DOI Page / Citation link:
https://doi.org/10.11588/diglit.51585#0248
244
EARLY ITALIAN PAINTERS.
after the king’s death, for 200/. (a large price for
the time), and afterwards restored. In the collec-
tion at Windsor there are the portraits of Titian
and Andrea Franceschini, half-length, in the same
picture. Franceschini was chancellor of the Re-
public, and distinguished for his literary attain-
ments ; he is seen in front in a robe of crimson (the
habit of a cavaliero of St. Mark), and holds a
paper in his hand. The acute and refined features
have that expression of mental power which Titian,
without any apparent effort, could throw into a
head : the fine old face and flowing beard of Titian
appear behind. This picture belonged to Charles
I., and was sold after his death for 112Z. ; it has
been called in various catalogues Titian and Are-
tino, which is an obvious mistake: the well known
portraits of Are tin o have all a full beard and thick
lips, a physiognomy quite distinct from that of the
Venetian senator in this picture, which is identical
with the engraved portraits of Franceschini.
In the Louvre there are twenty-two pictures by
Titian ; in the Vienna Gallery, fifty-two. The
Madrid Gallery contains most of the fine pictures
painted for Charles V. and Philip II.
Before we quit the subject of Titian, we may
remark that a collection of his engraved portraits
would form a complete historical gallery illustra-
tive of the times in which he lived. Not only was
EARLY ITALIAN PAINTERS.
after the king’s death, for 200/. (a large price for
the time), and afterwards restored. In the collec-
tion at Windsor there are the portraits of Titian
and Andrea Franceschini, half-length, in the same
picture. Franceschini was chancellor of the Re-
public, and distinguished for his literary attain-
ments ; he is seen in front in a robe of crimson (the
habit of a cavaliero of St. Mark), and holds a
paper in his hand. The acute and refined features
have that expression of mental power which Titian,
without any apparent effort, could throw into a
head : the fine old face and flowing beard of Titian
appear behind. This picture belonged to Charles
I., and was sold after his death for 112Z. ; it has
been called in various catalogues Titian and Are-
tino, which is an obvious mistake: the well known
portraits of Are tin o have all a full beard and thick
lips, a physiognomy quite distinct from that of the
Venetian senator in this picture, which is identical
with the engraved portraits of Franceschini.
In the Louvre there are twenty-two pictures by
Titian ; in the Vienna Gallery, fifty-two. The
Madrid Gallery contains most of the fine pictures
painted for Charles V. and Philip II.
Before we quit the subject of Titian, we may
remark that a collection of his engraved portraits
would form a complete historical gallery illustra-
tive of the times in which he lived. Not only was