Titian. Sir Claude Phillips

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Philosophers of Giorgione himself. It appears to have most in common with Titian’s own early picture Saint Mark of the Salute – not so much in technique, indeed, as in general style – though it is very much less Giorgionesque. To praise the Tribute Money anew after it has been so incomparably well praised seems almost an impertinence. The soft radiance of the colour matches so well the tempered majesty, the infinite gentleness of the conception; the spirituality, which is of the essence of the august subject, is so happily expressed, without any sensible diminution of the splendour of Renaissance art approaching its highest point. And yet nothing could be simpler than the scheme of colour as compared with the complex harmonies which Venetian art in a somewhat later phase affected. Frank contrasts are established between the tender, glowing flesh of the Christ, seen in all the glory of manhood, and the coarse, brown skin of the son of the people who appears as the Pharisee; between the bright yet tempered red of Christ’s robe and the deep blue of his mantle. But the golden glow, which is Titian’s own, envelops the contrasting figures and the contrasting hues in its harmonising atmosphere, and gives unity to the whole.[25]

      Titian (Tiziano Vecellio), The Miracle of the Jealous Husband, 1511.

      Fresco, 340 × 185 cm. Scuola del Santo, Padua.

      Titian (Tiziano Vecellio), Saint Anthony heals the Leg of a Youth, 1511.

      Fresco, 340 × 207 cm. Scuola del Santo, Padua.

      A small group of early portraits – all of them somewhat difficult to place – call for attention before we proceed. Probably the earliest portrait among those as yet recognised as from the hand of our painter – leaving out of the question the Baffo and the portrait-figures in the great Saint Mark of the Salute – is the magnificent Ariosto (also known as The Man with the Quilted Sleeve) in the National Gallery of London. There is very considerable doubt, to say the least, as to whether this half-length really represents the court poet of Ferrara, but the point requires more elaborate discussion than can be here conceded to it. The soberly tinted yet sumptuous picture is thoroughly Giorgionesque in its general arrangement and general tone, and in this respect it is the fitting companion and the descendant of Giorgione’s Antonio Broccardo at Budapest and his Knight of Malta at the Uffizi. Its resemblance to the celebrated Sciarra Violin-Player by Sebastiano del Piombo, often ascribed to Raphael, is very striking, particularly regarding the general lines of the composition.[26] The handsome, manly head has lost both subtlety and character through some too severe cleaning process, but Venetian art has hardly anything more magnificent to show than the costume, with the quilted sleeve of steely, blue-grey satin which occupies so prominent a place in the picture.

      The Concert of the Palazzo Pitti, which depicts a young Augustinian monk playing on a keyed instrument, on one side of him a youthful cavalier in a plumed hat, on the other a bareheaded clerk holding a bass viol, was, until Morelli, almost universally looked upon as one of the most typical Giorgiones.[27] The most gifted of the purely aesthetic critics who have approached the Italian Renaissance, Walter Pater, actually built round this Concert his exquisite study on the School of Giorgione. There can be little doubt, however, that Morelli was right in denying the authorship of Barbarelli, and tentatively assigning the subtly attractive and tender Concert to Titian’s early period. To express a definitive opinion on the latter point in the present state of the picture would be somewhat hazardous. The portrait of the modish young cavalier and that of the staid elderly clerk, whose baldness renders tonsure impossible – that is just those portions of the canvas which are least well preserved – are also those that least conclusively suggest our master. The passion-worn, ultra-sensitive physiognomy of the young Augustinian is, undoubtedly, in its very essence a Giorgionesque creation, for the fellows of which we must turn to the Castelfranco master’s Antonio Broccardo, to his male portraits in Berlin and at the Uffizi, and to his figure of the youthful Pallas, son of Evander, in the Three Philosophers. Closer to it, all the same, are the Raffo and the two portraits in the Saint Mark of the Salute, and closer still is the supremely fine Man with a Glove of the Salon Carré, that later production of Vecelli’s early period. The Concert of the Palazzo Pitti displays an art certainly not finer or more delicate, but yet in its technical processes broader, swifter, and more synthetic than anything that we can with certainty point to in the life work of Barbarelli. The large but handsome and flexible hands of the player are much nearer in type and treatment to Titian than they are to his master. The beautiful motif – music for one happy moment uniting by invisible bonds of sympathy three human beings – is akin to that in the Three Ages, though there love steps in as the beautifier of rustic harmony. It is to be found also in Titian’s Rustic Concert in the Louvre, in which the thrumming of the lute is one among many delights appealing to the senses. This smouldering heat, this tragic passion in which youth revels, looking back already with discontent, yet forward also with unquenchable yearning, is the keynote of the Giorgionesque and the early Titianesque male portraiture. Altogether apart, and less due to a reaction from physical ardour, is the exquisite sensitivity of Lorenzo Lotto, who sees most willingly in his sitters those qualities that are in the closest sympathy with his own highly-strung nature, and loves to present them as some secret, indefinable woe tears at their heart-strings. A strong element of the Giorgionesque pathos informs still and gives charm to the Sciarra Violin-Player of Sebastiano del Piombo; only there it is already tempered by the haughty self-restraint more proper to Florentine and Roman portraiture. There is little or nothing to add after this as to the Man with a Glove, except that as a representation of aristocratic youth it has hardly a parallel among the master’s works except, perhaps, a later and equally admirable, though less distinguished, portrait in the Palazzo Pitti.

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      Примечания

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      Herr Franz Wickhoff in his now famous article “Giorgione’s Bilder zu Römischen Heldengedichten” (Jahrbuch der Königlich Preussischen Kunstsammlungen: Sechzehnter Band, I. Heft) has most ingeniously, and upon what may be deemed solid grounds, renamed this most Giorgionesque of all Giorgiones after an incident in the Thebaid of Statius, Adrastus and Hypsipyle. He gives reasons which may be accepted as convincing for entitling the Three Philosophers, after a familiar incident in Book viii. of the Aeneid, “Aeneas, Evander, and Pallas contemplating the Rock of the Capitol.” His not less ingenious

Примечания

1

Herr Franz Wickhoff in his now famous article “Giorgione’s Bilder zu Römischen Heldengedichten”

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<p>25</p>

The Christ of the Pitti Gallery – a bust-figure of the Saviour, relieved against a level far-stretching landscape of the most solemn beauty – must date a good many years after the Tribute Money. In both works the beauty of the hand is especially remarkable. The head of the Pitti Christ in its present state might not conclusively proclaim its origin; but the sensitive and intensely significant landscape is one of Titian’s loveliest.

<p>26</p>

An ingenious suggestion was made that it might be that Portrait of a Gentleman of the House of Barbarigo which, according to Vasari, Titian painted with wonderful skill at the age of eighteen. The broad, masterly technique of the National Gallery picture in no way accords, however, with Vasari’s description, and marks a degree of accomplishment such as no boy of eighteen, not even Titian, could have attained. And then Vasari’s “giubbone di raso inargentato” is not the superbly luminous steel-grey sleeve of this Ariosto, but surely a vest of satin embroidered with silver. The late form of signature, “Titianus F.”, on the stone balustrade, which is one of the most Giorgionesque elements of the portrait, is disquieting, and most probably a later addition. It seems likely that the balustrade bore originally only the “V” repeated, which curiously enough occurs also on the similar balustrade of the beautiful Portrait of a young Venetian, by Giorgione, first cited as such by Morelli, and now in the Berlin Gallery, into which it passed from the collection of its discoverer, Dr. J. P. Richter. The signature “Ticianus” occurs, as a rule, on pictures belonging to the latter half of the first period. The works in the earlier half of this first period do not appear to have been signed, the “Titiano F.” of the Baffo inscription being admittedly of later date. Thus that the The Tribute Money bears the “Ticianus F.” on the collar of the Pharisee’s shirt is an additional argument in favour of maintaining its date as originally given by Vasari (1514), instead of putting it back to 1508 or thereabouts. Among a good many other paintings with this last signature may be mentioned the Man with a Glove and Virgin with the Rabbit of the Louvre; the Madonna with Saint Anthony Abbot of the Uffizi; the Bacchus and Ariadne, the Assunta, the Saint Sebastian of Brescia (dated 1522). The Virgin and Child with Saint Catherine of the National Gallery, and the Christ with the Pilgrims at Emmaus of the Louvre – neither of them early works – are signed “Tician”. The usual signature of the later time is “Titianus F.”, among the first works to show it being the Ancona altarpiece and the great Madonna di San Niccolò now in the Pinacoteca of the Vatican. It has been incorrectly stated that the late Saint Jerome of the Brera bears the earlier signature, “Ticianus F.”. This is not the case. The signature is most distinctly “Titianus”, though in a somewhat unusual character.

<p>27</p>

Crowe and Cavalcaselle describe it as a “picture which has not its equal in any period of Giorgione’s practice.” (History of Painting in North Italy, vol. ii.)