Part 5 (1/2)

The situation is full of strange pathos. The babe seems so small and helpless beside the splendid muscular strength of the brawny giant. Yet he is here the leader. With uplifted hand he seems to be cheering his bearer on the toilsome way.

The figures in the picture seem to be taken from common every-day life.

Some Venetian boatman may have been the painter's model for St.

Christopher, whose att.i.tude is similar to that of a gondolier plying his oar. The child, too, is a child of the people, a st.u.r.dy little fellow, quite at ease in his perilous position. We shall understand better the range of t.i.tian's art by contrasting these more commonplace figures with the refined and elegant types we see in some of our other ill.u.s.trations.

The picture of St. Christopher is a fresco painting on the walls of the palace of the doges or dukes in Venice. It was originally designed to celebrate the arrival of the French army in 1523, at an Italian town called San Cristoforo. It is so placed that it might be the first object seen every morning when the doge left his bed-chamber. This was on account of an old tradition that the sight of St. Christopher always gives courage to the beholder. ”Whoever shall behold the image of St.

Christopher, on that day shall not faint or fail,” runs an old Latin inscription.

As fresco painting was a method of art comparatively unfamiliar to t.i.tian, it is interesting to know than an eminent critic p.r.o.nounces our picture ”broad and solid in execution, rich and brilliant in color.”[12]

We see from our reproduction that the paint has flaked from the wall in a few places.

VII

LAVINIA

Something of the home life of t.i.tian must be known in order to understand the loving care which he bestowed upon this portrait of his daughter Lavinia. The painter's works were in such demand that he could afford to live in a costly manner. He had a true Venetian's love of luxury, and liked to surround himself with elegant things. His society was sought by rich n.o.blemen, and he himself lived like a prince.

When somewhat over fifty years of age t.i.tian removed to a spot just outside Venice in the district of Biri, where he laid out a beautiful garden. The view from Casa Grande, as the house was called, was very extensive, looking across the lagoon to the island of Murano and the hills of Ceneda. Here t.i.tian entertained his guests with lavish hospitality. A distinguished scholar of that time, one Priscianese, who had come to Venice in 1540 to publish a grammar, describes how he was entertained there: ”Before the tables were set out,” he writes, ... ”we spent the time in looking at the lively figures in the excellent pictures, of which the house was full, and in discussing the real beauty and charm of the garden.... In the meanwhile came the hour for supper, which was no less beautiful and well arranged than copious and well provided. Besides the most delicate viands and precious wines, there were all those pleasures and amus.e.m.e.nts that are suited to the season, the guests and the feast.... The sea, as soon as the sun went down, swarmed with gondolas, adorned with beautiful women, and resounded with the varied harmony of music of voices and instruments, which till midnight accompanied our delightful supper.”

The darling of this beautiful home at Casa Grande was the painter's daughter Lavinia, and the portrait shows how she looked in 1549. Her mother had died before the removal of the family to Biri, and the aunt, who had since tried to fill the vacant place, died about the time this portrait was painted. A new responsibility had therefore fallen upon the young girl, and she was now her father's chief consolation. It is thought that the picture was painted for t.i.tian's friend Argentina Pallavicino of Reggio. As a guest at her father's house this gentleman must often have seen and admired the charming girl, and the portrait was a pleasant souvenir of his visits.

Lavinia is seen carrying a silver salver of fruit, turning, as she goes, to look over her shoulder. The open country stretches before her, and it is as if she were stepping from a portico of the house to the garden terrace to bring the fruit to some guest. She is handsomely dressed, as her father would like to see his daughter. The gown is of yellow flowered brocade, the bodice edged with jewelled cording. Over the neck is thrown a delicate scarf of some gauzy stuff, the ends floating down in front. An ornamental gold tiara is set on the wavy auburn hair, an ear-ring hangs from the pretty ear, and a string of pearls encircles the neck. Imagine the figure against a deep red curtain, and you have in mind the whole color scheme of this richly decorative picture.

[Ill.u.s.tration: Fr. Hanfstaengl, photo. John Andrew & Son. Sc.

LAVINIA

_Berlin Gallery_]

Lavinia, however, would be attractive in any dress, with her fresh young beauty and simple unconscious grace. Her features are not modelled in cla.s.sic lines: the charm of the face is its fresh color, the pretty curves of the plump cheek, and, above all, the sweet open expression.

The hands are delicate and shapely, as of one well born and gently reared. Lavinia is perhaps not a very intellectual person, but she has a sweet sunny nature and is full of life and spirits. It would seem impossible to be sad or lonely in her cheery company. She holds her precious burden high, with an air of triumph, and turns with a smile to see it duly admired. The delicious fruit certainly makes a tempting display. The girl's innocent round face and arch pose remind one of a playful kitten.

The painter has chosen a graceful and unusual att.i.tude. The curves of the outstretched arms serve as counterbalancing lines to the main lines of the figure. The artist himself was so pleased with the pose that he repeated it in another picture, where Lavinia a.s.sumes the gruesome role of Salome, and carries in her salver, in place of the fruit, the head of St. John the Baptist!

A few years after our portrait was painted, Lavinia was betrothed to Cornelio Sarcinelli, of Serravalle, and a new portrait was painted in honor of the event. When the marriage settlement was signed Lavinia brought her husband a dowry of fourteen hundred ducats, a royal sum in those days. The wedding was on the 19th of June, 1555.

Some years after her marriage Lavinia again sat to her father for her portrait. Her beauty, as we have noted, was not of a lasting kind, and in the pa.s.sing years her fresh color faded, and she became far too stout for grace. Yet the frank nature always made her attractive, and it is pleasant to see in the kindly face the fulfilment of the happy promise of her girlhood.

VIII

CHRIST OF THE TRIBUTE MONEY

During the three years of Christ's ministry, his words and actions were closely watched by his enemies, who hoped to find some fault of which they could accuse him. Not a flaw could be seen in that blameless life, and it was only by some trick that they could get him into their power.