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There is no greater name in Italian art — therefore no greater in art — than that of Titian. If the Venetian master does not soar as high as Leonardo da Vinci or Michelangelo, those figures so vast, so mysterious, that clouds even now gather round their heads and half veil them from our view; if he has not the divine suavity, the perfect balance, not less of spirit than of answering hand, that makes Raphael an appearance unique in art, since the palmiest days of Greece; he is wider in scope, more glowing with the life-blood of humanity, more the poet-painter of the world and the world's fairest creatures than any one of these.
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Claude Phillips, in "Earlier Works Of Titian" (1897) Inroduction, p. 5

 

Titian

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When Titian or Tintoret look at a human being, they see at a glance the whole of its nature, outside and in; all that it has of form, of color, of passion, or of thought; saintliness, and loveliness; fleshly body, and spiritual power; grace, or strength, or softness, or whatsoever other quality, those men will see to the full, and so paint, that, when narrower people come to look at what they have done, every one may, if he chooses, find his own special pleasure in the work. The sensualist will find sensuality in Titian; the thinker will find thought; the saint, sanctity; the colourist, colour; the anatomist, form; and yet the picture will never be a popular one in the full sense, for none of these narrower people will find their special taste so alone consulted, as that the qualities which would ensure their gratification shall be sifted or separated from others; they are checked by the presence of the other qualities which ensure the gratification of other men. Thus, Titian is not soft enough for the sensualist, — Correggio suits him better; Titian is not defined enough for the formalist, — Leonardo suits him better; Titian is not pure enough for the religionist, — Raphael suits him better; Titian is not polite enough for the man of the world,— Van Dyke suits him better; Titian is not forcible enough for the lover of the picturesque,— Rembrandt suits him better. All are great men, but of inferior stamp, and therefore Van Dyke is popular, and Rembrandt is popular, but nobody cares much at heart about Titian; only there is a strange under-current of everlasting murmur about his name which means the deep consent of all great men that he is greater than they — the consent of those who, having sat long enough at his feet, have found in that restrained harmony of his strength there are indeed depths of each balanced power more wonderful than those separate manifestations in inferior painters: that there is a softness more exquisite than Correggio's, a purity loftier than Leonardo's, a force mightier than Rembrandt's, a sanctity more solemn even than Raphael's. … There are three Venetians that are never separated in my mind — Titian, Veronese, and Tintoret. They all have their own unequalled gifts, and Tintoret especially has imagination and depth of soul which I think renders him indisputably the greatest man; but, equally indisputably, Titian is the greatest painter; and therefore the greatest painter who ever lived.

 

Titian

 

Master, Master Poet,
Master of our silent desires,
The heart of the world quivers with the throbbing of your heart,
But it burns not with your song.
The world sits listening to your voice in tranquil delight,
But it rises not from its seat
To scale the ridges of your hills.
Man would dream your dream but he would not wake to your dawn
Which is his greater dream.
He would see with your vision,
But he would not drag his heavy feet to your throne.
Yet many have been enthroned in your name
And mitred with your power,
And have turned your golden visit
Into crowns for their head and sceptres for their hand.

 

Khalil Gibran

 

Of all discoveries and opinions, none may have exerted a greater effect on the human spirit than the doctrine of Copernicus. The world had scarcely become known as round and complete in itself when it was asked to waive the tremendous privilege of being the center of the universe. Never, perhaps, was a greater demand made on mankind — for by this admission so many things vanished in mist and smoke! What became of our Eden, our world of innocence, piety and poetry; the testimony of the senses; the conviction of a poetic — religious faith? No wonder his contemporaries did not wish to let all this go and offered every possible resistance to a doctrine which in its converts authorized and demanded a freedom of view and greatness of thought so far unknown, indeed not even dreamed of.

 

Nicolaus Copernicus

 

In the vast all of the Universe, must there be this unique anomaly — a consciousness that knows itself, loves itself and feels itself, joined to an organism which can only live within such and such degrees of heat, a merely transitory phenomenon? No, it is not mere curiosity that inspires the wish to know whether or not the stars are inhabited by living organisms, by consciousness akin to our own, and a profound longing enters into that dream that our souls shall pass from star to star through the vast spaces of the heavens, in an infinite series of transmigrations. The feeling of the divine makes us wish and believe that everything is animated, that consciousness, in a greater or less degree, extends through everything. We wish not only to save ourselves, but to save the world from nothingness. And therefore God. Such is his finality as we feel it.

 

Miguel de Unamuno

 

The Godhead, according to Eckhart, is the universal and eternal Unity comprehending and transcending all diversity. "The Divine nature is Rest," he says in one of the German discourses; and in the Latin fragments we find: "God rests in Himself, and makes all things rest in Him." The three Persons of the Trinity, however, are not mere modes or accidents, but represent a real distinction within the Godhead. God is unchangeable, and at the same time an "everlasting process." The creatures are "absolutely nothing"; but at the same time "God without them would not be God," for God is love, and must objectify Himself; He is goodness, and must impart Himself. As the picture in the mind of the painter, as the poem in the mind of the poet, so was all creation in the mind of God from all eternity, in uncreated simplicity. The ideal world was not created in time; "the Father spake Himself and all the creatures in His Son"; "they exist in the eternal Now" —"a becoming without a becoming, change without change." "The Word of God the Father it the substance of all that exists, the life of all that lives, the principle and cause of life." Of creation he says : "We must not falsely imagine that God stood waiting for something to happen, that He might create the world. For so soon as He was God, so soon as He begat His coeternal and coequal Son, He created the world."

 

Meister Eckhart