e amid its cold surroundings of polished
white marble, it is a composition of wonderful, of almost febrile
animation, and a painting saturated with light, pierced through
everywhere with its rays. The effect produced is absolutely that which
the mystical subject requires.[31] Abandoning the passionless serenity
which has been the rule in sacred subjects of the middle time, Titian
shows himself more stimulated, more moved by his subject.

It was in the spring of 1543 that the master first came into personal
contact with Pope Paul III. and the Farnese family. The meeting took
place at Ferrara, and our painter then accompanied the papal court to
Busseto, and subsequently proceeded to Bologna. Aretino's correspondence
proves that Titian must at that time have painted the Pope, and that he
must also have refused the sovereign pontiff's offer of the _Piombo_,
which was then still, as it had been for years past, in the possession
of Sebastiano Luciani. That Titian, with all his eagerness for wealth
and position, could not find it in his heart to displace his
fellow-countryman, a friend no doubt of the early time, may legitimately
excite admiration and sympathy now, as according to Aretino it actually
did at the time. The portraits of the Farnese family included that of
the Pope, repeated subsequently for Cardinal Santafiore, that of Pier
Luigi, then that of Paul III. and this monstrous yet well-loved son
together,[32] and a likeness of Cardinal Alessandro Farnese. Upon the
three-quarter length portrait of Paul III. in the Naples Museum, Crowe
and Cavalcaselle have lavished their most enthusiastic praise, placing
it, indeed, among his masterpieces. All the same--interesting as the
picture undoubtedly is, remarkable in finish, and of undoubtedly
Titianesque origin--the writer finds it difficult, nay impossible, to
accept this _Paul III._ as a work from the hand of Titian himself.
Careful to excess, and for such an original too much wanting in
brilliancy and vitality, it is the best of many repetitions and
variations; of this particular type the original is not at present
forthcoming. Very different is the "Paul III." of the Hermitage, which
even in a reproduction loudly proclaims its originality.[33] This is by
no means identical in design with the Naples picture, but appears much
less studied, much more directly taken from the life. The astute Farnese
Pope has here the same simiesque type, the same furtive distrustful
look, as