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Descrição do livro
Having followed Titian as far as the year 1530, rendered memorable by that sensational, and, of its kind, triumphant achievement, The Martyrdom of St. Peter the Dominican, we must retrace our steps some three years in order to dwell a little upon an incident which must appear of vital importance to those who seek to understand Titian's life, and, above all, to follow the devel- opment of his art during the middle period of splendid maturity reaching to the confines of old age. This incident is the meeting with Pietro Aretino at Venice in 1527, and the gradual strengthening by mutual service and mutual inclination of the bonds of a friendship which is to endure without break until the life of the Aretine comes, many years later, to a sudden and vio- lent end. Titian was at that time fifty years of age, and he might thus be deemed to have over-passed the age of sensuous delights. Yet it must be re- membered that he was in the fullest vigour of manhood, and had only then arrived at the middle point of a career which, in its untroubled serenity, was to endure for a full half-century more, less a single year. Three years later on, that is to say in the middle of August 1530, the death of his wife Cecilia, who had borne to him Pomponio, Orazio, and Lavinia, left him all discon-solate, and so embarrassed with the cares of his young family that he was compelled to appeal to his sister Orsa, who thereupon came from Cadore to preside over his household. The highest point of celebrity, of favour with princes and magnates, having been attained, and a certain royalty in Vene- tian art being already conceded to him, there was no longer any obstacle to the organising of a life in which all the refinements of culture and all the delights of sense were to form the most agreeable relief to days of continu- ous and magnificently fruitful labour. It is just because Titian's art of this great period of some twenty years so entirely accords with what we know, and may legitimately infer, to have been his life at this time, that it becomes important to consider the friendship with Aretino and the rise of the so- called Triumvirate, which was a kind of Council of Three, having as its rai- son d'êtrethe mutual furtherance of material interests, and the pursuit of art, love, and pleasure. The third member of the Triumvirate was Jacopo Tatti or del Sansovino, the Florentine sculptor, whose fame and fortune were so far above his deserts as an artist. Coming to Venice after the sack of Rome, which so entirely for the moment disorganised art and artists in the pontifi- cal city, he elected to remain there notwithstanding the pressing invitations sent to him by Francis the First to take service with him. In 1529 he was ap- pointed architect of San Marco, and he then by his adhesion completed the Triumvirate which was to endure for more than a quarter of a century. It has always excited a certain sense of distrust in Titian, and caused the world to form a lower estimate of his character than it would otherwise have done, that he should have been capable of thus living in the closest and most fraternal intimacy with a man so spotted and in many ways so infamous as blackmail, which was the foundation and the backbone of his life of out-
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