The Mirror of Literature, Amusement, and Instruction - Volume 20, No. 569, October 6, 1832 by Various
page 25 of 55 (45%)
page 25 of 55 (45%)
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Giorgione so successfully, that to several portraits their respective
claims could not be ascertained. The Duke of Ferrara was so attached to Titian, that he frequently invited him to accompany him in his barge from Venice to Ferrara. At the latter place he became acquainted with Ariosto. In 1647, at the invitation of Charles V. Titian joined the imperial court. The emperor then advanced in years sat to him for the third time. During the time of sitting, Titian happened to drop one of his pencils, the emperor took it up; and on the artist expressing how unworthy he was of such an honour, Charles replied, "that Titian was worthy of being waited upon by Cæsar." But, "to reckon up the protectors and friends of Titian, would be to name nearly all the persons of the age, to whom rank, talent, and exalted character, appertained. Being full of years and honours, he fell a victim to the plague in 1576, at the age of ninety-nine. To perpetuate his memory, the artists at Venice proposed celebrating his obsequies, with great pomp and magnificence in the church of St. Luke, the programme of which is given at length, by Ridolfi; but, owing to the prevalence of the plague, no funeral ceremony was allowed by the state: the authorities, however, made an exception in Titian's favour, and suffered him to be buried in the church of Friari, as we have stated." Sir Abraham Hume, the accomplished annotator of the _Life and Works of Titian_, observes: "It appears to be generally understood that Titian had, in the different periods of life, three distinct manners of painting; the first hard and dry, resembling his master, Giovanni Bellino; the second, acquired from studying the works of Giorgione, was more bold, round, rich in colour, and exquisitely wrought up; the third was the result of his matured taste and judgment, and properly speaking, may be termed his own; in which he introduced more cool tints into the shadows and flesh, approaching nearer to nature than the universal glow |
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