Part 5

ST. JOHN THE BAPTIST

St. John the Baptist was the cousin of Jesus, and was the elder of the two by about six months. Before his birth the angel Gabriel appeared to his father, Zacharias, and predicted for the coming child a great mission as a prophet. His special work was to prepare the way for the advent of the Messiah.

Zacharias was a priest and a good man, and both he and his wife Elizabeth were deeply impressed with the angel's message. Not long after, their cousin Mary came from Nazareth to bring them news of the wonderful babe Jesus promised her by the same angel. He was to be the Messiah whom John was to proclaim. The two women talked earnestly together of the future of their children, and no doubt planned to do all in their power to further the angel's prediction. The time came when all these strange prophecies were fulfilled. As John grew to manhood he showed himself quite different from other men. He took up his abode in the wilderness, where he lived almost as a hermit. His raiment was of camel's hair fastened about him with a leathern girdle; his food was locusts and wild honey. At length "the word of God came unto him," and he began to go about the country preaching. His speech was as simple and rugged as his manner of life. He boldly denounced the Pharisees and Sadducees as "a generation of vipers," and warned sinners "to flee from the wrath to come." The burden of all his sermons was, "Repent, for the kingdom of heaven is at hand."

The fame of his preaching reached Jerusalem, and the Jews sent priests and Levites to ask him, "Who art thou?" His reply was in the mystic language of the old Hebrew prophet Isaiah, "I am the Voice of one crying in the wilderness, Make straight the way of the Lord."

It was a part of John's work to baptize his converts in the river Jordan. He explained, however, that this baptism by water was only a symbol of the spiritual baptism which they were to receive at the hands of the coming: Messiah. "One mightier than I cometh," he said, "the latchet of whose shoes I am not worthy to unloose: he shall baptize you with the Holy Ghost and with fire."[30]

At last Jesus himself sought to be baptized by John. The Baptist protested his unworthiness, but Jesus insisted, and the ceremony was performed. And "it came to pass that ... the heaven was opened, and the Holy Ghost descended in a bodily shape like a dove upon him, and a voice came from heaven, which said, Thou art my beloved son; in thee I am well pleased."[31] This was the promised sign by which John knew Jesus as the Messiah, and he straightway proclaimed him to his disciples.

His life work was now consummated, but he was not permitted to see the fruits of his labors. For his open denunciation of King Herod he was cast into prison, and was soon after beheaded.

In our picture St. John stands in a mountain glen preaching. As his glance is directed out of the picture it is as if his audience were in front, and we among their number. His pointing finger seems to single out some one to whom he directs attention, and we know well who it is. This must be that day when seeing Jesus approach the prophet exclaimed, "Behold the Lamb of God which taketh away the sin of the world. This is he of whom I said, After me cometh a man which is preferred before me; for he was before me."[32] The lamb which lies on the ground beside him is the outward symbol of his words. The slender reed cross he carries is an emblem of his mission as the prophet of the crucified one.

From head to feet the Baptist impresses us with his muscular power. There is no hint of fastings and vigils in this strong athletic figure. Here, as elsewhere. Titian will have nothing of that piety which is associated with a delicate and puny physique. He is the art apostle of that "muscular Christianity" of which Charles Kingsley used to preach. The Baptist's skin is bronzed and weather-beaten from his active out-of-door life. Yet the face shows the stern and sombre character of the prophet. There are traces of suffering in the expression, as of one who mourns profoundly the evil in the world. Something of the fanatic gleams in the eyes, and the effect is heightened by the wild masses of unkempt hair which frame the countenance.

Nature too seems to be in a somewhat wild and sombre mood in this spot. A dark bank rises abruptly at the side, and St. John stands in its shadow, just under a tuft of coarse grass and bushes jutting from its upper edge. The sky is overcast with clouds. A narrow stream falls over a rocky bed, and in the distance slender trees lift their feathery branches in the air. In Titian's time landscape painting had not developed into an independent art, but was an important part of figure compositions. Our painter always took great pains with his landscapes, making them harmonize, as does this, with the character of the figures.

The picture reminds us of the St. Christopher which we have examined, being, like it, a study direct from the life of some athletic model. Yet here we see to better advantage Titian's work in modelling the nude figure. We can understand that one reason why he could make a draped figure so lifelike was because he studied the anatomy of the human body in undraped models. The figure here stands out almost as if it were done in sculpture.

XVI

PORTRAIT OF TITIAN

Probably no other painter in the world's history was ever granted so long a life in which to develop his art as was Titian. He was a mere boy when he began to paint, and he was still busy with his brush when stricken with plague at the age of ninety-nine.

The years between were full of activity, and every decade was marked by some specially notable work as by a golden milestone. The Assumption of the Virgin was painted at the age of forty, the Pesaro Madonna at fifty, the Presentation of the Virgin in his early sixties, the portrait of Philip II. at about seventy, and St. John the Baptist at eighty. How interesting it would be if we could have a portrait of the man himself painted at each decade!

Titian, however, seems to have been quite lacking in personal vanity. Though a handsome and distinguished-looking man, a fine subject for a portrait, he seldom painted his own likeness. We value the more the fine portrait of our frontispiece painted at the age of eighty-five. The years have dealt so gently with him that we may still call him a handsome man. Yet the face has the shrunken look of old age, there are deep hollows about the eyes, and the features are sharpened under the withered skin. There is an expression which seems almost like awe in the eyes. The painter gazes absently into space as if piercing beyond the veil which separates this world from the next. The mood does not seem to be one of reminiscence, but rather of grave anticipation.

As we study the face we are interested to read in it what we know of the man's character and history. Titian was, as we have seen, a man who enjoyed very much the good things of life, and passed most of his days in luxurious surroundings. He was thoroughly a man of the world, at ease in the society of princes and noblemen, and a princely host in his own house. Our portrait shows that his courtly bearing did not fail him in his old age: we can fancy the ceremonious courtesy of his manner. The figure is extended well below the waist, perhaps that we may see how erect the old man is.

Titian, too, had not a little taste for literature and the society of the learned. His fine high brow and keen eyes are sufficient evidence that he was a man of intellect. That he was a fond father we have no doubt, and we like to trace the lines of kindliness in the fine old face.

Age cannot quench the old man's ardor for his art. The brush is still his familiar companion, and will go with him to the end. He holds it here in his right hand, in the attitude of a painter pausing to get the effect of his work. It may be from this that he would have us think that his glance is directed toward his canvas. In that case, the serious expression would indicate that the subject is a solemn one, perhaps the Ecce Homo, or the Pieta, which he painted in his later years.

We see that his hand had not lost its cunning in summoning before us the real presence of a sitter, and that he could paint his own likeness as readily as that of another. The portrait shows us the best elements in a man of a many-sided nature. This is Titian the master, whom the world honors as one of the greatest of his kind.

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

The Diacritical Marks given are those found in the latest edition of Webster's International Dictionary.

EXPLANATION OF DIACRITICAL MARKS.

A Dash ([=_]) above the vowel denotes the long sound, as in f[=a]te, [=e]ve, t[=i]me, n[=o]te, [=u]se.

A Dash and a Dot ([.=_]) above the vowel denote the same sound, less prolonged.

A Curve ([)_]) above the vowel denotes the short sound, as in [)a]dd, [)e]nd, [)i]ll, [)o]dd, [)u]p.

A Dot ([._]) above the vowel a denotes the obscure sound of a in p[.a]st, [.a]bate, Americ[.a].

A Double Dot ([:_]) above the vowel a denotes the broad sound of a in fäther, älma.

A Double Dot ([_:]) below the vowel a denotes the sound of a in b[a:]ll.

A Wave ([~_]) above the vowel e denotes the sound of e in h[~e]r.

A Circumflex Accent ([^_]) above the vowel o denotes the sound of o in bôrn.

A dot ([_.]) below the vowel u denotes the sound of u in the French language.

[N] indicates that the preceding vowel has the French nasal tone.

th denotes the sound of th in the, this,

ç sounds like s.

[/c] sounds like k.

[g=] sounds like z.

[=g] is hard as in get.

[.g] is soft as in gem.

Æëtes ([.=e][=e]'t[.=e]z). Andalusia ([)a]n-d[.a]-l[=o][=o]'z[)i]-[.a] _or_ än-dä-l[=o][=o]-th[=e]'ä). Anthony ([)a]n't[)o]-n[)i]). Argo (är'[=g][=o]). Armada (är-mä'dä _or_ är-m[=a]'d[.a]). Augsburg (owgs'b[=o][=o]rG).

Baffo (bäf'f[.=o]). Bäldässä'r[)e]. B[)e]l'lä. Belvedere (b[)e]l-v[)e]-d[=a]'r[)e] _or_ -d[=e]r'). Benedetto (b[=a]-n[=a]-d[)e]t't[=o]). B[)e]th'l[=e]h[=e]m. Biri (b[=e]'r[=e]). Borgia (bôr'jä). Brussels (br[)u]s'[)e]lz).

Cæsar (s[=e]'z[.a]r). Calvary (k[)a]l'v[.a]-r[)i]). Canaan (k[=a]'n[.a]n _or_ k[=a]'n[.=a]-[.a]n). Carlton (kärl't[)u]n). Casa Grande (kä'sä grän'd[.=a]). Castiglione (käs-t[=e]l-y[=o]'n[.=a]). Caxton (k[)a]ks't[)u]n). Ceneda (ch[=a]-n[=a]'dä). Christopher (kr[)i]s't[.=o]-f[)e]r). Cleodolinda (kl[.=a]-[.=o]-d[.=o]-l[)i]n'dä). Cl[)o]s's[)o]n. Colchis (k[)o]l'k[)i]s). Cornelio (k[.=o]r-n[=a]'l[.=e]-[.=o]). Cristoforo (kr[.=e]s-t[=o]'f[.=o]-r[=o]). C[=u]'p[)i]d.

Diocletian (d[.=i]-[.=o]-kl[=e]'sh[)i]-[.a]n).

Ecce Homo ([)e]k'k[)e], _or_ [)e]k's[=e], h[=o]'m[=o]). Eleanora ([.=a]-l[.=a]-[.=o]-n[=o]'rä). Elizabeth ([.=e]-l[)i]z'[.a]-b[)e]th). Emmanuel ([)e]m-m[)a]n' [.=u]-[)e]l).

F[=e]r'd[)i]n[)a]nd. Fl[)e]m'[)i]ng. Flôr[)e]nce. Francesco (frän-ch[)e]s'k[=o]). Franciscan (fr[)a]n-s[)i]s'k[)a]n). Frari (frä'r[=e]).

G[=a]br[)i][)e]l. G[=a]'r[)e]th. Giorgione (jôr-j[=o]'n[.=a]). G[)o]nzä'gä. Gr[)a]nä'd[.a]. guimpe ([=g][)a][N]p). Guinevere (gw[)i]n'[)e]-v[=e]r).

Hebrew (h[=e]'br[=o][=o]). Hecate (h[)e]k'[.=a]-t[.=e]). Herod (h[)e]r'[)u]d). Herodians (h[)e]r-[=o]'d[)i]-[.a]nz).

Isabella ([)i]z-[.a]-b[)e]l'[.a]). Isaiah (i-z[=a]'y[.a]). Israel ([)i]z'r[.=a]-[)e]l).

Jacopo (yä'k[=o]-p[=o]). Jameson (j[=a]'m[)e]-s[)u]n). Jason (j[=a]'s[)u]n). Jerome (j[.=e]-r[=o]m' or j[)e]r'[)u]m). J[)e]r[=u]s[.a]l[)e]m. Joachim (j[=o]'ä-k[)i]m). Jôrd[.a]n. Jud[=e]'[.a]. J[=u]'n[=o].

Kingsley (k[)i]ngz'l[)i]).

Läv[)i]n'[)i][.a]. Legenda Aurea (l[)e][=g]-[)e]n'dä ow'r[)e]-ä _or_ l[=e]-j[)e]n'd[.a] [a:]'r[.=e]-[.a]). Leon, Ponce de (p[=o]n'th[=a] d[=a] l[=a]-[=o]n'). Leonardo (l[=a]-[=o]-när'd[=o]). Levites (l[=e]'v[=i]tz). L[)o]t't[=o]. Lynette (L[)i]-n[)e]t').

M[.a]d[)o]n'n[.a]. M[)a]gn[)i]'f[)i]c[)a]t. mandola (män-d[=o]'lä). M[)a]n't[.=u][.a]. Maximilian (m[)a]k-s[)i]-m[=i]l'[=i]-[.a]n). M[=e]d[=e]'[.a]. M[)e]n'd[)e]lss[=o]hn. M[)e]ss[=i]'[.a]h. M[)e]t[.a]môrph[=o]s[=e][s=]. Milan (m[)i]l'[.a]n _or_ m[)i]-l[)a]n'). M[=i]'l[=o]. Murano (m[=o][=o]-rä'n[=o]). Murillo (m[=o][=o]-r[=e]l'y[=o]).

Naz'areth. Netherlands (n[)e]th'[~e]r-l[.a]ndz).

Offero ([)o]f'f[.=e]-r[=o]). Ovid ([)o]v'[)i]d).

P[)a]d'[.=u][.a]. P[)a]l[)e]st[=i]ne. Pallavicino, Argentina (är-[.g][)e]n-t[=e]'nä päl-lä-v[=e]-ch[=e]'n[=o]). Päl'mä. P[=a]'ph[)o]s. Pär'mä. Pesari (p[=a]-sä'r[=e]). Pesaro, Jacopo (yä'k[=o]-p[=o] p[=a]-sä'r[=o]). Pharisee (f[)a]r'[)i]-s[=e]). Pieta (p[.=e]-[=a]'tä). Portugal (p[=o]r't[.=u]-g[.a]l). Portuguese (p[=o]r't[.=u]-g[=e]z). Priscianese (pr[)i]s-ch[=e]-ä-n[=a]'s[.=a]).

Reggio (r[)e]d'j[=o]). Rovere, Francesco Maria della (frän-ch[)e]s'k[=o] mä-r[=e]'ä d[)e]l'lä r[=o]-v[=a]'r[=a]). R[)u]s'k[)i]n.

Sadducees (s[)a]d'[.=u]-s[=e]z). Salome (s[)a]-l[=o]'m[.=e]). Sarcinelli, Cornelio (k[=o]r-n[=a]'l[.=e]-[=o] sär-ch[.=e]-n[)e]l'l[.=e]). Serravalle (s[)e]r-rä-väl'l[.=a]). Seville (s[.=e]-v[)i]l').

Titian (t[)i]sh'[.a]n).

Uffizi ([=o][=o]f-f[=e]t's[.=e]). Urbino ([=o][=o]r-b[=e]'n[.=o]).

Van Dyck (v[)a]n d[=i]k').

Vasari (vä-sä'r[=e]). Velasquez (v[=a]-läs'k[=a]th). Venetian (v[.=e]-n[=e]'sh[.a]n). Venice (v[)e]n'[)i]s). V[=e]'n[)u]s. Veronese (v[=a]-r[=o]-n[=a]'z[.=a]). V[)e]s[=a]'l[)i][)u]s. Vi[)e]n'n[.a]. Vinci, Leonardo da (l[=a]-[=o]-när'd[=o] da v[)i]n'ch[=e]). Voragine, Jacopo de (yä'k[=o]-p[=o] d[.a] v[=o]-rä-j[=e]'n[.=a]). V[)u]l'g[=a]te.

Wesley (w[)e]s'l[)i]).

Yuste (y[=o][=o]s't[=a]).

Zacharias (z[)a]k-[.a]-r[=i]'[.a]s).

FOOTNOTES

[1] See notes on Titian in Vasari's _Lives of the Painters_, edited by E. H. and E. W. Blashfield and A. A. Hopkins.

[2] Notes on Titian in Vasari's _Lives of the Painters_, by E. H. and E. W. Blashfield and A. A. Hopkins.

[3] Claude Phillips.

[4] Compiled from the Index to _Titian: His Life and Times_, by Crowe and Cavalcaselle.

[5] As the various so-called portraits of Vesalius are said to have little in common upon which to base a resemblance, one is almost tempted to set up a theory that this portrait may be that of the great anatomist.

[6] 1 Samuel, chapter i., verses 11, 24-28.

[7] _The Golden Legend_, in Caxton's translation, edited by F. S. Ellis (Temple Classics, vol. v., pp. 101, 102). The story is retold in Mrs. Jameson's _Legends of the Madonna_, p. 197.

[8] For instance, Lavinia, Flora, and the Man with the Glove.

[9] See the Acts of the Apostles, chapters vi. and vii.

[10] The lives of St. Jerome and St. George are related in detail in _The Golden Legend_. See Caxton's translation edited by F. S. Ellis (Temple Classics), vol. v., pages 199-208, for St. Jerome, vol. iii., pages 125-134, for St. George. Mrs. Jameson's _Sacred and Legendary Art_ contains condensed accounts of the same two saints. See page 280 for St. Jerome and page 391 for St. George.

[11] See the story as related in Mrs. Jameson's _Sacred and Legendary Art_, page 433, and in H. E. Scudder's _Book of Legends_.

[12] Claude Phillips.

[13] Matthew, chapter xxii., verses 34-40.

[14] Others are the Venus of the Uffizi Gallery, Florence, and the Girl in the Fur Cloak in the Belvedere, Vienna.

[15] See page 15.

[16] In the later Venetian art, as in the pictures by Veronese, we see more elaborate costumes.

[17] See Book VII. in Henry King's translation, from which the quotations here are drawn. The same story is delightfully modernized in Hawthorne's _Tanglewood Tales_ and Kingsley's _Greek Heroes_.

[18] See the volume on _Greek Sculpture_ in the Riverside Art Series, chap. xiii.

[19] In our reproduction a small portion of the landscape is cut off at each end.

[20] From _Gareth and Lynette_.

[21] From _Guinevere_.

[22] This analysis of Mary's character is suggested in the Introduction to Mrs. Jameson's _Legends of the Madonna_, p. 28.

[23] See the volume on _Murillo_ in the Riverside Art Series, Chapter I.

[24] See _The Golden Legend_, in Caxton's translation, edited by F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.

[25] Mrs. Jameson in _Sacred and Legendary Art_, page 74.

[26] See page 57.

[27] This feature of the picture is pointed out by John Van Dyke in his notes on Closson's engraving of the subject.

[28] It should be remembered that a portion of Elizabeth's reign (1538-1603) fell within Titian's lifetime.

[29] See _Elements of Drawing_, Lecture III.

[30] Luke, chapter iii., verse 6.

[31] Luke, chapter iii., verses 21, 22.

[32] John, chapter i., verses 29-30.