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Exhibited: Guildhall, 1892, No. 94. Exhibited: Glasgow Exhibition, 1901, No. 80. Canvas: W. 38; H. 29. Collection: Henry Drake, London. Archibald Coates, Glasgow

46 Turner, Joseph Mallord William (R. A.) 1775-1851 Antwerp: Van Goyen Looking for a Subject

White towers of town and cathedral to right of center, large fishing boat with figures in choppy water of river. Shipping in middle distance, also several large men-of-war. This picture was brought from the artist by E. Bicknell, and is a companion picture of "Helvoetsluys." See Armstrong's "Turner," p. 217. Exhibited: Royal Academy, 1833, No. 125. Canvas: Bicknell, London, 1863. J. Graham, Glasgow, 1887. Guthrie, London, 1900.

47 Vecellio Tiziano (Titian) 1477-1576 Portrait of Pietro Arentino

Half-length, standing, facing to the right, face almost in profile. wears a dark colored cloak with broad fur collar, covering a dress the sleeves of which are of a 34 golden brown satin. Around his neck he wears a heavy chain of gold. His beard is long and streaked with grey. This intensely interesting figure of the Italian Renaissance, was born in Arezzo, in 1492. In his early years he made a living in Perugia as a bookbinder, and picked up an education by reading the books he handled. Later he went to Rome, and became a servant in the house of Chigi, Arentino passed into the Court of that worldly, high-living, extravagant Pope Leo X, becoming after Leo's death the intimate friend of Giovanni de Medici. In 1527 we find Aretino in Venice, the city he loved, and there he lived for twenty-nine years a life of honor, splendor and fame. Titian was one of his intimate table companions, and his great friendship for the artist, says Vasari, who knew them both, was of the greatest advantage, because he made him known far and wide where his pen reached, and especially to Princes of importance. In Venice Aretino greatly increased his literary reputation, his work comprising such wide range as poetry, tragedy, comedy, letters, pornographic and religous writings. More than 3,000 of Aretino's letters survived him. He praised the virtues of princes who paid him not to denounce their vices, and it is suggested that when Charles V paid Aretino more than he paid Titian, he knew what he was about in subsidising a rising power, the power of the press. Justly was he called the "Scourge of Princes." October 21, 1556, Aretino died of a stroke of apoplexy. Paul Van Dyke, in his interesting study on Aretino in his booke entitiled "Renascense Portraits," says: "If this cobbler's son, who, in an age of pedantry, gained fame and fortune by an untrained pen, whom Titian painted out of close friendship, whose head San Savino cast on the bronze doors of Saint Mark, of whom Ariosto wrote in Orlando Furioso: 'Behold the Scourge of Princes, the divine pietro Aretino,' to who his native City gave the title 'Salvator Patriae,' and the 35