Evening star., 1928-05-06

I Ccrreggio's Marriage Of st. Gather
| Inc, one OF the paintings that make
the Louvre the art center of the world
Ccrreggio felt too much TO think and
produced as the spirit moved him: not
without labor, but. as one may see. never
without inspiration. which is an inward
devil that makes labor sweeter than any
rest. And then suddenly one of those
fevers which jealous nature sends out
Of the marshes to punish Venice for its
beauty caught him up and Snatched him
away. aged 30. still in the prime of life
and art But we do not mourn him
dlsconSolate; we feel that no generoSity
of time could have made him more per-
feet than he was: we are content with
what he was. we are content with what
death has left lis Of him, for we know
that not all years will suffice us to
understand and absorb him.
To pass from Giorgione and Cor
reggie, who were never older than
youth. 70 Titan. who was born a year
earlier than Giorgione and yet outiived
him By two geuerations-Tftian. who
was born II years before Correggio and
outlived him - years-this is 10 pass
from adolescence TO manhood. from
lyric poetry To tragic drama and serene
philosophy. Michelangelo was nnagnifi-
cent with his SO years; but Titan with
30 tl4I7-l576l, one must say OF him
what Napoleon said on seeing Goethe.
VOLTA, un hommei'
Tiziano Necelli. as his country calls
him. was born al Cadore, on the road
that uIlites Italy with the Tyrol. The
landscape and the floating coloTg of the
sky that surrounded him In his youth
helped 10 make him the greatest land
scape painter and the greatest colorist
among all the artists Of his inexhaust-
ibie race In his early pictures as in
the Gypsy Madonna the mountains
play considerable role; in his old age
they VIII return 20 his painting and he
VIII cleanse himself Of the passions and
bitterness that broke down Angelo by
contemplating the imperturbable sta
bllity Of the hills
Titan and Venice
Titan went 10 Venice when still a
child, and at an early age knew The
happiness Of following unimpeded his
natural vocation He studied first
under Gentle. afterward under Gio-
vanni, Bellini. then he passed 10 the
studio Of GioTgione, but his precious
skill dispieased the master, If we may
believe the gossip Of the time. and for
a while Titan cooled his heels in
Padua- In 1913 he received from the
authorities Of Venice an invitation to
come and superIntend all the pictorial
work required by them for the adorn-
ment OF the city: and from then on he
never ceased TO prosper He signalizcd
his return To Venice by painting for
the Church Of the Frari one Of his
masterpieces. the Assumption of the
Virgin" II is a perfect example Of COM
position: almost all the lines Of Vision
or motion in the picture meet In the
fine fun figure of the Madonna. borne
upward naturally as by some inward
power. while a thousand rosy children
hail her
He fell in with the spirit of Venice.
and for while lived riotouSly. PLAYING
Shakespeare 10 Pietro Aretino's Kit Mar
lowe Titan nov settled down 70 q
sobeTcr routine organized his affair
with some financial skill, made lucrative
contracts for painting notabies anG
supplying grain 10 his native town. and
rose to heights o. affiuence such as only
Rubcns In the history Of painting was
10 know again
Meanwhile he had found time 70
pant religious pictures never surpassed
before or since. except by the ceiling
VI the 6istsne Chapel The figures he
mace reflected the abundance Of his
spirit; here. for example, in the MA
donna With Cherries" and that boy with
the blonde curls al the right will grow
up 10 be Just ag powerful q man as tAe
old shepherd al the left How can one
stop looking al this picture2 so II is
again with The "Pesar0 Madonna and
here the wealth OF colorlng carries our
the amplitude Of design, 30 tnat
Gronau considers IL "the most ifnpOr-
tant composition that Titan over pro-
duced"
ODee more Titan tells the story Of
Christ. Ia simple picture Of great
poser the Master answers with a clear
vision 'nst only seems 10 be- subtlety
the citizen who sought ~ trap Him
with The coin ~ the realm and the
problems Of Royalties no man on The
street could be more real than the
WrluEled 1empter IN The Growing
With Thorns" the coigflng H. Venetian
hfmbraudtesgle-~ brilliant yellow and
green flung against dark background
that makes these terrible figures more
terrible. Then Christ Is Carrying the
Cross, and Simon of CyTene ae mag
nlllcent ln age ~ Christ is I'm youth
helps W bear the burden. which seems
80 real Ia the rough texture Of the wood
that It's weight oppfesges us ss We look
Never IN painting has death been made
more vivid than III The Entombment" 4.
the flesh " the crueified Leader Is bIed
white and every muscle IL limp, while
hicodemlis and Joseph ~ Arimathea
hold Him up with arms ana legs as
strong Rs oaks, and Msgdalen, already
old with sorrow. supports the failing
mother.
Other Masterpieces.
There h more strength than tender
nfsg in these pictures. Titan was too
normal physically or rather too
healthy aud vigorous, 10 feel the full
inWafdness ~ faith. The tornents of
c0nseieHce The abandonment of de-
Yoiion ~ ibe DeacefulrebS gt hope
+ bis thoughts we're If the earth and ljlS
loye Wete Ia ijff Itself Religion was
so iilnl 0u.y sn excuse for art After
DsaatinR the Virgin dBiifuilY be turns