Pictures Every Child Should Know / A Selection of the World's Art Masterpieces for Young People

by Mary Schell Hoke Bacon

Titian's affairs were not yet entirely smooth, because both of the Bellinis having painted for his patrons, they naturally considered Titian 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 Titian 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.

Titian 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 "Assumption 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 Titian 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 class, who was very good and worthy to be loved. The duke wanted Titian to paint them both, and so once more the great painter neglected his contract with the council. The girl's name was Laura, and Titian 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 Titian 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 passing 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 Titian 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 scrapes. Another son became an artist; not great like his father, but very helpful and a comfort to him. Then his wife died, and Titian 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 Canal and bought a home north of Venice, with beautiful gardens attached, and there he lived and worked, entertaining the most illustrious men. Titian'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.

Titian 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 Titian'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 Titian was painting his picture, Lombardi, the sculptor, wished above all things to see Charles, so Titian 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 Titian 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 Titian, 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. Titian was distressed over this and apologised to the king. "There may be many kings," said Charles, "but there will never be more than one Titian--and he deserves to be served by Caesar himself." After that he would allow no other artist to paint his portrait, declaring that Titian alone could do it properly, and for the two pictures Titian received two thousand scudi in gold, was made a Count of the Lateran Palace, of the Aulic Council and of the Consistory; with the title of Count Palatine and all the advantages attached to those dignities. His children were thereby raised to the rank of nobles 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.

Titian 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 Titian might return to it for rest and peace. Foreign sovereigns had invited Titian 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 Titian'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 Titian 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 passed took off their hats to it, thinking it was the pope himself.

Besides his bad son and his good one, Titian 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 Titian'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, Titian'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 Titian and ordered sent to him every picture of which he had asked the price.