Titian; a collection of fifteen pictures and a portrait of the painter Part 6

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 ill.u.s.tration.[14] The ident.i.ty of the original is hidden under this simple t.i.tle, 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 G.o.ds, 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 d.u.c.h.ess of Urbino found such a fountain of youth in the art of t.i.tian. 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.

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

John 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 fas.h.i.+ons 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 peac.o.c.k 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 a.n.a.lyze 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 t.i.tian's art to achieve. The canvas is much injured, but the Bella is still immortally young and beautiful.

X

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 n.o.ble heart. He had journeyed over seas in his good s.h.i.+p Argo, and had at last come to Colchis to win the coveted treasure.

The King aeetes 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 bra.s.s 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 pa.s.sion 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.

[Ill.u.s.tration: From a carbon print by Braun, Clement & Co.

John Andrew & Son, Sc.

MEDEA AND VENUS

_Borghese Gallery, Rome_]

Our picture ill.u.s.trates the scene of Medea's temptation at the fountain.

The tempter is love, in the form of Venus, the Greek G.o.ddess represented in the old mythology as the inspirer of the tender pa.s.sion. She is accompanied by the little love-G.o.d 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 att.i.tude 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 cla.s.sic tradition, undraped, as the G.o.ddess 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. t.i.tian'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 att.i.tude.[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

The Man with the Glove is so called for lack of a more definite name.

Nothing is told by t.i.tian's biographers about the original of the portrait, and the mystery gives a certain romantic interest to the picture. Not being limited by any actual facts we can invent a story of our own about the person, or as many stories as we like, each according to his fancy.

The sitter certainly makes a good figure for the hero of a romance. He is young and handsome, well dressed, with an unmistakable air of breeding, and singularly expressive eyes. Such eyes usually belong to a shy, sensitive nature, and have a haunting quality like those of some woodland creature.

The t.i.tle of The Man with the Glove is appropriate in emphasizing an important feature of the costume. In the days of this portrait, gloves were worn only by persons of wealth and distinction, and were a distinguis.h.i.+ng mark of elegance. Though somewhat clumsily made, according to our modern notions, they were large enough to preserve the characteristic shape of the hand, and give easy play to the fingers.

They formed, too, a poetic element in the social life of the age of chivalry. It was by throwing down his glove (or gauntlet) that one knight challenged another; while a glove was also sometimes a love-token between a knight and his lady.

The glove has its artistic purpose in the picture, casting the left hand into shadow, to contrast with the ungloved right hand. The texture of the leather is skilfully rendered, and harmonizes pleasantly with the serious color scheme of the composition.

Besides the gloves, the daintily ruffled s.h.i.+rt, the seal ring, and the long neck chain, show the sitter to be a young man of fas.h.i.+on. Not that he is in the least a fop, but he belongs to that station in life where fine raiment is a matter of course, and he wears it as one to the manner born. His hands are delicately modelled, but they are not the plump hands of an idler. They are rather flexible and sensitive, with long fingers like the hands of an artist.

The glossy hair falls over the ears, and is brushed forward and cut in a straight line across the forehead. The style suits well the open frankness of the countenance. We must note t.i.tian's rendering of both hair and hands as points of excellence in the portrait. There is a great deal of individuality in the texture of a person's hair and the shape of his hands, but many artists have apparently overlooked this fact. Van Dyck, for instance, used a model who furnished the hands for his portraits, irrespective of the sitter. t.i.tian, in his best work, counted nothing too trivial for faithful artistic treatment.

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

John Andrew & Son, Sc.

THE MAN WITH THE GLOVE

_The Louvre, Paris_]

If we were to try to explain why The Man with the Glove is a great work of art we should find the first reason, perhaps, in the fact that the man seems actually alive. The portrait has what the critics call vitality, in a remarkable degree. Again, the painter has revealed in the face the inner life of the man himself; the portrait is a revelation of his personality.

It has been said that every man wears an habitual mask in the presence of his fellows. It is only when he is taken unaware that the mask drops, and the man's real self looks out of his face. The portrait painter's art must catch the sitter's expression in such a moment of unconsciousness. The great artist must be a seer as well as a painter, to penetrate the secrets of human character.

The young man of our picture is one of those reticent natures capable of intense feeling. In this moment of unconsciousness his very soul seems to look forth from his eyes. It is the soul of a poet, though he may not possess the gift of song. He has the poet's imagination as a dreamer of n.o.ble dreams.