He painted so much and so fast that he did not always do good work, and one critic declares that "while Tintoretto was the equal of t.i.tian, he was often inferior to Tintoretto"--which after all is a very fine compliment.

His life was so tranquil and uneventful that there is little to say of it; but there is much to say of his art. He lived mostly in his studio, and when he died he was buried in the Santa Maria del Orto--the church in which he had done his first work.

Veronese had given to Venice a brilliant, glowing, rich, ravishing riot of colour and figures, but Tintoretto was said to rise up "against the joyful Veronese as the black knight of the Middle Ages, the sombre priest of a gloomy art." Tintoretto was of stormy temperament, and upon one occasion he proved it by thrusting a pistol under a critic's nose, after he had invited him to his studio; it is this half savage spirit that may be seen in his paintings. He had deep-set, staring eyes, it is said, a furrowed brow and hollow cheeks, indicative of his pa.s.sionate spirit. He painted very few female figures, but mostly men. When he did paint a woman, she looked mannish and not beautiful. When he painted gorgeous subjects, like doges and senators, he gave to them gloomy backgrounds, awe-inspiring poses, and he seldom painted a figure "full-face" but three-quarter, or half, so that he did not give himself a chance to present human figures in beautiful postures. He is said to have been the first who painted groups of well-known men in pictures intended for the decoration of public buildings. One great critic has written that "while the Dutch, in order to unite figures, represented them at a banquet, Tintoretto's _n.o.bili_ (aristocrats) were far too proud to show themselves to the people" in so gay and informal a situation. With the coming of Tintoretto it was said "a dark cloud had overcast the bright heaven of Venetian art. Instead of smiling women, b.l.o.o.d.y martyrs and pale ascetics" were painted by him. He dissected the dead in order to learn the structure of the human body. In his paintings "his women, especially, with their pale livid features and encircled eyes, strangely sparkling as if from black depths, have nothing in common with the soft" painted flesh which he pictured in his youth while he was following t.i.tian as closely as he could. As he grew older and his art more fixed, he followed Michael Angelo more and more. t.i.tian's colouring was that of "an autumn day" but Tintoretto's that of a "dismal night." Yet these very qualities in Tintoretto's work made him great.

PLATE--THE MIRACLE OF ST. MARK

This painting in the Academy at Venice tells the story of how a Christian slave who belonged to a pagan n.o.bleman went to worship at the shrine of St. Mark. That was unlawful. The n.o.bleman had his slave taken before the judge, who ordered him to be tortured. Just as the executioner raised the hammer with which he was finally to kill the slave, St. Mark himself came down from heaven, broke the weapon and rescued the slave.

The figure of the patron saint of Venice is swooping down, head first, above the group, his garments flying in the air. A bright light touches the slave's naked body, as he lies upon his back, the executioner having turned away and raised his hammer aloft, while others have drawn back in fright at the appearance of the patron saint. We may imagine that Tintoretto was trying to acquire this power of painting wonderful figures hovering in the air when he hung his little clay images from the ceiling of his studio years before. Other pictures of his are: "The Marriage of Bacchus and Ariadne," "Martyrdom of St. Agnes," "St. Rocco Healing the Sick," "The Annunciation," "The Crucifixion," and many others.

x.x.xVIII

t.i.tIAN (TIZIANO VECELLI)

(p.r.o.nounced t.i.t-zee-ah'no (Vay-chel'lee)) _Venetian School_ 1477-1576 _Pupil of Giovanni and Gentile Bellini_

t.i.tian was a child of the Tirol Mountains, handsome, strong, full of health and fine purposes, even as a boy. He was born in a little cottage at Pieve, in the valley of Cadore, through which flows the River Piave; and he wandered daily beside its banks, gathering flowers from which he squeezed the juices to paint with. When he grew up he became a wonderful colourist, and from his boyhood nothing so much delighted him as the brilliant colours flaunted by the flowers of wood and field.

Gathered about his good father's hearth were many children, Caterina, Francesco, Orsa, and the rest, living in peace and happiness, closely bound together by love. t.i.tian had a gentle, loving mother named Lucia, while his father was a soldier and an honoured man. In the little town where they lived, he was councillor and also superintendent of the castle and inspector of mines, no light honours among those simple country people. Doubtless t.i.tian inherited his splendid bearing and his determined character from his soldier father.

Even while a little child, the man who was destined to become a great artist began his work with the juices of the wild-flowers, which he daubed upon the wall of the humble home in the Tirol valley, making a Madonna with angels at her feet and a little Jesus upon her knee. But if t.i.tian was a great painter, he was never even a fair scholar. He went to school, but would not, or could not, study. His father soon saw that he was wasting his time and being made very unhappy through being forced to do that for which he had no ability; so he was soon released from book-learning and sent to Venice, seventy-five miles from home, to learn art. In Venice, the Vecelli family had an uncle, and it was with him that t.i.tian lived, though he studied first with Sebastian Zuccato, the head of the Venetian guild of mosaic workers, and a pretty good teacher in his way. He was not able to teach t.i.tian very much, for the boy was an inspired artist and needed a good master; so, after a little, the family held a consultation and it was decided that t.i.tian should become the pupil of Gentile Bellini, a very clever artist indeed. There was an interesting story told about this master which made the Vecellis feel that their boy would do well to be under the influence of a kind-hearted man, as well as a genius. It seems that Bellini's fame had become so great that the Sultan had sent for him to paint the portraits of himself and the Sultana. Bellini went gladly to Turkey to do this; but he took with him certain pictures to show his patron. Among them was one of St. John the Baptist having his head cut off. The Sultan looked at it, and cutting heads off being a large part of his business, he saw that Bellini had not scientifically painted it, and in order to show him the true way to conduct such matters, he sent for a slave and ordered his head chopped off in Bellini's presence. Bellini was so terrified and sickened by the dreadful sight that he fled from Turkey and would not paint its ruler, the Sultana nor anyone else who had to do with such cruel things as he had witnessed.

It was into this man's studio that t.i.tian went as a young boy, but after a little he displeased Gentile Bellini, who complained that his pupil worked too fast, and therefore could not expect to do great work. He declared that picture painting was serious and careful work, and that t.i.tian was too careless and quick. As a matter of fact, t.i.tian was too wonderful for Bellini ever to do much for; and since he could not get on with him, he went to another master--Gentile Bellini's brother, Giovanni. One of t.i.tian's chief troubles in the studio of Gentile had been that he was not allowed to use the gorgeous colouring he loved, but in the brother's studio he found to his joy that colour was more valued, and he was given more freedom to use it. Also there was a young peasant pupil with Giovanni, who, like t.i.tian, loved to use beautiful colours, and he and the newcomer became fast friends.

The other artist's name was Giorgione, and he had the most delightful ways about him, winning friends wherever he went, so it was no wonder that the warm-hearted t.i.tian sought his companionship. One day those two young comrades left their master's studio, to have a good time off by themselves. There was a stated hour for their return; but they had spent all their money, and forgot that Giovanni Bellini was expecting them home. When they did return the door was closed and locked. What were they to do? They did the only thing they could. As comrades in misfortune they joined forces, set up a studio of their own, and went to work to earn their living as best they might. At first it was hard sledding, but in time they got a good job, namely to decorate the walls of a public building in Venice which was used by foreign merchants for the transaction of their business, a sort of "exchange,"

as we understand it. This was the Fondaco de' Tedeschi, and it had two great halls, eighty rooms, and twenty-six warehouses. It was indeed a big undertaking for the two young men, and they divided the business between them. Their joy was great, their cartoons successfully made and the work well begun, when, alas, they fell to quarreling simply because someone had declared that t.i.tian's work upon the building was a little better than Giorgione's.

This dispute parted the two friends, who had had good times together, and it must have been Giorgione's fault, because Ludovico Dolce, one who knew t.i.tian well, said that "he was most modest ... he never spoke reproachfully of other painters ... in his discourse he was ever ready to give honour where honour was due ... he was, moreover, an eloquent speaker, having an excellent wit and perfect judgment in all things; of a most sweet and gentle nature, affable and most courteous in manner; so that whoever once conversed with him could not choose but love him henceforth forever." That is a most loving and splendid tribute for one man to pay another. Not long after Giorgione died, and t.i.tian took up his unfinished work, doing it as well as his own.

There was a brilliant and mature artist called Palma Vecchio, in Venice, and t.i.tian painted in his studio, where he saw and loved Vecchio's daughter, Violante. The young artist was not very well off financially, and therefore could not marry; hence he was not specially happy over his love affair. About that time he took to painting after the manner of Vecchio, through being so much influenced by his soft feelings for the older artist's daughter. He used the lovely Violante again and again for his model, and many of the beautiful faces which t.i.tian painted at that time show the features of his lady-love. With his new love t.i.tian's serious work seemed to begin, and at twenty-one he painted his first truly great picture, "Sacred and Profane Love."

To day this picture hangs upon the walls of the Borghese Palace, in Rome.

Raphael painted a great many pictures, but t.i.tian must have painted more. At least one thousand have his signature.

Now came wars and troubles for Venice. The Turks, French, and Venetians became at odds, and during the strife many fine works of art were lost, among them many of t.i.tian's pictures. He had painted bishops, also the wicked Borgias, and many other great personages, but all of these are gone and to this day, no one knows what became of them.

At last t.i.tian began one of his greatest paintings, "The Tribute Money," and he set about it because he had been criticised. Some German travellers in Venice visited t.i.tian's studio, and though they found his work very fine, one of them said that after all there was only one master able to finish a painting as it should be finished, and that was the great Drer. The German pointed out the differences between t.i.tian's method and Drer's, and declared that Venetian painters never quite came up to the promise of their first pictures. Drer's wonderful pictures were quite different from t.i.tian's, inasmuch as his work was fuller of detail and careful finishing, but t.i.tian was as great in another way. His effects were broader, but quite as satisfying. However, the German criticism put him on his mettle, and he answered that if he had thought the greatest value of a painting lay in its fiddling little details of finishing, he too would have painted them. To show that he could paint after Drer's fashion, as well as his own, he undertook the "Tribute Money,"

and the result was a wonderful picture.

Soon Rome sent for t.i.tian. The Florentines, Raphael and Michael Angelo, were already there doing marvellous things, but the pope wished to add the genius of t.i.tian to theirs and made him a great offer to go and live in Rome and do his future work for that city. This was an honour, but amid all his fame and the homage paid him, t.i.tian had remembered the old home in the vale of Cadore. It was there his heart was, and he determined to return to the home of his boyhood to do his best work. So he sent his thanks and refusal to the pope, and he wrote as follows to his home folks, through the council of his town:

"I, t.i.tian of Cadore, having studied painting from childhood upward, and desirous of fame rather than profit, wish to serve the doge and signorini, rather than his highness the pope and other signori, who in past days, and even now, have urgently asked to employ me. I am therefore anxious, if it should appear feasible to paint the hall of council, beginning, if it pleases their sublimity, with the canvas of the battle on the side toward the Piazza, which is so difficult that no one as yet has had the courage to attempt it."

Then in stating his terms he asked for a very moderate sum of money and a "brokerage" for life. The Government did not have to think over the matter long. t.i.tian's father had been honoured among them, t.i.tian's genius was well known, and the commission was gladly given him. As soon as he got this business affair settled he moved into the palace of the Duke of Milan "at San Samuele; on the Grand Ca.n.a.l, where he remained for sixteen years," so says his biographer.

t.i.tian's affairs were not yet entirely smooth, because both of the Bellinis having painted for his patrons, they naturally considered t.i.tian an intruder, and thought that the work should have been given to them. They did all they could to make trouble for the younger artist, but after a time t.i.tian came into his rights, receiving his "brokerage" which gave to him a yearly sum of money 120 crowns, $126.04. His taxes were taken off for the future, provided he would agree to paint all the doges that should rule during his lifetime.

t.i.tian undertook to do this, but he did not keep his word, for he painted only five doges, though many more followed. He had no sooner received his commission from the council of his native place than he began to neglect it, and to paint for the husband of the wicked poisoner--Lucretia Borgia--whose name was Alfonso d'Este, the Duke of Ferrara. It was for him he painted the "Venus Worship," now in the Museum of Madrid, also "The Three Ages," which belongs to Lord Ellesmere, and the "Virgin's Rest near Bethlehem," now in the National Gallery. Afterward he painted "Noli Me Tangere," which is in the same London Gallery.

There is a picture of great size in the Academy of Arts in Venice, which was first seen on a public holiday nearly four hundred years ago. It is the "a.s.sumption of the Virgin," first shown on St. Bernardino's day, when all the public offices were closed by order of the Senate, and the whole city had a gay time. This occasion made t.i.tian the most honoured artist of his time, but still the Venetians had cause to complain; because now their painter took so much work in hand that he nearly ceased doing the work on the council hall. The council sent him word that unless he attended to business the paintings should be finished by some one else and he would have to pay the new artist out of his own pocket; but in waywardness he paid no attention to this summons. Lucretia Borgia died, and her husband having never loved her, fell at once in love with a girl of a lower cla.s.s, who was very good and worthy to be loved. The duke wanted t.i.tian to paint them both, and so once more the great painter neglected his contract with the council. The girl's name was Laura, and t.i.tian painted her and the duke in one picture, which now hangs in the Louvre.

At last, after seven years of his neglecting to do his promised work the council became enraged and threatened to take the artist's property away from him. That frightened t.i.tian very much, and he began frantically to work on the battle piece on the hall wall. It was about this time that he married. He had probably forgotten Violante in the pa.s.sing of so many years; at any rate it was not she whom he married, but a lady whose first name was Cecilia. Soon he had a little family of children, but one of them was destined to make t.i.tian very unhappy. This was Pomponic who became a priest, but he was also a wicked spendthrift, and kept his father forever in trouble, trying to pay his debts and keep him out of sc.r.a.pes. Another son became an artist; not great like his father, but very helpful and a comfort to him. Then his wife died, and t.i.tian had loved her so dearly that for a long time he had not the heart to paint much. His sister, Orsa, came to live at his home and take care of his motherless children.

He left the palace on the Grand Ca.n.a.l and bought a home north of Venice, with beautiful gardens attached, and there he lived and worked, entertaining the most ill.u.s.trious men. t.i.tian's house and gardens became the show place of the country, so many geniuses and famous people visited there. It was there that he painted "The Martyrdom of Saint Peter," and the picture was so loved by the Venetians that the signori threatened with death any one who should take the picture from the chapel where it hung. In spite of this caution the picture was burned in the fire that destroyed the chapel in 1867.

t.i.tian was now getting to be old, but he was yet to do great work and to have kingly patrons. Charles V. visited Bologna, and, seeing t.i.tian's great work, wanted him to paint his portrait. So the artist went to Bologna and painted the portrait of the king, clothed in armour, but without any head-covering, making Charles V. look so fine a personage, that he was delighted. Charles said he had always been painted to look so much uglier than he really was that when people who had seen his portraits, actually saw himself they were pleasantly disappointed. While t.i.tian was painting his picture, Lombardi, the sculptor, wished above all things to see Charles, so t.i.tian said: "You come with me to the sittings, and act as if you were some apprentice, carrying my colours and brushes, and then you can watch the king as easily as possible." Lombardi did as t.i.tian suggested, but he hid in his big and baggy sleeve a tablet of wax, on which to make a relief picture of Charles. One day the king surprised the sculptor and demanded to be shown what he was doing. Thereupon he was so much pleased that he commissioned Lombardi to make the model in marble. While the king was sitting for two portraits to t.i.tian, the artist one day dropped his brush. The king looked at the courtiers who were lounging about watching the work, but none of them picked it up, so the king himself did so. t.i.tian was distressed over this and apologised to the king. "There may be many kings," said Charles, "but there will never be more than one t.i.tian--and he deserves to be served by Caesar himself." After that he would allow no other artist to paint his portrait, declaring that t.i.tian alone could do it properly, and for the two pictures t.i.tian received two thousand scudi in gold, was made a Count of the Lateran Palace, of the Aulic Council and of the Consistory; with the t.i.tle of Count Palatine and all the advantages attached to those dignities. His children were thereby raised to the rank of n.o.bles of the empire, with all the honours appertaining to families with four generations of ancestors. He was also made Knight of the Golden Spur, with the right of entrance to court. This was great return for two portraits of a king, but it shows what a king could do if he chose.

t.i.tian had a brother who also became an artist, less famous than himself, and it was that brother, who, when their father died in the Cadore home, went back to care for the old place and to keep it in readiness so that the famous t.i.tian might return to it for rest and peace. Foreign sovereigns had invited t.i.tian to end his days with them, but they could not tempt him from that vale of Cadore nor his country home in Venice.

All this time he had been neglecting the work upon the hall of council, and at last, the councillors gave the work to another, took away t.i.tian's "brokerage" and told him he must return to Venice all the moneys they had given him for twenty years back. This finally cured him of his neglect, and he went to work in earnest painting so rapidly that he finished the work in two years.

Before he died t.i.tian went to Rome, where he painted Pope Paul's portrait, and the story is told that when the portrait was set to dry upon the terrace--which it probably was not,--the people who pa.s.sed took off their hats to it, thinking it was the pope himself.

Besides his bad son and his good one, t.i.tian had a beautiful daughter whom he painted again and again. He went to Augsburg once more to paint King Charles, who for that work added a pension of five hundred scudi to what he had already done for him. This made the artist "as rich as a prince, instead of poor as a painter." King Philip II. loved art as his father had, and he took a painting of t.i.tian's with him to the convent of Yuste, where he went to die, wishing to have it near to console him. In those days art had become a religion for high and low. Great personages still went to Casa Grande, t.i.tian's Venetian home, where he entertained like a prince. No one knew better than he how princes behaved, and when a cardinal came to dine with him, he threw his purse to his servant, crying: "Prepare a feast, for all the world is dining with me!" Henry III. of France visited t.i.tian and ordered sent to him every picture of which he had asked the price.

His friends stood by him all his life, but in his old age his beautiful daughter, Lavinia, died, leaving behind her six children for him to love as his own. The brother had died before that, in the old home at Cadore, and at more than eighty years of age t.i.tian was still painting from morning till night. About this time he sent to King Philip "The Last Supper," which was to be hung in the Escorial. The monks found it too high to fill the s.p.a.ce, and though the artist in charge, Navarrette, begged them to let it be, they cut a piece off the top, that it might be hung where they wanted it. t.i.tian had so far had to pay no taxes, but at that time an account of his property was demanded and this is what he owned: "Several houses, pieces of land, sawmills, and the like," and he was blamed because he did not state the full value of his possessions. At ninety-one he painted a picture which became the guide of Rubens and his brother artists, so wonderful was it. Again, at ninety-nine he began a picture, which was to be given to the monks of the Frari in return for a burial place for the artist within the convent walls, but he never finished it. He died during the time of the plague, but of old age alone, though his son, Orzio, died of the disease. The alarm of the people was so great that a law had been pa.s.sed to bury all who died at that time, instantly and without ceremony, but that law was waived for the painter. t.i.tian, in the midst of a nation's tragedy was borne to the convent of the Frari, with honours. Two centuries later the Austrian Emperor commanded the great sculptor, Canova, to make a mausoleum above the tomb.

It was said that shortly before he died t.i.tian began to be less sure in his use of colours, and would often daub on great ma.s.ses, but his students came in the night and rubbed them off, so that the master never felt his failing.

As King Charles had said, there was never but one such artist in the world.

t.i.tian prepared his canvas by painting upon it a solid colour to serve for the bed upon which the picture itself was to be painted. To quote more exactly from a good description--some of these foundation colours were laid on with resolute strokes of his brush which was heavily laden with colour, while the half-tints were made with pure red earth, the lights with pure white, softened into the rest of the foundation painting with touches of the same brush dipped into red, black, and yellow. In this way he could give the "promise" of a figure in four strokes. After laying this foundation, he turned his picture toward the wall and left it there for months at a time, frequently turning it around that he might criticise it. If, during this time of waiting, he thought any part of the work already done was poor, he made it right, changing the shape of an arm, adding flesh where he thought it was needed, reducing flesh where it seemed to him out of proportion, and then he would again turn the canvas face to the wall. After months of self-criticism and retouching he would have the first layer of flesh painted upon his figures, and a good beginning made. "It was contrary to his habit to finish at one painting, and he used to say that a poet who improvises cannot hope to form pure verses." He would often produce a half-light with a rub of his finger, "or with a touch of the thumb he would dab a spot of dark pigment into some corner to strengthen it; or throw in a reddish stroke--a tear of blood so to speak--to break the parts ... in fact when finishing he painted more with his fingers than with his brush." He used to say, "White, red, and black, these are all the colours that a painter needs, but one must know how to use them."

PLATE--THE ARTIST'S DAUGHTER, LAVINIA.

Previous to the time of t.i.tian, it had been the custom to paint portraits of beautiful ladies merely to their waists, just far enough to show their hands. He went further, and produced "knee portraits,"

which gave him an opportunity to paint their gorgeous gowns as well. He has done so in making this picture of his daughter Lavinia, probably just before her marriage to Cornelio Sarcinelli which took place in 1555. She is attired in gold-coloured brocade with pearls about her neck. Her dress, combined with the dish of fruit she holds so high, gives t.i.tian the colour effects he always sought. A yellow lemon is specially striking, and the red curtain to the left harmonises with the whole. The uplift of the arms and the turn of the head give the desired amount of action. It is not t.i.tian's customary style of work; he seldom did anything so intimate and personal, and the picture is the more interesting on that account. It is in the Berlin Gallery.

Some of t.i.tian's famous pictures are: his own portrait; "Flora," "Holy Family and St. Bridget," "The Last Judgment," "The Entombment," "The Magdalene," "Baccha.n.a.l," "St. Sebastian," "Bacchus and Ariadne," and "The Sleeping Venus."

x.x.xIX

JOSEPH MALLORD WILLIAM TURNER

_English_ 1775-1851 _Pupil of the Royal Academy_

If the occupation of a shepherd produced a poet, no less did an artist of the first water come out of a barber shop. Turner's father was a jolly little fellow who dressed hair for English dandies and did all of those things which in those days fell to men of his profession. It was in this little shop that the great artist grew up. Father Turner was ambitious for his son, who was anxious to study art. The less said of the artist's mother the better, for she was a termagant and finally went crazy, so that the father and his little boy were soon left alone, to plan and work and strive to make each other happy. The pair were never apart.

Turner's art beginning was at six years of age, on the occasion of a visit his father paid to a goldsmith of whose hair curling and peruquing he had charge. Perched upon a chair too high for a little boy's comfort, and feeling that it took his father very long indeed to satisfy the customer, Joseph's eye lighted upon a silver lion which ornamented a silver tray. He studied every detail of that lion while waiting for his father, and finally when they got home, he sat down and drew it from memory. By tea time he had a lion in full action upon the paper. This delighted his father above everything, and it was settled then and there that the little fellow should have a chance to learn art.