DOI Page / Citation link:
https://doi.org/10.11588/diglit.55699#0069
titian’s house.
47
it for the pontiff himself, made their obeisance to it*.”
As this assertion, however, is not repeated in Vasari’s
Lives, it may be doubted, as well as his criticism upon the
Danae and the EcceHomo, painted and presented by Titian
to the pope. But the decoration of the Farnese Palace was
his chief object, where he is said to have produced that
master-piece of Venus and Adonis, which called forth the
plaudits of the great professors of the Roman school.
An anecdote is related of Titian’s being conducted,
while at Rome, to see the paintings in the apostolic
palace, where some heads by Raphael had been partially
defaced, and which Sebastiano del Piombo was com-
missioned to restore. This artist was himself pointing
them out to Titian, who, on examining them, exclaimed
as he turned to him, “ Whose ignorant and presuming
hand has thus dared to injure heads like these?” not
aware at the moment that the culprit was so near him.
The extraordinary reputation maintained by Titian in
the very field which abounded with the great master-
pieces of Michel Angelo and Raphael alarmed the pride
of the first artists, in particular of Perino del Vaga, then
the ablest colourist at Rome. He imagined that the
pontiff, by his munificence to the painter of the imperial
court, must have intended him to decorate the Sala dei
Re, for which he was himself preparing the stuccoes,
and expecting the entire commission; and such an effect
did this impression produce upon his sensitive mind, that
he not only refused to visit Titian, but was so affected by
the disappointment, that he shortly afterwards fell sick
and died.
* Lettere Pittoriche, vol. i. p. 141.
47
it for the pontiff himself, made their obeisance to it*.”
As this assertion, however, is not repeated in Vasari’s
Lives, it may be doubted, as well as his criticism upon the
Danae and the EcceHomo, painted and presented by Titian
to the pope. But the decoration of the Farnese Palace was
his chief object, where he is said to have produced that
master-piece of Venus and Adonis, which called forth the
plaudits of the great professors of the Roman school.
An anecdote is related of Titian’s being conducted,
while at Rome, to see the paintings in the apostolic
palace, where some heads by Raphael had been partially
defaced, and which Sebastiano del Piombo was com-
missioned to restore. This artist was himself pointing
them out to Titian, who, on examining them, exclaimed
as he turned to him, “ Whose ignorant and presuming
hand has thus dared to injure heads like these?” not
aware at the moment that the culprit was so near him.
The extraordinary reputation maintained by Titian in
the very field which abounded with the great master-
pieces of Michel Angelo and Raphael alarmed the pride
of the first artists, in particular of Perino del Vaga, then
the ablest colourist at Rome. He imagined that the
pontiff, by his munificence to the painter of the imperial
court, must have intended him to decorate the Sala dei
Re, for which he was himself preparing the stuccoes,
and expecting the entire commission; and such an effect
did this impression produce upon his sensitive mind, that
he not only refused to visit Titian, but was so affected by
the disappointment, that he shortly afterwards fell sick
and died.
* Lettere Pittoriche, vol. i. p. 141.