's complexion. Titian,
a man who has as much taste as worth, com
mends it, and praises it in no less marked a
way than by saying it is in the style of his son.
And I who am nothing but that I speak
truth, may be believed, when I assure you
that this friend answered me, when I told him
you were coming here, by saying he would take
you into his house. But when you come, I
wish you to lodge with me. For really your
manner promises so much in the art, that I
rejoice as much as if it was for my own benefit.
It is very true that I am very sorry that your
encouragement (considering your merit) does
not equal your deserts : but by little and little

308 LIFE OF TITIAN.
you will get to the top. Besides, Fortune
would do much for persons of genius, if all at
once they abounded in gold and silver. How
ever, you may be certain that a person of in
tellect will never remain long in distress ; for
attaining by his genius a degree of excellence,
he will become wealthy. For instance, here is
Leone, now living like a lord, after having en
dured intolerable labour, study, and want : and
Titian the same. Still I am content,. and would
not change my condition for the wealth of
either one or the other ; for what does it come
to ? They do not dress better than myself, or
dwell in a better house, or keep a better table ;
and they are servants to high personages. I
know the world : the more I give away and
the more company I entertain, the more friends
I shall find, and the more honour it will do me.
But perhaps I may, notwithstanding, in time be
better off than I am at present. This remains
to be seen. However, whether I am or am
not great, still I am able to do you service, and
always will. But I shall say no more to you,
except that you may dispose of me and that I
expect you. " Pietro Aretino.
" Venice August 1551."

LIFE OF TITIAN. 309

CHAPTER XX.
TITIAN GOES INTO SPAIN  PATENT OF NOBILITY
GRANTED HIM BY THE EMPEROR  PICTURES IN
THE ROYAL PALACES  MENGS AND CUMBERLAND.
Carlo Ridolfi, the biographer of Titian,
says he never came into Spain, but in this he
is mistaken. It was not however till the year
1553, that he visited that country. During
his residence there he executed many ad
mirable works, and received princely rewards
for them. Charles gave him the Key, the
order of Santiago, at Brussels; and in 1553,
constituted him Count Palatine of the Empire
at Barcelona, by an instrument worthy to be
recorded. The original legal document is writ
ten, of course, in barbarous law-latin, and
filled with tautology ; but the following trans
lation is nearly word for word the same.
" Charles the Fifth, by divine favour, august

310 LIFE OF TITIAN.
Emperor of the Romans, King of Germany and
Spain, greets with, the grace and blessing of
Caesar, our distinguished, faithful, and beloved
Titian of Vecelli, knight and count of the sacred
Lateran Palace, and of our Court and Imperial
Consistory. "As it has always been our custom, since by
the divine auspices we were exalted to the lofty
dignity of Cassar, to bestow our regard, grace,
and favour chiefly on persons remarkable for
fidelity and attachment to us and to the holy
Roman Empire, who possessed excellent mo
rals, and who were celebrated and eminent
above others in virtue, ingenious arts and indus
try; observing therefore your remarkable fide
lity towards us and the holy Roman Empire,
together with your illustrious qualities and the
endowments of your genius in that exquisite
science of painting and in finishing portraits to
the life, in which art indeed you appear to us
to merit being named the Apelles of our age,
&c. &c.
" Therefore of our own intent, fixed know
ledge and deliberation, and assisted by the
wise counsel of the princes, counts, barons, and
others of our own beloved nobles of the sacred
Empire, and with the plenitude, of our Imperial
power, we constitute, create, and elevate you,

LIFE OF TITIAN. 311
the aforesaid Titian, Count of the sacred Late-
ran palace, of our court, and Imperial consis
tory, and with clemency we distinguish you
with the title of Count Palatine :— conformably
to the tenure of these presents, we constitute,
create, establish, elevate, and rank you in their
order," &c.
It seems by this instrument that Titian had
been previously a Knight and Count of the holy
Lateran Palace, of the Imperial court and con
sistory, and that the present instrument made
him a Count Palatine.
These honours it is the more necessary to recal
to the reader's attention, as they are at this
time so totally absorbed and lost in the splen
dour of his single name, so universally known
from his eminent talents, that it seems like a
jest even to mention the inferior distinctions
bestowed on him by earthly princes ; for he was
a man endowed by heaven with such transcen
dant abilities, that to use the words of Kneller
in speaking of himself, " he was one of God
Almighty's noblemen." However, these favors
we find alarmed the jealousy of the nobles both
of Germany and Spain, though their envy drew no
other answer from Charles than that he had many
nobles in his empire, but only one Titian. The

312 LIFE OF TITIAN.
painter, it is said, who was at no great distance
employed upon some picture, overheard the
retort with conscious satisfaction, and as he
made his reverence to the Emperor, dropt one
of his pencils on the floor ; the courteous mo
narch took it up, and delivering it to Titian, who
was confounded by this second mark of conde
scension, said, that " to wait on Titian was
service for an Emperor." — Charles not only
graced this eminent artist with splendid titles
and distinctions as above mentioned, but he
gave him more solid marks of his favour, assign
ing him a pension of four hundred ducats per
annum, besides a munificent compensation for
every picture he executed for him, and fre
quently sending him large sums of money,
which were always accompanied by this oblig
ing testimony, "That his design was not to pay
him the value of his pictures, because they
were above all price." And certainly Titian's
excellence was so great, that had the Emperor
or the Duke of Ferrara granted him far greater
largesses, they would not have more than re
warded his merit.
During his residence of three years in Ger
many and Spain, he painted many most admi
rable pictures, for which we find he was well
remunerated. This Emperor certainly has the

LIFE OF TITIAN. 313
merit of adorning Spain with the noblest pic
tures that were then to be met with in the
world. Palomeno says, that Charles regarded
the possession of a capital piece of Titian's more
than he did the addition of a new province to his
dominions: but Palomeno (says Cumberland)
was a painter, and more familiar with the pictures
of Titian than with the politics of the Emperor.
Such a preference would have been a caprice
unworthy of any prince, but Charles's character
was not the sport of caprice, whilst to the very
last moment of his life, and even when he re
signed his dominions, it was evident that ambi
tion was his ruling passion. Had he been capa
ble of the weakness which Palomeno ascribes
to him, he would hardly have taken such pains
to the last hour of his reign in persuading his
brother Ferdinand to sacrifice his right of suc
cession to the Empire, nor would he have
returned into the unfurnished cell of his convent
with his puppets and his birds, without one con-
solatary remembrance of his favourite artist to
cheer his solitude or to inflame his devotion. I
can hardly be persuaded, adds Cumberland,
that Charles's abdication of his Empire was a
proof of caprice ; he plainly enough perceived
his health was gone, and he was not willing
that his fame should follow it. Palomeno does

314 LIFE OF TITIAN.
not seem to apprehend the vast difference to
Charles between the acquisition of a new pro
vince to his dominions, and that of a picture by
Titian to his collection. The possession of the
picture might be the source of great pleasure to
him — the glory still remained with Titian, who
was able to produce it; But when Charles
added a province to his dominions, the whole
glory of it was his own. This sensation an am
bitious man will be fully impressed with.
Titian at this time painted for an altar-
piece a grand picture of the Holy Trinity, in
which, on a throne, is the Virgin Mary with an
infant Christ in her arms : above is the dove ;
the back-ground being of the colour of flame,
and God the Father encircled by a glory of
cherubims. At one side of this picture is
painted on canvas the Emperor Charles; on
the other the Empress ; they are facing each
other, and with their hands lifted up as if in the
action of prayer, accompanied by a multitude
of saints, selected by the Emperor's direc
tion : who now having pushed to the utmost
bounds his grand schemes of victory, began to
think it time to cherish more serious thoughts,
and retire from the world. This he soon after
wards put into practice, and informed Titian
that the picture should be placed in the monas-

LIFE OF TITIAN. 315
tery to which he intended to withdraw to end
his days in piety and prayer. This composition,
though so extraordinary in its aspect or rather
I may say divine, has never been engraved.
Titian had painted the portrait of Charles
several times, as I have before observed ; but
now being called to the court of that prince, he
for the last time painted his portrait, just as it
then appeared in the latter part of his life, and
this picture also much pleased the renowned
Emperor. Certain it is, that the very first por
trait Titian drew of him so struck him with
admiration, that he would never after sit to any
Other artist ; and for every portrait Titian took
of him he gave him a thousand crowns in gold.
Titian in all painted three portraits of the Em
peror ; and when he last sat to him, at the con
clusion of the picture, Charles said with em
phasis, " This is the third time I have triumphed
over death."
The pictures which Titian did in Spain, and
those he sent there, form of themselves a large
and magnificent collection ; the catalogues of
the Espurial and Madrid convey some idea of
them, but by no means an adequate one. To
particularize their respective merit is not in my
power, never having been in Spain.
In a posthumous publication of Antony Ra-

316 LIFE OF TITIAN.
phael Mengs, printed at Madrid in 1780, there
are some observations on Titian's pictures in the
palace of the Escurial. I could wish, for the
reader's better gratification, that more had been
said by Mengs on the subject ; and in general
it is to be regretted that he had not entered into
a fuller description of the royal collection, of
which he professes to give an account. But it
is not in the collections of the Escurial and
palace of Madrid, as I have before said, that
we can find the sum of Titian's works in
Spain. Many capital pictures are dispersed ;
many perished in the deplorable fire that de
stroyed the Prado ; some have been by a late
decree excluded for their immodesty. Amongst
the pictures that perished in the Prado, were
several portraits of the family of the house of
Austria, together with one of Titian himself,
painted by order of Charles the Fifth, a cele
brated work, in which the painter is represented
holding in his hand the portrait of the Emperor;
transferring by this courtly device the honour of
the representation from himself to Charles.
There are a great many pictures that are not
particularly described : it is sufficient to say
of them that, being mostly naked, their defect
will, in some people's judgment, appear their
recommendation. Certain it is that the unpar-

LIFE OF TITIAN. 317
ralleled and inestimable figure of the Sleeping
Venus, which was given by Philip the Fourth to
our Charles the First, when Prince of Wales, at
the time of his visit to Spain, and which, after
the death of that unhappy monarch, was pur
chased by the Spanish Ambassador in England,
has been rescued from destruction by the ad
dress of Mengs. Cumberland says, " I fre
quently visited this matchless deity in her
hiding-place, where I found her miserably
lodged, though respectably attended by an Ata-
lanta in the Race by Guido, divinely executed;
a Helen and Paris by Rubens, with the Three
Graces of the same master, coloured to a miracle,
but much more embonpoint than their principal.
To attempt any description of this sleeping
Venus appears to me as impossible as it would
be to condemn such perfect and withal mo
dest beauties to the flames. A graceful turn of
the neck gives the full countenance to the spec
tator, in which the master-artist has displayed
beauty and sweetness of the divinest sort, with
the most perfect innocence of character ; the
limbs are elegantly and decently disposed ; the
hues are glowing and transparent, the outline
round and undulating, and the lights and shades
produced by those tender and imperceptible
touches that form the magic of Correggio : in

318 LIFE OF TITIAN.
short, it is a miracle of art, and was so deci
dedly the chef-d'oeuvre of the master, that after
several efforts to rival his own matchless work,
he quitted this self-emulation in despair. It is
to the honour of Don Antonio Mengs that he
saved it from destruction : it had another escape
from the flames of the Prado, which fatal acci
dent being reported to Philip the Fourth, then
on the throne, he instantly demanded if the
Titian - Venus had escaped the conflagration :
the messenger assured him that it was saved,
" Then," replied the King, '^all other losses
may be supplied." I cannot dismiss this en
chanting object without observing that, by the
testimony of all the best judges of its merits, it
yields in no particular to the Venus of Medicis,
but in the weaker nature of its material : twice
rescued from the flames, it still exists in perfect
condition. May no future age of the world
produce a hand to raise an axe against the one
or to construct a funeral pile for the other !"
There are several paintings by Titian in the
Madrid collection upon fabulous subjects. But
of all his pictures upon subjects of this descrip
tion, the most beautiful are two celebrated
companions, the one a group of Bacchanals,
the other of Cupids, in the apartments of the
Princess : the figures in each are of the third

LIFE OF TITIAN. 319
part of the natural size. In the fore-ground of
the group of Bacchanals, there is a young
female votaress asleep, of which Don Antonio
Mengs, in his critique above-mentioned, speaks
with rapture. He says that he never saw it
without that striking novelty of delight as if he
had never discovered it before. The colouring
of this figure, he observes, is in Titian's clearest
manner ; and the gradation of tints through the
whole group (which is all naked, and which,
with an infinite variety of nice discrimination,
composes one uniform tone) is wonderfully con
trived, and constitutes such a model in the
art of colouring, as he never met with in any
other example : he concludes his remarks on
this picture by observing, that all the harmo
nious accompaniments of sky, variegated soil,
with deep and tender shades of trees, form a
better picture in this style, than he thinks the
world can produce. The other picture repre
sents a very numerous group of beautiful
Cupids, disposed in a wonderful variety of
attitudes, employed in childish sports under a
grove of apple-trees; the fruit of which they
have scattered about the ground, and are play
ing with in the most gay and natural manner.
The same curious gradation of hues in the car
nations of the flesh and colours of the hair

320 LIFE OF TITIAN.
obtains in this picture as in the former, and to
an equal degree of excellence : the relief in the
more distant objects is particularly fine. Mengs
adds, that these pictures were formerly in the
Ludovico palace at Rome, and were a present
sent to the King of Spain. Sandrart reports of
this group of Cupids, that it served for a study
to Domenichino, Poussin, and Fiamingo the
sculptor. Albano has transcribed a part of this
group into a composition of his painting, and
there are two copies made by Rubens of these
pictures to be seen in the palace : which Mengs
in his criticism does not much approve of, and
calls them Dutch translations.
There is likewise a particularly fine Titian on
the subject of Tarquin and Lucretia, so natu
rally executed, that what between the excess
of chastity in one of the persons and the noto
rious abuse of it in the other, it must be owned
the lady has had a narrow escape.
Of scriptural subjects, treated by the hand of
this great master, the Escurial presents a host
of valuable examples. Only a few are found in
the palace of Madrid ; the celebrated picture
of the Last Supper in the refectory at the Escu
rial has been repeatedly described, and is
known to all Europe as a master-piece of art.
In a letter, which is preserved from Titian to

LIFE OF TITIAN. 321
Philip, he informs the King, that he had been
seven years employed in painting it. This
must surely be understood with latitude as to
other intermediate compositions ; for though
the artist, as it is well known, lived to a
very uncommon age, yet the life of a patriarch
would scarce suffice to warrant undertakings
of such labour, nor would the reward of two
thousand golden scudi, which the King sent
him by way of Genoa, and which was in fact
a magnificent price in those times, be a propor
tionable compensation for the dedication of so
great a portion of his time. The composition,
which is called The Glory of Titian, that of
Christ in the Garden, and the Santa Margarita
with the Dragon, have often been described and
duly praised ; but the scrupulous sanctity of
the monks was offended at some liberties taken
by Santa Margarita in tucking up her robe,
and discovering part of a very graceful leg ; a
thing not seemly to be done when in company
with a dragon, especially as all dragons have
not the prudence and good faith of that which
was in keeping by the Hesperides ; but Luca
Jordano's rapid pencil pieced the petticoat,
which now renders the lady fit to see company.
This is the remark of Cumberland.
VOL. I. Y

322 LIFE OF TITIAN.
The letter of Titian to Philip, on the subject
just referred to, is as follows : —
" TO HIS CATHOLIC MAJESTY PHILIP THE
SECOND, MADRID.
" The Supper of our Lord, which I formerly
promised to your Majesty, is now, by the grace
of God, completed. I began it about seven
years ago, and have laboured upon it almost
continually, being desirous to leave to your
Majesty, in this last stage of my life, the
greatest proof of my early devotion to your
Majesty that it is in my power to give. God
grant that it may appear as good to your excel
lent judgment as I have endeavoured to make
it, in the hope of giving you satisfaction. Your
Majesty will receive it at an early day, con
signed to your Secretary, Garzia Ernando,
according to your commands. Meanwhile, I
supplicate your infinite clemency, that if ever,
at any time, any part of my very long services
have been agreeable to you,, you will deign to
compassionate me ; so that I may no longer be
tormented by your Ministers, in receiving my
allowance sometimes by an express from Spain,
sometimes from the Chamber at Milan; that

LIFE, OF TITIAN. 323
I may live in more tranquillity for the few days
which.Temain for me to spend in your service.
And I trust your Majesty will not be less mer
ciful to me than was the Emperor your father (of
glorious memory) but will make your Ministers
execute your benevolent orders, which towards
me have always been so condescending, by
which means I shall be freed from a thousand
continually harassing cares, in striving to obtain
my small pittance, and be able to spend the
whole of my time in serving you with my
labours, without being obliged to waste the
greater part of it, as I am now compelled to
do, in writing here and there to your different
negociators, not without a very serious expense
to me, and almost always in vain, or else
receiving only some very trifling sum.' after a
length of time. I am certain, most clement
Sire, that if your Majesty knew in ; part the
trouble I have had in this affair, your infinite
piety would compassionate me; and peradven-r
ture would show some sign of your great benig
nity, in ordering a schedule to be written for
me, as I assure you, that notwithstanding your
goodness, I have never received any sum equal
to your kind intentions, on account of their
forms in paying me. And this is the reason
that I am now obliged to seek relief at the feet

324 LIFE OF TITIAN.
of my most Catholic Lord, supplicating your
compassion to provide for my misfortune by
some gracious expedient : so that you may no
longer be wearied by my complaints, and that
I may be in future freed from these vexatious
cares, and enabled to employ myself wholly in
your service. — I kiss your Catholic Majesty's
hands. Your most devoted and most humble
servant, " Titian.
" Venice, August 5, 1554."

As soon as Philip had conceived the idea of
enriching the Royal Convent with every thing
suitable to the magnificence of its scale, and
which the mines of America, that flowed in
upon his treasury, could procure, he cast his
eyes towards his father's favourite painter,
Titian, then returned into his own country.
Whether he solicited him to come again into
Spain does not appear ; but he had most cer
tainly given him several commissions for pic
tures. In a letter which Philip writes to Titian,
of the 13th of July 1558, from Ghent, he
acknowledges the receipt of one from Titian
on the 19th of the preceding month ; and ex
presses the satisfaction it gave him to hear that
he had completed his picture of Calisto, and

LIFE OF TITIAN. 325
one also of Diana bathing. He tells him that
he had written to Garcias Fernandez at Genoa,
to forward these pictures to Spain, and desires
Titian himself to superintend the packing and
to direct the cases, that no other of his valuable
productions might be again exposed to the like
misfortune that had befallen his painting of the
Christ, which had been ruined by the way.
He earnestly requests Titian to restore that
loss by another of the same composition, which
he shall highly prize as coming from the hand
of so great a master.
In conclusion, he expresses his regret to hear
that the rents, settled upon him in Milan and
Naples, had fallen into arrear, and tells him
that he will put those payments in such a train,
that there shall be no cause of complaint in
future. This in effect he performed by a pe
remptory mandate to his Governor at Milan,
directing him to satisfy the arrears due to
Titian from the grants in 1541 and 1548, and to
put the same in regular course of payment for
the future, either from the ducal chamber or
such other funds as might be more conveniently
applied to that purpose. This mandate bears
date the 25th of December 1558 ; and at the
foot of it the King writes these lines with his
own hand : " You know how I am interested

326 LIFE OF TITIAN.
in this order, as it affects Titian ; comply with it
therefore in such a manner as to give me no
occasion to repeat it." 'The King had the fur
ther attention to continue to him the grant of
his key, and nominated him first painter of the
chamber. This was just at the time of the death of
Charles the Fifth, his father.
For Queen Mary of England, wife "of "Philip
the Second of Spain, Titian painted a Prome
theus chained on Mount Causasus and torn by
the Eagle of Jupiter, also a Sisyphus in the in
fernal regions, with the great stone, and Tityus
torn by the Vulture. Air these except the Pro
metheus are in the possession of King Philip;
and also one of Tantalus of the same size, which
is that of the life, painted on canvas and in oil-
colours. He also painted a Venus and Adonis. She is
seated and endeavours to detain her lover : he is
in the action of flying from her, with dogs in the
fore-ground, wonderfully natural. In a coiripo-
sition of the same size, he painted Andromeda
chained to the rock r and delivered by' Perseus
from the sea-monster. No picture can have
more grace than this; There is' another of
Diana at the fountain, accompanied by Nymphs,
when she transforms Actaebn into" a stag. -He

LIFE OF TITIAN. 327
likewise painted a Europa carried over the Hel
lespont on the back of the bull.
These pictures are in the possession of his
Catholic Majesty, and held in high esteem for
the vivacity- Titian has given to the figures ; and
in colour they are equal to nature itself. But
it is certain that about this time he made a very
great alteration in his style of execution from
that which he practised iri his younger days.
For his first pictures are finished with most in
credible diligence, so as to bear examining near,
and yet look well at a distance also : but the
works he did about this time are full of strokes
and spots, after a certain bold manner, so that
they seem nothing when viewed close, though
they look well at a distance as if perfectly
finished. This last manner of his many pain
ters have endeavoured to imitate, by which
they have made very gross and random work.
They have been tempted to imagine it done
with ease; but in this they are much mis
taken, as it is the result of very long practice
and vast judgment, earned from experience,
and so far from being easy, that it is irnpossible
to do it well without a long life of preparation.
And as it demonstrates the great master of the
art^ the ignorant are captivated and conceive
that it can be performed at will, iiot apprehend-

328 LIFE OF TITIAN.
ing the infinite labour it has cost to acquire
this seeming facility. If the painter should be
asked how long he was about the picture done
in so masterly and free a style, he might give
the answer of one of the moderns on a similar
occasion, to wit, — " All my life !"
About this period Titian painted a picture
(three yards in height and four in breadth) of
the Infant Jesus in the lap of the Virgin, adored
by the Magi, with a multitude of figures, each
three feet in height, exquisitely fine. He made
also a repetition of this picture, which he gave
to the old Cardinal of Ferrara.

TO THE PRINCE OF SPAIN, AFTERWARDS
KING OF ENGLAND, FROM TITIAN VECELLI.
" Most Serene Prince,
" From your Imperial Ambassador I received
a gift more suited to your greatness than to my
little merits. It was dear to me on many ac
counts, but most especially, because it is great
riches to a poor debtor to be well thought of by
his Lord. I in return wish I could paint the
picture of my heart, which has been long con
secrated to your Highness, that you might be
hold how perfectly your valorous image is there

LIFE OF TITIAN. 329
engraved. But as this is not in my power, I
am endeavouring to finish to my utmost the
fable of Venus and Adonis,* in a form similar
to that which you already have of Danae ; and
when it is finished (which it will shortly be) I
shall send it. I go on preparing some others,
which are also consecrated to my Lord.
" Since from my barren soul I cannot pro
duce more noble fruit, I will not make any
further professions ; but pray our Lord God to
grant all happiness to your Highness, and to me
grace to be able once more to behold you and
humbly to kiss your feet."

" TITIAN TO PHILIP, KING OF ENGLAND.
[Written about the year 1554, jEtat. 74.]
" Most Sacred Majestv,
" I congratulate your Majesty with all my
soul on the kingdom which God has granted
to you ; and I accompany my congratula
tions with the picture of Venus and Adonis,
which I hope will be seen by you with the
favourable eyes you used to cast upon the
works of your servant Titian. And as the
* Engraved many times on copper. This picture or a duplicate
of it is in the Palace of the Constable Colonna.

330 LIFE OF TITIAN.
Danae I formerly sent to your Majesty was
seen entirely in front, I wished in this other
subject to vary the figure, and give the con
trary point of view ; and in the cabinet in
which it is to stand, it will be more agreeable
to the eye. I will soon send the poetical
design of Perseus and Andromeda, which has
also a point of view different from this ; as also
Medea and Jason. And I hope by the help of
God to send, besides these pieces, a most holy
subject, which has been in my hands these fen
years, which, I trust, will show your Highness
all the power that your servant Titian is able
to employ in the art of painting. In the mean
while, I have a reliance that the great King of
England will deign to remember that his un
worthy painter lives in the hopes of being ser
vant to so mighty and benign a Lord ; and that
through his means he may acquire the favour
of the most Christian Queen his Consort.
Whom may our Lord God bless and preserve,
together with your Majesty, that you may both
continue to be happy for years and years, to
bless the people whom you govern by his holy
and gracious will!"

LIFE OF TITIAN. 331
" TO SIGNOR DON GIOVANNI BENEVIDES, FROM
TITIAN VECELLI.
" I do not know if the Signor Don Giovanni
is become so proud with the new kingdorn,
which has increased the greatness of his King,
that he will not any longer acknowledge the
letters or pictures of Titian, whom he forfrierly
loved. Still I cannot help believing that he
will see both letters and pictures with a gay
heart and joyful eyes that wlII feast upon therir,
because a man of taste, noble in blood, and
most humane in his nature, as your Excellency
is, becomes still more beneficent and caresses
his servants still more, when he increases in
authority and favour himself, so that he can
help others. I hope then that I and my pro
ductions will be favoured by you more than
ever: for, in short, I place all my hopes in the
great King of England, through the intercession
of my good Lord, the gentle Benevides, who I
know can and will help me. I now send the
fable of Venus and Adonis, in which your
Excellency will see what spirit and ardor I in
fuse into my works done for his Majesty ; and
in a little time I shall send two other pictures,
which will not please him less than this. They
would have been finished by this time, only

332 LIFE OF TITIAN.
that I have been hindered by the work I did
for his Imperial Majesty. The picture of the
Trinity I shall soon finish (as I am bound in
duty and devotion) for her Majesty the Queen,
which I will immediately send. I entreat your
Excellency to" write to tell me if his Majesty
is pleased with the picture, and if he
prizes it.
" I have nothing more that occurs for me to
say ; but to commend myself to your good
graces and to kiss your hand.
" Venice, September the 10th, 1554."

LIFE OF TITIAN. 333

CHAPTER XXI.
OTHER WORKS OF TITIAN SENT INTO SPAIN  PORTRAIT
OF SIGNOR VARGAS  SONNET OF ARETIN'S UPON IT.
Titian had quitted the Court of Spain before
Philip took possession of the throne. The
arts however had rapidly advanced : Charles
had made some improvements in the royal
edifices, but more with a view to accommo
dation than magnificence. He had new-fronted
the old palace of Madrid, beautified and repaired
the venerable Alhambra of Grenada, planted
and disposed the walks and avenues of Aran-
juez in the Flemish taste, and built the Prado at
two leagues' distance from the capital in a re
tired situation, and in a style by no means impe
rial. It is a square building of moderate dimen
sions, flanked with four small towers at the
angles, and environed with a foss, exactly on the
scale of a nobleman's seat in his native country.
Superstition soon engaged Philip in a more
important undertaking ; for having made a vow

334 LIFE OF TITIAN,
upon the victory of St Quentin to dedicate a
church and monastery to Saint Lorenzo, on
whose day he had gained the battle, he began
in the midst of a solitary and frightful desert to
displace the rocks and compel them to take the
jshape of an edifice. On the feast-day of St
George, with much temporal and spiritual pomp,
he laid the foundation-stone of the monastery of
San Lorenzo, called the Escurial, with the fol
lowing inscription :¦ —
DEUS O. M. OPERI ASPICIAT !
PHILlPPUS II, HISPANIARUM REX »
A FUNDAMENTIS EREXIT
MDLXIII.
JOAN BAPTISTA ARCHITECTUS
IX. KA. MAIL
To proceed. Titian now sent a most excellent
picture to Philip the Second. It is a Ccena
Domini with the Twelve Apostles, a work of
great size, being twenty-one feet long, and of
a most extraordinay beauty. It was this pic
ture which the King ordered to be cut less to fit
a particular place, and which so much distressed
the painter II Mudo.
Besides all those which have been mentioned
before in this account, there were in his house
many just sketched, others more advanced ; to
wit, the Martyrdom of St Lorenzo, a repetition

LIFE OF TITIAN. 335
of the one above-described. This was to have
been sent to the King of Spain. And on a very
large canvas was begun a Christ on the Cross
with the two thieves and the executioners be
low. This picture was for M. Giovanni de
Arna. Also a picture begun for the Doge Gri-
mani, father to the Patriarch of Aquileia. And
for the saloon of the Grand-palace of Brescia he
had begun three pictures, as mentioned by one
Christofano, a painter of Brescia to ornament
one floor of that palace. He had also begun
many years before, by order of Alfonso, first
Duke of Ferrara, a picture of a young man
naked on his knees to Minerva, with another
figure at his side. In the back-ground of the
picture is seen the ocean with Neptune in his
car ; but from the death of that prince, at whose
suggestion it was designed, it was never finished,
and remained on the painter's hands. He also
had begun and carried far on, though not abso
lutely finished, a picture of Christ appearing to
Mary Magdalen in the Garden, the figures of
the size of life ; also another of the same size,
in which are represented the Madonna arid the
two other Marys, with the dead Christ laid in
the sepulchre. There was a similar picture of a
Madonna, a beautiful work. In the same house
was a portrait of himself that he had finished

336 LIFE OF TITIAN.
about four years before, most excellent and
natural. And lastly, a St Paul reading, half-
figure, which seems filled with the Holy Spirit.
Besides those which I have mentioned, there
were a multitude of others, which it would be
tiresome to enumerate ; and now being arrived
at the age of seventy-five years, infinitely famous
and fortunate, in a degree equal to any man
living, not having had from heaven other than
favour and felicity, his house in Venice was the
resort of princes as well as of the learned and
persons of distinction and ingenuity that visited
or inhabited Venice ; for he was not only a great
painter but extremely well-bred and courteous,
and he had now acquired so great a reputation
by his works, that there was not a gentleman
in Venice who did not procure a portrait or
some other picture done by him. Most of the
churches were adorned with his works.
In the time of Titian many persons of high
quality at Venice practised the art of painting
for their amusement. For instance, Monsignor
Barbaro, patriarch-elect of Aquileia, a man of
great worth and liberality, and the learned M.
Francis Morosini, both of whom designed and
painted elegantly ; and among the infinite num
ber of gentlemen who studied and delighted in
the art was the magnificent M. Alexander Con-

LIFE OF TITIAN. 337
tarini, highly distinguished by his polite litera
ture and great abilities.
It is said that Titian painted Queen Mary for
the Emperor Charles ; but I do not know what
Queen Mary it could be. He certainly never
painted Queen Mary of England from the life,
as she was never out of her kingdom, and Titian
was never in it.
His works at Inspruck being finished, he re
turned to Venice, where he painted for the
church of Santa Maria Nuova a small picture of
the Annunciation. Afterwards, with the help of
his scholars, he produced in the refectory of St
John and St Paul Christ at JSupper ; and in the
church of St Salvador, at the high-altar, the
Transfiguration of Christ on Mount Tabor. At
another altar in the same church is the Annun
ciation of the Virgin with the Angel ; and although
these last pictures have something fine in them,
yet they were not much esteemed by himself;
nor indeed have they that degree of perfection
which is to be found in his earlier perfor
mances. But the works of Titian are very
various, and particularly his portraits are num
berless, insomuch that to make a catalogue of
them is quite impossible- '
He painted a most excellent picture of Christ
mocked by the Jews. This was sent to Milan
vol. i. z

338 LIFE OF TITIAN.
and placed in the church of Santa' Maria della
Grazia in one of the chapels. '•
For the Queen of Portugal he painted a pic
ture of Christ scourged at the pillar by the
Jews ; the figures a little less than life, and
very fine.
In Ancona, for the high-altar of the Domini
cans, he painted Christ on the cross. At his
feet are the Virgin, St John, and St Dominic ;
a most masterly work, painted in his latter
manner. He also painted for the Crutched-Friars in
Venice, at the altar of St Lorenzo, the Martyrdom
of that saint. In the back-ground is a house
filled with figures ; the saint is stretched on the
gridiron, under which is a great fire, and round
it those who supply it with fuel ; and as he has
made it a night-scene, two of the attendants
have flambeaux in their hands, which give light-
where it would not be given by the fire under
the grate, though it is there exceedingly bright.
There is also a stream of light or glory from
Heaven, which breaks through the clouds and
conquers the light of the fire or the flambeaux
over the saint and all the other principal
figures. The figures which are in the distance
are illuminated by lamps placed near them. In
short, the whole picture is conducted with con-

LIFE OF TITIAN. 339
summate art, ingenuity, and judgment ; and
is certainly one of the most extraordinary works
ever painted by Titian.
Mr Fuseli speaking of the management of
light, gives examples from two pictures of
Titian. He says, " The best instances of the
advantages gained by the superinduction of arti
ficial light, appear to be the Pietro Martire and
the Saint Lorenzo of Titian ; if selection can be
made from the works of a master, where to
count is to choose. In the first, the stern light
of evening, far advanced in the back-ground, is
commanded by the celestial emanation bursting
from above, wrapping the summit in splendour,
and diffusing itself in rays more or less devious
over the scenery. The subject of Saint Lorenzo,
a nocturnal scene, admits light from two sources
— the fire beneath the Saint and a raised torch ;
but receives its principal splendour from the
aerial reflex of the vision on high, which sheds
its mitigating ray on the Martyr."
In the church of St Sebastian, at the altar of
St Nicolo, is the picture of Saint Nicolo, seated
in a marble chair. This figure is like life itself;
he is attended by an angel who holds the mitre*
This picture he executed by order of Master
Nicolo Crasso, the advocate.
He afterwards painted a St Maria Maddalena

340 LIFE OF TITIAN,
with dishevelled hair, which falls on her shoul
ders, neck and breast. It is a half-figure, and
was sent to his Catholic Majesty. The expres
sion of this figure is very fine ; her head is in a
raised position, her eyes red with weeping, and
directed to heaven and filled with repentant
tears : and although a figure of most excellent
beauty, yet it fills the mind with commiseration
only. When this picture was finished, it so
much delighted one Signor Silvio, a gentleman of
Venice, that he gave Titian a hundred crowns
to have it : when Titian was obliged to make
a repetition of it no less beautiful for his Catho
lic Majesty.
It was the custom of this great master fre
quently to repeat the same subject ; sometimes
by his own hand, and often by the hands of his
disciples, who carefully copied the original ; but
he always retouched their performances, adding
only a back-ground or some trifling alteration,
by which management they had all the look of
originals, and in all probability were very little
or perhaps in no degree inferior, or might be
superior, as he could correct the faults of the
original in his copy.
" TO TITIAN VECELLI.
" I send you the underwritten Sonnet, com-

LIFE OF TITIAN. 341
posed by me on the portrait of the illustrious
Signor Francesco Vargas which represents all
his dignity. You must imitate a card in the
picture as if placed underneath, and then have
it written by some person whose hand-writing
is like your own, but written very distinctly.
In the meanwhile I shall do in the same man
ner with the portrait of the most serene Duke
Trevisano Marc Antonio, not as his sublimity
merits, but as well as my humble genius will
permit. " Pietro Aretino.
" Venice, October 1553." ;

Questo e il Varga depinto, e naturale
Egli e si vivo in la nobil figura
Ch' a Tizian, par che~dica la natura
L' almo tuo stil, piu che il mio fiato vale
In carne io 1' ho partorito mortale,
Tu procreato divino in pittura,
II da te fatto la sorte non cura,
II di me nato il fin teme fatale.
L' esemplo invero ha gli spiriti, e sensi
Raccolti in 1' arte, e ch' il mira comprende
Cio, che alio Invece di Cesar conviensi
Nel guardo suo certa virtu resplende
Che con 1' ardor di desideri intensi
Di Carlo in gloria ogni intelletto accende.

342 LIFE OF TITIAN,
¦. This is Vargas, painted by Titian so well,
That the noble figure appears to be alive.
Nature seems to say Thy excellent style
Is more worthy than the breath I give;
I have made him. with an earthly and mortal body :
Thou hast in painting made him divine.
Thy Vargas fears not time or fate :
Mine each hour approaches nearer to his destined end.
Thy copy in truth has all the spirit and sense that art can
give,
And the beholders perceive how worthy a
Representative it is of the envoy of Caesar.
The countenance is resplendent with that virtue,
That ardour and intense desire of fame,
With which the glory of Charles inflames every noble spirit.

LIFE OF TITIAN. 343

CHAPTER XXII.
OTHER PICTURES OF TITIAN — LETTER OF LUDOVICO
DOLCE ON THE VENUS AND ADONIS  ACCOUNT OF
THE SPANISH PAINTER, EL MUDO.
" TO THE MOST EXCELLENT M. ALESSANDRO
CONTARINI.
" If I could as easily depict to your Excel
lency with my words the Adonis of Titian as
you with a few of yours depicted to me the
pictures of Raphael d'Urbino, I believe, without
doubt, that you would say there never was any
ancient or modern master who painted or ima
gined any thing of greater perfection. However
as I do not know how to shade it out with my
pen, it will be enough, if I do not deceive myself,
to create in your apt mind an idea of this
wonder in the same manner as once before my
tongue produced this effect in the mind of
M. Pietro Gradenigo, so that at night he dreamt
of a picture of incomparable excellence ; and the

344 LIFE OF TITIAN.
day following, being willing to satisfy himself
with his own eyes, went to see it, and found the
effect of the original infinitely surpassed his
imagination of it, and also that of my sketch.
" This history- piece of Adonis was painted a
short time ago and sent by the good Titian to
the King of England. But to begin with the
figure. He has made it of a stature suitable to
a boy of sixteen or eighteen years, well-propor
tioned, graceful, and charming, and in every
part light and airy, with a fine complexion,
plainly showing that he is extremely delicate
and of royal blood ; and we see in the air of the
face that this wonderful master has endeavoured
to express a certain engaging beauty, which
though it participates of the female face, yet is
not unmanly or effeminate. I would say that it
is a lady with something I know not what of
masculine beauty, or rather a man with all the
beauty of a lovely woman, a mixture difficult,
pleasing, and especially (if ~ we may rely on
Pliny) prized by Apelles. As for the attitude,
one may see him move ; and his movements are
easy, gay, and elegant : for it seems that he is
on his way, taking leave of Venus with the most
ardent desire to go to the chase. In one hand
he holds a hunter's spear, and to the other arm
is fastened, in a masterly manner, a leash of dogs,

LIFE OF TITIAN. 345
which are in three different attitudes, of such a
beautiful form, and so naturally represented, that
they seem to be barking and leaping and eager
to attack their prey. The young man is
dressed in a short drapery, reaching half-way
dpwn his legs, his arms naked. He is furnished
with excellent buskins, tied with elegant strings
of pearl, which shine and appear to be oriental.
He turns his face to Venus with joyous laughing
eyes, opening two rosy or rather coral lips, as
if with kind and loving words to comfort her and
beg her not to fear. The serenity of his coun
tenance and the motion of his mouth plainly
indicate the real state of his mind, and may well
serve instead of words. One cannot discern in
him that one part is more beautiful than another;
because each part separately, as well as the
whole together, contains the perfection of art.
The colouring contends with the design, and the
design with the colouring, in which pairiters
are generally deficient ; for it is not enough to
know how to design figures ever so excellently,
if the tints which ought to imitate flesh are
spotty or earthy, or deprived of that union and
tenderness and liveliness of spirit which we ever
see in natural objects. However, we read in old
accounts of the ancient painters, that some of
them deceived birds and others horses. And

346 LIFE OF TITIAN.
you know for excellence of design no one is
superior to Titian. You may also be assured
for a truth that in the other part of the art,
which relates to colouring, no one equals him
or ever will. But let us come to Venus. We
see in this a superhuman judgment, because he
had to represent a Goddess so formed as to give
an idea of most surpassing beauty of body and
mind ; or to express it in a word, a beauty
suitable to Venus, so that she might appear to
resemble her who obtained the golden apple in
Ida. This is to say at once that it has so much
of the miraculous and heavenly in it that I assure
you,"so far from being able to describe it, I can
hardly imagine it. Venus has her head turned
side-ways, not from any failure of art, which
some painters feel, but from a double degree of
art. For in turning her face towards Adonis,
endeavouring with both her hands to detain him,
half-seatedNon a cloth of a rich violet-colour, she
shows in every part sentiments so soft and
lovely that they can never be seen except in
her. And here is another wonderful piece of
skill of this extraordinary genius, that in the
lower parts he has shewn the pressure of the
flesh which is caused by sitting. But what can
I say of the workmanship ; for each stroke of
the pencil appears like one of the strokes made

LIFE OF TITIAN. 347
by the hand of Nature herself! The aspect is
exactly such as we may fancy that of Venus
to have been (if Venus ever existed) in which
appear manifest signs of the fear she felt at her
heart of the unhappy fate which was likely to
befal the youth. And if the Venus rising from
the sea, painted by Apelles, which the ancient
poets and writers praise so much, had half the
beauty which is seen in this, she was not un
worthy of their applause. I swear to you that
one cannot find a man with an acute eye and a
good judgment who seeing it would not believe
itwasalie. No one, however chilled by age
or hard of heart, can see it without feeling all
the blood in his veins warmed into tenderness ;
nor is it any wonder, for if a marble statue could
charm and penetrate the heart of a young man
with its beauty, what ought this to do which is
really alive, is beauty itself, and seems to breathe?
We find also in the same picture a landscape so
beautiful and natural that reality itself seems
not so real ; where at the top of a small hill is
a little Cupid asleep under a tree, the shadow
of which falls directly upon his head, while all
around 'him is in' a wonderful splendour :. the
sun's rays illuminate and cheer the whole coun
try. But all' this which I have laboured to
describe to you is trifling and little when com-

348 LIFE OF TITIAN.
pared to the divinity (for no other word will
suit it) of this picture. It is enough to say
that it is by the hand of Titian, and done for the
King of England. You will, I hope, deign to
send me from time to time some of the charming
fruits of your noble genius, which together with
those exquisite letters which accompany them,
adorn your rare and praise- worthy virtues.
" I remain, " Ludovico Dolce."
It is not to be understood that all the pic
tures of Titian, that are found in the royal col
lection of Spain, were painted by him whilst
he was King's painter to Charles and Philip.
Many are of an earlier period ; and were
either presented to the Crown or purchased in
Italy, after the death of Titian. An instance
of this occurred in the case of the famous pic
tures above-mentioned, extracted from the
Ludovico Palace, which were a present to
Philip. There is also in the Sacristy of the
Escurial, a Saint Sebastian, in his best manner,
which was given by the Count of Benevento :
and several pictures of Titian were collected
by the great Spanish painter Velasquez, in his
excursion to Italy, by order of Philip the
Fourth.

LIFE OF TITIAN. 349
Whilst Philip the Second was thus solicit
ous to enrich his royal convent of St Lorenzo
with the valuable works of Titian sent from
Italy, his own kingdom of Spain offered to his
choice many eminent professors and disciples in
the art : the encouragement given to that great
master, and the emulation of contemporary
genius, roused into action by the study of his
brilliant compositions, as well as by the in
troduction of other distinguished foreigners
engaged in completing and adorning that vast
fabric, operated to produce an Augustan age
in Spain.
The most conspicuous of those at that period
was Juan Fernandez Ximenez Noveratte, com
monly called El Mudo or The Dumb, and
generally acknowledged as the Titian of Spain.
The defects of nature (for he was deaf as
well as dumb) were in some degree compensa
ted to him by a most quick and brilliant sense
in the remaining faculties. He travelled to
Florence, Venice, Milan and Naples, visiting
many of the most famous academies ; but prin
cipally forming himself in the school of Titian.
This painter was employed by Philip to paint
many parts of the Escurial, and was at work
in that palace when Titian's famous painting of

350 LIFE OF TITIAN.
the Last Supper arrived there. Upon Philip's
proposing to cut the canvas to the size of the
pannel in the refectory, where it was destined
to hang, El Mudo to prevent the mutilation
of so capital a work, made earnest signs of
intercession with the King to be permitted to
copy it, and reduce it to the size of the space
allotted, offering to do it within the term of six
months. The King, hesitating on account of
the length of time required by El Mudo for
the work, and proceeding to put his design
in execution, El Mudo repeated his supplica
tion in behalf of his favourite master with more
fervency than ever, offering to complete his
copy in less time than he at first demanded,
tendering his head at the same time as the
forfeit of non-compliance, and also laying his
hand on his breast as a sign, that he claimed
the order of Santiago as his reward, if he should-
succeed. The offer was not accepted, and sum
mary execution was performed upon this famous
work of Titian, accompanied with the most
distressing attitudes and distortions of El Mudo.
He died soon after at the Escurial, to the great
regret of Philip, at the age of 40, or as some say
53, in 1579 ; and was honoured with an epitaph
by Fra Lope Felix de Vega Carpio.

LIFE OF TITIAN. 351
A more flattering homage could not be paid to
any painter than that to Titian in being copied
by so great a genius as Rubens. This hap
pened when that artist was in Spain, in the
retinue of our Charles the First, then Prince of
Wales; when he paid his addresses to the In
fanta, Sister to Philip the Fourth, and concluded
(as he believed) a treaty of marriage. This
great master was then in his forty-sixth year.
He had before studied Paul Veronese and Titian
at Venice with distinguished attention; the
cabinets of Philip now displayed such superb
compositions of these masters, particularly of
Titian, as equally captivated both the painter
and the Prince. Rubens, by order of the Catho
lic King, copied the Europa, the Bath of Diana,
and several other pictures of Titian, which
Charles (who from his early youth had a pas
sion for the arts) had particularly admired.
When these copies were finished, it was ex
pected that Philip would present them to the
Prince of Wales, and the compliment would
surely have been one worthy both of Charles
and his favourite artist : but the generosity of
Philip meditated greater sacrifices, and in truth
it scarce knew any bounds towards his princely
guest : he retained the copies himself, and sent

352 LIFE OF TITIAN.
Charles the originals. It is proper in this place
to observe, that these valuable originals re
turned again to the possession of the King of
Spain, when Charles, at the instigation of
Buckingham, took occasion to dissolve his en
gagements with the Infanta — to reject the sis
ter, and yet retain the presents of the Catholic
Monarch, would have been a conduct irrecon-
cileable to the spirit and character of the prince.
Though his attachment to the arts was as ardent
as any man's, he had the sentiments of a gentle
man and pride of honour, superior even to his
love— of the art of painting. In the event of
things, it has come to pass, that Charles, in
stead of taking from the Royal stock in Spain,
has been the means of making some additions to
it of the highest value.
In the year 1553, Titian returned to Venice,
and was soon afterwards invited to Inspruck,
being now in the seventy-third year of his age.
Here he painted the portraits of Ferdinand,
King of the Romans, afterwards Emperor, also
his Queen and family, that is to say, Maximi
lian, afterwards Emperor, and his brother, all
in one picture, which is said to have been one
of his finest productions. He also painted
the Duke of Saxony while he was a prisoner ;

LIFE OF TITIAN. 353
but, says my author, he probably lost his
time in that affair. Certain it is that there
was scarcely any person of much note, or prince
or great lady, whose portrait he did not paint,
the fame of his extraordinary merit in this de
partment of the art was now become so general.
He painted Francis the First, King of France,
Francesco Sforza, Duke of Milan, the Mar-
chese Pescaro, Antonio de Leyva, Maximilian
Stampa, II Signor Giovanni Battista Castaldo,
Alfonso de Ferrara, Federico Gonzaga, Duke of
Mantua, Francesco Maria, Duke of Urbino, the
Marquis del Guasto, the Duke of Alva, Cardinals
Bembo and Farnese, Fracastorio, Ferdinand,
King of the Romans, and his son Maximi
lian, both afterwards Emperors, Pope Sixtus
the Fourth, Julius the Second and Paul the
Third, the Emperor of the Turks, Solyman, and
the portrait of the Sultana, wife of the Grand
Turk, when at the age of sixteen. Her dress
and ornaments are extremely rich. This pic
ture was in the possession of her daughter.
He painted other portraits of persons and no
bles not so famous, and numbers that are nei
ther famous nor even known. We may, upon
the whole, conclude that there never was a
painter who was so much esteemed by princes
VOL. I. A A

354 LIFE OF TITIAN.
as Titian always was. See the force of supreme
excellence, and let who will say to the contrary,
merit never can rest long concealed ; and every
man possessed of it, if he governs himself with
prudence, is the architect of his own fortune.
But certainly one may say with the greatest
truth, that there never was a painter who did
greater honour to his profession than Titian.
For knowing his own merit, he always esteemed
his pictures of the highest value, not caring to
paint unless for great persons, and such as
were able to reward him properly for them. It
is now impossible to recount all the portraits
done by him, and which are of such excellence,
that life itself scarce seems more alive ; and it
may be said of them, that it is they who look at
you more than you who look at them. Such are
his representations, for the most part of Empe
rors, Kings, Princes, or other -illustrious charac
ters. There never was a Cardinal or other per
son of consequence in Venice, that did not go
to Titian's house to see his works, and sit to
him. "Many are the historical and fabulous stories
which he painted," says Dolce ; " works equally
divine, whether considered with respect to de
sign, colouring or invention. But I will re-

LIFE OF TITIAN. 355
strain and moderate myself in his praises, both
as he is my friend and companion, and he must
be blind who cannot see the sun."
It is a proverb of the ancient Greeks, " That
it is not given to all to go to Corinth." It may
better be said that to paint like Titian is given
indeed to few.

356 LIFE OF TITIAN.

CHAPTER XXIII.

LETTERS TO MICHAEL ANGELO, INVITING HIM TO FLO
RENCE  INSTITUTION OF AN ACADEMY FOR PAINTING.

" Of my not answering the last letter that
I received from your Excellency, the whole
fault is to be attributed to those troubles which
from that time to this have been inflicted on
me by Fate. These I endure with that degree
of patience that I learnt from you, since it
was here I first saw you, little knowing how
much I ought, for my own interest, to adore
your mind, if not your name.
" And now behold our houses, our cottages,
our corn are burnt, and our flocks destroyed
by the French. Yet I praise God for all
things, but more especially that his Divine
justice has decreed that this our territory of

LIFE OF TITIAN. 357
Canaan should become the burying-place of
their impiety ; as it is well-known to the
Divine Majesty, that our sins, if not visited
by tribulation, always increase. But although
I have lost my love for the country, yet you
will see that I have not lost my affection for
you, which is infinite. You know my heart,
which I have always laid open to you without
disguise. And I now, more than ever, desire
not your greatness, which nothing Can increase,
but only the gratification of seeing you in
bodily presence, before your soul quits us to
join those kindred spirits that are the orna
ments of heaven as good works adorn the
earth. I repeat, that I hope you will give a
look once more at this excellent country. Be
sides, the Duke will not desire any thing more
than the pleasure of your conversation and
the benefit of your advice, without fatiguing
you with business. It would be of no little
assistance to his Excellency ; and to your own
family it would be no small favour or advan
tage. Your Nephew, I believe, is fully con
vinced in his mind of the divine power breathing
in the works of his great predecessor in sculp
ture, painting, and architecture. And when
he saw you, he would give a loose to his tongue
in thanks to you. But what I esteem as next

358 LIFE OF TITIAN.
of importance is that of which I have been
informed by Sebastiano Malenotte, your Secre
tary and the bearer of this letter, in regard to
the extreme disrespect shown to you and your
labours in the building,* which emboldens me
to intreat you to leave those who do not know
your merit. Can it be that your Excellency,
who has liberated St Peter from the hands of
thieves and assassins and brought an imperfect
chaos to the highest perfection, should be thus
treated ? Most certainly, no mortal but your
self could have done what you have done.
Therefore, my dear Sir, repose within your mind
contented that you have been ever honourable
and useful. Give some relaxation and rest to
your honoured bones in this city, which gave
you being. Fly from that avaricious Babylon,
like Petrarch your fellow-citizen, who when
oppressed by similar ingratitude, retired to
peaceful Padua. I pray you do the same. I
promise you quiet in Florence, if you come
to her who flies to meet you. Perhaps, Sir, I
am too bold in advising you, I who do not
know how to live myself, to pretend to counsel
your Excellency ! Do not impute this to the
anger I feel at my own labours not having been
* The building of St Peter's at the Vatican.

LIFE OF TITIAN. 359
liberally rewarded ; but I am enraged at those
who are so insensible as not to know the good
that God has done them through your exalted
merit ; as I esteem and adore all those who
consider it as a blessing and acknowledge it,
as Duke Cosmo now does, who, when I nar
rowly escaped flames and violence and plunder,
almost naked, was willing to embrace me and
to give peace to my troubled mind. And if
to me, who am nothing in comparison to you,
he has given so much that I am in want of
nothing, what will he do for you, especially as
you are neither avaricious nor ambitious ? I
believe that when you come here, you will
think you are approaching Paradise. And if
envious arid malignant tongues should say that
we live here in darkness and vulgar errors,
we answer that for those who do not love
peace and justice, and seek occasion for hatred
and treachery, it may be the Temple of Satan :
but for those who walk in the paths of virtue,
they live in the favour of our Prince and also
in the favour of God, who has made him Duke,
and who for this reason guards him, and fights
and conquers for him. But I will no longer
tease your Excellency or distract your mind,
that is ever active and resolved with the same
firmness, with which my spirit adores your

360 LIFE OF TITIAN.
actions and your virtues. Remember me
kindly to Urbino,* I wish him and you joy of
the little son that God has sent him. May
you live happy ! " Georgio Vasari.
' " Florence, August 20th, 1554."

"TO MICHAEL ANGELO BUONAROTTI.
" Most Magnificent Sir,
" All the patronage and all the favours
shewn to the arts of design in their time by the
magnificent Cosimo or Lorenzo of Medicis, Leo
the Tenth, Clement the Seventh, or all their
house before, have now been surpassed, my
good Master Michaelagnolo, by our Duke
Cosmo, not in the arts alone, but in every other
way of munificence, dignity, and grandeur,
which he continually displays, not only as
lord and master, but as protector and father
of us all, assisting those that in works of in
genuity are not able to proceed without the
help and succour of others.
His Excellency (as perhaps you have been
informed) has established a foundation for the
study of all the fine arts in one college ; that is
* Urbino, a faithful servant of Michael Angelo, to whom a son
was just born. Michael Angelo was god-father to the boy.

, LIFE OF TITIAN. 361
to say, design, architecture, sculpture, and
painting ; and has given most liberally for that
purpose the Temple of the Scali in Pinti, and
the Chapter-house of the Nunziata, which
will be ready in a very short time, when the
artists will have the whole management, with
privileges that contain all that is required to
wards the amplification and aggrandisement of
the arts, or to enable students to arrive at a
perfect knowledge in their profession. With a
view to give spirit to the youths, there is to be a
school of drawing for them, and a visitor to
direct them and to inspect their works, in order
to forward their studies. And for the old artists
who are past the period of labour, his Excel
lency has (for the benefit and honour of us all,
and to his own immortal memory in this world)
provided an infirmary, where they may in re
tirement cultivate divine knowledge, to the end
that they may live like Christians, and among
them do many acts of charity till they fall into
the grave ; and I wish that a thousand blessings
may attend them.
" And to compose this body of a rtists it is
intended to make a selection of the most excel
lent in each profession, thus giving them a proof
of their superior abilities ; and these are to have
the title of Academicians, after they have been

362 LIFE OF TITIAN.
confirmed by fijis Excellency the Duke. It is
not intended to confine the members to this city
only, but that all the world may partake of
this most honourable distinction ; and therefore
strangers may enjoy the same privileges as our
selves. And to add the more to the aggrandise
ment of the arts, it is the pleasure of his Ex
cellency that each of the persons in succession
who shall govern this city should be its head ;
and that it might not lower this dignified
lord in aggrandising the arts, he is to have the
title of either Prince, Father, Lord, Protector,
Defender, or Conservator of the Fine Arts, or
Principal Academician. This has been accord
ingly done by the votes of the whole body of
the members of the Academy. And after having
voted him in, they, from the obligations which
art owes to your superior powers, have elected
you for the head and master by consent of all
suffrages, not having in this city nor perhaps
even in the world, at least in our memories, one
more excellent in these three professions. You
gained it to the entire satisfaction of all without
a dissentient voice.
" There remained besides yourself thirty-six
Academicians that were natives of this city or the
Tuscan dominions : all persons of talents and
competent judges of all kinds of works of inge-

LIFE OF TITIAN. 363
nuity. Of this number twenty-two dwell in
Florence. And because his Excellency designs
that this his honourable foundation should pro
duce good fruit, after having with due consider
ation and much solicitude, many times and by
various modes, as you well know, endeavoured
to induce you to return to Florence, he now
hopes you will comply not only to assist by
your counsel in those works, which do much
honour to the Duke, having been undertaken by
his order, under his government, and in his own
dominions, but more particularly to make a
finish by your excellent directions to the Sa
cristy of St Lorenzo. For since your unavoid
able absence from the work, no orders have
been given to complete it. And at this time it
is matter of general consideration whether this
chapel should not, according to the desire of
Pope Clement the Seventh, be the place whence
perpetually both day and night praises should
be offered to God. It is also under considera
tion, whether statues to fill the empty niches
above the monuments (and the same over the
doors) should not be executed. Therefore it is
proposed that all the most excellent sculptors
of this academy should, each of them in compe
tition with one another, make a statue of his
own invention. And the same is to be done in

364 LIFE OF TITIAN.
respect to the pictures in the chapel in those
arches, which you see, great Sir, you have
yourself intended, as well as the stucco and
other ornaments. In short, the Academicians
with all humility wish to finish this undertaking
to show on such an occasion the honour they
pay to genius, and not to leave in an unfinished
state a work that is the most rare that was ever
produced by a mortal.*
" It is at the command of his Excellency that
I address you, my good Sir, to inform you of
his desire, and from him to beg you would do
him the service to inform either his Excellency
or me of what was your intention or that of
Pope Clement, concerning the title of the
chapel, and the intention of the figures that are
to fill the four niches, that belong to the tombs
of the Duke Lorenzo and Duke Giuliano, and
the eight statues that are to be over the door
and the niches at the sides of them. Also your
intention and design for the pictures for the
chapel, principally the front and the arches.
For his Excellency will touch nothing of that
which you have done ; and is only desirous that
whatever is done should be done wholly from
* The Chapel of St Lorenzo at Florence, in which are the
bodies of all the Princes of the House of Medicis. But those
statues and pictures weie never finished.

LIFE OF TITIAN. 365
your order; and in truth, the whole body of this
Academy joyfully desire it may be so. I am
commanded also to say, that if you have a
sketch or any part of the designs made for it,
and would accommodate us with it, the service
it would be of to us would not be small, but
would be an assurance to his Excellency of a
proper execution of the work, and be attended
with honour — or if you should not be able to
do this, on account of age or other accidents, at
least deign to send a description of it by another
hand, because this honorable Academy may mis
understand the matter, and having to operate on
a work begun by you, may, by not having some
light given them by your great mind, do that
which was not according to your intent ; there
fore they all expect to have the benefit of your
counsel, and if not by acts, at least by words.
And his Excellency having a desire that the
work should be finished according to your ori
ginal design, has given commissions to Tribolo
Montelupo and to the Frate * orders to execute
some of the statues. The Frate, and indeed
all of them here, are most ardent and desirous
to do you honour. There are, besides these,
Francesco with Giuliano Sangalli, and Gio
* F. Gio Aneiola Montorsoli.

366 LIFE OF TITIAN.
Bologna, Benvenuto l'Ammannato, and Rossi,
and Vincentio * Perugino, besides many other
sculptors of great merit. As painters, there
are Bronzino and many other most excellent
masters, together with a great many young men
of merit and cleverness in both drawing and
colouring, and whose figures with their attitudes
do them honour. Of myself I do not speak ;
as you know, most excellent Sir, that in obedi
ence, affection, love, and faith (this I may say
without disparagement to the rest) I may boast
of being before them all, at least in point of
time. Therefore, my good Sir, if you do con
descend to assist his Excellency and this wor
thy and ingenious Society with your advice, and
to do honour to this city, pray do this favour
particularly through my hands ; because his
Excellency has deputed to me the office of
writing to you, thinking that from your long
friendship to me we might have from you some
valuable information that may be useful to the
work : since it is his Excellency's will, desire,
and order, that every thing begun by you shall
remain as if finished, and that all the expense
of money and labour shall be only to do the
greater honour to this admirable although old
* Vincentio Dante.

LIFE OF TITIAN. 367
building by the additional works, and also
help to explain your excellent intentions. And
since there is not one of us that has not in this
Sacristy (or rather I may call it our school)
learnt all that he knows of the art ; therefore,
with a grateful mind, they are desirous with
all their labour and talents to make you the
best return that is in their power. I am on all
their parts desired to say that they adore you,
and pray for your health and long life : and
with this I shall finish my epistle, recommend
ing myself to you, good Sir, a thousand times.
" Georgio Vasari.
" Florence, March 17th, 1562."
The new Sacristy of the chapel in which the
remains of the Medici are deposited, in the
church of Saint Lorenzo at Florence, was exe
cuted by Buonarotti, between the years 1525 and
1529, by order of Clement the Seventh. In this
chapel Michael Angelo emulated the architec
ture of the old Sacristy, designed with the rest
of that church by the celebrated Philippo Bru-
nelleschi; and he lavished on this work the
wonders of his art with such success, that ac
cording to Vasari, the seven statues which
adorn the monuments of Guliano and Lorenzo
di Medici, the brother and nephew of Leo X.

366 LIFE OF TITIAN.
might alone be sufficient, if the art were lost, to
restore it to its pristine perfection. The same
historian and excellent artist adds, that in ge
neral the effect produced by Buonarotti in the
Sacristy is such that the eye can never be
wearied or satiated ; and that for this reason
many Latin and Italian verses were made in its
praise by the literati of that period.
At the funeral of Michael Angelo at Florence,
after the prayers of the church had been
offered to heaven for the repose of his soul,
Benedetto Varchi, a friend of the deceased,
mounted a tribunal, and delivered a funeral
oration. All the ceremonies were extremely
solemn and magnificent. The Church of St
Lorenzo was chosen as the place of celebration,
because in that church there were so many
instances of Michael Angelo's abilities as a
sculptor and an architect.
Varchi died at the age of sixty-three, in the
year 1565. He wrote the History of Florence,
from 1527 to 1538. It is a faithful but tedious
chronicle. It was not published till the year '
1721 ; for like the histories of Segni and Nerli,
it was withheld from the public out of respect
for particular families.

LIFE OF TITIAN. 369

CHAPTER XXIV.
ON THE ENCOURAGEMENT OF ART IN ENGLAND AND
ITALY.
That love of country, that amor patrice, which
is so obstinately cherished by every other na
tion, is by ours given up in this one point, to
wit, in readily assenting to the opinion which
foreigners entertain, that Englishmen have no
genius for the fine arts, particularly that of
painting; and we are tired out by the unpa
triotic cant, echoed from every quarter, of the
superior excellence of foreign, and more espe
cially the Italian masters, whose names are
pronounced with flippant familiarity ; and the
lofty powers of Raphael, Correggio, Domeni-
chino, and the Caracci are enumerated and
extolled by every English connoissieur, to stop
the presumptuous tongue of English arro
gance, when it vainly pretends to assume the
possibility of an equality in native genius.
VOL. I. B B

370 LIFE OF TITIAN.
When questions are thus begged, the best
mode of argument is by a resort to other ques
tions. Ask those, who vaunt this opinion, how
they are able to prove the vast superiority of
foreigners, or if they have seen with their own
eyes those works of which they boast a know
ledge ? When the most honest among them, if
not witnesses for themselves, will answer, that
their information has been gained from those
who have sufficient knowledge of art to know
its truth, and who have seen in profusion the
very works of which they speak, and in the
very country in which they were produced.
This, we must allow, is high authority.
I would next ask where those works are to
be seen ? The answer to be given, with a be
coming exultation, will be, that you cannot
walk five steps in any street in any town in all
Italy, without finding a church-door open ; and
if you will but deign to enter, you must be
struck with altar vying with altar for superio
rity of excellence, and the works of Raphael,
Caracci, Guido, Domenichino, &c. will quickly
regale your sight with almost oppressive abun
dance ; and convents, chapels and palaces will
still have their share.
In Venice also, as I have before observed,
that emporium of trade and commerce, besides

LIFE OF TITIAN. 371
churches, convents, chapels and palaces, every
fraternity or corporation will boast that they
possess the works of Titian, Giorgione, Tinto
retto, or Paul Veronese ; and that their coun
try's wars, its heroes, or its saints, are the
ornaments of every public hall : and surely
the excellence of those specimens is past all
dispute. Here the evidence closes on one side.
But sentence should not be passed without a
fair trial ; I would therefore desire those severe
and hasty judges, before they pronounce the
terrible verdict of inferiority on English powers,
first to visit all our churches, chapels, palaces,
and public halls : and, as it has been in similar
places in other countries, that the most perfect
specimens of art have been seen, let them,
after they have surveyed those dreary and
vacant walls, where art must not intrude, let
them, I say, pronounce sentence, if they dare !
English genius can then have but little doubt
of escaping their dread condemnation, were it
only from the occurrence of a single difficulty,
which as they will find, involves the question
in impenetrable obscurity, and prevents all
power of comparison, of greater or less, bet
ter or worse — inasmuch as British genius has
never been put to the proof, nor has any

372 LIFE OF TITIAN.
opportunity been afforded , for its development
like those in Italy.
Thus far I have presumed in vindication of
English talents, which ought , not to be so has
tily condemned till they have .undergone a
trial; I hope also that I, have shewn the cause
why such a trial has never been given them;
for if it had, I have but little doubt of a favour
able result. Indeed, I will go further, and say
that from the pre-eminence that Britons have
obtained in every department of genius where
the field has been open to them, and also from
that solid good sense which is a characteristic
of the nation, there is no question remaining
but that they would have surpassed all the
nations of the earth in painting, • had the requi
site demand been made, to call their efforts
into action. For however daring or, great may
be the mind of an English painter, he will only
be employed to furnish pretty, pictures for small
gay rooms, and not such as are to strike with
religious awe in solemn cathedrals: — pleasing
toys to amuse the idle, adorn the dressing-
room or warm parlour, not magnificent works
for the halls of magistrates, chambers of grand
councils, or galleries of princes.
It would be a mere absurdity to suppose that

LIFE OF TITIAN. 373
the Italian people are better qualified than the
English, or that they had even a greater propen
sity towards the arts. It was interest alone
that was the cause of their rise in Italy, and not
a love of the arts in that people more than in
any other country. And could the fine arts in
England, by any contrivance be brought to aid the
power of the Government as much as the rotten
boroughs, we should soon see them patronised
to such a degree as would quickly cause them
to " mount to the highest heaven of invention."
* The arts, when on a great- scale, must always
be the servants and dependents on the govern
ment under which they thrive ; and are employed
not for their own sake, but to forward the in
terests of their masters. Interest alone has
been the cause of their encouragement by
any government in any age, and not (as some
imagine) the love or admiration of the art itself.
. It was the interest of the Romish Church to
impress its subjects by every means in its power
with an awful conception of the mysteries of
their religion, which it claimed the sole privilege
of inculcating. And the chapel of the Pope, in
which is displayed the representation of the Last
Judgment, with colossal figures of prophets and
sybils, by the hand of Michael Angelo, strikes

374 LIFE OF TITIAN.
the mind (as was foreseen) with profound reve
rence. All governrnents, from their nature, act the
same ; and our own is not exempt from this
rule. As we see that in place of the Last Judgt
ment our artists have to represent something
relative to the battle of Waterloo, &c. and
instead of saints and holy apostles, which fill
Catholic cathedrals, ours are supplied with
sculptured heroes of our army and navy, and in
such prodigious abundance, that at first sight the
church in which they are clustered together has
the appearance of a sculptor's work-shop. But
paintings, unluckily, are not considered as of
any use to the purposes of Government in this
country, and therefore that department of art is
neglected, and left to shift for itself. For as to
the patronage of private individuals, it cannot
be expected that even the seven Cartoons by
Raphael, or twenty more if added to them,
could vie in interest with the portrait of the
husband, the portrait of the wife, the child, the
horse, the house, the garden, or the dog of the
employer ; and of course for these luxuries the
demand is perpetual and unlimited, and thou
sands of artists, of all degrees of ability, find
by it a decent maintenance.

LIFE OF TITIAN. 375
On the politic revival of the arts in Italy,
although at first appearing in weak and. imperfect
efforts, yet the pleasure excited by the novelty
alone much assisted their progress. The
phenomenon struck the astonished world with
wonder, veneration, and delight : it seemed to
produce a new era in the creation; and thus
admiring and adoring crowds called forth a
degree of emulation in the artists equal to its
cause, and what might not be expected from such
motives. The patronage soon became immense :
every church was void of those ornaments, and
every altar was to be supplied ; and genius thus
became animated by the united force of ambition,
enthusiasm, and interest; and artists, unawed by
critics, brought all their energies to a focus,
producing works which seemed to be beyond the
powers of man. But the fascinating qualities
which novelty possesses are soon set aside by
time. The churches at length were filled ;
and works of art, from their frequency, ceasing
to be matter of wonder, they therefore operated
with less effect, and were less the object of
attention : for mankind will not be surprised
more than once with similar results. However,
it is to be remarked that the high credit which
so much excellence had acquired, still assisted
by the powerful prejudices of religion, kept the

376 LIFE OF TITIAN.
arts alive some time after most of the public
places had been occupied, and votaries of super
stition still required works of art to furnish
oratories and private apartments with the repre
sentations of grand and awful events, such as
they had been accustomed to contemplate, and
such as are best suited for the pencil of great
masters. But this state of the arts also had its
period. The vulgar became familiarized to it,
and assumed the importance of the critic and the
judge, exacting fresh miracles to draw their
notice and respect. But what power was ever
able to satisfy the unlimited demands of igno
rance ? which, like a froward child, rejects the
toy it possesses and cries for something new,
though not ofhalf the value. Thus the ill-fated
arts, being deprived of their proper and wonted
nourishment, naturally sunk by a slow and
gentle decay till they seemed again to expire.
As we may perceive that in their present state,
even in Italy itself, in the very bosom of that
church which caused their re-animation, and
gave them a second existence, scarcely a sem
blance in point of excellence can be found, nor
in the degenerate offspring can we trace a dis
tant likeness to the parent. Fallen from the
dignity of being the teachers and directors, they
are become the instruments of pleasure only or

LIFE OF TITIAN. 377
the ministers of vice. If such is their degraded
state even in Italy, what can be expected from
modern efforts in other countries, where works
are executed under a patronage (if such it can
be called) at once both scanty and precarious?
Perhaps some private individual, influenced by
the whim of the moment, or else some tasteless
dealer, whose' sole view is gain, gives a casual
commission ¦ for a work, but effects from such
causes can manifest only the stunted growth of
avarice or folly — Nothing can come of nothing.
Having now delivered my opinion as to the true
grounds on which the art depends for splendour
or even existence, I shall' proceed to make some
observations on its present state, together with
such directions and cautions as may be useful
to those who have determined to devote them
selves to the service of this dying art; which,
if it can be revived from its actual state of palsy,
will exhibit a most wonderful recovery, as I do
not perceive how it is possible in a country like
this, in which paintings are not to be admitted
into our churches or into any other of our pub
lic buildings, and where unluckily a prejudice
runs too strongly in favour of the productions of
foreigners— I do not perceive, I say, where it
can fly for help or support sufficient to maintain
it in credit or affluence.

378 LIFE OF TITIAN.
I come then to consider the situation of
that artist, whose greatness of mind still sup
ports him under all disadvantages, with a dis
tant hope of good ; — one who may be endowed
with the highest degree of intellectual power,
combined with the largest portion of acquired
knowledge, and aided by mechanical dexterity.
Such a one will feel most keenly the narrow
boundary which this limited patronage pre
scribes to him, in which he is to exercise his
skill. Other obstacles still interrupt his way. For
instance, certain it is that all those subjects
for his pencil, wherein might be displayed that
object, considered by painters not only as the
master- work of nature, but also that of the
highest difficulty in art to execute with know
ledge and with taste, viz. — the human figure,
or as termed bjr artists, the naked — these, by
vulgar opinion, are strictly forbidden unless on
great and rare occasions. Indeed, too true it
is, that the natural proneness of mankind to
evil renders those subjects of a most dangerous
tendency. This consideration operates on a
moral painter as a powerful prohibition : for he
well reflects that such objects (more so in this
country from their novelty) would not be
viewed with innocence of thought, simply as a
beautiful figure in nature, nor admired as a

LIFE OF TITIAN. 379
powerful effort of art. But when seen by
minds prepossessed by other ideas, they become
the baleful minister of vice ; and like the pure
element of water, when given to the fevered
body, turn to a deadly poison. This is a
truth, the effects of which artists cannot but
lament, it having deprived the world of so many
excellent works in art which it might otherwise
have possessed.
The genuine artist next looks round in search
of subjects fit for the purposes of a mind that
abhors insipidity. His wish is to awaken the
drowsy intellect by objects of the highest order,
and to move the passions by a display of cor
responding energy. Terror and pity are all the
engines that are left him to work with. But to
make use of these, he has his fears. So rude an
attack on the sensations of those who expect
gratification alone, may create disgust or pro
duce anger, like that of one disturbed out of a
pleasing dream. Therefore, the artist hesitates,
or rather dares not make use of means so
hazardous. Circumspectly must he shape his
conduct not to incommode his guests with too
much pleasure or with too much pain ; be
careful not to make his potion too bitter or too
•sweet; with prudence compose his gentle cordial
that his patient feel neither good nor harm » pre-

380 LIFE OF TITIAN.
pare a kind of chicken broth for weak stomachs ;
and«find out some trivial subject for his powers, in
which there is no character, " no form nor likeli
hood." Circumscribed as we now see him by
his judges and' their prohibitions, and deprived
of so 'large a portion of those subjects which
address the mind, the artist is obliged to have
recourse to those which address the eye only,
but leave the heart untouched ; and his work
must depend for its value on the 'merits of his
executive power alone, and perhaps the- more
insipid the subject, the more it will meet with
the general suffrage. However, he must in
this case avail himself as well as he < can of the
scanty means left in his hands, and select with
care such subjects for his pencil as by the va
riety and contrast of their details are calculated
to produce the best effect on canvas, or what
painters term the picturesque. Having submitted
to so many limitations, he must now assert his
few remaining rights. His first consideration,
therefore, must be to make his work ex
cellent by his knowledge and powers in his
art. He is to select his subject with a painter's
eye; and not regard himself as bound to* take
precisely that particular part or event which is
the principal one in his author (whether histo
rian or poet) unless he finds it peculiarly

LIFE OF TITIAN. 381
adapted' to his talents. He is to look upon him
self as totally independent of those merits which
perhaps may have given his author fame, and
should remember that it is on his own excel
lence that his credit must depend. By this
means alone he can acquire or deserve ap
plause ; and by this means alone he can bring
the force of his art to the best account ; and
when employed upon a subject where the ima
gination should have its full scope, he must
not be liable to the control of individual opi
nions or interference. Listen he should to all
that can or may be said, and then left with full
liberty to act from his own judgment; for,
being in a state of exertion, a necessary confi
dence in himself is requiredto carry him safely
through his difficult undertaking. The painter
is to remember it, is only himself: who best
knows the extent of his own powers, and how
to apply them to the best advantage : and to
trammel' him with directions is to disable him
from the use of his talents, and if he is pre
vented from giving his own ideas, it is very
unlikely he should be able to give those of
others. The patron, however sensible, will frequently
give his instructions like a novice in art, be
cause he has not studied it like a professor :

382 LIFE OF TITIAN.
and the young practitioner perhaps, in hopes
to gain the advantages of his favour, will be
induced, in contradiction to the dictates of his
own better feelings, to adopt the errors and
prejudices of a blind guide. But let him never
forget this truth, that if his work is contrary
to his own judgment and taste, he will find
very few else who will be satisfied with it.
This must be particularly the case, should he
follow the advice of one who perhaps sees no
distinction between the operations of the hand
and those of the mind, often mistaking the
cold, vapid and unnatural efforts of dry mecha
nical labour for the most perfect effects of high
finishing, being unable to discriminate the dif
ference between labour to the purpose and
labour worse than lost.
When I say this, let me not be mistaken in
my meaning or be thought to encourage care
lessness or a slighted execution: for although
it is the mind alone that can give the highest
dignity to art, yet the hand also ought to be
made perfect; and undoubtedly, the painter's
first business is to please the eye, and then to
touch the heart. He is to afford both pleasure
and improvement to the mind. To accomplish
which, it is requisite that he should make himself
master of those parts of the art which delight

LIFE OF TITIAN. 383
the eye ; for as he is under the necessity of
making his first appeal to the sight, if that is
not gratified, the spectator turns from the work
in disgust and condemns the whole as ill-
done, and the mind will not allow itself time to
discover or investigate the latent excellences
which may be contained in it. Therefore, the
eye must be humoured as you would the lackey
of a great man, when you desire to gain admit
tance to the presence of his master.
As an address to the imagination is the prin
cipal and highest office of the art, the painter in
the treatment of his subject is to consider him
self as a poet, and not a mere historian or anti
quary: and when it thwarts his great design,
he must not be slavishly bound down to give
literal information or the trifling circumstances
of costume or antiquarian research. Those
things are held as the means only, not as the
end. The painter's great business is to move
the nobler passions and affections by the best
means in his power, otherwise he sinks into the
mere relator of a fact; and that also with
very limited and inadequate materials to attain
the end. By conforming to such practice, paint
ing would no longer be the sister of poetry nor
even of history, but rather the hand-maid.
Painting, considered as history, is very con-

384 LIFE OF TITIAN.
tracted in its, powers; but as, poetry,-,, it is
almost unbounded.
The painter, who justly comprehends what
are. the first requisites in his work, will with
propriety and a due subordination add all those
lesser qualities ; as there is no question but that
all historical information that can be given
without infringing on the first and most import-
tant excellences, will increase the value of his
labours. But he, who aims at standing in the
highest rank of his art, or whose first desire is
to touch the soul, will remember that they are
subordinate and of a mean and inferior quality,
by as much as mere industry or dry acquired
knowledge is below genius or invention.
But it is also necessary to guard against fall
ing into an error which is totally the reverse of
the former. There is a class of painters, and
some of them not without talent, who, from an
abhorrence to common-place ideas, and to avoid
them in their works, have adopted novelty in
the place of invention ; having persuaded them
selves to confound it with excellence, and in
their capricious designs are fond of introducing
such extravagances as indeed are new and never
before seen in picture. But, why are they
new? Not because they had never been
thought of before, but that when they were

LIFE OF TITIAN. 385
thought of by judicious painters, they had been
rejected as unfit materials for the pencil to work
upon. Yet such artists are not without their
little party of admirers, and that even to en
thusiasm amongst the weak-minded ! The
novelty, the bombast, the violation of all sim
plicity and nature, strike with force on puny
imaginations, as frightful tales and romances of
every kind do on children. But to such ad
mirers no regard is to be paid, as being totally
unable to feel or comprehend the exquisite
beauties and high difficulties which are at-
chieved in those profound and powerful works
of art, where the truth and simplicity of nature
is so unostentatiously displayed, that to their
ignorance it seems no longer art, and as if
nothing arduous had been done, though the
accomplishment of this is the greatest of all
difficulties. Even simply to represent in paint
ing a passing moment or what the poet calls
"the Cynthia of a minute," though it may seem
trifling to the uninformed, is one of the hardest
tasks in the art : on the contrary, that which
painters distinguish by the term of still-life,
namely, the imitation of things stationary and
inanimate, is the most easy to be accomplished.
The first gives you that which lasts but for an
instant ; the latter represents the unchanged
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386 LIFE OF TITIAN.
duration of hours, with full time to touch and
retouch, and where there is no instantaneous
beauty to be caught and executed with " heed
less haste and giddy cunning."
Another species of subjects I shall speak of,
as I am apt to think that too much merit is
ascribed to them, or rather that their degree
or rank is not justly settled, by which not only
the spectator is deluded, but the student is
misled to his hurt. I mean to instance all
those compositions which, from their nature,
require a multiplicity of figures, battle-pieces,
&c, for it is to be remarked that in such com
plicated subjects the attention is so distracted,
that great errors may and often do creep in unob
served. For all that exquisite distinction of cha
racter or exact discrimination in the expression of
the passions, which works of the highest order
absolutely require, would in those instances be
lost or undiscernable in the mighty bustle which
makes up the whole. You cannot distinguish
the superiority of a wise man over a fool
when mixed in a crowd. Consequently, com
positions of this kind seldom contain, and
perhaps scarcely require, any higher degree
of merit than that of a masterly execution in
handling, added to a few other parts of the
art, such as may be acquired by those of a

LIFE OF TITIAN. 387
very moderate portion of ability. For it is
the test of genius or good sense to prove with
how few figures it is able to tell its story.
And I should give it as my advice to stu
dents in the art, always to compose their his
torical designs with as few figures as possi
ble, admitting that their subject be fully ex
plained ; and also that their figures should be
large in proportion to the size of their canvass.
The reason is this, that it will the better en
able them to display the greatest difficulties
and the highest refinements of the art, which are
most assuredly comprised in the human figure.
Faults too are more easily overlooked when the
work is slightly executed, or if the figures are
numerous or small.
An experimental lesson of most useful ten
dency would be to attempt to tell the story
even with one solitary figure, after the ex
ample of Michael Angelo, if it be within the
bounds of possibility (or at least with such an
intention in the mind). This method would
oblige the student to give the figure the most
decided contour with precision of form and
drawing, energy of expression, and every cha
racteristic mark which may be required to
wards its explanation. It must force him to
apply to those things only for assistance, which

388 LIFE OF TITIAN.
are of essential importance to his work, and
will prove at the same time how necessary it is
to keep clear of all impertinent and trivial
matter, such as might confuse or perplex
the subject, or lead the spectator to mistake
it for what was not designed and be deceived
into a wrong conclusion. An historical pic
ture, like an enigma or riddle, should have
this property, that if on viewing it the specific
subject is not made determinate, at least it
should not be found to answer exactly to some
thing else.
It is surprising how partial every nation,
except our own, is to their artists ; a Dutch
man will prefer the high finish of his Mieris
and Gerard Dow, his Ostade, and Berghem;
the Fleming will celebrate his Rubens and
Vandyke, Teniers and Rembrandt ; the
Frenchman wil boast of his Le Brun, Le Sueur,
Bourdon, and dispute the merit of his Pous-
sin even with Raphael ; while the Italian looks
on them all with contempt. And even in
Italy every province contends for the prece
dence of its own school against that of all
the others ; whilst the Englishman is pleased
with every thing that is not the production of
England.

LIFE OF TITIAN. 389
The productions, as well as the tastes of dif
ferent countries, have their several merits ; as
the painters of different countries had . different
views, and derived their manner of painting
from their particular circumstances. The Ita
lian, and some of the Flemish painters, who em
bellished churches, large palaces and cielings,
as their works were to be viewed at a great
height, were under a necessity, by the force of
their colouring, the strength of their lights and
shadows, and boldness of their style, to pro
duce great effects, whilst the eye, at so great a
distance, gave the proper union and harmony, to
the whole; which in part vanished at a near
approach. This union and harmony, the Dutch
painter, who only supplied the ornaments for a
rich tradesman or merchant's room, was obliged
to procure with the neatness of his pencil : as
his pictures, which were generally small, hung
close to the sight. But such pictures must
offend, if painted like the Italian, by the fierce
ness of their colouring and the roughness of
their surface, which contracted nature never
admits ; as any man may be convinced that
will but use a proper glass. Therefore this
partiality to the productions of their own coun
try, as it is built on a just foundation, has

390 LIFE OF TITIAN.
something in it highly commendable, if not car
ried to too great an excess. Though partial to
our own, we ought not to be blind to the
excellences of others.
But this is not the case with our modern
connoisseurs. Impartiality is not their foible:
they, on the contrary, obstinately shut their
eyes to the merit of their own countrymen
only ; and whilst they discover imaginary
beauties in every thing that is foreign, endea
vour to close up all avenues to the advancement
of the arts in their own country (I will not add
sciences, for in those they are generally too
ignorant to interfere, and- in those, by the force
of genius, we luckily excel). And so confirmed
are they in their prejudices, that they will not
endeavour to know what is praiseworthy in
their own country.
It must be observed that our modern virtuosi
have not the excuse their predecessors had ;
for, notwithstanding the imputation of gros-
siertS they have been pleased to bestow on
their own countrymen so freely, the good sense
and judgment allowed them by all nations
have enabled them to excel even in the art of
painting. Whoever shall examine most of the pictures

LIFE OF TITIAN. 391
offered to sale under great names, and compare
them with nature, will not be a little surprised
at the assurance of those that aim at and too
often succeed in such gross impositions ; and
pass off paltry copies or often originals, whose
beauties are either so lost by time, or totally
effaced in cleaning, that the buyer pays for the
venerable canvas or board, merely as a relic
the devout hand of some great master was laid
on : or else so painted over, that the real
charms, like those of a French courtezan, are
entirely hid beneath the artificial repairs.
But what contributes to keep up the deceit,
is the vanity of several of those distinguished.
by the title of connoisseurs, who are generally
men that travel ; and not having vivacity
enough to join in the gaieties of the sprightly
part of the world, or judgment enough to make
those useful and interesting remarks which are
necessary to the knowledge of mankind, to
keep up their importance, they assume the
character of arbiters in virtu, as it is called,
though perhaps all their knowledge consists in
a few hard names and as many hard words,
which they throw out with great gravity and
superciliousness : and being used to look at
pictures grown dark with age, smoked in

392 LIFE OF TITIAN.
churches with lamps, or stained and altered by
damps, mistake those defects for beauties,- and
enslaved by their prejudices, look with con
tempt on the clearness of colouring and the
brightness of nature that shines through a
modern picture : while the man of real taste,
not caring to stem the torrent of nonsense,
leaves them to carry on the farce without
controul. Italy was long embroiled in all the calamities
and disasters of war, while contending tyrants,
elected by different bands of soldiers, strove
for empire ; to which succeeded the incur
sions of barbarians from the north, who de
stroyed them, and made prize of the spoil.
Next followed the struggles of these with other
northern hordes of intruders equally savage,
together with their contests with each other,
in masses and then in fragments, into which
they became divided, but yet not less active in
the work of mischief. This country of Italy,
therefore, although ¦ blest by nature in its
climate, became peopled by those only who
had neither mind nOr leisure left but what was
wholly occupied in contrivances for the abso
lute preservation of their physical existence.
And many concurring circumstances contri-

LIFE OF TITIAN. 393
buted to the decline of true taste, besides the
irruptions and long residence of those barbarous
nations in the most cultivated parts of the
peninsula. The removal of the seat of empire
from Rome to Constantinople, and again, the
taking of Constantinople by those enemies of
art, the Turks, — all these together oblige us to
leave a long chasm betwixt the glorious days
of the Roman empire and: the dawn of art again
in Tuscany in the fifteenth century, when the
evil seemed to have worn itself out, and the
fermentation in some degree subsided into
settled government.
The inhabitants now felt themselves blessed
with a small degree of quiet, and by that
means in a condition to cultivate the enjoy
ments of intellect. It was from the stores of
the Greek and Latin churches that the monks
had preserved the seeds of many arts, par
ticularly the art of design, though in a very
imperfect degree, but still sufficient, by culti
vation, to produce effects of the greatest mag
nitude. In respect to the progress of refinement
in Italy, it must be observed, that the little
republic of Florence gave birth to many re
storers of science, letters, and arts. Painting,
sculpture, and architecture were advanced and

394 LIFE OF TITIAN.
perfected by the consecutive labours of well-
employed artists, during the course of almost
three hundred years, from Cimabue to Leo
nardo da Vinci, Fra Bartolomeo and Michael
Angelo. Here, a family consisting of mere
citizens undertook a task, which ought to
have been the business of the Kings of Europe.
The Medici family invited to Florence the
polite arts, which the Turks were driving out
of Greece, their ancient seat. Thus Florence,
and soon after all Italy, shone forth with
superior glory ; but it was from Tuscany that
it spread over the other parts of Italy, and be
came illustrious in a great number of rival
schools. All the sciences in general rose there
to new life. The Italians honoured them
with the name of Virtue, as the first Greeks
had distinguished them by that of Wisdom.
And there soon appeared a tendency in all
things towards improvement, while France, the
Netherlands, and Germany imbibed some rays
of the same light.
Now Florence having been the cradle and
nursery of infant art, when weak and helpless,
had but little space remaining for any of the
more exquisite specimens of its power when
it was perfected. The consequence was, that

LIFE OF TITIAN. 395
this more advanced state of art fell upon easy
terms into the hands of the neighbouring states ;
and some part of it, we must observe, made
the foundation of the beautiful superstructure
raised by the Venetian school. A large portion
was carried to Rome by Raffaelle and Michael
Angelo, under whose great minds it made a
rapid progress, as it did also in the Lombard
state, in the hands of Giorgione and Titian ; and
although each branch may be said to bear dif
ferent fruit, yet all proceeded from the same
root. But I must here remark, that from whatever
cause the Fine Arts (as they are vulgarly called)
originated, they have attained their highest de
gree of excellence only in those ages and in
those countries, in which the government has
united with religion to encourage them by its
patronage and protect them by its power.
Hence all the ancient statues, those stupen
dous achievements which we now survey with
wonder, were public works dedicated to the
purpose of religious worship. Thus nobly
urged by a laudable ambition, contending artists
were inspired with the most ardent desire to
excel each other in works deemed sacred.
Those that were destined to become the objects

396 LIFE OF TITIAN.
of adoration, would be judged of by the well-
informed -and gain their authors an everlasting
name. We may add to this the certainty, also,
that such exertions of genius would be remu
nerated with ample reward.
Thus, among the ancients, the arts became
engrafted on the government, and were nou
rished by religion. But when the Pagan mode
of worship was exploded from these polished
nations, of course this degree of high art, which
can exist only by powerful assistance, sunk
also with its supporters, and lay long in a state
of total oblivion.
After the expiration of this first period of their
splendour, the arts for a considerable space of
time lay dormant amid the tumults of war, as
before observed, and might have thus continued,
had not religion, under a new form, again
revived them by the policy of the Church of
Rome. This hierarchy, after great and peril
ous struggles, having at length subdued and
triumphed over the Heathen system, and in
time methodised its own, found leisure to search
for all those aids which were best adapted to
forward its imposing scheme of government,
and the sagacity of its rulers soon directed their
attention to the sleeping arts. They perceived

LIFE OF TITIAN. 397
how much use might be made of them towards
captivating the vulgar, and enforcing its doc
trines by a more powerful charm than even
argument itself, by addressing the passions, and
placing a most potent engine in politic hands,
to aid their grand purpose, as had been done
of old. Therefore, the arts were adopted and
cherished by the Church with a parent's care.
The result was that it procured for them a
second era : the like to which perhaps no time
will ever offer, when religion and government
shall a third time unite to give the arts their
support and consequent splendor.
But such. an era for the revival of the highest
department of art, in this country particularly,
is past all shadow of hope ; for nothing is more
evident than that the Church of Rome alone
has been the creator and sole nourisher of the
art in its grandest aspect, from whom it has
received all its dignity ; and it has now been
clearly proved for some ages past, how much a
moral impossibility it is that this noble art, in
its loftiest aims, should ever arrive at any
degreee of respectability in, a Protestant coun
try, or expect to rise beyond the mechanical
excellence of a portrait or the humble baubles
for a cabinet. All its struggles are but vain :

398 LIFE OF TITIA-N.
as well might we expect to see corn grow on
the barren rock, or animal life to be continued
without nourishment. Thus foreigners exult in
their triumph over us ; and because we have
not been able, from want of means, to exert our
powers, they gladly attribute it to the want of
genius. What still adds strength to this de
grading imputation thus thrown on the English
nation is, that all our pretended connoisseurs
join against their country to depress its efforts
in art, determined to prefer the most despi
cable foreign trumpery to the most energetic
effort of a native Briton. Except in the depart
ment of portraiture, the art of painting in Eng
land has been obstructed or disregarded, unless
during some happier intervals, when the God
dess of Taste has paid a short visit to the Great.
Otherwise, art has been in small estimation,
unless the artist was foreign. Our neighbours
the French have spoken contemptuously of us
without reserve : and the few English who
have indisputably excelled were scarcely re
warded with the honest and impartial approba
tion of their own countrymen.
Far otherwise was it in Italy. No sooner did
patronage begin to operate, than genius rose
under its fostering hand as by a magic touch,

LIFE OF TITIAN. 399
and brought to light those extraordinary men
of genius, Leonardo da Vinci and Michael An
gelo Buonarotti in Florence, Giorgione and
Titian in the Venetian territory, and Raffaelle
in the Roman — men equally eminent, though
in different departments of the arts, whose va
rious excellences, had they been united in one
person, we should then have seen a perfect
artist : but this can never happen, as human
powers and human life are too limited for ac
quirements of such vast extent.

END OF THE FIRST VOLUME.

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