Part 3 (2/2)
[13] The inscription on a cartellino at the base of the picture, ”Ritratto di uno di Casa Pesaro in Venetia che fu fatto generale di Sta chiesa titiano fecit,” is unquestionably of much later date than the work itself The cartellino is entirely out of perspective with the marble floor to which it is supposed to adhere The part of the background showing the galleys of Pesaro's fleet is so coarsely repainted that the original touch cannot be distinguished The form ”titiano” is not to be found in any authentic picture by Vecelli
”Ticianus,” and much more rarely ”Tician,” are the forms for the earlier time; ”titianus” is, as a rule, that of the later time The two forms overlap in certain instances to be presently _, re-edited by Sir Henry Layard
[15] Marcantonio Michiel, who saw this _Baptism_ in the year 1531 in the house of M Zuanne Ram at S Stefano in Venice, thus describes it: ”La tavola del S Zuane che battezza Cristo nel Giordano, che e nel fiuinocchia, con el bel paese, ed esso M Zuanne Ram ritratto sino al cinto, e con la schena contro li spettatori, fu de no_, pubblicata da J Jacopo Morelli, Ed Frizzoni, 1884)
[16] This picture having been brought to coreat altar-piece with the sah-altar in the Church of S Giovanni in Bragora at Venice, being dated 1494, the inference is irresistible that in this case the head of the school borrowed uise from the painter who has always been looked upon as one of his close followers In size, in distribution, in the arrangeroups, the two altar-pieces are so nearly related that the idea of a merely accidental and family resemblance must be dismissed This type of Christ, then, of a perfect,majesty, dates back, not to Gian Bellino, but to Cima The preferred type of the elder master is more passionate, more human Our own _Incredulity of St
Thomas_, by Cima, in the National Gallery, shows, in a much more perfunctory fashi+on, a Christ similarly conceived; and the beautiful _Man of Sorrows_ in the same collection, still nominally ascribed to Giovanni Bellini, if not from Cima's own hand, is at any rate from that of an artist doliano master has been more closely studied in connection with that of his contemporaries, it will probably appear that he owes very much less to Bellini than it has been the fashi+on to assume The idea of an actual subordinate co-operation with the _caposcuola_, like that of Bissolo, Rondinelli, Basaiti, and so many others, must be excluded The earlier and more masculine work of Cina
[17] The _Tobias and the Angel_ shows soe _Madonna and Child with St Agnes and St John_ by titian, in the Louvre--a hich is far frohout in quality The beautiful head of the St
Agnes is but that of the er than the Tobias, has very much the same type and movement of the head There is in the Church of S Caterina at Venice a kind of paraphrase with ned by Ridolfi to the great o (Crowe and Cavalcaselle, vol ii p 432) Here the adapter has ruined titian's great conception by substituting his own trivial archangel for the superb figure of the original (see also a modern copy of this last piece in the Schack Gallery at Munich) A reproduction of the titian has for purposes of coraph (p 99)
[18] Vasari places the _Three Ages_ after the first visit to Ferrara, that is almost as much too late as he places the _Tobias_ of S
Marciliano too early He describes its subject as ”un pastore ignudo ed una forese chi li porge certi flauti per che suoni”
[19] Froione's great _Venus_ now in the Dresden Gallery, in the year 1525, when it was in the house of Jeronimo Marcello at Venice, we learn that it was finished by titian The text says: ”La tela della Venere nuda, che dorme ni uno paese con Cupidine, fu de mano de Zorzo da Castelfranco; ma lo paese e Cupidine furono finiti da Tiziano” The Cupid, irretrievably daether removed, but the landscape re faures in the _Three Ages, Sacred and Profane Love_, and the ”_Noli ere_” of the National Gallery The same _Anonimo_ in 1530 saw in the house of Gabriel Vendrael_, fro to him, had been retouched by titian It need hardly be pointed out, at this stage, that the work thus indicated has nothing in cohly second-rate _Dead Christ supported by Child-Angels,_ still to be seen at the Monte di Pieta of Treviso The engraving of a _Dead Christ supported by an Angel_, reproduced in M
Lafenestre's _Vie et Oeuvre du titien_ as having possibly been derived froinal, is about as unlike his work or that of titian as anything in sixteenth-century Italian art could possibly be In the extravagance of its mannerism it comes much nearer to the late style of Pordenone or to that of his ien_, Heft I 1895
[21] See also as to these paintings by Giorgione, the _Notizia d' Opere di Disegno_, pubblicata da D Jacopo Morelli, Edizione Frizzoni, 1884
[22] M Thausing, _Wiener Kunstbriefe_, 1884
[23] _Le Meraviglie dell' Arte_
[24] The original drawing by titian for the subject of this fresco is to be found a those publicly exhibited at the ecole des Beaux Arts of Paris It is in error given by Morelli as in the Malcoles Lafenestre repeats this error in his _Vie et Oeuvre du titien_ The drawing differs so essentially from the fresco that it can only be considered as a discarded design for it It is in the style which Doionesque-titianesque phase, so assiduously imitates
[25] One of the raphy of titian is to speak of the _St Mark_ as ”una piccola tavoletta, un S Marco a sedere in roup of works, all of the to the quite early years of the sixteenth century, there should also beand as yet little known _Herodias with the head of St John the Baptist_ by Sebastiano Luciani, bearing the date 1510 This has recently passed into the rich collection of Mr George Salting It shows the painter adionesque phase, the authentic date bearing witness that it was painted during the lifetireat altar-piece by Sebastiano at S Giovanni Crisostomo in Venice, with Sir Francis Cook's injured but still lovely _Venetian Lady as the Magdalen_ (the saionesque _Saints_ in the Church of S Bartolommeo al Rialto
[27] _Die Galerien zu Munchen und Dresden_, p 74
[28] The _Christ_ of the Pitti Gallery--a bust-figure of the Saviour, relieved against a level far-stretching landscape of the ood many years after the _Cristo della Moneta_ In both works the beauty of the hand is especially remarkable The head of the Pitti _Christ_ in its present state in; but the pathetic and intensely significant landscape is one of titian's loveliest
[29] Last seen in public at the Old Masters' Exhibition of the Royal Acadeestion was made, when the _Ariosto_ was last publicly exhibited, that it ht be that _Portrait of a Gentle to Vasari, titian painted onderful skill at the age of eighteen The broad, masterly technique of the Cobham Hall picture in no way accords, however, with Vasari's description, and hteen, not even titian, could have attained And then Vasari's ”giubbone di raso inargentato” is not the superbly lurey sleeve of this _Ariosto_, but surely a vest of satin enature, ”titianus F,” on the stone balustrade, which is one of the , and most probably a later addition It seeinally only the ”V” repeated, which curiously enough occurs also on the si Venetian_, by Giorgione, first cited as such by Morelli, and now in the Berlin Gallery, into which it passed fronature ”Ticianus”
occurs, as a rule, on pictures belonging to the latter half of the first period The works in the earlier half of this first period do not appear to have been signed, the ”titiano F” of the _Baffo_ inscription being admittedly of later date Thus that the _Cristo della Moneta_ bears the ”Ticianus F” on the collar of the Pharisee's shi+rt is an additional arguiven by Vasari (1514), instead of putting it back to 1508 or thereabouts Anature e au Lapin_ of the Louvre; the _Madonna with St Anthony Abbot_ of the Uffizi; the _Bacchus and Ariadne_, the _assunta_, the _St Sebastian_ of Brescia (dated 1522) The _Virgin and Child with St Catherine_ of the National Gallery, and the _Christ with the Pilgrims at Ened ”Tician” The usual signature of the later ti the first works to show it being the Ancona altar-piece and the great _Madonna di San Niccol_ now in the Pinacoteca of the Vatican It has been incorrectly stated that the late _St Jeronature, ”Ticianus F” This is not the case The signature is h in a somewhat unusual character
[31] Crowe and Cavalcaselle describe it as a ”picture which has not its equal in any period of Giorgione's practice” (_History of Painting in North Italy_, vol ii)
[32] A to this early period, but to which within it the writer hesitates to assign an exact place, are the so-called _titian's Physician Parma_, No 167 in the Vienna Gallery; the first-rate _Portrait of a Young Man_ (once falsely named _Pietro Aretino_), No 1111 in the Alte Pinakothek of Munich; the so-called _Alessandro de' Medici_ in the Hampton Court Gallery The last-named portrait is a work injured, no doubt, but of extraordinary force and conciseness in the painting, and of no less singular power in the characterisation of a sinister personage whose true naory_, representing a sphinx or chimaera--now framed with the rest as the centre of an ensemble--is from another and far inferior hand, and, moreover, of different dimensions The so-called _Venus_ of the Inature of Bellini and the date (MDXV), by Bissolo
[34] In Bellini's share in the landscape there is not a little to remind the beholder of the _Death of St Peter Martyr_ to be found in the Venetian rooned to the great h it is beyond reasonable doubt by one of his late pupils or followers