Venetian School. Tiziano Vecelli, born at Pieve di Cadore. Pupil of Giovanni Bellini.
LONDON, NATIONAL GALLERY
THE HOLY FAMILY The Virgin is seated on the left facing to the right, the Child on her knee. St. Joseph is seated in the centre facing to the right front, where kneels a young shepherd with a firkin slung on his belt facing towards the left, his left hand on the ground; landscape background.
From the Borghese Palace, Rome.
Holwell Carr Bequest, 1831.
VENUS AND ADONIS A replica-possibly by Schiavone-of the slightly larger picture at Madrid (No 422, see below).
Purchased with the Angerstein Collection, 1824.
BACCHUS AND ARIADNE On the left, between the sea and the edge of a woody landscape rising towards the right, Ariadne, in deep blue and vermilion, is walking away from us, her right hand uplifted. In the centre Bacchus leaps from his chariot towards her, his rose-coloured mantle flung out above and behind him. Between the two figures stand the pair of leopards harnessed to the chariot. In the centre foreground a little faun with gleaming eyes and uplifted face is walking beside the chariot, dragging a calf’s head. Behind him to the right a naked man struggling with snakes that are twined about him.On the extreme right a dancing Bacchanal brandishing a goat’s leg. In the wood behind is Silenus on an ass, and other figures. On the horizon to the left is seen the departing ship of Theseus, and overhead in the sky the constellation of the golden crown which Bacchus presented to her on her becoming his bride.
Signed TICIANUS F.
Purchased from Mr. Hamlet in 1826.
THE MADONNA AND CHILD WITH SAINTS In the centre the Virgin seated on a rock nearly full face. She stretches out her right arm to take a jasmine flower from the boy St. John, who is seated on the left. The Child lies on His back on her right knee, His right hand raised, His left on the right shoulder of St. Catherine, who kneels beside Him.
Once in the sacristy of the Escorial, Madrid. Purchased in Paris in 1860.
THE SUPPER AT EMMAUS Oblong. In the centre, facing us, Christ seated behind a long narrow dining-table covered with a white cloth (which stretches across the picture in the act of blessing. St. Peter, with bushy hair and beard, seated on His left in profile as he turns towards Christ. On our right, at the end of the table, the other disciple seated on a stool bending forward with clasped hands. Behind St. Peter a servinh-man and a page. A little dog under the table. Left background a wall and pillar; right, an evening landscape.
CHRIST CROWNED WITH THORNS Christ is seated half naked in front of a massive doorway facing us, flanked on His right by one and on His left by four of the ruffians who mock Him. Three of them have long rods in their hands, which, with the reed thrust into the Saviour’s, are a conspicuous feature of the composition. Over the doorway in a gleam of light is a bust of Tiberius Caesar. Signed TICIANUS F.
Painted for the Church of Santa Maria delle Grazie at Milan.
ALPHONSO DI FERRARA AND LAURA DI DIANTI A young woman, half length, standing behind a stone ledge at the foot of the picture, fronting us, her head turned slightly to the left. Her broad shoulders are bare, her bosom being covered by a pleated chemisette with very full sleeves, below which is her dress of green velvet. Her left hand holds a small glass bottle on the ledge, her right is raised holding her hair, which falls over her shoulder. In the background is dimly seen the head of Alfonso on her right, and his two hands, the right holding a handglass into which Laura looks, and the left a large circular mirror behind her left shoulder.
Painted in 1520.
THE HOLY FAMILY WITH ST. AGNES. The Virgin, on the right, carrying the Child in her arms, leans with her elbow on a pedestal. She looks towards the left at St. Agnes kneeling, who presents her with a palm branch, and at the infant St. John, who advances driving a lamb before him. At the feet of the Virgin is a lizard. Landscape background.
THE HOLY FAMILY On the left the Virgin sits holding the Child, who tries to slip from her arms. On the right is the infant St. John with a lamb, and in the middle distance St. Joseph. Landscape background, with a peasant driving an ox.
JUPITER AND ANTIOPE Oblong. In the centre of the foreground of a wooded landscape Antiope reclines asleep, her right arm supporting her head. At her feet, on our right, a kneeling satyr (Jupiter) with outstretched left arm raises the white drapery from her knees, her body being undraped. On our left stands a young hunter with a leash of hounds, in front of whom are seated another satyr and a woman. Above, in the centre, Cupid is letting fly a shaft at Jupiter.
THE ENTOMBMENT Oblong. On the right Nicodemus in profile bends over the head of the dead Saviour as he supports Him by the shoulders. On the left Joseph of Arimathea in a similar attitude, supporting the white draperies bound round the legs. Behind, in the middle, St. John holds up the Saviour’s right arm, his anguished glance fixed on the Virgin and Mary Magdalene, who stand in attitudes of intense emotion on the left.
THE MADONNA AND SAINTS Half-length figures, life size. On the left the Virgin in red robe, yellow lined blue cloak, and a veil on her head, with the Child on her knees. On the right St. Ambrose in a red robe between St. Stephen in blue offering a palm to the Virgin, and St. Maurice in armour leaning on his lance. Landscape background, with a curtain on the left.
A repetition of this picture is at Vienna (No. 166).
“LA VIERGE AU LAPIN” In the centre the Virgin kneels in ,a crimson robe and blue mantle fondling a white rabbit. To the right St. Catherine holds the Child, who leans forward to grasp the rabbit. Behind, to the left, St. Joseph with a flock of sheep and a black kid in his arms. Landscape background.
AN ALLEGORY On the left a woman is sitting in profile holding a large crystal globe. She is dressed in green, with a linen chemisette open at the breast. Beyond her, in the centre, is a man in armour, but bareheaded, with his hand on herneck. Facing her is a kneeling figure of a young girl crowned with myrtle, and to the right is seen the head of a boy in profile, who offers a basket of flowers. In the foreground is a cupid with arrows.
Supposed to have been painted about 1533 as an allegorical portrait group of the Marquis d’Avalos, with his wife and his son, when starting for the war against the Turks.
THE MAN WITH THE GLOVE Half length, fronting us, but with face and eyes turned slightly to our right. A young man, clean shaven, dressed in black, his tunic opening in a narrow V to his waist and showing a white pleated shirt, and a gold chain. His right hand is at his waist, the forefinger extended. His left, with the glove on, and holding the other glove, rests on a stone ledge.
VENUS REPOSING Reclining on a couch, unattired save for a pearl necklace, ear-rings, and bracelets. Her head, to our right, is turned towards a little cupid who caresses her left shoulder. At her feet is a little dog. Right background a curtain; left, an open window (on the sill of which is a partridge) showing an evening landscape, with a large tree.
VENUS REPOSING ON A BED Reclining on a bed, her head to our left, entirely undraped, her hair falling over her right shoulder. A little boy at her feet. In the background are two maids, one of whom is kneeling before an open trunk and the other standing by her.
FLORA Half length, full face, the head inclined to the left. Golden hair parted in the middle and falling over the shoulders. She is in a linen chemisette falling very low, only a few folds of a purple mantle being seen, which she holds to her left side with one hand while in the other she holds out some flowers.
“LA BELLA” Half length, full face, turned slightly to the left. She wears a blue dress with red sleeves, cut low at the neck, and a long gold chain. She has auburn hair, one curl of which lies on her shoulder.
Painted in 1535.
Supposed to be a portrait of the Duchess of Urbino. The background has been repainted.
PORTRAIT OF PETER ARETINE Half length, full face looking to left. He is in a yellow tunic and red gown with very large lapels, which he holds together with his gloved left hand at his waist. He has a coarse face, with a full grey beard.
This portrait was painted in 1545 and sent to Cosimo de Medici by Aretine with a letter praising it as being the living likeness of him.
THE ASSUMPTION The Virgin stands on clouds with arms outstretched surrounded by cherubim and angels, some of whom hold her flowing mantle, others play on musical instruments. She raises her eyes to the Eternal, who appears in a glory approached by two angels with two crowns of flowers and of gold. Below, the Apostles are grouped round the sepulchre in adoration, in the centre St. Peter sitting with clasped hands; to the right St. Andrew, his back to us, with outstretched hands, and St. James in profile; to the left St. John, with his hand on his breast.
THE PRESENTATION IN THE TEMPLE A large oblong picture, of which the distinguishing feature is the flight of massive stone steps rising from the centre foreground to the door of the Temple on the extreme right. The left foreground is filled with figures of men and women, who stand watching the little Virgin, who has passed the ” landing ” half-way up the steps, and is mounting the upper flight, at the top of which the High Priest and another stand awaiting her. Behind these steps is a range of buildings, the foremost of which is supported on two rows of Corinthian pillars, one being immediately behind the Virgin. On the extreme left of the picture is a lofty arcade and a pyramid, the left central background being a mountain landscape and a bright sky. The severity of the plain masonry of the side of the steps facing us is relieved by a low opening to the right, and near the centre by the lifelike figure of an old market-woman with her basket beside her.
Painted for the Scuola della Carita.
SACRED AND PROFANE LOVE The centre is occupied by a broad stone well-head, at the left side of which is seated facing us a woman in full draperies looking away to left, while at the right another woman almost nude rests on the edge, leaning on her right hand, her head bent towards the other. Behind is a little cupid dipping his hand into the well.Fine landscape background.
THE EDUCATION OF LOVE An oblong. Half-length figures. On the left Venus, draped and with a tiara, is seated tying a bandage round the head of Cupid, who leans, back to us, at her knee. Her head is turned to left towards another “cupid,” who stands on the seat beside her leaning against her shoulder. On the right are two robust nymphs, the foremost holding Cupid’s quiver and the other his bow. Behind Venus is a wall, beyond which, in the centre, is a landscape with distant mountains.
THE REPENTANT MAGDALENE Half length. A plump young woman with long ringlets standing facing us with eyes upturned, her right hand on her breast, her left holding her striped shawl at her waist. In the foreground on the left is a vase, and on the right an open book resting on a skull.
THE TOILET OF VENUS Three-quarter length. Venus is sitting facing us, her body bare, her left hand on her breast, her right holding a mantle over her lap. Her head is turned to the right as she looks into a square mirror held up by a cupid who stands with his back to us on the seat at her side. The head and arm of another cupid are seen in the background as he is about to place a wreath on the head of Venus.
TITIAN’S DAUGHTER Three-quarter length, standing slightly to left, her eyes looking to left. She is a stout woman, richly dressed in green velvet over a red under garment with banded sleeves and low-cut bodice, with a splendid chain of pearls. Her left hand hangs at her side, and her right is raised to her bosom holding a large feather fan at her right shoulder.
Painted about 1566.
PORTRAIT OF ANTONIO PALMA Three-quarter length, standing half to left, the eyes turned to meet ours. A thin, bearded, dark-haired man of middle age, bareheaded, dressed in a loose black gown. His left hand, holding upright a long palm branch, rests on a pedestal. His right, at his thigh, grasps a band which passes over his left shoulder. Plain wall background with an opening on the left.
Inscribed “MDLXI. ARINO . . . NATUS. AETATIS SUAE XLVI. TITIANUS PICTOR ET AEQUES CAESARIS.”
PORTRAIT OF THE ARTIST Half length, seated behind a table, on which his right hand rests. His head turned slightly to right. His left hand resting on his thigh. In a dark heavy cloak over a light tunic with long sleeves. He wears a skull cap.
THE MADONNA AND SAINTS Oblong. Three-quarter length figure backed by a curtain on the left and pillars on the right. The Virgin, in a plain full robe and white veil on her head, in the left centre, is seated facing us holding the Child, who stands on her right knee, with both hands. She looks to the right, as does also the Child, at the Magdalene, a stately lady standing before them with head and glance bent downwards. Behind the latter stand St. Jerome on the extreme right, and St. Paul near the centre. On the extreme left stands in profile St. John the Baptist with dark ruddy skin, his right hand holding the arm of the Child.
THE TRIBUTE MONEY Bust length. The Saviour facing us, His head and glance turned to the right at St. Peter, who stands in profile at His left shoulder, his left hand holding a coin. Christ’s right hand points to the coin, nearly touching it.
PORTRAIT OF A YOUNG WOMAN WITH A FAN Three-quarter length, three-quarters to left, the fan-a little flag-in her right hand upright; her left hand at her side. In a white satin dress, with stiff laced bodice and full skirt.
Possibly Titian’s daughter Lavinia in 1555 as the bride of Cornelio Sarcinelli.
A LADY IN A RED DRESS Nearly full length, facing us, a young woman standing with her left hand on a table at her side, her right holding a tippet at her waist. She is richly dressed in a stiff shield-shaped bodice with quilted sleeves and full skirt. Plain wall background.
“By Bernardino Licinico.” (C. and C.)
THE EMPEROR CHARLES V. Whole length, seated in a chair, three-quarters right, his right hand resting on the arm of the chair holding a glove; his left, gloved, in his lap. Dressed in black velvet and fur, and flat black cap. Left background, wall and pillar; right, a flat landscape.
Signed and dated 1548.
CHRIST CROWNED WITH THORNS Practically the same composition as the Louvre picture, but widely different in feeling, as it is also in technique, being of the master’s latest period.
TITIAN’S DAUGHTER LAVINIA Half length to right, in a gold-brocaded satin dress and white scarf falling over her shoulders, her head turned towards us and both arms upraised holding a salver full of fruit and flowers. Left background and curtain, right a mountain landscape.
DANAE Reclining on her back on a couch which is draped in white, unattired save for ear-rings and a bracelet, her head and back raised on pillows on our left, her right knee bent so as to plant her right foot on the couch, her left foot reaching the edge of the canvas on our right. Her right elbow is bent, and her right hand hangs over the edge of the couch. Her left hand rests upon her left thigh. She watches the golden rain caught in a salver by a woman kneeling behind the couch. Left background a curtain, right a cloudy sky, whence issues the bright shower.
A similar picture is in the Museum at Naples, a wondering cupid replacing the grasping woman.
DIANA AND CALLISTO In the centre, slightly to the right, Diana reclines-though almost in a standing posture-facing us, but with head in profile to left, and points with outstretched right arm to Callisto, who lies supported by three nymphs on the left in front of a tall stone fountain which, with a background of sea and sky, divides the two groups into which the picture falls. Behind Diana, under trees, are four nymphs, one seated in the foreground, leaning on her right hand, the other standing. Callisto and three of the nymphs behind Diana are draped.
THE MADONNA WITH THE CHERRIES The Holy Family; half-length figures. In the centre the Virgin, full face, seated behind a narrow table or ledge on which stands the Child advancing to her from the left. Her right hand rests on His back, her left holds a sprig of cherries, below which, in the right foreground, is seen the head and arm of the infant St. John. Behind her is a cloth of honour, on the left side of which is St. Joseph and on the right St. Zacharias.
JOHANN FREDERICK OF SAXONY Three-quarter length, seated half to left. A very stout man, with beard and moustache, and hair cut very short. Dressed in black with very broad fur collar. His left hand, resting on the arm of his chair, holds a black cap. His glance is directed over our right shoulder.
“THE GIPSY MADONNA” The Virgin, half length, stands facing us, looking downwards, her right hand at her waist, her left holding the Child, who stands facing us on the edge of a table in the right foreground. Behind the Virgin is hung a green cloth extending to the right edge of the picture; to the left the background is an open landscape.
Probably a very early work.
FABRIZIO SALVARESIO Three-quarter length, standing slightly to right. A man of fifty, slightly bearded, in black cap and black mantle with narrow edge of white fur. His right hand grasping his striped sash. A negro boy’s head and arm in the right foreground. Plain wall background, with a clock on a pedestal on the right, and an inscription on the left, with the signature and date 1558.
JACOPO DE STRADA Three-quarter length, standing behind a table facing us, his head turned slightly as though showing to someone on our right a statuette of Venus which he has lifted from the table to his right, and is holding with both hands. Dark hair, moustache, and beard. Dressed in a black tunic with crimson sleeves; over his left shoulder a thick stole of light-coloured fur; round his neck a gold chain fourfold, with a large pendant. Panelled background, a book lying on a shelf over his head.
Signed and dated 1566, when Strada was fifty-one years of age.
ECCE HOMO From the centre foreground rises a flight of ten stone steps to the entrance of the Hall of justice on the extreme left, at which stands Christ in a loin cloth only, and at His right Pilate, who faces us, his head turned to the centre of the picture as with his right hand he points to Christ. The central figure in the composition is a halberdier standing on the steps, his back to us, in a long dark tunic and light-coloured hose. Beyond him on his right is a lady in a white dress, with a boy and other figures; on the right in the foreground a tall, big citizen in a robe and fur collar. On the extreme right two mounted men in armour, their horses’ heads towards us. In front of the steps on the left a soldier standing beside his large shield on which is the double eagle of Austria.
Signed and dated 1543.
In the Duke of Buckingham’s Collection.
THE ENTOMBMENT Seen from near the foot of the tomb-a plain stone trough-on its right side. Joseph of Arimathea, wearing a turban, supports the body under the right arm and Mary under the left, the head falling over to the left of the picture. Nieodemus in the foreground on the right, his back to us, sup ports the legs. Over his shoulders are seen the head and clasped hands of the Magdalene, and on the left, between Joseph and Mary, the head of St. John. Plain background.
As early as 1579 this picture was in the gallery of Antonio Perez in Spain, and in 1648 was purchased by the Emperor Ferdinand III. from the collection of the Duke of Buckingham.
A NYMPH AND SHEPHERD Oblong. The nymph, with a wisp of drapery over her waist, lies with her feet to our right, her back turned slightly towards us. Her head is turned in profile, and close to it is that of the shepherd, who is seated immediately to left, his feet stretched apart, holding his pipe in both hands, and pausing in his playing to look round at the nymph. Hilly landscape background, with a goat reaching up at the foliage on a broken tree.
VENUS LISTENING TO MUSIC Oblong. On the extreme left is an organ at which a cavalier is seated, but his head is turned over his right shoulder towards Venus, who is stretched on a couch behind him on our right, playing with a little dog which reaches up to her from the right foreground. The background is a garden, in which is a fountain with the figure of a satyr.
RELIGION SUCCOURED BY SPAIN On the right, under a large tree, is a nearly nude girl half kneeling, profile to the left, typifying Religion. On the left a war-like woman advances towards the former, her left hand holding a standard. Behind her is seen another woman with a sword.
THE TRINITY Also called “The Glory.” At the top, seated on clouds, are the Father and the Son, each holding a large orb, and between them a radiant light shines from the mystic Dove. The Virgin, a tall figure wrapped in a mantle, seen from behind, approaches them from below on the left. Masses of figures in all sorts of attitudes surround this group, increasing in size towards the lower part of the picture.
THE EMPEROR CHARLES V. A life-size equestrian portrait of the Emperor in armour carrying a lance. His brown charger, covered with a cloth, canters towards the right across a landscape, on the left of which are large trees. The occasion is supposed to be the Battle of Muhlberg.
THE BACCHANAL A composition of ten or twelve figures grouped among trees in the fore ground of a landscape. A nude woman is reclining asleep on the right, a little boy standing behind her, and a young man and woman dancing. In the centre two women are reclining, round whom are grouped four men, nearly nude, one of whom is pouring wine into a bowl upheld by one of the women. In the very centre, behind, is a man holding aloft a glass vase half full of wine against a brilliant sky. To the left are trees behind which are a youth drinking and a man with a wine jar on his back.
THE OFFERING TO VENUS The whole of the fore- and middle-ground is filled with Amorini at play in various attitudes. On the right, on a high pedestal, a statue of Venus, the legs draped. Between us and the pedestal a girl holding aloft a tambourine, and behind her another girl. Landscape background with heavy trees on the left, in the topmost boughs of which are three or four more Amorini.
ECCE HOMO Half length, life size, half to right. The Saviour with head and eyes downcast, His crossed hands bound with a cord; only a small strip of drapery is seen passing over the left arm and round the waist.
MATER DOLOROSA A companion picture to No. 43; Half length, half to left. The Virgin is standing with hands upraised in pity, looking down towards the left. She wears a mantle, and white veil over her head and shoulders.
CHRIST AND SIMON OF CYRENE Christ, in a long robe, kneels towards the left beneath the cross, His left hand on the ground, His right upraised holding the cross; He turns His head over His left shoulder as Simon bends over the cross above Him on the right.
THE ENTOMBMENT Seen from the foot of the tomb-a carved sarcophagus-at the right side. A similar composition to one at Vienna, but more full and elaborate. Joseph is here an old man with a long beard, and both his and Nicodemus’ figure are seen at full length, while the Magdalene bends forward with outstretched arms.
PHILIP II. Full length, standing half to left, with the right knee slightly bent; a young man, very slightly bearded. He is in richly chased body-armour and white hose and shoes. His left hand holds a dagger at his left side, his right rests on his helmet, which is lying on a table behind him.
SELF PORTRAIT Half length, profile to left. An old man with long white beard. Plain robe and skull cap. His right hand in the left foreground holding a brush.
PHILIP II. DEDICATING HIS SON TO VICTORY 4 The King, in body-armour, stands on the right side of a small table covered with a cloth set against the back wall of a room paved with tiles. He holds up his infant son naked, whose right hand is raised to meet that of a winged and robed angel who descends head first from above. In the left foreground sits a Moor bound, his turban lying in the centre. A small dog on the right.
ISABEL OF PORTUGAL Wife of the Emperor Charles V. at the age of twenty-four. Three-quarter length, seated half to right. Richly dressed, with a splendid pearl neck lace. She looks out to right. Her left hand rests on the arm of her chair, holding a small open book. Her right lies on her lap. Wall background, with curtain to the left and a window to the right, through which is seen a mountain landscape.
SALOME Half-length to right, a young woman holding up a dish containing the Baptist’s head, and looking towards us over her shoulder. A similar picture (with the details altered) to No. 166 at Berlin.
THE MARQUIS OF VASTO ADDRESSING HIS TROOPS On the left the Marquis, full bearded, in armour, stands on a platform in profile to right, his right arm extended, his left holding a baton. At his side, on the extreme left, stands his page holding his helmet. In the centre foreground is the half-length figure of a halberdier, behind which is a dense mass of soldiers fully armed marching towards the horizon, which is lined with upright lances.
VENUS AND ADONIS On the left Venus, nude, is seated with her back to us, her left foot on the ground. She stretches back to the right, embracing Adonis, who, with his right arm raised, holding his spear, and looking down at Venus, strides across the centre to the right; two hounds on the right. Landscape background with trees on the left, under which Cupid lies asleep, and bright sun shining through clouds on the right.
Painted in 1554 for Philip II.