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* TITIAN. 311 TITICACA. highest honors. Of his portraits of Paul III. an original is at Saint Petersburg and an ex- cellent coi)y in the Naples JIuseum, whie-h also possesses his unfinished picture of the Pope and his two nephews. At Konie he met :MicheIangelo, whose influence may be seen in the "Danae" (Naples), painted there. Other famous works executed about this time are the more realistic "Venus" of the Uflizi and a similar figure listen- ing to music, at Jladrid. In 1548 Titian was summoned by the Emperor Charles V. to Augsburg, and there he ])ainted his equestrian portrait in full armor ( Madrid ' — a wonderful characterization of the irresistible but disappointed master of Europe and the New World. Another portrait of Charles V. (1548), in black costume, is at Munich. At the same time Titian portrayed the captive John Fred- erick, Duke of Saxony (Vienna), and Cardinal Granvella (Besangon). On a second summons to Augsburg, in 1550, he painted the portrait of Philip II. as prince in armor (Madrid). He en- joyed the extreme intimacy of the wcjrld-weary Charles V., and together they designed the ''Trinity." the Emperor's last commission. After- his death Titian continued to serve his son, Philip II. It is impossible to mention even the important works of Titian during the last period of his long career (1530-70). Among religious pic- tures some of the most celebrated are a "Magda- len" ( Pitti Palace) ; a "Madonna with Saint John and Cathatine" (National Gallery), celebrated for the landscape; "Christ at Emmaus" (Louvre) : "Saint Margaret," and several others at Madrid. His mythological subjects include the celebrated "Venus and Cupid" (Borghese Gallery, Pome), and "Venus del Pardo" (Louvre), representing in reality "Jupiter and Antiope." Of his innumerable portraits we mention only those of his beloved daughter Lavinia with a dish of fruit in Berlin, as a bride and as a matron — both at Dresden; of himself at Berlin. Florence, and Madrid; his friend Aretino (1545. Pitti) ; Doctor Parma and the antiquarian Strada, in Vienna ; and the splendid Cornaro family (Duke of Northumber- land). Titian's last pictures were chiefly religious, like the "Saviour of the World" (Saint Peters- burg) and the grand "Piet;'!" (Academy, Venice) , finished after liis death by Palma Giovane. In his hundredth year he was stricken by the plague, August il, 1576. He was buried in the Frari Church, where a fine modern monument marks his resting iilace. His son Orazio, an able painter and his faithful assistant, soon fol- lowed him. For Titian's pupils, see Painting. If. as is the modern custom, painting be judged by the pictorial qualities only, then surely Titian is the greatest painter of Italy, if not of all times. All Venetian art centred in him. Cer- tain painters of Venice and of other schools have equaled Titian in single pictorial elements, but no one united all these qualities with the same degree of excellence. His color is bright, but deep and transparent: a splendid golden tone suffuses his pictures, which only in his later works tends toward a more sombre brown. Light and shade, atmosphere and perspective are all perfectly rendered, and his rapid, sweep- ing handling, in place of the ancient detailed finish, revolutionized painting, preparing the way for Rembrandt and Velazquez. Being a Vene- tian, he was not as scientific a draughtsman as the Florentines, though at best his drawing is good. llis composition is always good, and at best it is excellent. He did not attempt, like the Tuscans, to make art the vehicle of in- tellectual ideas, but his grasp upon life was firmer than theirs, and his art was wider in scope. lie preferred an art that was tranquil and serene, though at times — witness the "As- sunta" and the "Peter Martyr" — he could be profoundly dramatic. If Giorgione was the founder of the modern landscape, Titian did more for its development, achieving the highest perfection before Poussin and Claude; Eliminating the detail of former painters, he rendered the typical in a landscape with high poetic charm. Though he used land- scape as only a setting for his figures, he ren- dered it in itself perfect and complete. His favorite subjects were the Alps of his native Cadore and the lagoons of Venice. Titian was one of the gi'eatest portrait painters of all times. He could render a portrait with the baldest realism, but at the same time with noble and striking characterization. He was the great painter of kings and nobles. BiBLiOGRAPiiT. Among the earlier works on Titian are those of Ticozzi (Jlilan, 1817), Hume (London, 1829), and Northcote (ib., 1813). By far the most complete and erudite contribution is that of Crowe and Cavalcaselle (ib.. 1879-81), which should, however, be corrected by Morelli, Italian Painters (London, 1892). The other chief work on Titian, that of Lafenestre (Paris, 1888), is remarkable for its acute criticism. Con- sult also Max Jordan, in Dohme, Kunst und Kiinstler Italiens (Leipzig. 1878) ; Heath, in Great Artists Series (London, 1879) ; Barfold (Copenhagen, 1889) ; the very excellent contribu- tions of Phillips, in the Portfolio (1897-98) ; the monogi'aphs by Knackfuss (Bielefeld, 1897) and Gronau (Berlin, 1900) ; and the popular com- mentary by Hurll (Boston, 1901). See also the notes in Blashfield and Hopkins's translation of Vasari's Livesi (New York, 1896). TITICACA, te't^-k.a'ka. Lake. The largest lake in South America (Map: America, South, C 4). It is situated on the boundary of Peru and Bolivia, being about equally divided between the two countries. It lies in a large and lofty lacustrine basin inclosed between the main Andean range and the Cordillera Eeal, with cross ranges on the north and south. This basin has an average elevation of 13.000 feet, and the surface of the lake itself lies about 12,500 feet above the sea. The lake has a length of 130 miles with an average breadth of 30 miles. It is divided by promontories into three unequal parts, and contains several islands. The depth in some places reaches 700 feet, but large portions of it are shallow, and the shores, especially in the south, arc lined with marshy tracts covered with reeds. The vegetation along the shores is otherwise scanty, and the surround- ing country is bleak and treeless. The lake re- ceives a number of streams from the surround- ing mountains and discharges through the Desa- guadero into Lake Aullagas, whose waters finally evaporate in the great salt marshes in the south-