Page:Biographical catalogue of the principal Italian painters.djvu/216

 TITIAN, 185 this last picture, Titian has displayed a power in composition and design equal to his colouring: the effect of light is very beautifiil; it is a night scene, and the whole light of the pic- ture is from the fire beneath the Saint, the raised torches, and the super- natural light above, which appears to fall upon the martyr. There is a repetition of this composition in Ve- nice. Of that simple grandeur, or terises many of Titian's works, the Presentation of the Virgin in the Temple, in the Venetian Academy, is a fine example. His drawing has been much criticised; but as regards pro- priety of design, there can be no com- parison between the better works of Titian, and those of the contemporary Anatomical School of Florence. In the works of Titian there is no osten- tation, no artifice ; he sought truth only. For the pictorial representation of Nature, without addition or selec- tion, Titian has surpassed all other great painters of Italy ; though he was inferior to the greatest masters of Rome and Florence in invention, in composition, and in style and quality of design. Sir Charles Eastlake remarks, that a certain imitation of Michelangelo is observable at the most vigorous period of Titian's career, but confined to qua- lities which were analogous to his own characteristic excellences, as contrast in action, and grandeur of line. Ari- osto was the personal friend of Titian ; they became acquainted at the Court of Alfonso I., of Ferrara, in 1614. The poet has celebrated the painter's powers in the Orlando Furioso : — " Bastiano, Rafael, Tizian ch* onora, Non men Cadore, che quel Venezia e Urbino." And the celebrated Peter Aretin was his constant companion. Titian died of the plague, which carried off his son Orazio at the same time, aged about sixty. Orazio was a good portrait- painter, and the constant companion and assistant of bis father. Works. Venice, Ducal Palace, the Doge Grimani kneeling before Faith : in the chapel, St. Christopher (fresco) : Manfrini Palace, an Adoration of the Kings (an early picture) ; the Entomb- ment of Christ; the Three Ages; the Portrait of Ariosto : Academy, the Visit of Mary to Elizabeth (an early work) ; the Presentation of the Virgin in the Temple; the Assumption of the Vir- gin ; John the Baptist in the Wilder- ness; the Descent from the Cross (formerly in the church of Sant' An- gelo) : SS. Giovanni e Paolo, the Death of St. Peter Martyr: in the Jesuits' Church, the Martyrdom of San Lo- renzo: Barbarigo Palace, a Penitent Magdalen ; Venus and Cupid ; Venus trying to keep Adonis from the Chase ; the Portrait of Pope Paul III. ; the' Nymph and the Satyr: church of the Smo. Salvatore, the Annunciation ; and the Transfiguration : Sta. Maria de* Frari, Madonna, with Saints. Florence, Uffi^, a Madonna, with Angels (an early work) ; the Two Venuses ; and the Portrait of Beccadelli, in the tri- bune; a Head of Flora: Pitti" Palace, a Portrait of La Bella di Tiziano ; a, Portrait of Pietro Aretino. Rome, Sciarra Palace, a Madonna (an early work); La Bella di Tiziano: Doria Palace, a Penitent Magdalen: Borg- hese Gallery, Equipment of Cupid; Sacred and Profane Love: Corsini Palace, a Portrait of Philip II. : Vati- can Gallery, the Portrait of a Doge; and the Martyrdom of St. Sebastian^ Naples, Studj Gallery, Danae. Berlin Gallery, the Portrait of Titian's daugh- ter, Lavinia ; a Portrait of the Venetian Admiral, Jo. Mauro (1538); the Por- trait of Titian, when old ; and several other sacred and profane works. Mu-
 * Senatorial dignity," which charac-