t as Van
Dyck, the child of Titian almost as much as he was the child of Rubens,
ever shrank from doing. Still the ease and splendour of the life at Biri
Grande--that pleasant abode with its fair gardens overlooking Murano,
the Lagoons, and the Friulan Alps, to which Titian migrated in 1531--the
Epicureanism which saturated the atmosphere, the necessity for keeping
constantly in view the material side of life, all these things operated
to colour the creations which mark this period of Titian's practice, at
which he has reached the apex of pictorial achievement, but shows
himself too serene in sensuousness, too unruffled in the masterly
practice of his profession to give to the heart the absolute
satisfaction that he affords to the eyes. This is the greatest test of
genius of the first order--to preserve undimmed in mature manhood and
old age the gift of imaginative interpretation which youth and love
give, or lend, to so many who, buoyed up by momentary inspiration, are
yet not to remain permanently in the first rank. With Titian at this
time supreme ability is not invariably illumined from within by the lamp
of genius; the light flashes forth nevertheless, now and again, and most
often in those portraits of men of which the sublime _Charles V. at
Muehlberg_ is the greatest. Towards the end the flame will rise once more
and steadily burn, with something on occasion of the old heat, but with
a hue paler and more mysterious, such as may naturally be the outward
symbol of genius on the confines of eternity.

The second period, following upon the completion of the _St. Peter
Martyr_, is one less of great altar-pieces and _poesie_ such as the
miscalled _Sacred and Profane Love_ (_Medea and Venus_), the
_Bacchanals_, and the _Bacchus and Ariadne_, than it is of splendid
nudities and great portraits. In the former, however mythological be the
subject, it is generally chosen but to afford a decent pretext for the
generous display of beauty unveiled. The portraits are at this stage
less often intimate and soul-searching in their summing up of a human
personality than they are official presentments of great personages and
noble dames; showing them, no doubt, without false adulation or cheap
idealisation, yet much as they desire to appear to their allies, their
friends, and their subjects, sovereign in natural dignity and
aristocratic grace, yet essentially in a moment of representation.
Farther on the great altar-pieces reappear