THE LATER WORK OF TITIAN
CHAPTER I.
Friendship with Aretino—Its effect on Titian's art—Characteristics of the middle period—"Madonna with St. Catherine" of National Gallery—Portraits not painted from life—"Magdalen" of the Pitti—First Portrait of Charles V.—Titian the painter, par excellence, of aristocratic traits—The "d'Avalos Allegory"—Portrait of Cardinal Ippolito de' Medici—S. Giovanni Elemosinario altar-piece.
Having followed Titian as far as the year 1530, rendered memorable by that sensational, and, of its kind, triumphant achievement, The Martyrdom of St. Peter the Dominican, we must retrace our steps some three years in order to dwell a little upon an incident which must appear of vital importance to those who seek to understand Titian's life, and, above all, to follow the development of his art during the middle period of splendid maturity reaching to the confines of old age. This incident is the meeting with Pietro Aretino at Venice in 1527, and the gradual strengthening by mutual service and mutual inclination of the bonds of a friendship which is to endure without break until the life of the Aretine comes, many years later, to a sudden and violent end. Titian was at that time fifty years of age, and he might thus be deemed to have over-passed the age of sensuous delights. Yet it must be remembered that he was in the fullest vigour of manhood, and had only then arrived at the middle point of a career which, in its untroubled serenity, was to endure for a full half-century more, less a single year. Three years later on, that is to say in the middle of August 1530, the death of his wife Cecilia, who had borne to him Pomponio, Orazio, and Lavinia, left him all disconsolate, and so embarrassed with the cares of his young family that he was compelled to appeal to his sister Orsa, who thereupon came from Cadore to preside over his household. The highest point of celebrity, of favour with princes and magnates, having been attained, and a certain royalty in Venetian art being already conceded to him, there was no longer any obstacle to the organising of a life in which all the refinements of culture and all the delights of sense were to form the most agreeable relief to days of continuous and magnificently fruitful labour. It is just because Titian's art of this great period of some twenty years so entirely accords with what we know, and may legitimately infer, to have been his life at this time, that it becomes important to consider the friendship with Aretino and the rise of the so-called Triumvirate, which was a kind of Council of Three, having as its raison d'être the mutual furtherance of material interests, and the pursuit of art, love, and pleasure. The third member of the Triumvirate was Jacopo Tatti or del Sansovino, the Florentine sculptor, whose fame and fortune were so far above his deserts as an artist. Coming to Venice after the sack of Rome, which so entirely for the moment disorganised art and artists in the pontifical city, he elected to remain there notwithstanding the pressing invitations sent to him by Francis the First to take service with him. In 1529 he was appointed architect of San Marco, and he then by his adhesion completed the Triumvirate which was to endure for more than a quarter of a century.
It has always excited a certain sense of distrust in Titian, and caused the world to form a lower estimate of his character than it would otherwise have done, that he should have been capable of thus living in the closest and most fraternal intimacy with a man so spotted and in many ways so infamous as Aretino. Without precisely calling Titian to account in set terms, his biographers Crowe and Cavalcaselle, and above all M. Georges Lafenestre in La Vie et L'Oeuvre du Titien, have relentlessly raked up Aretino's past before he came together with the Cadorine, and as pitilessly laid bare that organised system of professional sycophancy, adulation, scurrilous libel, and blackmail, which was the foundation and the backbone of his life of outward pomp and luxurious ease at Venice. By them, as by his other biographers, he has been judged, not indeed unjustly, yet perhaps too much from the standard of our own time, too little from that of his own. With all his infamies, Aretino was a man whom sovereigns and princes, nay even pontiffs, delighted to honour, or rather to distinguish by honours. The Marquess Federigo Gonzaga of Mantua, the Duke Guidobaldo II. of Urbino, among many others, showed themselves ready to propitiate him; and such a man as Titian the worldly-wise, the lover of splendid living to whom ample means and the fruitful favour of the great were a necessity; who was grasping yet not avaricious, who loved wealth chiefly because it secured material consideration and a life of serene enjoyment; such a man could not be expected to rise superior to the temptations presented by a friendship with Aretino, or to despise the immense advantages which it included. As he is revealed by his biographers, and above all by himself, Aretino was essentially "good company." He could pass off his most flagrant misdeeds, his worst sallies, with a certain large and Rabelaisian gaiety; if he made money his chief god, it was to spend it in magnificent clothes and high living, but also at times with an intelligent and even a beneficent liberality. He was a fine though not an unerring connoisseur of art, he had a passionate love of music, and an unusually exquisite perception of the beauties of Nature.
To hint that the lower nature of the man corrupted that of Titian, and exercised a disintegrating influence over his art, would be to go far beyond the requirements of the case. The great Venetian, though he might at this stage be much nearer to earth than in those early days when he was enveloped in the golden glow of Giorgione's overmastering influence, could never have lowered himself to the level of those too famous Sonetti Lussuriosi which brought down the vengeance of even a Medici Pope (Clement VII.) upon Aretino the writer, Giulio Romano the illustrator, and Marcantonio Raimondi the engraver. Gracious and dignified in sensuousness he always remained even when, as at this middle stage of his career, the vivifying shafts of poetry no longer pierced through, and transmuted with their vibration of true passion, the fair realities of life. He could never have been guilty of the frigid and calculated indecency of a Giulio Romano; he could not have cast aside all conventional restraints, of taste as well as of propriety, as Rubens and even Rembrandt did on occasion; but as Van Dyck, the child of Titian almost as much as he was the child of Rubens, ever shrank from doing. Still the ease and splendour of the life at Biri Grande—that pleasant abode with its fair gardens overlooking Murano, the Lagoons, and the Friulan Alps, to which Titian migrated in 1531—the Epicureanism which saturated the atmosphere, the necessity for keeping constantly in view the material side of life, all these things operated to colour the creations which mark this period of Titian's practice, at which he has reached the apex of pictorial achievement, but shows himself too serene in sensuousness, too unruffled in the masterly practice of his profession to give to the heart the absolute satisfaction that he affords to the eyes. This is the greatest test of genius of the first order—to preserve undimmed in mature manhood and old age the gift of imaginative interpretation which youth and love give, or lend, to so many who, buoyed up by momentary inspiration, are yet not to remain permanently in the first rank. With Titian at this time supreme ability is not invariably illumined from within by the lamp of genius; the light flashes forth nevertheless, now and again, and most often in those portraits of men of which the sublime Charles V. at Mühlberg is the greatest. Towards the end the flame will rise once more and steadily burn, with something on occasion of the old heat, but with a hue paler and more mysterious, such as may naturally be the outward symbol of genius on the confines of eternity.
The second period, following upon the completion of the St. Peter Martyr, is one less of great altar-pieces and poesie such as the miscalled Sacred and Profane Love (Medea and Venus), the Bacchanals, and the Bacchus and Ariadne, than it is of splendid nudities and great portraits. In the former, however mythological be the subject, it is generally chosen but to afford a decent pretext for the generous display of beauty unveiled. The portraits are at this stage less often intimate and soul-searching in their summing up of a human personality than they are official presentments of great personages and noble dames; showing them, no doubt, without false adulation or cheap idealisation, yet much as they desire to appear to their allies, their friends, and their subjects, sovereign in natural dignity and aristocratic grace, yet essentially in a moment of representation. Farther on the great altar-pieces reappear more sombre, more agitated in passion, as befits the period of the sixteenth century in which Titian's latest years are passed, and the patrons for whom he paints. Of the poesie there is then a new upspringing, a new efflorescence, and we get by the side of the Venus and Adonis, the Diana and Actæon, the Diana and Calisto, the Rape of Europa, such pieces of a more exquisite and penetrating poetry as the Venere del Pardo of Paris, and the Nymph and Shepherd of Vienna.
This appears to be the right place to say a word about the magnificent engraving by Van Dalen of a portrait, no longer known to exist, but which has, upon the evidence apparently of the print, been put down as that of Titian by himself. It represents a bearded man of some thirty-five years, dressed in a rich but sombre habit, and holding a book. The portrait is evidently not that of a painter by himself, nor does it represent Titian at any age; but it finely suggests, even in black and white, a noble original by the master. Now, a comparison with the best authenticated portrait of Aretino, the superb three-quarter length painted in 1545, and actually at the Pitti Palace, reveals certain marked similarities of feature and type, notwithstanding the very considerable difference of age between the personages represented. Very striking is the agreement of eye and nose in either case, while in the younger as in the older man we note an idiosyncrasy in which vigorous intellect as well as strong sensuality has full play. Van Dalen's engraving very probably reproduces one of the lost portraits of Aretino by Titian. In Crowe and Cavalcaselle's Biography (vol. i. pp. 317-319) we learn from correspondence interchanged in the summer of 1527 between Federigo Gonzaga, Titian, and Aretino, that the painter, in order to propitiate the Mantuan ruler, sent to him with a letter, the exaggerated flattery of which savours of Aretino's precept and example, portraits of the latter and of Signor Hieronimo Adorno, another "faithful servant" of the Marquess. Now Aretino was born in 1492, so that in 1527 he would be thirty-five, which appears to be just about the age of the vigorous and splendid personage in Van Dalen's print.
Some reasons were given in the former section of this monograph[[1]] for the assertion that the Madonna with St. Catherine, mentioned in a letter from Giacomo Malatesta to the Marchese Federigo Gonzaga, dated February 1530, was not, as is assumed by Crowe and Cavalcaselle, the Madonna del Coniglio of the Louvre, but the Madonna and Child with St. John the Baptist and St. Catherine, which is No. 635 at the National Gallery.[[2]] Few pictures of the master have been more frequently copied and adapted than this radiantly beautiful piece, in which the dominant chord of the scheme of colour is composed by the cerulean blues of the heavens and the Virgin's entire dress, the deep luscious greens of the landscape, and the peculiar, pale, citron hue, relieved with a crimson girdle, of the robe worn by the St. Catherine, a splendid Venetian beauty of no very refined type or emotional intensity. Perfect repose and serenity are the keynote of the conception, which in its luxuriant beauty has little of the power to touch that must be conceded to the more naïve and equally splendid Madonna del Coniglio.[[3]] It is above all in the wonderful Venetian landscape—a mountain-bordered vale, along which flocks and herds are being driven, under a sky of the most intense blue—that the master shows himself supreme. Nature is therein not so much detailed as synthesised with a sweeping breadth which makes of the scene not the reflection of one beautiful spot in the Venetian territory, but without loss of essential truth or character a very type of Venetian landscape of the sixteenth century. These herdsmen and their flocks, and also the note of warning in the sky of supernatural splendour, recall the beautiful Venetian storm-landscape in the royal collection at Buckingham Palace. This has been very generally attributed to Titian himself,[[4]] and described as the only canvas still extant in which he has made landscape his one and only theme. It has, indeed, a rare and mysterious power to move, a true poetry of interpretation. A fleeting moment, full of portent as well as of beauty, has been seized; the smile traversed by a frown of the stormy sky, half overshadowing half revealing the wooded slopes, the rich plain, and the distant mountains, is rendered with a rare felicity. The beauty is, all the same, in the conception and in the thing actually seen—much less in the actual painting. It is hardly possible to convince oneself, comparing the work with such landscape backgrounds as those in this picture at the National Gallery in the somewhat earlier Madonna del Coniglio, and the gigantic St. Peter Martyr, or, indeed, in a score of other genuine productions, that the depth, the vigour, the authority of Titian himself are here to be recognised. The weak treatment of the great Titianesque tree in the foreground, with its too summarily indicated foliage—to select only one detail that comes naturally to hand—would in itself suffice to bring such an attribution into question.