Titian; a collection of fifteen pictures and a portrait of the painter Part 5

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 att.i.tude is similar to that of a gondolier plying his oar. The child, too, is a child of the people, a st.u.r.dy little fellow, quite at ease in his perilous position. We shall understand better the range of t.i.tian's art by contrasting these more commonplace figures with the refined and elegant types we see in some of our other ill.u.s.trations.

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 t.i.tian, it is interesting to know than an eminent critic p.r.o.nounces 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 t.i.tian 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 n.o.blemen, and he himself lived like a prince.

When somewhat over fifty years of age t.i.tian 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 t.i.tian 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 amus.e.m.e.nts 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 t.i.tian'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.

[Ill.u.s.tration: 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 cla.s.sic 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 att.i.tude. 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 a.s.sumes the gruesome role 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 pa.s.sing 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 Caesar. 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 G.o.d 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 Caesar, 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, Caesar's. Then saith he unto them, Render, therefore, unto Caesar the things which are Caesar's; and unto G.o.d the things that are G.o.d'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 cla.s.s 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.

[Ill.u.s.tration: Picture from Carbon Print by Braun, Clement & Co.

John Andrew & Son. Sc.

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 n.o.ble qualities of manhood. Let us notice what elements of character t.i.tian 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 n.o.ble 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 compa.s.sion 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 coa.r.s.e, evil face of the questioner as light s.h.i.+ning 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 t.i.tian's time, but we see in our picture the remnant of the old symbol in the three tiny points of light which s.h.i.+ne 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 t.i.tian'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 t.i.tian's great portraits. The color of Christ's robe is red, and his mantle a deep blue.

IX

THE BELLA

Among t.i.tian'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 n.o.ble 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 (Balda.s.sare 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 d.u.c.h.ess must have been well into her thirties when she came to Venice to live. From a portrait t.i.tian 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 t.i.tian. In the matron of forty his inner eye caught a vision of the belle of twenty.