Titian

"I, Titian of Cadore, having studied painting from childhood upwards, and desirous of fame rather than profit, wish to serve the Doge and Signori, rather than his Highness the Pope and other Signori, who in past days, and even now, have urgently asked to employ me: I am therefore anxious, if it should appear feasible, to paint in the Hall of Council, beginning, if it please their sublimity, with the canvas of 'The Battle' on the side towards the Piazza, which is so difficult that no one as yet has had courage to attempt it..."

"Your Excellency, I went without delay to the well of which Y. E. had written, and made a sketch of it, from which Y. E. will see how the matter stands; but I wish that sketch not to go alone, so send another with it of a well after the fashion of this country. Should these drawings appear to have been done in a manner not agreeable to the greatness of your illustrious Signorina, or in accordance with my humble desire to serve Y. E., I hope to be excused; and that Y. E. will ascribe, the cause to an earnest longing that the work should be done rapidly. I am entirely at command should the drawings be considered unsatisfactory, and am ready to furnish others.."

"Most Illustrious Lord and My Lord, I received the other day, with due reverence your Lordship's letter, together with the canvas and framing. Having read and noted the contents, I considered them so pretty and ingenious as to require no improvement of any kind; and the more I thought over it the more I became convinced that the greatness of art amongst the ancients was due to the assistance they received from great princes content to leave to the painters the credit and renown derived from their own ingenuity in bespeaking pictures. Can I therefore doubt that, if God enables me to satisfy in any part the wishes of Your Lordship, I shall have all credit for my labour? Yet I shall, after all have done no more than give shape to that which received its spirit — the most essential part — from Your Excellency."

"Excellent Lord: —Knowing your Excellency's love for painting and your passion for protecting it as shown in the patronage of Ginlio Eomano; —being further desirous of pleasing your Excellency, —I have taken the opportunity of Messer Pietro Aretino's arrival [in Venice] to paint his likeness, and as he comes — a second St. Paul —to preach the virtues of your Excellency, and I likewise know that you are fond of so faithful a servant because of his many virtues, I make you herewith a present of his portrait. But I also bear in remembrance the Signor Girolamo Adorno who adored the Marquis of Mantua, and as he was a qualified gentleman, I send your Excellency a present of him also. These may not be gifts worthy of so great a person as your Excellency.. ..Most devoted servant, Titiano Vecellio."

"I have been expecting the bull of the benefice of Medole which your Excellency gave me for my son Pomponio last year, and seeing that the matter is delayed beyond measure, and what is worse, that I have not received the income of the benefice — I find myself in a state of great discontent. It would be greatly to my dishonour and infamy, if my boy should be forced to change the priest's dress, which he wears with so much pleasure, after all Venice has been made acquainted with the gift made to him of this benefice by your Excellency."

"Illustrious Lord, hearing that your Excellency has gone to the court of his Imperial Majesty [Charles V], I abstain from coming to Mantua, sighing at my bad fortune in not having left Bologna soon enough to meet your Grace. At Venice I shall prepare the copy of the portrait of his Majesty, which I take home with me at your Excellency's bidding."

"..I kissed the hand of Don Alvise Davila, who said he was your friend, and begged me to tell you he would soon prove it. I would have done the same by Signor Antonio da Leva, but that there was no time. He came to see the Emperor [Charles V], and only staid half a day, and there were so many visitors that I could not kiss his hand. But should we meet I shall do my duty, and attend to your interests without regard to the consequences. No more on this head. Here nothing is heard but the roll of drums, and everyone is starting for France. I hope soon to be with you, when we shall have much to say to each other. Bas las manos a vuestra merced and also those of Alvise Anichini."

"Most Illustrious, &c,— It was not necessary for your Excellency to remind me by letter or the gift of a rich cassock of the pictures, which I have altogether at heart, knowing as I do under what obligation I am for many kindnesses.. ..Many days have passed since I gave one of the pictures to the ambassador to send to your Excellency. Five others are in a fair way, which I shall finish on hearing that the first was satisfactory, or the reverse, regulating my work accordingly. And so I shall proceed by degrees to the end, when I shall hope to have well served your Excellency. In the meantime, it would be a great favour to me if your Excellency would liberate my benefice from the pension payable upon it, which, besides causing me a loss in money which I pay out yearly, creates not a little trouble and disturbance because of the persons with whom I am pestered, out of whose hands your Excellency alone can save me. I beg, I supplicate your Excellency to do this.. ..which alone would suffice to make me your Excellency's perpetual slave."

"Your Ceasarean Majesty, I consigned to senõr Don Diego di Mendoza, the two portraits of the most serene Empress [ Isabella ] , in which I have used all the diligence of which I was capable. I should have liked to take them to your Majesty in person, but that my age and the length of the journey forbade such a course. I beg your Majesty to send me words of the faults or failings which I may have made, and return the pictures that I may correct them. Your Majesty may not permit anyone else to lay hand on them.. ..Your Majesty’s most humble and constant servant, Titiano."

"I have an action pending before the Legate [Titian's friend, Giovanni della Casa ] here against the brothers of [the church] San Spirito of whom I hear they mean to tire me out by delays. Their purpose is to obtain a commission or brief, by which my cause shall be transferred to another judge, who is their friend. I beg your Reverend Lordship, in remembrance of my services and in view of the importance of the case to give Monsignor Guiddicioni to understand that he may not pass anything contrary to me, but trust to the goodness and sufficiency of Monsignor the Legate [Titian's friend] so that the brothers shall not have it in their power to ill-use me and create delays contrary to duty and justice; the matter being public at Venice where everyone knows that these brethren are old and certain debtors to me for my works."

"[I] purposely avoided the styles of Raphael and Michaelangelo because I was ambitious of higher distinction than that of a clever imitator."

"I should be acting the part of an ungrateful servant, unworthy of the favours which unite my duty to your great kindness, if I were not to say that his Majesty [ Charles V ] forced me to go to him and pays the expenses of my journey, I start discontented because I have not fulfilled your wish and my obligation in presenting myself to my Lord [ Pope Paul III ] and yours, and working in obedience to his intentions [to paint the Pope's portrait].. ..But I promise as a true servant to pay interest on my return with a new picture in addition to the first.. ..So with your license, Padron mio unico, I shall go, whither I am called, and returning with the grace of God, I shall serve you with all the strength of the talents which I got from my cradle.."

"Most serene and Powerful King [Ferdinand], most Clement Lord,.. .The portraits of the serene daughters of your Majesty will be done in two days, and I shall take them to Venice, whence – having finished them with all diligence – I shall send them quickly to your Majesty. As soon as your Majesty has seen them, I am convinced I shall receive much greater favours than those which have been previously done me, and so I recommend myself humbly to your Majesty. – Your Majesty's faithful servant, Titiano."

"His Majesty [[w:Charles V, Holy Roman Emperor|[emperor Charles V] ]], [in his court in Augsburg] sent for me. After the usual courtesies and examination of the pictures which I have brought, he asked for news of you.. ..I replied that at Venice, in Rome and in all Italy the public assumed that his Holiness [the new Pope], was well minded to make you ..[Cardinal] upon which Caesar [= Charles V] showed signs of pleasure in his face, saying he would greatly rejoice at such an event, which could not fail to please you, and so, dear brother [= close friend], I have done for you such service as I owe to a friend of your standing.. ..not a day passes but the Duke of Alva speaks to me of the 'divine Aretini', because he loves you so much.."

"Most high and important Signor, Having recently obtained a 'Queen of Persia' of some quality, which I thought worthy of appearing before your Highness' [[w:Philip II of Spain|[= Prince Philip II] ]] exalted presence, I had her sent, pending the time when other works of mine were drying, to take embassies from me to your Highness, and be company to the landscape and [a] St. Margaret, previously sent by Ambassador [Fransesco] Vargas.. ..Most high and potent Signor's servant, who kisses your feet, Titiano Vecellio."

"..I also send the picture of the [[w:La Gloria (Titian)|'Trinity' [also called La Gloria] ]].. ..in my wish to satisfy your C. M. [Caesarean Majesty] I have not spared myself the pains of striking out two or three times the work of many days to bring it to perfection and satisfy myself, whereby more time was wasted than I usually take to do such things.. ..the portrait of Signor Vargas [agent of Charles V, who was paying Titian for his works] introduced into the work [very probably in the 'La Gloria' / 'Trinity'] was done at his request. If it should not please your C.M. any painter can, with a couple of [brush] strokes, convert it into another person."

"[I wish]to engrave and distribute [the prints] for the benefit and knowledge and use of painters and sculptors and other knowledge-able persons."

"He who improvises can never make a perfect line of poetry."

"It is not bright colors but good drawing that makes figures beautiful."

"Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting.."

"He once remarked, as Pietro Aretino reported to Vasari, "that he never saw a maiden without discovering in her features a touch of sensuality" ("lascivia")"

"He [Titian] told me he remembered that there were [already] three pictures in the fazata (wall facing the light ?) in Your Excellency's Studio; and that your Excellency had arranged that this one should be hung on the same fazata. He wishes to know whether the new canvas is to be in the middle of the others, or at one side, either towards the chapel or towards the Castello; and he promised to begin work this morning, proceeding without interruption to the close."

"We thought, that Titian, the painter, would some day finish our picture; but he seems to take no account of us whatever. We therefore instruct you to tell him instantly, that we are surprised that he should not have finished our picture; that he must finish it under all circumstances or incur our great displeasure; and he may be made to feel that he is doing an ill turn to one who can resent it. We are determined that he shall complete the work he promised : if he does not, we shall see to his doing it, and you are to advise us instantly of his resolution."

"Before Christmas, Tebaldi [Titian's agent in Venice] received a letter from the Duke Alfonso, with orders to communicate the contents to Titian. "Let him know," says Alfonso, "that we have thought over the matter of the 'St. Sebastian'.. ..Let him think on the other hand of serving us well in the work which he has on hand for us, as we do not mean to burthen him with more for the present, and we have to remind him of the head which he began at our bidding before he left Ferrara." A canvas and a present of twenty-five scudi preceded the dispatch of this letter, and from a reply subsequently made by Tebaldi, we ascertain that "the head" was a half length on panel which Titian had promised to enlarge so as to include "an elbow and a part of a left hand.""

"The [body [of St. Sebastian ] is bound with one arm high up, the other low down, to a column ; the whole frame writhes in such a way as to display almost all of the back. In all parts of the person there is evidence of suffering, and all from one arrow that sticks in the middle of the body. I am no judge, because I do not understand drawing, but looking at the limbs and muscles the figure seems to me to be as natural as a corpse."

"Most Illustrious and best Lord Uncle, — Having asked Titian, the bearer of these presents, to execute certain work for me, he declared himself unable to serve me at present, because of a promise to do certain things for your Excellency which require time. For this reason I send him to attend your Excellency. But I beg he may be sent back at once to expedite the work I have on hand for him, which will take but a few days. As soon as he shall have done he can return to the service of your Excellency, and in this your Excellency will do me a singular pleasure to whom I stand greatly recommended."

"The canvas of the naked Venus sleeping in a landscape with a small Cupid, was by the hand of Zorzo da Castelfranco, but the landscape and the Cupid were finished by Titian."

"M. Tuciano [Titian] — I received the two beautiful pictures which you were pleased to send as a present to me, and am very grateful for them, not only because I was most desirous of possessing works from such skillful hands as yours, knowing as I do how clever you are in the art of painting, but because you send me portraits of two persons who were always and still are dear to me; —so like too that nature itself could not have made them more so; I therefore thank you, and shall hold these pictures dear for your sake; and you may be assured that nothing you could have done would have been more agreeable to me, or make me feel myself more under obligation. When I can I shall ever be ready to do you a pleasure, and always be disposed and inclined to consult your wishes."

"Our master Titian is quite disconsolate at the loss of his wife, who was buried yesterday. He told me that in the troubled time of her sickness he was unable to work at the portrait of the lady Cornelia or at the picture of the 'i Nude' which he is doing for our most illustrious Lord; but he thinks the latter will be a fine thing, and he hopes to finish it before the month is out. Meanwhile he desires to know how his Lordship likes the 'St. Sebastian' lately sent to him, which he admits is but an ordinary performance as compared with the nudes, and one which he only produced as an entertainment in token of the devotion which he feels for his Excellency."

"It is a custom of this city [Venice] that the Prince [The Doge] when in office should do three things: procure his own likeness of life size, to be placed in a certain lunette beneath the ceiling of the Hall of Great Council, and for this Titian had a salary.."

"Titian, now I clearly see in a new guise My beloved idol, opening her eyes."

"Ben vegg' io, Tiziano, in forme nuove L' idolo mio, che i begli occhi apre e gira."

"If I were a painter I should die of despair.. ..but certain it is that Titian's pencil has waited on Titian's old age to perform its miracles."

"..I glanced at a sky [aboven the Grand Canal in Venice where a boat-race was going on] which since the days of the creation was never more splendidly graced with lights and shadows. The air was such as an artist would like to depict who grieved that he was not Titian. The stonework of the houses, though solid, seemed artificial, the atmosphere varied from clean to leaden. The clouds above the roofs [of Venice] merged into a distance of smokey gray, the nearest blazing like suns, more distant ones glowing as molten lead dissolving at least into horizontal streaks, now greenish blue, now bluish green.. ..And as I watched the scene I exclaimed more than once, 'Oh Titian, where art thou, and why not here to realize this scene?'"

"Your Titian, or rather our Titian is here [from Venice to Rome] and he tells me that he is under great obligation to you for having been the main cause of his coming hither.. ..he has already seen so many fine antiques [of Rome] that he is filled with wonder, and glad that he came."

"..if this man [Titian] had been in any way assisted by art and design, as he is by nature, and above all in counterfeiting the life, no one could do more or work better, for he has a fine spirit and a very beautiful and lively manner."

"There had been a time, as Vasari truly said, when the master [Titian] finished his works with such care and minuteness that they bore inspection at any distance. At a later period his touches and brush strokes were ill suited for a close inspection, but at the focus they were perfectly effective, and so stupendously clever that the scenes appeared to be real. Three lives has Titian, one natural, one artificial, the third eternal."

"All that Titian's figures want, is a voice; in all else they are nature itself."

"..Titian the painter is at Augsburg, whither the Emperor [[w:Charles V, Holy Roman Emperor|[Charles V] ]] has called him, and he has constant access to his Majesty, whose health is on the whole but middling."

"Titian is alive and well, and not a little pleased to know that your Majesty was inquiring for him. He took me to see [the painting] the [[w:La Gloria (Titian)|'Trinity' [also called La Gloria] ]] which he promised to finish towards the end of September. It seems to me to be a fine work. Equally so a 'Christ appearing to the Magdalen' in the garden for the Serenissima Queen Mary. The other painting he says will be a 'Grieving Virgin', companion to the 'Ecce Homo', already in possession of your Majesty, which he has not done because the size was not given, but which he will execute so soon as the particulars are sent to him."

"Titian painted two pictures in the Hall of Great Council [of Venice], one of the Pope setting his foot on the neck of Barbarossa, the other of a fight [ 'The Battle of Cadore' ] which was done [by Titian] later."

"On the 3rd of July 1518 Titian was called to the Salt Office [of Venice], and there curtly informed: — "that unless he [Titian] began at once or within a week to work at the canvas in the Hall of Great Council which had been neglected for so many years, and unless he should proceed to labour at it continuously till its completion, 'their magnificences ' would cause it to be painted and finished at Titian's expense". But: Awful as the threat appeared, it failed to move the painter in any way. He had orders for great altar-pieces at Ancona and Brescia, commissions from the Duke of Ferrara, etc.."

"I recollect hearing Messer Titian say when I visited his house in my childhood to learn something of painting that he had greatly improved his works after having been in Rome [in 1545-46]."

"Titian, having adorned Venice, or rather all Italy and other parts of the world, with excellent paintings, well merits to be loved and respected by artists, and is in many things to be admired and imitated also, as one who has produced, and is producing, works of infinite merit; nay, such as must endure while the memory of illustrious men shall remain."

"[Titian] painted the panel for the altar of 'Saint Peter Martyr' in the church of SS Giovanni and Paolo, making the figure of the holy martyr larger than life among enormous trees in a wood, where, having fallen to the ground, he is savagely assaulted by a soldier who has wounded him in the head in such a way that his face, as he lies these half alive, shows the horror of death, while in the figure of another friar who is in flight the terror and fear of death can be recognized. In the air are two nude angels coming from a light in heaven which illuminates the unusually beautiful landscape as well as the entire work; this is the most accomplished and celebrated, the greatest and best conceived and executed of the works that Titian completed during his whole lifetime."

"Michelagnolo and Vasari, going one day to visit Tiziano in the Belvedere [in Rome, 1546], saw in a picture that he [Titian] had executed at that time a nude woman representing Danae, who had in her lap Jove transformed into a rain of gold; and they praised it much, as one does in the painter's presence. After they had left him, discoursing of Tiziano's method, [Michelangelo] Buonarroti commended it not a little, saying that his coloring and his manner much pleased him, but that it was a pity that in Venice men did not learn to draw well from the beginning, and that those painters did not pursue a better method in their studies.. ..And in fact this is true, for the reason that he who has not drawn much nor studied the choicest ancient and modern works, cannot work well from memory by himself or improve the things that he copies from life, giving them the grace and perfection wherein art goes beyond the scope of nature, which generally produces some parts that are not beautiful."

"..as is also another [painting] of Diana, who, bathing in a fount with her Nymphs, transforms Actaeon into a stag.. ..He also painted Europa passing over the sea on the back of the Bull. All these pictures are in the possession of the Catholic King, held very dear for the vivacity that Tiziano has given to the figures with his colors, making them natural and as if alive. It is true, however, that the method of work which he employed in these last pictures is no little different from the method of his youth, for the reason that the early works are executed with a certain delicacy and a diligence that are incredible, and they can be seen both from near and from a distance, and these last works are executed with bold strokes and dashed off with a broad and even coarse sweep of the brush, insomuch that from near little can be seen, but from a distance they appear perfect."

"This method [of painting by Titian] has been the reason that many, wishing to imitate him therein and to play the practised master, have painted clumsy pictures; and this happens because, although many believe that they are done without effort, in truth it is not so, and they deceive themselves, for it is known that they are painted over and over again, and that he [Titian] returned to them with his colours so many times, that the labour may be perceived. And this method, so used, is judicious, beautiful, and astonishing, because it makes pictures appear alive and painted with great art, but conceals the labor."

"When Vasari, the writer of this history, was at Venice in the year 1566, he went to visit Tiziano, as one who was much his friend, and found him at his painting with brushes in his hand, although he was very old; and he had much pleasure in seeing him and discoursing with him. He made known to Vasari Messer Gian Maria Verdezotti, a young Venetian gentleman full of talent, a friend of Tiziano and passing able in drawing and painting, as he showed in some landscapes of great beauty drawn by him. This man has by the hand of Tiziano, whom he loves and cherishes as a father, two figures painted in oils within two niches, an Apollo and a Diana."

"Titian was visited on a certain occasion by a company of German travelers.. ..these gentlemen declared that they only knew of one master capable of finishing as they thought paintings ought to be finished, and that was Dürer.. ..To these observations Titian smilingly replied, that if he had thought extreme finish to be the end and aim of art, he too would have fallen into the excesses of Dürer. But though long experience had taught him to prefer a broad and even track to a narrow and intricate path, yet he would still take occasion to show that the subtlest detail might be compassed without sacrifice of breadth, and so produced the 'Christ of the Tribute Money'."