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manners and customs of his times. His art is like a great mirror in which
Venice of the sixteenth century is clearly reflected in all her magnificence. As
we study our little prints, we must bear in mind that the original paintings
glow with rich and harmonious color. As far as possible let us try to supply this
lost color from our imagination.

Nearly all the notable personages of the time sat to Titian for their
portraits,—emperors, queens, and princes, popes, and cardinals, the doges, or
dukes, of Venice, noblemen, poets, and fair women. Wearing the costumes of
a bygone age, these men and women look out of their canvases as if they
were still living, breathing human beings. The painter endowed them with the
magic gift of immortality. Though the names of many of the sitters are now
forgotten, and we know little or nothing of their lives, they are still real
persons to us, with their life history written on their faces.

Such is the man called Parma, who is believed to have been a physician of
Titian’s time, but whose only biography is this portrait. If we were told that it
was the portrait of some eminent physician now practising in New York or
London, we should perhaps be equally ready to believe it. We might meet
such a figure in our streets to-morrow. There is nothing in the costume to
mark it as peculiar to any century or country. The black gown is such as is still
worn by clergymen and university men. The man would not have to be
pointed out to us as a celebrity; we should know him at once as a person of
distinction.
 Fr. Hanfstaengl, photo. John Andrew & Son. Sc.

THE PHYSICIAN PARMA

Vienna Gallery

The science of medicine was making great progress during the sixteenth
century. It was then that the subject of anatomy was first developed by the
celebrated Fleming, Vesalius, court physician to Charles V. [5] In this period,
also, the science of chemistry first came to be separated from alchemy, and
progressive physicians applied the new learning to their practice.

We may be sure that our Doctor Parma belonged to the most enlightened
class of his profession. His strong: intellectual face shows him to be one who
would have little patience with quackery or superstition. He has a high, noble
forehead, keen, penetrating eyes, and a firm mouth. His beautiful white hair
gives him a venerable aspect, though he is not of great age. It blows about
his face as fine and light as gossamer. He is an ideal “family physician,” of a
generation ago. We can imagine how children would learn to look upon him
with love and respect, perhaps also with a little wholesome fear.

The hand which holds the folds of the long, black gown has a character of
its own as definite as that of the face. It is a strong, firm hand, which looks
capable of guiding skilfully a surgeon’s knife.

Two fine seal rings ornament it. Such rings, sometimes of curious design
and workmanship, were often bestowed as gifts by wealthy noblemen upon
those who had done them some service.

The doctor Parma looks as good as he is wise. This benign face would
grace an assembly of notable clergymen. Indeed, the picture suggests a well-
known portrait of the great John Wesley, whose features were cast in the
same strong mould, and who also had an abundance of bushy white hair.

By another play of the fancy we could imagine this a portrait of some

eminent judge. There is that in the face which indicates the calm, impartial,
deliberate mind that belongs to the character. He might now be about to
charge the jury, or perhaps even to pronounce sentence.

Still another opinion is that here we have a Venetian senator in his official
robes. The man is in any case an ideal professional man, a person of brains
and character, who could fill equally well a position of responsibility in
medicine, law, administrative affairs, or divinity. With a strict sense of justice,
a stern contempt for anything mean and base, and a fatherly tenderness for
the weak and oppressed, he is one in whom we could safely put confidence.

II

THE PRESENTATION OF THE VIRGIN

(Detail)
 In the town of Nazareth many centuries ago lived a pious old couple,
named Joachim and Anna. It is said that they “divided all their substance in
three parts: ” one part “for the temple,” another for “the poor and pilgrims,”
and the third for themselves. The delight of their old age was their only child
Mary, who afterwards became the mother of Jesus. She had been born, as
they believed, in answer to their prayers, and they cherished her with peculiar
devotion.

That Mary was a good and lovable child beyond common measure we can
have no doubt: she was set apart for a strange and holy service. The beautiful
story of her early life is told in an old Latin book called the “Legenda Aurea,”
or the “Golden Legend.” This was a collection of old legends written out for
the first time by Jacopo de Voragine, an Italian archbishop of the thirteenth
century. The early English translation by Caxton, in which we still read the
book, preserves the quaint flavor of the original. There is one portion of it
describing the dedication, or presentation, of the Virgin in the temple. Before
Mary was born, the mother, Anna, had promised the angel of the Lord that
she would present the coming child as an offering to the Lord. Long before
her day, a certain Hannah had made a like vow under similar circumstances.
Her son Samuel, a “child obtained by petition,” was “returned,” or “lent,” to
the Lord as long as he lived. [6] A child thus dedicated was early carried to the
temple to be educated within its precincts for special service to God.

The presentation of Mary was on this wise: “And then when she had
accomplished the time of three years … they brought her to the temple with
offerings. And there was about the temple, after the fifteen psalms of
degrees, fifteen steps or grees to ascend up to the temple, because the
temple was high set. And nobody might go to the altar of sacrifices that was
without, but by the degrees. And then our Lady was set on the lowest step;
and mounted up without any help as she had been of perfect age, and when
they had performed their offering, they left their daughter in the temple with
the other virgins, and they returned into their place. And the Virgin Mary
profited every day in all holiness, and was visited daily by angels, and had
every day divine visions.” [7] We see at once the picture there is in the story,
the little girl ascending alone the long flight of steps, with the fond parents
gazing after her in wonder. Many artists have put the subject on canvas, and
among them our Venetian painter Titian. His is an immense picture, from
which the central figure only is reproduced in our illustration.
 Picture from Carbon Print by Braun, Clément John
& Co.Andrew & Son. Sc.

THE PRESENTATION OF THE VIRGIN

(DETAIL)
Venice Academy

We must imagine ourselves standing with a great throng of people in the

public square in front of the temple. Men, women and children jostle one
another near the steps. The old man Joachim and his wife Anna are easily
singled out among the number. The windows of the adjoining palaces are full
of faces looking into the square. A group of senators stand somewhat apart,
looking on. An old peasant woman with a basket of eggs sits in the shadow of
the steps. All eyes are turned towards the little child who is walking alone up
the great stone staircase. On the topmost step the high priest advances to
meet her, resplendent in his rich priestly garments.

The figure of the little Virgin is very quaint in a long gown made of some
shimmering blue stuff. The golden hair is brushed back primly and woven into
a heavy braid, whence it at last escapes in beautiful profusion. It would be
hard to guess the child’s age, for her demeanor is that of a little woman as
she gathers her long skirt daintily in her right hand. She carries herself erect
in the new dignity of the great moment, and advances with perfect self-
confidence. The face, however, is quite childlike and innocent, and is lifted to
the priest’s with a happy smile. The left arm is raised in a gesture of wonder
and delight.

The whole figure is surrounded by a halo of golden light. This is the oval-
shaped glory which the Italians call the mandorla, from the word meaning
“almond.” It is of course the symbol of the virgin’s peculiar sanctity. The
painter has not tried to make the little girl particularly pretty, but he gives her
the indescribable charm which we call winsomeness. She is perhaps one of
the most lovable children art has ever produced.

As we study the artist’s method of work in the picture we see how very
simply the figure is drawn. Titian was fond of rich and voluminous draperies,
as we shall learn from several examples which are to follow. Here, however,
he draws a dress with tight sleeves and scanty skirt absolutely without
decoration of any sort. It is this simplicity which gives the childlike appearance
to the figure.

There is a pathos in the little figure which we cannot altogether appreciate

in our illustration. We have to remember that the whole picture measures
twenty-five feet in width by eleven in height, and then imagine how tiny the
child looks ascending alone the great staircase in the centre of this vast
panorama. The isolation of the figure suggests the singular destiny of Mary,
set apart from others in the loneliness of a unique service.

III
 THE EMPRESS ISABELLA
The most illustrious of Titian’s many patrons was the Emperor Charles V.,
whose wife was the Empress Isabella of our portrait. This powerful monarch
had inherited from one grandfather, Ferdinand, the kingdom of Spain, and
from another, Maximilian, the empire of Germany. His marriage was arranged
chiefly for political reasons, but proved to be a happy one.

Isabella was the daughter of Emmanuel the Great, late King of Portugal,
and the sister of John III., the reigning king. She was a princess of
uncommon beauty and accomplishments. The Portuguese government
bestowed a superb dowry of nine hundred thousand crowns upon her, and the
marriage was celebrated in Seville in 1526. The ceremony was splendid, and
there were great festivities following.

Soon after, the emperor travelled with his bride through Andalusia and
Granada that he might see his new kingdom. Called at last to other parts of
his dominion, he left Isabella as regent in Spain, and went to Italy, where in
1532 he first called Titian into service to paint his portrait. In the years that
followed the painter found the emperor a constant and generous patron, and
was frequently summoned to meet the court at various places. In the
meantime, however, the lovely empress never had had a sitting to the first
painter of the day. She stayed quietly at home and had her portrait painted by
such inferior artists as were at hand.

When she died in 1539 Charles was left disconsolate, without any
satisfactory portrait of her beloved face. He accordingly sent to Titian a
portrait of her painted at the age of twenty-four, and required him to use it as
the basis of a picture. The painter obeyed, and soon sent, his royal patron two
canvases, begging him to return them with criticisms if he wished any
changes made. As they were never sent back we infer that Charles found
them as much like the original as could have been expected. The fame of
Isabella’s beauty and goodness had of course come to the painter’s
knowledge, and this was perhaps a better inspiration than the old portrait
which was his guide. Certainly the picture he produced shows a winning
personality.

The empress is seated near a window, holding a little book open in one
hand, probably a prayer-book or Book of Hours. The lady is not reading, but
gazes somewhat pensively before her, as if thinking over the familiar words.
The face is gentle and refined, and has an innocent purity of expression like
that of a child.

Picture from Carbon Print by Braun, Clément & Co.

John Andrew & Son. Sc.

THE EMPRESS ISABELLA

Prado Gallery, Madrid

The features are small, and modelled with an almost doll-like regularity.
Yet the mouth is set firmly enough to indicate a strong will behind it. Isabella
was indeed a woman of remarkable self-control. A story is told that once
when ill and in great pain she turned her face in the shadow that none might
see her suffer, and uttered no sound of complaining. Her nurses
remonstrated, but she replied firmly, “Die I may, but wail I will not.”

The costume of a Spanish queen of the sixteenth century naturally

interests us. Apparently Spanish Court etiquette of the period dictated a dress
made with high neck and long sleeves. The bodice is of red velvet, the loose
sleeves lined with satin. The under bodice, which we should call a guimpe, is
of white muslin with gold fillets. A jewel adorns the red hair, and a long
necklace of pearls is caught on the bosom with a pendant of rubies and
emeralds. The careful dressing of the hair, the strict propriety of the gown,
and the attitude of the queen herself suggest the regard of conventionality
which governed the great lady.

What the portrait lacks is the quality of lifelikeness which makes other
pictures by Titian so wonderful. [8] Naturally the painter could not so easily
impart vitality to the picture when not working directly from the living model.
To make up, as it were, for this defect, he painted the various textures of the
dress with marvellous skill. Satin, velvet, and muslin, each is distinguished by
its own peculiar lustre.

The bit of landscape seen through the window is another beautiful part of
the picture. The distance gives depth to the composition and avoids the
crowded effect it might otherwise have. We shall see a similar setting again in
the portrait of Lavinia.

The Emperor had been very fond of his wife, and an old historian says that
“he treated her on all occasions with much distinction and regard.” If this
seems nothing surprising to note, we must remember that at the same period
Henry VIII. of England was treating his queens quite differently.

In the last years of his life Charles V., weary of the cares of government,
relinquished his kingdom to his son. He retired to the convent of Yuste to end
his days, taking with him this portrait of his wife. When he lay on his death-
bed he asked to see the picture, and when at last he died his body was laid to
rest beside Isabella. Their son, Philip II., whose portrait we are presently to
study, succeeded to a portion of his father’s dominion.

IV
 MADONNA AND CHILD WITH SAINTS
There was never a child so longed for as the Child Jesus, and none whose
infancy has been held in such loving remembrance. Centuries before his birth
the prophets of Israel preached to the people of his coming. Year after year
men waited eagerly for One who would teach them the way of righteousness.
On the night when he was born the angels of heaven appeared in the sky
with the glad tidings. His birthday ushered in a new era.

We all know the story of his infancy in the Bethlehem manger, of his
boyhood in the little town of Nazareth, of the years of his ministry throughout
Judea, and of his crucifixion on Calvary. The narrative of his life was written
by the four evangelists, and has been told in nearly every part of the world.

Many of the great painters have drawn the subjects of their best pictures
from the story in the Gospels. A favorite subject has been the mother Mary
holding the Babe in her arms, as in our illustration. To understand why the
other figures are included in the scene, a few words of explanation are
necessary.

In the early days of Christianity the followers of the new faith had to
endure great persecutions, and many laid down their lives for their Master.
The religious liberty we enjoy to-day is due to the courage and loyalty of
these early saints and martyrs. Much, too, is due to the work of those
teachers who are called the Fathers of the church. These saints and heroes of
the olden time have been honored in art and song and story. It is fitting to
associate their memory with that of him to whom they gave their lives. This is
the reason why in pictures of the Mother and Child Jesus we often see them
standing by.

Such pictures do not represent any actual historical event. The various
persons represented may not even be contemporaries. It is in a devotional
and not a literal sense that they worship the Christ child together.

In our picture the Mother tends her Babe at one side while three saints
form an attendant company. The nearest is St. Stephen, the young man “full
of faith and power,” who did “great wonders and miracles among the people”
of Jerusalem in the apostolic days. When false witnesses accused him of
blasphemy his face was like “the face of an angel.” Nevertheless, when his
accusers heard his defence they were angry at his frank denunciations, and
casting him out of the city, stoned him to death. [9]

Fr. Hanfstaengl, photo. John Andrew & Son. Sc.

MADONNA AND CHILD WITH SAINTS

Vienna Gallery

The old man standing next is St. Jerome, one of the Latin fathers of the
fourth century. He was both a preacher and a writer, and his greatest service
to the world was his translation of the Bible into Latin (the Vulgate). This is
the book from which he is now reading, and St. George seems to look over his
shoulder. St. George is the hero saint who rescued the princess Cleodolinda
from the dragon. He suffered many tortures at the orders of the Emperor
Diocletian, and was finally beheaded for his faith. [10]

We learn to identify these and other saints in the old pictures by certain
features which the masters long ago agreed upon as appropriate to the
characters. St. Stephen we recognize here because he is young, and carries a
palm as the symbol of his martyrdom. St. Jerome is always an old man and is
known here by his book, and St. George is distinguished by his armor.

The three make an interesting group as they represent three ages of man,
—youth, maturity, and old age. They stand, too, for distinctly different
temperaments. St. Stephen has the ardent imaginative nature of a dreamer,
St. George the active prosaic temper of the warrior, and St. Jerome the grave
contemplative mind of the scholar. Each serves the Christ with his own gift.

In the picture the three seem to be reading together some passage

referring to the birth of Christ, perhaps that glorious verse from the prophet
Isaiah, “Unto us a child is born, unto us a son is given.” Coming to the words
“Wonderful, Counsellor,” St. Stephen lifts his face adoringly.

The Child is innocently unconscious of his grave guests. He lies across his
mother’s lap kicking his feet gleefully and looking up to her with a playful,
appealing gesture. She bends over him smiling, and the two seem to talk
together in the mystic language of babyhood. The artist, we see, painted the
mother as beautiful and the child as winsome as he could well imagine them.
He did not try to discover how a woman of Judea was likely to have looked
centuries before. He preferred to think of Mary as one of the beautiful
Venetian women of his own day. He may have seen some real mother and
babe who suggested the picture to him, but in that case he painted them
largely according to his own fancy. The Madonna’s dress is not according to
any Venetian fashions, but in the simple style chosen as most appropriate by
old masters. Red and blue were the colors always used in her draperies, and it
was also an ancient custom to represent her as wearing a veil over her head
as befitting her modesty.

The mother has the fresh comely look of perfect health, yet with much
delicacy and refinement in her gentle face. Both she and the babe seem to
rejoice in abounding health and vitality. The picture is full of the joy of life.

PHILIP II
 Philip II. was the son of the Emperor Charles V. and the Empress Isabella,
whose portrait we have seen. He had therefore, like most princes, a union of
several nationalities in his lineage. Upon his birth in 1527, all Spain rejoiced
that there was now an heir to the throne. Charles himself counted eagerly
upon the help his son would give him in the administration of his vast
dominions.

From the first Philip was a grave and thoughtful child, pursuing his studies
first with his mother and then with a tutor. When he was twelve years old his
mother died; and two years later his father, who had scarcely seen the boy,
returned to Spain, and devoted himself for a while to teaching him the
principles of government. Philip was an apt pupil, and showed great fondness
for statesmanship.

At the age of sixteen a great responsibility fell upon the young prince.
Charles was called to Germany and left Philip as regent of Spain. A marriage
had already been arranged between the youth and his cousin Mary of
Portugal, and this took place soon after the Emperor’s departure. Philip’s
regency was eminently successful, and he won the lasting affection and
loyalty of the Spanish people.

The Emperor now planned that the prince should make a journey through
the empire to become acquainted with his future subjects. The Spanish parted
with him reluctantly, and he set forth accompanied by a great train of
courtiers. Six months he was on his way, everywhere greeted by festivals,
banquets and tourneys. Philip, being of a reticent and sombre nature, had
little taste for these festivities, but having political ambition, submitted as
gracefully as possible. At length he made a state entry into Brussels. This was
in 1548; and in the two years that followed, the emperor and prince were
together, planning their future policy of government. The lessons which
Charles most deeply impressed upon Philip were those of self-repression,
patience and distrust. The leading element in his policy was to be absolute
ruler.

It was at the close of these two years, that is, in 1550, that the emperor,
attending a diet in Augsburg, summoned thither Titian to paint the portrait of
Philip. The prince was now in his twenty-fourth year, and stood, as it were, on
the threshold of his great career. There could scarcely be a more unattractive
subject for a portrait. Philip had a poor figure, with narrow chest and large
ungainly feet, and his features were exceedingly ill-formed. His eyes were
large and bulging, he had a projecting jaw and full fleshy lips which his scanty
beard could not conceal. Titian, however, had the great artist’s gift of making
the most of a subject. We forget all Philip’s defects when we look at this
magnificent portrait.

Picture from Carbon Print by Braun, Clément

John Andrew && Co.Sc.
Son.

PHILIP II.
Prado Gallery, Madrid

The skill with which the splendid costume is painted would alone make the
picture a great work of art. Philip wears a breastplate and hip pieces of armor,
richly inlaid with gold, slashed embroidered hose, as the short trousers are
called, white silk tights and white slippers. The collar of the Golden Fleece is
the crowning ornament.

The attitude of the prince is full of dignity. He stands in front of a table on

which his helmet and gauntlets are laid. The right hand rests on the helmet,
and the left holds the hilt of the rapier which hangs at his side.

The most remarkable quality in the portrait is the impression of royalty it

conveys. Though Philip has little to boast of in good looks, he has inherited
from generations of royal ancestors that indefinable air of distinction which
belongs to his station. It is this which the painter has expressed in his attitude
and bearing.

Young as the face is, with little of life’s experience to give it individuality,
the painter makes it a revelation of the leading elements in Philip’s character.
The seriousness of the boy has developed into the habitual gravity of the
man. Already we see how well the father’s lessons have been learned, how
self-contained and cautious the prince has become. The affairs of state seem
to weigh heavily upon him.

The proportions of the figure to the size and shape of the canvas add
something to the apparent height of Philip. Titian has done everything a
painter could do to give an ill-favored prince an appearance befitting his royal
prestige: it is a kingly portrait.

Three years after it was painted, the picture was sent to England to be
shown to Queen Mary. Philip, now a widower, had become a suitor of the
English queen. The report came that Mary was “greatly enamoured” of the
portrait, and the marriage was soon after effected. Philip, however, did not
win great favor with the English, and after Mary’s death he chose a French
princess for his next wife, and spent his life in Spain.

Upon the abdication of his father, he became the most powerful monarch
in Europe, and had the best armies of his time. He was constantly at war with
other nations, usually two or more at a time, and by undertaking too many
schemes often failed. It was during his reign that the Netherlands were lost to
Spain, and the famous Spanish Armada was destroyed by the English.

VI
 SAINT CHRISTOPHER
There was once in the land of Canaan a giant named Offero, which means
“the bearer.” His colossal size and tremendous strength made him an object of
terror to all beholders, and he determined to serve none but the most
powerful being in the world.

He accordingly joined the retinue of a great king, and for a while all went
well. One day while listening to a minstrel’s song, the king trembled and
crossed himself every time the singer mentioned the Devil. “Then,” thought
Offero, “there is one more powerful than the King; and he it is whom I should
serve.” So he went in search of the Devil, and soon entered the ranks of his
army.

One day as they came to a wayside cross he noticed his master tremble
and turn aside. “Then,” thought Offero, “there is one more powerful than the
Devil, and he it is whom I should serve.” He now learned that this greater
being whom the Devil feared was Jesus, who died on the cross, and he
earnestly sought to know the new Master.

An old hermit undertook to instruct him in the faith. “You must fast,” said
he. “That I will not,” said Offero, “lest I lose my strength.” "You must pray,"
said the hermit. “That I cannot,” said Offero. “Then,” said the hermit, “go to
the river side and save those who perish in the stream.” “That I will,” said
Offero joyfully.

The giant built him a hut on the bank and rooted up a palm tree from the
forest to use as a staff. Day and night he guided strangers across the ford and
carried the weak on his shoulders. He never wearied of his labor.

One night as he rested in his hut he heard a child’s voice calling to him
from the shore, “Offero, come forth, and carry me over.” He arose and went
out, but seeing nothing returned and lay down. Again the voice called,
“Offero, come forth and carry me over.” Again he went out and saw no one. A
third time the voice came, “Offero, come forth, and carry me over.”

The giant now took a lantern, and by its light found a little child sitting on
the bank, repeating the cry, “Offero, carry me over.” Offero lifted the child to
his great shoulders, and taking his staff strode into the river. The wind blew,
the waves roared, and the water rose higher and higher, yet the giant pushed
bravely on. The burden which had at first seemed so light grew heavier and
heavier. Offero’s strong knees bent under him, and it seemed as if he would
sink beneath the load. Yet on he pressed with tottering steps, never
complaining, until at last the farther bank was reached. Here he set his
precious burden gently down, and looking with wonder at the child, asked,
“Who art thou, child? The burden of the world had not been heavier.”
“Wonder not,” said the Child, “for thou hast borne on thy shoulders him who
made the world.” Then a bright light shone about the little face, and in
another moment the mysterious stranger had vanished. Thus was it made
known to Offero that he had been taken into the service of the most powerful
being in the world. From this time forth he was known as Christ-offero, or
Christopher, the Christ-bearer. [11]
 Anderson, Photo.

SAINT CHRISTOPHER

With this story in mind we readily see the meaning of our picture. The
giant has reached mid-stream, with his tiny passenger perched astride his
shoulders. Already the burden has become mysteriously heavy, and Offero
bends forward to support the strain, staying himself with his great staff. He
lifts his face to the child’s with an expression of mingled anguish and wonder.

The situation is full of strange pathos. The babe seems so small and
helpless beside the splendid muscular strength of the brawny giant. Yet he is
here the leader. With uplifted hand he seems to be cheering his bearer on the
toilsome way.

The figures in the picture seem to be taken from common every-day life.
Some Venetian boatman may have been the painter’s model for St.
Christopher, whose attitude is similar to that of a gondolier plying his oar. The
child, too, is a child of the people, a sturdy little fellow, quite at ease in his
perilous position. We shall understand better the range of Titian’s art by
contrasting these more commonplace figures with the refined and elegant
types we see in some of our other illustrations.

The picture of St. Christopher is a fresco painting on the walls of the

palace of the doges or dukes in Venice. It was originally designed to celebrate
the arrival of the French army in 1523, at an Italian town called San
Cristoforo. It is so placed that it might be the first object seen every morning
when the doge left his bed-chamber. This was on account of an old tradition
that the sight of St. Christopher always gives courage to the beholder.
“Whoever shall behold the image of St. Christopher, on that day shall not faint
or fail,” runs an old Latin inscription.

As fresco painting was a method of art comparatively unfamiliar to Titian,

it is interesting to know than an eminent critic pronounces our picture “broad
and solid in execution, rich and brilliant in color.” [12] We see from our
reproduction that the paint has flaked from the wall in a few places.

VII

LAVINIA
Something of the home life of Titian must be known in order to
understand the loving care which he bestowed upon this portrait of his
daughter Lavinia. The painter’s works were in such demand that he could
afford to live in a costly manner. He had a true Venetian’s love of luxury, and
liked to surround himself with elegant things. His society was sought by rich
noblemen, and he himself lived like a prince.
 When somewhat over fifty years of age Titian removed to a spot just
outside Venice in the district of Biri, where he laid out a beautiful garden. The
view from Casa Grande, as the house was called, was very extensive, looking
across the lagoon to the island of Murano and the hills of Ceneda. Here Titian
entertained his guests with lavish hospitality. A distinguished scholar of that
time, one Priscianese, who had come to Venice in 1540 to publish a grammar,
describes how he was entertained there: “Before the tables were set out,” he
writes, … “we spent the time in looking at the lively figures in the excellent
pictures, of which the house was full, and in discussing the real beauty and
charm of the garden…. In the meanwhile came the hour for supper, which
was no less beautiful and well arranged than copious and well provided.
Besides the most delicate viands and precious wines, there were all those
pleasures and amusements that are suited to the season, the guests and the
feast…. The sea, as soon as the sun went down, swarmed with gondolas,
adorned with beautiful women, and resounded with the varied harmony of
music of voices and instruments, which till midnight accompanied our
delightful supper.”

The darling of this beautiful home at Casa Grande was the painter’s
daughter Lavinia, and the portrait shows how she looked in 1549. Her mother
had died before the removal of the family to Biri, and the aunt, who had since
tried to fill the vacant place, died about the time this portrait was painted. A
new responsibility had therefore fallen upon the young girl, and she was now
her father’s chief consolation. It is thought that the picture was painted for
Titian’s friend Argentina Pallavicino of Reggio. As a guest at her father’s house
this gentleman must often have seen and admired the charming girl, and the
portrait was a pleasant souvenir of his visits.

Lavinia is seen carrying a silver salver of fruit, turning, as she goes, to look
over her shoulder. The open country stretches before her, and it is as if she
were stepping from a portico of the house to the garden terrace to bring the
fruit to some guest. She is handsomely dressed, as her father would like to
see his daughter. The gown is of yellow flowered brocade, the bodice edged
with jewelled cording. Over the neck is thrown a delicate scarf of some gauzy
stuff, the ends floating down in front. An ornamental gold tiara is set on the
wavy auburn hair, an ear-ring hangs from the pretty ear, and a string of pearls
encircles the neck. Imagine the figure against a deep red curtain, and you
have in mind the whole color scheme of this richly decorative picture.
 Fr. Hanfstaengl, photo. John Andrew & Son. Sc.

LAVINIA
Berlin Gallery

Lavinia, however, would be attractive in any dress, with her fresh young
beauty and simple unconscious grace. Her features are not modelled in classic
lines: the charm of the face is its fresh color, the pretty curves of the plump
cheek, and, above all, the sweet open expression. The hands are delicate and
shapely, as of one well born and gently reared. Lavinia is perhaps not a very
intellectual person, but she has a sweet sunny nature and is full of life and
spirits. It would seem impossible to be sad or lonely in her cheery company.
She holds her precious burden high, with an air of triumph, and turns with a
smile to see it duly admired. The delicious fruit certainly makes a tempting
display. The girl’s innocent round face and arch pose remind one of a playful
kitten.

The painter has chosen a graceful and unusual attitude. The curves of the
outstretched arms serve as counterbalancing lines to the main lines of the
figure. The artist himself was so pleased with the pose that he repeated it in
another picture, where Lavinia assumes the gruesome rôle of Salome, and
carries in her salver, in place of the fruit, the head of St. John the Baptist!

A few years after our portrait was painted, Lavinia was betrothed to
Cornelio Sarcinelli, of Serravalle, and a new portrait was painted in honor of
the event. When the marriage settlement was signed Lavinia brought her
husband a dowry of fourteen hundred ducats, a royal sum in those days. The
wedding was on the 19th of June, 1555.

Some years after her marriage Lavinia again sat to her father for her
portrait. Her beauty, as we have noted, was not of a lasting kind, and in the
passing years her fresh color faded, and she became far too stout for grace.
Yet the frank nature always made her attractive, and it is pleasant to see in
the kindly face the fulfilment of the happy promise of her girlhood.

VIII

CHRIST OF THE TRIBUTE MONEY

During the three years of Christ’s ministry, his words and actions were
closely watched by his enemies, who hoped to find some fault of which they
could accuse him. Not a flaw could be seen in that blameless life, and it was
only by some trick that they could get him into their power.

One plan that they devised was very cunning. Palestine was at that time a
province of the Roman empire, and the popular party among the Jews chafed
at having to pay tribute to the emperor Cæsar. On the other hand the
presence of the Roman governor in Jerusalem made it dangerous to express
any open rebellion. Jesus was the friend of the people, and many of his
followers believed that he would eventually lead them to throw off the Roman
yoke. As a matter of fact, however, he had taken no part in political
discussions.

His enemies now determined to make him commit himself to one party or
the other. If he declared himself for Rome, his popularity was lost; if against
Rome he was liable to arrest. The evangelists relate how shrewdly their
question was framed to force a compromising reply, and how completely he
silenced them with his twofold answer. This is the story:—

“Then went the Pharisees, and took counsel how they might entangle him
in his talk. And they sent out unto him their disciples with the Herodians,
saying, Master, we know that thou art true, and teachest the way of God in
truth, neither carest thou for any man: for thou regardest not the person of
men. Tell us therefore, What thinkest thou? Is it lawful to give tribute unto
Cæsar, or not?

“But Jesus perceived their wickedness, and said, Why tempt ye me, ye
hypocrites? Shew me the tribute money. And they brought unto him a penny.
And he saith unto them, Whose is this image and superscription? They say
unto him, Cæsar’s. Then saith he unto them, Render, therefore, unto Cæsar
the things which are Cæsar’s; and unto God the things that are God’s. When
they had heard these words, they marvelled and left him, and went their
way.”[13]

That was indeed a wonderful scene, and it is made quite real to us in our
picture: Christ and the Pharisee stand face to face, engaged in conversation.
A wily old fellow has been chosen spokesman for his party. His bronzed skin
and hairy muscular arm show him to be of a common class of laborers. The
face is seamed with toil, and he has the hooked, aquiline nose of his race. As
he peers into the face of his supposed dupe, his expression is full of low
cunning and hypocrisy. He holds between thumb and forefinger the Roman
coin which Christ has called for, and looks up as if wondering what that has to
do with the question.
 Picture from Carbon Print by Braun, Clément & Co. Andrew & Son. Sc.
John

CHRIST OF THE TRIBUTE MONEY

Dresden Gallery

Christ turns upon him a searching glance which seems to read his motives
as an open page. There is no indignation in the expression, only sorrowful
rebuke. His answer is ready, and he points quietly to the coin with the words
which so astonish his listeners.
 The character of Christ is so many-sided that any painter who tries to
represent him has the difficult task of uniting in a single face all noble
qualities of manhood. Let us notice what elements of character Titian has
made most prominent, and we shall see how much more nearly he satisfies
our ideal than other painters.

Refinement and intellectual power impress us first in this countenance: the

noble forehead is that of a thinker. The eyes show penetration and insight: we
feel how impossible it would be to deceive this man. It is a gentle face, too,
but without weakness. Here is one who would sympathize with the sorrowing
and have compassion on the erring, but who would not forget to be just.
Strength of character and firmness of purpose are indicated in his expression.
The highest quality in the face is its moral earnestness. Its calm purity
contrasts with the coarse, evil face of the questioner as light shining in the
darkness. There is, perhaps, only one other head of Christ in art with which it
can properly be compared, and this is by Leonardo da Vinci, in the Last
Supper at Milan. The two painters have expressed, as no others have been
able to, a spiritual majesty worthy of the subject.

The early painters used to surround the head of Christ with a circle of
gold, which was called a nimbus, a halo, or a glory. The custom had been
given up by Titian’s time, but we see in our picture the remnant of the old
symbol in the three tiny points of light which shine over the top and sides of
the Saviour’s hair. They are a mystic emblem of the Trinity.

The artistic qualities of the picture are above praise. There are few, if any,
of Titian’s works executed with so much care and delicacy of finish, but
without sacrificing anything in the breadth. We recognize the painter’s
characteristic touch in the disposition of the draperies, in the delicacy of the
hair, the modelling of the hands, and the pose of Christ’s head. The figures
have that quality of vitality which we observe in Titian’s great portraits. The
color of Christ’s robe is red, and his mantle a deep blue.

IX

THE BELLA
 Among Titian’s wealthy patrons was a certain Duke of Urbino, Francesco
Maria della Rovere, who, as the general-in-chief of the Venetian forces, came
to Venice to live when our artist was at the height of his fame. From this time
till the Duke’s death the painter was brought into relations with this noble
family. This was the period when the Bella was painted, and the picture has,
as we shall see, an intimate connection with these patrons.

The Duke’s wife was Eleanora Gonzaga, sister of the Duke of Mantua,
celebrated for her beauty and refinement. A contemporary (Baldassare
Castiglione) writing of the lady, says: “If ever there were united wisdom,
grace, beauty, genius, courtesy, gentleness, and refined manners, it was in
her person, where these combined qualities form a chain adorning her every
movement.”

The Duke himself was deeply in love with his wife. A week after his
marriage he wrote that “he had never met a more comely, merry, or sweet
girl, who to a most amiable disposition added a surprisingly precocious
judgment, which gained for her general admiration.” Eleanora, on her part A
showed an undeviating affection for her husband, and they lived together
happily.

From the date of her marriage, we can reckon that the Duchess must have
been well into her thirties when she came to Venice to live. From a portrait
Titian painted of her, when she was about forty, we see that much of the
fresh beauty of her girlhood had faded. She had, however, good features, with
large, fine eyes and arching brows. Her figure was graceful and her neck
beautiful: the head was particularly well set.

All these qualities kindled the artistic imagination of Titian. In the matron
of forty his inner eye caught a vision of the belle of twenty. Thereupon, he
wrought an artist’s miracle: he painted pictures of Eleanora as she had looked
twenty years before. One of these, and perhaps the most famous, is the Bella
of our illustration.[14] The identity of the original is hidden under this simple
title, which is an Italian word, meaning the Beauty. An ancient legend tells of
a wonderful fountain, by drinking of which a man, though old, might renew
his youth and be, like the gods, immortal. There were some who went in
quest of these waters, among them, as we remember, the Spanish knight,
Ponce de Leon, who, thinking to find them north of Cuba, discovered our
Florida. The Duchess of Urbino found such a fountain of youth in the art of
Titian. Comparing her actual portrait with the Bella, painted within a few
years, it seems as if the lady of the former had quaffed the magic draught
which had restored her to her youthful beauty.

Picture from Carbon Print by Braun, ClémentJohn

& Co.Andrew & Son. Sc.

THE BELLA
Pitti Gallery, Florence

The Bella is what is called a half length portrait, the figure standing, tall,
slender, and perfectly proportioned. The lady turns her face to meet ours, and
whether we move to the right or the left, the eyes of the enchantress seem to
follow us. We fall under their spell at the first glance; there is a delightful
witchery about them.

The small head is exquisitely modelled, and the hair is coiled about it in
close braids to preserve the round contours corresponding to the faultless
curves of cheek and chin. The hair is of golden auburn, waving prettily about
the face, and escaping here and there in little tendrils. Over the forehead it
forms the same perfect arch which is repeated in the brows. The slender
throat is long and round, like the stalk of a flower; the neck and shoulders are
white and firm, and shaped in beautiful curves.

The rich costume interests us as indicating the fashions in the best

Venetian society of the early 16th century. Comparing it with that of the
Empress Isabella in our other picture,[15] we notice that at the same period
the Venetian styles differed considerably from the Spanish, to the advantage
of the former. Instead of the stiff Spanish corset which destroyed the natural
grace of the figure, the Bella wears a comfortably fitting bodice, from which
the skirt falls in full straight folds. The dress is of brownish purple velvet,
combined with peacock blue brocade. The sleeves are ornamented with small
knots pulled through slashes. A long chain falls across the neck, and jewelled
ear-rings hang in the ears.[16]

It is pleasant to analyze the details of the figure and costume, but after all
the charm of the picture is in the total impression it conveys. Applied to this
lovely vision of womanhood the words of Castiglione seem no flattery. In her
are united “grace, beauty, courtesy, gentleness, and refined manners.” The
essence of aristocracy is expressed in her bearing: the pose of the head is
that of a princess. There is no trace of haughtiness in her manner, and no
approach to familiarity: she has the perfect equipoise of good breeding.

The picture gives us that sense of a real presence which it was the
crowning glory of Titian’s art to achieve. The canvas is much injured, but the
Bella is still immortally young and beautiful.

MEDEA AND VENUS

 (Formerly called Sacred and Profane Love)
A charming story is told in Ovid’s “Metamorphoses” of Jason’s adventures
in search of the golden fleece, and of his love for Medea.[17] Jason was a
Greek prince, young, handsome, brave, and withal of noble heart. He had
journeyed over seas in his good ship Argo, and had at last come to Colchis to
win the coveted treasure.

The King Æëtes had no mind to give up the fleece without a struggle, and
he set the young hero a hard task. He was ordered to tame two bulls which
had feet of brass and breath of flame. When he had yoked these, he was to
plough a field and sow it with serpent’s teeth which would yield a crop of
armed men to attack him. While Jason turned over in his mind how he should
perform these feats, he chanced to meet the king’s beautiful daughter Medea.
At once the two fell in love with each other, and Jason’s fortunes took a new
turn. Medea possessed certain secrets of enchantment which might be of
practical service to her lover in his adventure. She had a magic salve which
protected the body from fire and steel. She also knew the charm—and it was
merely the throwing of a stone—which would turn the “earth-born crop of
foes” from attacking an enemy to attack one another. Finally she had drugs
which would put to sleep the dragon guarding the fleece.

To impart these secrets to Jason might seem an easy matter, but Medea
did not find it so. She was a loyal daughter, and Jason had come to take her
father’s prized possession. She would be a traitor to aid a stranger against her
own people. The poet tells how in her trouble the princess sought a quiet spot
where she might take counsel with herself.

“In vain,” she cried,

“Medea! dost thou strive! Some deity
Resists thee! Ah, this passion sure, or one
Resembling this, must be what men call love!
Why should my sire’s conditions seem too
hard?
And yet too hard they are! Why should I shake
And tremble for the fate of one whom scarce
These eyes have looked on twice? Whence
comes this fear
I cannot quell? Unhappy! from thy breast
Dash out these new-lit fires!—Ah! wiser far
 If so I could!—But some new power constrains,
And reason this way points, and that way,
love.”

The struggle goes on for some time, and the maiden’s heart is torn with
conflicting impulses. Summoning up “all images of right and faith and shame
and natural duty,” she fancies that her love is conquered. A moment later
Jason crosses her path and the day is lost. Together they pledge their vows at
the shrine of Hecate, and in due time they sail away in the Argo with the
golden fleece.

Picture from Carbon Print by Braun, Clément & Co. John Andrew & Son. Sc.

MEDEA AND VENUS

Borghese Gallery, Rome

Our picture illustrates the scene of Medea’s temptation at the fountain.

The tempter is love, in the form of Venus, the Greek goddess represented in
the old mythology as the inspirer of the tender passion. She is accompanied
by the little love-god Cupid, the mischievous fellow whose bow and arrow
work so much havoc in human hearts. The perplexed princess sits beside the
fountain, holding her head in the attitude of one listening. Venus leans
towards her from the other side and softly pleads the lover’s cause. Cupid
paddles in the water as if quite unconcerned in the affair, but none can tell
what mischief he is plotting.

We notice a distinct resemblance between the faces of the two maidens,

and perhaps this is the painter’s way of telling us that Venus is only Medea’s
other self: the voice of the tempter speaks from her own heart. The
expression is quite different on the two faces, tender and persuasive in Venus,
dreamy and preoccupied in Medea. If we turn again to Ovid for the
interpretation of the picture, we may fancy that Venus is describing the proud
days when, as Jason’s bride, Medea would journey with him through the cities
of Greece. “My head will touch the very stars with rapture,” thought the
princess.

The dress of Medea is rich and elegant, but quite simply made; the heavy
folds of the skirt describe long, beautiful lines. In one gloved hand she holds a
bunch of herbs, and the other rests upon a casket.

The figure of Venus is conceived according to classic tradition, undraped,

as the goddess emerged from the sea-foam at her birth. In the Greek religion
the human body was honored as a fit incarnation for the deities. Sculptors
delighted in the long flowing lines and beautiful curves which could be
developed in different poses. Titian’s picture translates the spirit of Greek
sculpture, so to speak, into the art of painting. The figure of Venus may well
be compared with the marble Venus of Milo, in the pure beauty of the face,
the exquisite modelling of the figure, and the sweeping lines of grace
described in the attitude.[18] The painter contrasts the delicate tint of the
flesh with the rich crimson of the mantle which falls from the shoulder.

The landscape is a charming part of the picture, stretching on either side

in sunny vistas, pleasantly diversified with woods and waters, hills and pasture
lands, church and castle.[19] Sunset lights the sky, and lends its color to the
glowing harmonies of the composition.

XI

THE MAN WITH THE GLOVE

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