Is this the apotheosis of Charles and his family? Or is it only an animated book which the painter opened to him, to nourish his piety and confirm his resolution of leaving the world to finish his days in a voluntary retirement? The annotator on the "Vago Italiano" adheres to the former opinion, to give him a pretext for accusing the painter of base adulation, the hero of vanity; on the other hand, the author of " Viaggio ode porico della Spagna," taxes the above writer with inaccuracy, observing that the Emperor and his family are introduced not as the blessed but as suppliants. This is a useless dispute. If it be the apotheosis of Charles, it is what a great man who dies penitent may hope for. I grant that it is premature; but to a hero who had the courage and unusual devotion to sustain the sight of the representation of his funeral obsequies, one can well grant the pleasure of seeing himself in a picture in the condition which his faith might lead him to hope for after his death. Nor ought the painter to incur any blame, who instead of exhibiting an apotheosis, such as was granted to the Roman Emperors, and which the glorious deeds of Charles deserved, quitted the proscribed doctrine of heathenism, although it presents to the fancy of the painter more poetical and varied forms, and confined himself entirely to the dogmas of the Catholic faith. The action passes in heaven with the ministry of the Angels, before the Deity, in presence of the blessed of the Old and New Testament, who are habited in white, the symbol of sanctified humanity. This noble work, we find by a letter from Aretin to Charles the Fifth, was not finished till 1555, in which year Titian dispatched it to the Spanish court, with another picture on a profane argument, which, when exposed to public view in the painter's house, brought all Venice to admire it. The Emperor, who had come to Inspruck in order to be nearer the Council, which with much difficulty on the part of the court of Rome and the Protestants was re-assembled at Trent, was now to pass into Flanders to devote himself to the war about to burst on France. Titian profited by this to return to Venice, where his family, his friends, his desire of a more secluded and tranquil life called him—to leave it no more! We learn from a letter of Aretin's that in December 1551, Titian had been some time in Venice; and Ridolfi affirms that he had brought from Germany considerable riches. Ridolfi says that on his way through Trent he visited its cardinal, and drew his portrait; but he probably confounds dates, since we have seen that he drew it many years before. It is also certain that, besides the works ordered of him by the Emperor, he had also to satisfy the wishes of Philip, then prince of Spain, who had charged him with many works both sacred and profane; and whom Titian did not wish in any manner to neglect, hoping, as shortly after happened, to have in him a Mæcenas, not less generous than his father; who he knew was much disposed to give up to his son the reins of government, as soon as he should succeed in obtaining a lasting and honourable peace with France. CHAPTER XXXIX. ON HIS RETURN TO VENICE TITIAN PROPOSES TO THE WORKS ON THE return of Titian to Venice must have been regarded by the young professors, who were then in great numbers in that splendid capital, as the most striking triumph of the art. Too great to be offended at the snarlings of envy, too occupied by the works of Charles and Philip to think, in his advanced old age, however robust it might be, of undertaking other works of much importance; he contented himself with offering his natural prince his assistance and advice, in completing the histories which were wanting in the hall of the Grand Council-Chamber, where for more than seventy years the greatest Venetian artists had left illustrious memorials of their skill. This he proposed in full assembly, after having given an account of the things he had done in Germany, and of the singular favours he had received from the Emperor and the King of the Romans. The offers of the excellent artist were received by the Serene Senate with thankfulness; and to him they entrusted the care of choosing those painters he thought most capable of executing works of so great consequence and in so conspicuous a place. These were Giacomo Robusti, called Tintoret, Paul Veronese, and Horatio, Titian's son, who, as will be seen more particularly in the notice of his life, showed himself worthy of working in competition with such powerful rivals. In this choice the temperate conduct of Titian is particularly commendable, who was able to forget his differences with Tintoret, and sacrifice his private passions to the glory of Venice and the art; and the uncommon modesty of Veronese and Tintoret is also worthy of praise, who, although they had already a name among the greatest masters, did not disdain to be guided by his directions. |