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.
An imitator of Titian, in his colouring, though with a share of original vivacity, is Andrea Schiavone, of Sebenico, surnamed Medula. Few artists have so early evinced a decided taste for their profession, of which it is said his father became aware when accompanying him through the city, yet a child, in order to fix upon his future destination. Observing him highly entertained with productions of the art, he instantly applied to the artists, and devoted him to the profession. But fortune was not favourable to him, and he became compelled, by penury, to obtain a subsistence rather as a daily hireling, than as an artist. Hence it was, that, destitute of a knowledge of design, he was obliged to paint, meeting with no other patrons than some master muratore, or wall painter, who had it in his power to recommend him for the façades, or some painter of household articles to employ him as an assistant. Titian conferred upon him some degree of credit, by proposing him, along with others, for ornamenting the library of S. Mark, where he worked more correctly, perhaps, than in any other place. Tintoret, also, did him justice, often aiding him in his labours, to observe the artifice of his colouring; and even gave one of his pictures a place in his own studio, observing that it would be well if every other artist would follow his example, though he would do ill not to design better than his model. Moreover he wished to imitate him, and placed an altarpiece at the church of the Carmini, so much resembling his style, that Vasari pronounced it to be the work of Schiavone. Yet the same historian held him in such slight esteem, as to say that it was only by mistake that he occasionally produced a good piece; a sentence severely criticised by Agostin Caracci, as we gather from Bottari, in his "Life of Franco." And, in truth, except for design, the whole composition of Schiavone is highly commendable; spirited in his attitudes, drawn from the engravings of Parmigianino; his colours, approaching to the sweetness of Andrea del Sarto, beautiful; and his hand altogether that of a great master. His fame increased after his death, and his paintings, for the most part, of a mythological character, were removed from the chests and benches to adorn the cabinets of connoisseurs. Guarienti cites three of these in the collection at Dresden, and Rosa four, in the Cesarean one of Vienna. I have seen several very graceful specimens in the Casa Pisani, at San Stefano, and almost in every other gallery in Venice. In Rimini, also, I saw two of his pictures, painted as companions, at the Padri Teatini; the Nativity of our Lord, and the Assumption of the Virgin, small figures upon the Poussin scale, and among the most beautiful he ever drew. Santo Zago, and Orazio da Castelfranco, called dal Paradiso, are known for a very few works in fresco, but too well executed to be here omitted. Cesare da Conegliano, also, is the author of a single altarpiece, at the Santi Apostoli, of the same place, which represents our Lord's Supper, and sufficient of itself to place him near Bonifazio, and the best of that class.
Vasari, who has omitted some of the preceding, twice makes honourable mention of Gio. Calker, or Calcar, as it is written by others, an excellent portrait painter, of Flemish extraction. He was also a good painter, both of small and large figures, several of which, according to Sandrart, have been attributed to Titian; and others, when he changed his manner, to Raffaello. He died young, in 1546, at Naples. Treating of Dietrico Barent, in Venice known by the name of Sordo Barent, Baldinucci supposes him to have been Titian's pupil, by whom he was regarded as his son. To these Ridolfi adds three excellent foreigners, one Lamberto, a German,[[56]] who is supposed the Lombardo, or Sustermans, who gave assistance in their landscapes alternately to Titian and to Tintoret, and left a very beautiful picture of San Girolamo, at the Teresiani, in Padua; the others were Cristoforo Scuarz, and one Emanuel, a German. These, like many others, resorting to Titian for instruction, on their return to their native place introduced a taste for the Venetian School; and there continued to flourish. He must have presented more disciples to Spain, when being invited by Charles V. he removed to his court, and founded in his dominions a school, which acquired and continued to boast of excellent artists, particularly in point of colouring. One Don Paolo de las Roelas is mentioned by Preziado, who, in mature age, became a priest and canon. There is a grand picture from his hand in the parochial church of San Isidoro, at Seville, representing the death of the bishop. The style is altogether that of Titian, though he could not have been his disciple, if he was, indeed, born in 1560, when that artist was no longer in Spain. But in regard to foreigners, it is enough to have alluded to them in a history of Italians; and we must return to those natives of Italy, in particular of the state of Venice, who are esteemed among Titian's imitators. We may begin with the Friuli; although, the school of the great Pordenone there holding the sway, the genuine followers of Titian, excepting the Cadorini already mentioned, are very few and almost forgotten in history. Among others of Friuli, Ridolfi mentions a Gaspero Nervesa, who painted at Spilimbergo, and calls him Titian's scholar. No genuine picture of his, however, is pointed out, though Father Federici discovered one at Trevigi. The same author likewise extols Irene de' Signori di Spilimbergo, a lady of singular accomplishments, highly celebrated by the poets of the fifteenth century. She left behind her three little pictures of sacred histories, preserved by the noble family of Maniago, and which are still to be seen at the house of Conte Fabio, equally distinguished for his acquaintance with science and with art. They display but little skill in the design, though they are coloured with a degree of masterly power, not unworthy the first artist of the happiest period. A Bacchanal, by the same hand, is at Monte Albodo, in possession of the Claudj family. Titian took the portrait of this lady, being known to be extremely intimate with her family; and for this reason it is believed that he must have had some share in the pictorial education of the fair artist.
Lodovico Fumicelli was an artist of Trevigi, reported to have been a pupil of Titian. At all events he was one of his most distinguished imitators. One of his pieces, adorning the great altar of the church of the Eremitani, at Padua, displays both the design and colouring of a great master. His native place can boast works that have been equally extolled. It is mortifying then to recall to mind that he abandoned his profession for the art of fortification. One of his assistants, in Trevigi, was Francesco Dominici, who may be said to rival him in the cathedral of the city, in those two processions which they painted, opposite to each other. This young artist, of great promise, especially in portraits, produced little, being cut off in the flower of his days. With pleasure I annex to these a friend of Paolo, and excellent pupil of Titian's, whom, in some things, he imitated; but who has been erroneously denominated by historians:[[57]] my information respecting him, as well as other artists of Castelfranco, has been obtained from a MS. communicated to me by the learned Dottore Trevisani.[[58]] He took the name of Gio. Batista Ponchino, and the surname of Bozzato, a city of his native place, where several of his paintings in fresco still exist, together with his celebrated piece of the Limbo,[[59]] in San Liberale, the finest, if we except the works of Giorgione, which that city has to boast, and it is greatly admired by strangers. He painted also at Venice and Vicenza, during the lifetime of his consort, a daughter of Dario Varotari; but on her death he assumed the ecclesiastical habit, nor interested himself much in his art.