Identifier: venetianschoolof1912phil (find matches)
Title: The Venetian School of Painting
Year: 1912 (1910s)
Authors: Phillipps, Evelyn March, d. 1915
Subjects: Painting Painters
Publisher: London : Macmillan and Co., limited
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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hed in a loose white chemise, rather thanthe square-cut bodice. We do not wonder that all the leadingpersonages of Italy wished to be painted by IS5 VENETIAN SCHOOL OF PAINTING Titian. His are the portraits of a man ofintellect. They show the subject at his best;grave, cultivated, stately, as he appeared andwished to appear ; not taken off his guard inany way. What can be more sympathetic as apersonality than the Ariosto of the NationalGallery ? We can enter into his mind and makea friend of him, and yet all the time he hashimself in hand ; he allows us to divine as muchas he chooses, and draws a thin veil over all thathe does not intend us to discover. The painterhimself is impersonal and not over-sensitive ; hedoes not paint in his own fancies about his sitter—probably he had none ; he saw what he wasmeant to see. There was what Mr. Berensoncalls a certain happy insensibility about him,which prevented him from taking fantasticflights, or from looking too deep below thesurface. 156
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ARIOSTO. (Photo, Mansell and Co.) London. CHAPTER XVIII TITIAN (continued) With the Assumption, finished in 1518 forthe Church of the Frari, Titian rose to thevery highest among Renaissance painters. The Glorious S. Mary was his theme, and heconcentrated all his efforts on the realisation ofthat one idea. The central figure is, as itwere, a collective rather than an individualtype. Well proportioned and elastic as it is,it has the abundance of motherhood. Harmo-nious and serene, it combines dramatic force andprofound feeling. Exultant Humanity, in itshour of triumph, rises with her, borne up lightlyby that throbbing company of child angels andfollowed by full recognition and awestruck satis-faction in the adoring gaze of the throng below,yet Titian has contrived to keep some touch ofthe loving woman hurrying to meet her son.The flood of colour, the golden vault above, thegarment of glowing blues and crimsons, havea more than common share in that spirit ofconfident joy and poured-out l

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