entered so very deeply into the Titian manner. He pronounces him the
first, who, subsequent to the revival of painting, knew how to avail
himself of the ideal, as it were, of different colours in his draperies.
Before his time all colours had been applied indifferently, and artists
used them in the same measure for clear and for obscure. Titian was
aware, if indeed he did not acquire his knowledge from Giorgione, that
red brings objects nearer to the eye, that yellow retains the rays of
light, that azure is a shade, and adapted for deep obscure. Nor was he
less intimate with the effects of juicy colours, and was thus enabled to
bestow the same degree of grace, clearness of tone, and dignity of
colour, upon his shades and middle tints, as upon his lights, as well as
to mark with great diversity of middle tints, the various complexions,
and the various superficies of bodies. No other artist, likewise, was
more accurately acquainted with the mutual power or equipoise of the
above three colours, upon which the harmony of pictures so much depends;
an equipoise, too, so difficult in practice, to which not even Rubens,
however excellent a colourist, perfectly attained.
Both Titian's inventions and compositions partake of his usual
character; he produced nothing in which nature was not consulted. In the
number of his figures he is inclined to be moderate; and in grouping
them he displays the finest unshackled art; an art he was fond of
exemplifying by comparison with a bunch of grapes, where a number of
single ones compose the figure of a whole, agreeably rounded, light
through the openings, distinct in shades, in middle tints, and in
lights, according as it receives more or less of the solar rays. No
contrasts are to be met with in these compositions that betray a studied
effect; no violent action that is not called for by the incidents of the
story; the actors in general preserve their dignity, and a certain
composure, as if each seemed to respect the assembly of which he formed
a part. Whoever is attached to the taste of the Greek bassi relievi, in
which all is nature and propriety, will invariably prefer the sober
composition of Titian to the more fiery one of Paul Veronese and
Tintoret, whose merits we shall canvass in another place. Neither was
Titian ignorant of those strong contrasts of limbs and action, then in
such high vogue with his countrymen; but these he reserved for his
bacchanals, his battle pieces, and other subjects, in fine, which called
for them.
It is on all hands admitted, that as a portrait painter, he was quite
incomparable; and to this species of excellence he was in great part
indebted for his fortune, smoothing, as it did, his reception into some
of the most splendid courts, such as were that of Rome in the time of
Paul III. and those of Vienna and of Madrid, during the reign of Charles
V. and his successors. It is the opinion of Vasari that in this branch
of his art he was inimitable; being engaged in drawing the portraits of
numbers of the most distinguished characters, both for rank and letters,
who flourished during the same period. We wish we could add to these the
name of Cosmo I., grand duke of Tuscany, who, little to his credit,
evinced an objection to have his likeness taken by so celebrated a hand.
He was no less successful in depicting the passions of the mind. The
death of S. Peter the Martyr, at Venice, with that of a devotee of S.
Antony, at the college of the same name in Padua, display scenes than
which I know not whether painting can afford us any thing more terrific
in the ferocity of those who strike, or more full of compassion in the
whole attitude of the falling saint. And thus the grand picture of the
Coronation of Thorns, in the Grazie at Milan, abounds with powers of
expression that enchant us. He has left us also not a few examples of
costume, and of erudition in the antique, every way worthy of imitation,
as we may observe in the Coronation above alluded to, where, desirous of
marking the precise period of the event, he inserted in the Pretorium a
bust of Tiberius; an idea that could not have been better conceived,
either by Raffaello or Poussin. In his architecture he sometimes availed
himself of other works, in particular those of the Rosa, of Brescia; but
his perspectives, like that of his picture of the Presentation, are
extremely beautiful. He was equalled by none in his landscape; and he
was careful not to employ it, like some artists, as a mere
embellishment; several artists esteeming themselves so highly in this
particular, that they hardly scruple to present us with cypress trees
growing out of the sea. But Titian makes his landscape subservient to
history, as in that horrific wood, whose dreary aspect adds so much to
the solemnity of S. Peter's death; or to give force to his figures, as
we perceive them in those pieces where the landscape is thrown into the
distance. His natural manner of representing the various effects of
light may be best gathered from his Martyrdom of San Lorenzo, belonging
to the Jesuits at Venice, in which he displayed such an astonishing
diversity in the splendour of fire, in that of torchlights, and in that
of a supernatural light, which appears to fall upon the martyr; a
picture unfortunately much defaced by age, but of which there is a near
imitation or duplicate in the Escurial. He likewise expressed, with the
utmost felicity, the time of the day in which the event is supposed to
have taken place, and he frequently selected nightfall, drawing forth
all its most beautiful attributes for the canvass.
From the whole of this it may be inferred that Titian is not to be
included in that class of Venetian artists, whose rapidity of hand
overpowered their judgment, rendering them somewhat careless and
inaccurate; though, at the same time, we must speak of his celerity with
some degree of reservation. A freedom of pencil must doubtless be
granted to him, and he thus applied it without failing in point of
design, to his paintings in fresco, as they are to be seen in Padua, and
which, in some measure, compensate us for the loss of those in the
Venetian capital. In that city we have nothing of the same kind in
preservation, if we except, perhaps, his S. Christopher, adorning the
ducal palace; a majestic figure, both in its character and its
expression. We are not, however, to look for the same degree of freedom
in his pictures in oil. Indeed he was by no means ambitious of
displaying it; but rather encountered much painful labour to arrive at a
perfect knowledge of his subjects. With this view, after throwing off a
rough draught of his intended works, with a certain freedom and
resolution, he was in the habit of laying them for some time aside, and
again returned to them with an eye prepared to detect every the least
defect. The noble Casa Barbarigo, among a fine selection of his most
highly finished pictures, preserves, also, a few of these first
sketches. It is well known that he underwent extreme labour in the
completion of his works, and, at the same time, was very solicitous to
conceal the pains he bestowed upon them. Yet in some of his pieces such
spirited and resolute strokes are to be met with as seem to imprint upon
every object the true character of nature, attain at once the points
that have been long laboriously aimed at, and perfectly delight
professors. To this practice he adhered in the zenith of his fame; nor
was it until near the close of his existence, falling a victim to the
plague when within a year of completing a century, that both his hand
and eye failing him, his style became less elegant, being compelled to
paint with repeated efforts of the brush, and with difficulty mingling
his tints. Vasari, who saw him once more in 1566, even then was no
longer able to recognize Titian in Titian, and it must have been much
more difficult in the few following years. Yet, as is customary with old
age, he was not at all aware of his failings, and continued to receive
commissions until the final year of his life.
There remains at S. Salvatore, one of these pictures of the
Annunciation, which attracts the spectator only from the name of its
master. Yet when he was told by some that it was not, or at least
appeared not to have been executed by his hand, he was so much
irritated, that in a fit of senile indignation, he affixed to it the
following words, "_Tizianus fecit fecit._" Still the most experienced
judges are agreed that much may be learned even from his latest works;
in the same manner, as the poets pronounce judgment on the Odyssey, the
product of old age, but still by Homer. Several of these last specimens,
distributed throughout private collections, are nevertheless doubtful,
as well as a few copies made by his pupils, but retouched by his hand;
and in particular some Madonnas and Magdalens, which I have seen in
various places, displaying little or no variety. Upon this point we
ought not to omit the account given by Ridolfi, of his having purposely
left his studio open for the free access of his disciples, in order that
they might secretly take copies of such pictures as he had placed there.
That afterwards when he found such copies became vendible, he gladly
took possession of them, and retouching them with little trouble, they
were passed as his originals. The reporter of this incident added a
marginal note to his account, as follows: _Vedi che accortezza!_ behold
what a degree of forecast! And to this I might rejoin with another of my
own: "Note, that the worth of Titian ought not to be estimated, as is
too often the case, by this multiplication of originals."
Following the usual order, I shall now proceed to describe the imitators
of Titian; by no means so excellent a master as an artist. Whether
disliking the interruption and tediousness attaching to such a
character, or apprehensive of meeting with a rival, he was always averse
to affording his instructions. He was extremely harsh with Paris
Bordone, and even entered into decided hostility against him, an artist
who burned with an ambition to resemble him. He banished Tintoret from
his studio, and artfully directed his own brother to mercantile
pursuits, though he displayed uncommon talents for painting. "Hence,"
observes Vasari, "there are few who can really be called his disciples,
inasmuch as he taught little; but each learned more or less according as
he knew how to avail himself of the productions of Titian."
His family of itself enumerated several artists, the series of whom may
be seen at Cadore, and in part at the adjacent city of Belluno. There,
too, contemporary with the Vecellj, flourished one Niccolo di Stefano, a
painter deserving of commendation, no less for having competed with the
family of Titian, than for the reputation he acquired in such
competition. His rivals among the Vecellj, were Francesco, the brother,
and Orazio, a son of Titian, who approached him pretty nearly in point
of style. They devoted, however, little attention to the arts, one of
them having duties of a military and mercantile nature to discharge, and
the other having thrown away much of his time and fortune upon the idle
pursuit of alchemy. Several pictures by Francesco are to be seen at San
Salvatore, in Venice, consisting of a tolerably well executed Magdalen,
appearing at the feet of Christ risen, at Oriago, on the banks of the
river Brenta, and a grand Nativity of our Lord, at San Giuseppe, in
Belluno, which, until lately, was esteemed a fine specimen of Titian,
when Monsignor Doglioni traced it by authentic documents to its real
author. The production, however, which gave rise to Titian's jealousy,
was the altarpiece at San Vito, in Cadore, in which, among the other
saints, he represented the figure of the denominator of the town, in a
military dress. Orazio was considered a good portrait painter, even so
far as to rival his father; and he likewise painted, for the public
palace a history piece, very beautiful, though retouched by Titian's
hand, which has since perished by fire. I find no account of Pomponio,
another son of Titian's, having applied himself to the art, though he
survived both his father and brother, who both died in the same year,
and dissipated his inheritance.
Marco Vecellio conferred more honour upon his family, and being the
nephew, the pupil, and intimate companion of the great Vecellio in his
travels, received the title of Marco di Tiziano. In simple composition
and mechanism of the art, he was a good disciple of his master; but he
had not the genius to inspire his figures and interest the eye of the
spectator, like his great contemporary. He was, nevertheless, esteemed
worthy of the honour of ornamenting several chambers of the Venetian
senate, with history pieces and portraits of saints that are yet
preserved. Some of his altarpieces, likewise, still exist at Venice, in
Trevigi, and in the Friuli; while one of his large pictures, adorning a
parish church at Cadore, the native place of the Vecellj, has more
particularly elicited the highest commendations. In this appears the
Crucifixion, represented in the midst, with two histories of S.
Catherine, _V. M._, her controversy, and her martyrdom, supporting
either side. Tiziano Vecellio, called, to distinguish him from the
former, Tizianello, was the son of Marco, whose name I include with
those of the other Vecellj, in order to avoid recurring to a family of
artists which ought to be made known and described in full. This last
artist flourished about the beginning of the seventeenth century, when
mannerism began its innovations upon Venetian painting. And those
specimens of him possessed by Venice, at the Patriarchal church, at the
Servi, and elsewhere, exhibit him in a very opposite taste to that of
his predecessors, with larger forms, but less imposing; a full and free
pencil, but destitute of softness of hand; so powerful is the influence
of reigning example over family descent and education. In portraits,
nevertheless, and in heads, very capriciously varied and ornamented, I
find him to be in much esteem among artists.
Fabrizio di Ettore traced his origin to another branch of the Vecellj.
His name had hitherto been confined within his native spot of Cadore,
until brought to light by Rinaldis, who gives some account of a fine
painting he executed for the council hall of the parish, and for which
he was paid sixteen gold ducats, no despicable sum at the period when he
flourished. He died in the year 1580. His brother, of the name of
Cesare, was likewise long unknown to pictorial history, although his
productions are pointed out at Lintiai, at Vigo, at Candide, and at
Padola. His name is more familiar to engravers, inasmuch as he gave to
the world two works of Etchings, during the period of his residence in
Venice. One of these, at present very scarce, contains, "Ogni sorte di
mostre di punti tagliati, punti in aria," &c. The other is upon "ancient
and modern costume," and has been several times republished, and once in
1664, with a false title; where Cesare is mentioned as a brother of the
great Titian. A third Vecellio, an artist of the name of Tommaso, has,
in a similar way, sprung into notice, one of whose productions,
consisting of a _Nunziata_, is preserved in the parish church of Lozzo,
as well as a Supper of our Lord, both which the historian pronounces
estimable. This artist died in 1620.
Another scion from the stock, though not from the studio of Titian, is
Girolamo Dante, otherwise Girolamo di Tiziano, and first among his
followers to be here mentioned. He was educated and employed, both as a
scholar and assistant, by Titian, in his less important works. And in
fact, by dint of assisting and copying the originals of his master, he
attained such a degree of excellence, that such of his pieces as were
retouched by Titian, bid defiance often to the most exact connoisseurs.
He also produced works of design, and the altarpiece attributed to him
at San Giovanni in Olio, reflects credit upon so great a school.
Domenico delle Greche, named in the dictionary of artists, Domenico
Greco, and in another article, Domenico Teoscopoli, was an artist
employed by Titian in engraving his designs. The very copious print of
the Submersion of Pharaoh, to say nothing of the others, is sufficient
proof of his worth in this kind of engraving. No specimen of his
painting is pointed out with certainty in Italy; many, however, in
Spain, where, having accompanied his master thither, he resided during
the remainder of his days. There, too, he produced portraits and
altarpieces, which, according to Palomino, appeared to be from the hand
of Titian himself. But he entered upon a new style, in which he
altogether failed, and for a more particular account of this artist we
must here refer the reader to the _Lettere Pittoriche_, (vol. vi. p.
314).
The shortness of their career interrupted the fame of two other
Venetians, both dying young, after having given the most astonishing and
lively promise of future distinction. The name of one was Lorenzino, who
produced, at SS. Giovanni and Paolo, several finely designed ornaments
over a tomb, with two noble figures of Virtues, still highly esteemed
for their symmetry, their attitude, and their colouring. The other was
Natalino da Murano, as excellent in portrait as any other of the fellow
pupils of his time, as well as a good composer in pictures for private
ornament, from which Venetian dealers reaped greater profit than the
artist. One of his Magdalens, which, in spite of frequent retouches,
preserved much of the Titian manner, was put up to sale in Udine, where
I saw it; and after some difficulty deciphered his name and the date of
1558, in very faint characters. There was likewise one Polidoro, a
Venetian, who supplied the shops to abundance with specimens of his
sacred figures. He appears, for the most part, a feeble disciple of
Titian; one who made a trade of his profession. To judge from an
altarpiece preserved at the Servi, and some other pictures in Venice, we
may pronounce him a tolerably good composer, though he never
distinguished himself much in the rank of his contemporaries. Yet when
the great school declined, his labours, such as they were, acquired more
esteem, and were exhibited in the studios of those artists, much in the
same manner as sculptors are accustomed to collect specimens of ancient
marbles, however inferior, as advantageous in the pursuit of their art.
Such is the influence of a great master's reputation, and the maxims of
a flourishing epoch, in the estimation of an artist's merit. Doubts have
been started as to his real name, although in the Necrologio of S.
Pantaleone he is expressly called _Polidoro Pittore_. This supposition
appears to have arisen from a little oblong painting, in the style of
Polidoro's Madonnas, preserved by the noble Casa Pisani, where is formed
so valuable a collection of monuments and books. The painter's name
affixed to it, is "_Gregorius Porideus_;" but whatever resemblance we
trace in the two names, it is not sufficient to mark Polidoro for the
author of that piece, most probably the production of one of Titian's
imitators, whose name is fallen with many others of an inferior class,
into oblivion. We must not, however, include that of Gio. Silvio, a
Venetian, which, omitted in the history of his native place, still
vindicates its title to notice, by numerous works dispersed throughout
the state of Trevigi, and a very elegant altarpiece, executed for the
collegiate church of Piove di Sacco, a municipality of the Padovano. It
represents San Martino in his episcopal chair, between the two Apostles
Peter and Paul; three angels form the accessaries, two in the act of
raising his pastoral staff, and the third playing upon a harp, at the
foot of the throne, extremely graceful, like the rest, and displaying a
degree of taste and nature, such as we find in Titian. If we cannot then
adduce authority sufficient to prove that Silvio was his scholar, it
may, at least, from such a specimen, be strongly suspected.
I am indebted to Sig. Ab. Morelli, who in the _Notizia_ already cited,
has pointed out the true birthplace of Bonifazio Veneziano, who appears,
notwithstanding the authority of Vasari, Ridolfi, and Zanetti, to have
been a native of Verona, not of Venice. He is pronounced by Ridolfi a
pupil of Palma, and by Boschini, on the other hand, the disciple of
Titian, whom he followed as closely as his shadow. It was an usual
observation, during the time of Boschini, and yet repeated indeed, in
regard to certain doubtful pieces; is it a Titian or a Bonifazio? He
approached nearest, perhaps, to Vecellio, in his Supper of our Lord,
preserved in the monastery of the Certosa. For the most part he boasts a
freedom, a spirit, and grandeur of hand, peculiarly his; although it is
known that he greatly admired the vigour of Giorgione, the delicate
taste of Palma, and the attitude and composition of Titian. The merit of
this professor of the art was early appreciated, and historians have
often observed that the three most distinguished artists of that period
were Titian, Palma, and Bonifazio. Public edifices abound with his
productions, and the ducal palace, among other of his historical pieces,
boasts that grand Expulsion of the money dealers from the Temple, which,
for the number of the figures, for its spirit, and power of colouring,
as well as for its fine perspective, is enough to render his name
immortal. A more than mortal air of divinity shines in the countenance
of the Redeemer, who, alone and unsupported, throws consternation into a
crowd of people intent upon their worldly interests, and with a mere
scourge of ropes, from which they fly in the utmost terror. And how
anxiously is some wretch seen collecting his money upon those tables
glittering with silver and gold; and with what dread he looks back, in
order that he may escape from the blows! What an expression of alarm is
seen in the countenance of each spectator; women, boys, people of every
rank, terrified at the strangeness of the spectacle! This noble picture
was presented to the public collection, not long ago, by the family of
the Contarini; and for this reason we find no notice taken of it in the
work of Zanetti. Other paintings might be mentioned upon a grand scale,
and rich in figures, adapted for private collections; the most
celebrated, perhaps, of which are his series of Triumphs, taken from
Petrarch; pieces that have since passed into England. He likewise
employed himself upon pictures of a smaller size, rarely, however, to be
met with. One of these, a Holy Family at Rome, is in possession of
Prince Rezzonico. The scene represents the workshop of S. Joseph, where
he is seen reposing, while the Virgin is intent upon her domestic
duties, and a group of angels surrounds the infant Jesus, who is playing
with the instruments of the saint's occupation. One of these is employed
in placing two pieces of wood in the form of a cross, an idea frequently
imitated by Albano. It is worth observation that Orlandi and other
writers have confounded this artist with Bonifazio Bembo, many years
anterior to him, and born at Cremona. The resemblance of names has
likewise misled a more recent author in regard to another Venetian
painter, mistaken for a native of Lucca. He painted a virgin with four
saints for San Francesco, at Padua; a piece between the style of the
moderns and the Bellini, to which is affixed the name _Paulus Pinus Ven.
1565_. And in the castle of Noale, in the state of Trevigi, he adorned
with historical figures, adapted to the place, the public gallery, both
interior and exterior, near which the judge is accustomed to hear cases
and decide differences. Whoever is acquainted with the "Dialogue upon
Painting," published by this professor at Venice as early as 1548,
where, in the dedication, he professes himself a Venetian, and whoever
has seen his works will be in no danger of confounding him with Paul
Pini, of Lucca, of the Caracci School, whom we shall meet with beyond
the precincts of his native place, like numerous others of his fellow
citizens.