The rich modelling and swinging lines of the “Bacchus and Ariadne” of Titian in the National Gallery, here reproduced, page 154 [Transcribers Note:  Plate XXXIV], would be too gross, were it not for the steadying influence of the horizontal lines in the sky and the vertical lines of the tree-trunks.

While speaking of this picture, it might not be out of place to mention an idea that occurred to me as to the reason for the somewhat aggressive standing leg of the female figure with the cymbals leading the procession of revellers.  I will not attempt any analysis of this composition, which is ably gone into in another book of this series.  But the standing leg of this figure, given such prominence in the composition, has always rather puzzled me.  I knew Titian would not have given it that vigorous stand without a good reason.  It certainly does not help the run of the composition, although it may be useful in steadying it, and it is not a particularly beautiful thing in itself, as the position is one better suited to a man’s leg than to a woman’s.  But if you cover it over with your finger and look at the composition without it, I think the reason of its prominence becomes plainer.  Titian evidently had some trouble, as well he might have, with the forward leg of the Bacchus.  He wished to give the look of his stepping from the car lightly treading the air, as gods may be permitted to do.  But the wheel of the car that comes behind the foot made it difficult to evade the idea that he was stepping on it, which would be the way an ordinary mortal would alight.  I think the duty of the aggressive standing leg of the leading Bacchante, with its great look of weight, is to give a look of lightness to this forward leg of Bacchus, by contrast—­which it certainly does.  On examining the picture closely in a good light, you will see that he has had the foot of Bacchus in several positions before he got it right.  Another foot can distinctly be seen about a couple of inches or so above the present one.  The general vertical direction of this leg is also against its look of lightness and motion, tending rather to give it a stationary, static look.  I could not at first see why he did not bring the foot further to the right, which would have aided the lightness of the figure and increased its movement.  But you will observe that this would have hurled the whole weight of the mass of figures on the right, forward on to the single figure of Ariadne, and upset the balance; as you can see by covering this leg with your finger and imagining it swinging to the right.  So that Titian, having to retain the vertical position for Bacchus’ forward leg, used the aggressive standing leg of the cymbal lady to accentuate its spring and lightness.

[Illustration:  Plate XXXIV.

BACCHUS AND ARIADNE.  TITIAN

Photo Hanfstaengl]