for, the crowds of people running to share in the productions of his art, and how they endeavoured to purchase the pictures, great and small, and every thing that was in the house at any price; for every body is sure that his august Majesty will so treat his Apelles, that he will no longer condescend to exercise his pencil, except to oblige him." It was this circumstance, with the dispersion of his pictures which took place after his death and that of Horatio his son, that probably enriched the galleries of Paolo Serra, of the Grimani and Servi, of the Barbarigo, &c. which at one time (and some of them to this hour) could boast a copious catalogue of Titian's works; among which it is not unlikely that many came from his study not quite finished, and that others are only copies by his pupils.

CHAPTER XXXVII.

AT THE SUMMONS OF CHARLES THE FIFTH TITIAN GOES TO VIENNA, WHERE HE IS HONOURED BY THE CONFIDENCE OF THAT MONARCH-RETURNS TO VENICE IN THE SUMMER OF 1548-HIS WORKS UP TO SEPTEMBER 1550.

Ar the end of January or the beginning of February 1548, Titian set out on the road to Vienna, whither he was summoned by the Emperor, taking with him Thomas Titus Vecelli, a respected lawyer and his near relation, John Vecelli his nephew, and Horatio his son, accompanied by a numerous suite of pupils and servants. The singular demonstrations of affection shewn him by so great a prince made him forget the roughness of the roads and the season; and he found the good effects of his compliance with the orders he had received, as he informed his friend Aretin. But as during his

progress Titian was sparing of his letters, his impatient friend already suspected that the favours of Charles had cooled in him that fraternal affection which had united their minds for more than twenty years; an unjust suspicion, for on the contrary, Titian had warmly exerted himself in his favour with the Emperor, and had obtained for him a dowry for Austria his younger daughter; which imparted extreme pleasure to her good father, as one who tenderly loved his offspring. Of this joyful news he gave notice to Aretin by means of John Vecelli, who returned home soon after his arrival at Vienna. Nor were the good offices of Titian limited to this; for profiting by his great influence at court, he also obtained for his friend through Charles's liberality a considerable sum of money; and promoted his interests with the Prince of Salerno, who was then with Charles, and from whom Aretin hoped to obtain the reward of his ancient services.

Of the great demonstrations of esteem which Titian received at court, and of his being admitted freely and with a partial regard to the conversation of Charles, Aretin gave due notice to his and Titian's friends, to please these and to put in despair those who do not less grieve at Titian's riches than they rejoice at my poverty.

Vasari, Ridolfi, and the anonymous life published by Tizianello, and all other biographies of Titian after them, mention only one journey to Vienna, supposing that he stayed in Germany till the end of 1550, sometimes at the court of Charles and sometimes at that of the King of the Romans, his brother; wherefore I cannot possibly distinguish between the works he executed there on the first visit and those of the second. There is no doubt, however, of his not having, in the first journey, pourtrayed the august Monarch, and of his not having begun the devotional work he sent him afterwards, and which was brought to perfection in the next year. Meantime, allow me to record as works of the present year the pictures done for the celebrated family Függer, the rival of the Medicis as well in riches as in its splendid patronage of learned men and artists: for these works our painter received the noble reward of three thousand crowns. He also did for the family of the merchants Peronnei an excellent picture; and another for the Cardinal of Vienna, representing the principal ages of man, in which are seen some beautiful children asleep on the ground in each other's arms; then a shepherd near his mistress; and lastly, in a most pleasant country, near a tomb, is an old man,

whose back is bent and whose head is bald from old age: a fine work, which a century after was purchased by Christina, Queen of Sweden, for a thousand sequins.

It appears that in June 1548, he left Vienna for his own country, the Emperor himself having also gone, after publishing in May the famous Interim; since from May we have no more letters from Titian to Aretin, who had sent him so many in the three preceding months. A short time after his arrival at Venice, the noble artist had received a flattering testimony of the love of the august Charles: for the report of his death being spread abroad throughout Italy, the generous prince gave signs of the deepest affliction; and when he found the unlucky news was void of foundation, he himself testified his joy to our artist. The latter, penetrated with gratitude at so much goodness, protested to the generous Monarch that life was doubly dear to him; which he wished to preserve at least till he had finished the work ordered by his Majesty. This was the picture which was probably

of the Madonna in Tears, entrusted to him at the end of 1548, or at farthest the end of the next year, as we learn from the letter he wrote to the Emperor.

If Titian had reason to be satisfied with the