DOI Kapitel:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61295#0597
TITIAN.
575
fluence upon art than any other Venetian picture. It is highly fin-
ished; the arrangement of the figures is excellent; beauty of form,
dignity of expression and gesture, combined with deep feeling and
great emotion, are all there, but above all is the general expression
of sorrow. A repetition, in the Louvre, is almost equal to the origi-
nal in Venice. Of a different class is the “ Presentation of the Vir-
gin in the Temple,” also in the Acad, at Venice. It is incomparable
in color, and represents a cheerful company, from all classes in life,
filled with curiosity and sympathy. Titian painted many altar-pieces
representing Enthroned Madonnas and the usual class of subjects.
Some excellent ones are in the Dresden Gall., the Escorial, the Pitti
Pal., etc. Two other celebrated pictures are the “ S. Peter Martyr,” in
SS. Giovanni e Paolo, at Venice, and the “ Martyrdom of S. Lorenzo,”
in the Jesuit’s church, at Venice. The first of these has long been
placed in the highest rank of excellence. His masterly representa-
tion of the nude female figure may be seen in the two Venuses in the
Uffizi, the Danae at Naples and one at Vienna, similar pictures
at Dresden, in the Madrid Gall., and in a number of pictures in
England. The “ Bacchus and Ariadne,” in the National Gall, at
London, painted for the Duke of Ferrara, is full of poetic beauty,
and is a most charming conception of the ancient myth. The “ Ar-
rival of Bacchus at the Island of Naxos,” and a “ Sacrifice to the
Goddess of Fertility,” also painted at Ferrara, are at Madrid. The
“ Venus del Pardo,” in the Louvre, has been so much injured that
its chief beauty is now in the landscape. A powerful picture of the
same class is at Munich, and represents “ Venus instructing a Maiden
in the Mysteries of Bacchus.” That of Del Vasto, with his mistress
and other figures, at Vienna, is in some respects a repetition of the
Munich picture. Of his beautiful symbolic pictures, the “ Three
Ages,” in the Manfrini Pal. at Venice, and “ Sacred and Profane
Love,” in the Borghese Pal., deserve mention. His fine portraits
are almost numberless. They strike one as having been taken at the
very best and happiest moment of the existence of the subjects, and
his female portraits excite the highest admiration. Those which are
called by the name of “ Titian’s Mistress ” are beautiful above all.
The “ Flora,” in the Uffizi, “ La Bella di Tiziano,” in the Pitti Pah,
and another of the same name in the Sciarra Gall, at Koine, are un-
rivalled. The picture of his daughter Lavinia is often repeated.
One of the best is in the Berlin Mus. Titian was married at the age
of thirty-four to Lucia, a Venetian lady, by whom he had three chil-
dren. One of his sons, named Horatio, died of the plague at the
same time with his father. Although those who died of this disease
were not allowed the honors of burial, an exception was made in the
case of Titian, and his remains were deposited in the ch. of the
Frari. In addition to his paintings Titian engraved both on copper
and wood. His copper-plates consisted of several large landscapes,
575
fluence upon art than any other Venetian picture. It is highly fin-
ished; the arrangement of the figures is excellent; beauty of form,
dignity of expression and gesture, combined with deep feeling and
great emotion, are all there, but above all is the general expression
of sorrow. A repetition, in the Louvre, is almost equal to the origi-
nal in Venice. Of a different class is the “ Presentation of the Vir-
gin in the Temple,” also in the Acad, at Venice. It is incomparable
in color, and represents a cheerful company, from all classes in life,
filled with curiosity and sympathy. Titian painted many altar-pieces
representing Enthroned Madonnas and the usual class of subjects.
Some excellent ones are in the Dresden Gall., the Escorial, the Pitti
Pal., etc. Two other celebrated pictures are the “ S. Peter Martyr,” in
SS. Giovanni e Paolo, at Venice, and the “ Martyrdom of S. Lorenzo,”
in the Jesuit’s church, at Venice. The first of these has long been
placed in the highest rank of excellence. His masterly representa-
tion of the nude female figure may be seen in the two Venuses in the
Uffizi, the Danae at Naples and one at Vienna, similar pictures
at Dresden, in the Madrid Gall., and in a number of pictures in
England. The “ Bacchus and Ariadne,” in the National Gall, at
London, painted for the Duke of Ferrara, is full of poetic beauty,
and is a most charming conception of the ancient myth. The “ Ar-
rival of Bacchus at the Island of Naxos,” and a “ Sacrifice to the
Goddess of Fertility,” also painted at Ferrara, are at Madrid. The
“ Venus del Pardo,” in the Louvre, has been so much injured that
its chief beauty is now in the landscape. A powerful picture of the
same class is at Munich, and represents “ Venus instructing a Maiden
in the Mysteries of Bacchus.” That of Del Vasto, with his mistress
and other figures, at Vienna, is in some respects a repetition of the
Munich picture. Of his beautiful symbolic pictures, the “ Three
Ages,” in the Manfrini Pal. at Venice, and “ Sacred and Profane
Love,” in the Borghese Pal., deserve mention. His fine portraits
are almost numberless. They strike one as having been taken at the
very best and happiest moment of the existence of the subjects, and
his female portraits excite the highest admiration. Those which are
called by the name of “ Titian’s Mistress ” are beautiful above all.
The “ Flora,” in the Uffizi, “ La Bella di Tiziano,” in the Pitti Pah,
and another of the same name in the Sciarra Gall, at Koine, are un-
rivalled. The picture of his daughter Lavinia is often repeated.
One of the best is in the Berlin Mus. Titian was married at the age
of thirty-four to Lucia, a Venetian lady, by whom he had three chil-
dren. One of his sons, named Horatio, died of the plague at the
same time with his father. Although those who died of this disease
were not allowed the honors of burial, an exception was made in the
case of Titian, and his remains were deposited in the ch. of the
Frari. In addition to his paintings Titian engraved both on copper
and wood. His copper-plates consisted of several large landscapes,