Identifier: artofdresdengall00addi (find matches)
Title: The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection
Year: 1907 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Gemäldegalerie (Dresden, Germany) Painting -- History Painting -- Germany History
Publisher: Boston : L.C. Page & Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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signature, Ticianus F., is to be seen on the open collar ofthe Pharisee who is trying to entrap Jesus by ask-ing him if it be lawful to pay tribute unto Caesar.Our Lord is portrayed at the moment when, point-ing to the coin, he asks, Whose image and super-scription hath it? The wonderfully maintainedcontrast between the two men, — Christ, noble,serene, yet powerful and masculine, and the wrin-kled, sly face opposed to his, — the dark clutchinghand of the Pharisee and the slender hand full ofnerve and action, which is near it, — the fine redrobe touching the coarse shirt of the vulgarian, —all these denote a keen apprehension of the actualscene, and yet there is no lack of devotional feeling.The picture hung for many years in the palace ofthe Duke of Ferrara, but there is no actual recordthat it was ordered originally by him. It is a curi-ous coincidence, however, that on the coins of thisDuke were inscribed the words, Render untoCaesar the things that are Caesars and unto God
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TITIAN. TRIBUTE MONEY Ube Great l^enetians 47 the things that are Gods. The hands in this pic-ture have so much expressive action that they almostsupply the place of words. In 1655 Scanelli wrote a gossipy set of memoirscalled Microcosmo. He there tells of certainGermans who visited Titians studio in Venice, andwent away wagging their heads, maintaining thatthere was but one real artist, who knew how tofinish a picture: Albrecht Diirer. Titian wasrather annoyed at their bigotry bred of ignorance,exclaiming that, had he thought that extreme finishwere the end and aim of art, he could have pursuedit equally well in that direction. Partly to provethat he could do this, and that, in spite of the factthat he preferred a broader style, he was able todemonstrate that the subtlest detail might becompassed without sacrifice of breadth, he paintedthis picture of Christ and the Tribute Money. Hehad the satisfaction, too, of hearing the ambassadorof Charles V., at the court of Ferrara, wonder tha

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