Lives of the Most Excellent Painters, Sculptors, and Architects/Titian

by Giorgio Vasari

 

WORKS OF THE PAINTER, TITIAN OF CADORE.

[born 1477—died 1576.]

Titian was born in the year 1480,^[1] at Cadore, a small place distant about five miles from the foot of the Alps; he belonged to the family of the Vecelli, which is among the most noble of those parts. Giving early proof of much intelligence, he was sent at the age of ten to an uncle in Venice, an honourable citizen, who seeing the boy to be much inclined to Painting, placed him with the excellent painter Gian Bellino, then very famous, as we have said. Under his care the youth soon proved himself to be endowed by nature with all the gifts of judgment and genius required for the art of painting. Now Gian Bellino, and the other masters of that country, not having the habit of studying the antique, were accustomed to copy only what they saw before them, and that in a dry, hard, laboured manner, which Titian also acquired; but about the year 1507, Giorgione da Castel Franco, not being satisfied with that mode of proceeding, began to give to his works an unwonted softness and relief, painting them in a very beautiful manner; yet he by no means neglected to draw from the life, or to copy nature with his colours as closely as he could, and in doing the latter he shaded with colder or warmer tints as the living object might demand, but without first making a drawing, since he held that, to paint with the colours only, without any drawing on paper, was the best mode of proceeding and most perfectly in accord with the true principles of design.

But herein he failed to perceive that he who would give order to his compositions, and arrange his conceptions intelligibly, must first group them in different ways on the paper, to ascertain how they may all go together; for the fancy cannot fully realize her own intentions unless these be to a certain extent submitted to the corporal eye, which then aids her to form a correct judgment. The nude form also demands much study before it can be well understood, nor can this ever be done without drawing the same on paper; to be compelled always to have nude or draped figures before the eyes while painting, is no small restraint, but when the hand has been well practised on paper, a certain facility both in designing and painting is gradually obtained, practice in art supervenes, the manner and the judgment are alike perfected, and that laboured mode of execution mentioned above, is no more perceived. Another advantage resulting from drawing on paper is the store of valuable ideas which gradually fill the mind, enabling the artist to represent natural objects from his own thoughts, without being compelled to hold them constantly before him, nor does he who can draw, need labour to hide his want of design beneath the attractions of colouring, as many of the Venetian painters, Giorgione, II Palma, II Pordenone and others, who never saw the treasures of art in Rome, or works of the highest perfection in any other place, have been compelled to do.

Having seen the manner of Giorgione, Titian early resolved to abandon that of Gian Bellino, although well grounded therein. He now therefore devoted himself to this purpose, and in a short time so closely imitated Giorgione that his pictures were sometimes taken for those of that master, as will be related below. Increasing in age, judgment, and facility of hand, our young artist executed numerous works in fresco which cannot here be named individually, having been dispersed in various places; let it suffice to say, that they were such as to cause experienced men to anticipate the excellence to which he afterwards attained. At the time when Titian began to adopt the manner of Giorgione, being then not more than eighteen,^[2] he took the portrait of a gentleman of the Barberigo family who was his friend, and this was considered very beautiful, the colouring being true and natural, and the hair so distinctly painted that each one could be counted, as might also the stitches in a satin doublet, painted in the same work; at a word, it was so well and carefully done, that it would have been taken for a picture by Giorgione, if Titian had not written his name on the dark ground.

Giorgione meanwhile had executed the fa9ade of the German Exchange, when, by the intervention of Barberigo, Titian was appointed to paint certain stories in the same building, and over the Merceria.^[3] After which he executed a picture with figures the size of life, which is now in the Hall of Messer Andrea Loredano, who dwells near San Marcuola: this work represents Our Lady in her flight into Egypt, she is in the midst of a great wood, and the landscape of this picture is well done; Titian having practised that branch of art, and keeping certain Germans who were excellent masters therein for several months together in his own house: within the wood he depicted various animals, all painted from the life, and so natural as to seem almost alive. In the house of Messer Giovanni Danna, a Flemish gentleman and merchant, who was his gossip, he painted a portrait which appears to breathe, with an Ecce Homo, comprising numerous figures which, by Titian himself, as well others, is considered to be a very good work. The same artist executed a picture of Our Lady, with other figures the size of life, men and children, being all taken from nature, and portraits of persons belonging to the Danna family.

In the year 1567, when the Emperor Maximilian was making war on the Venetians, Titian, as he relates himself, painted the Angel Raphael, with Tobit and a Dog, in the Church of San Marziliano. There is a distant landscape in this picture, wherein San Giovanni Battista is seen at prayer in a wood; he is looking up to Heaven and his face is illumined by a light descending thence; some believe this picture to have been done before that on the Exchange of the Germans, mentioned above, was commenced. Now it chanced that certain gentlemen, not knowing that Giorgione no longer worked at this fa9ade, and that Titian was doing it (nay, had already given that part over the Merceria to public view) met the former, and began as friends to rejoice with him, declaring that he was acquitting himself better on the side of the Merceria than he had done on that of the Grand Canal, which remark caused Giorgione so much vexation, that he would scarcely permit himself to be seen until the whole work was completed, and Titian had become generally known as the painter; nor did he thenceforward hold any intercourse with the latter and they were no longer friends.

In the year 1508, Titian published a wood engraving of the Triumph of Taith; it comprised a vast number of figures; our first Parents, the Patriarchs, the Prophets, the Sybils, the Innocents, the Martyrs, the Apostles, and Our Saviour Christ borne in triumph by the four Evangelists and the four Doctors, followed by the holy Confessors: here Titian displayed much boldness, a fine manner, and improving facility. I remember that Fra Bastiano del Piombo, speaking on this subject, told me that if Titian had then gone to Rome, and seen the works of Michelagnolo, with those of Raphael and the ancients, he was convinced, the admirable facility of his colouring considered, that he would have produced works of the most astonishing perfection, seeing that, as he well deserved to be called the most perfect imitator of Nature of our times, as regards colouring, he might thus have rendered himself equal to the Urbinese or Buonarroto, as regarded the great foundation of all, design. At a later period Titian repaired to Vicenza, where he painted the Judgment of Solomon, on the Loggetta wherein the Courts of Justice are held; a very beautiful work. Returning to Venice, he then depicted the façade of the Grimani; at Padua he painted certain frescoes in the Church of Sant’ Antonio, the subjects taken from the life of that Saint;^[4] and in the Church of Santo Spirito he executed a small picture of San Marco seated in the midst of other saints, whose faces are portraits painted in oil with the utmost care; this picture has been taken for a work of Giorgione.

Now the death of Giovan Bellino had caused a Story in the Hall of the Great Council to remain unfinished, it was that which represents Federigo Barbarossa kneeling before Pope Alessandro III., who plants his foot on the Emperor’s neck.^[5] This was now finished by Titian, who altered many parts of it, introducing portraits of his friends and others. For this he received from the Senate an ofiice in the Exchange of the Germans called the Senseria, which brought him in three hundred crowns yearly, and which those Signori usually give to the most eminent painter of their city, on condition that from time to time he shall take the portrait of their Doge or Prince when such shall he created, at the price of eight crowns, which the Doge himself pays, the portrait being then preserved in the Palace of San Marco, as a memorial of that Doge.

In the year 1514, the Duke Alfonso of Ferrara had a small apartment decorated in certain of its compartments by the Ferrarese painter Dosso; the Stories were of Eneas, Mars, and Yenus; and in a Grotto was Vulcan with two Cyclops working at the forge. The Duke then wished to have some pictures by Gian Bellino, who painted on one of the walls a Vat of red wine surrounded by Bacchantes, Satyrs, and other figures male and female, all inebriated, with Silenus entirely nude mounted on his ass, a very beautiful figure; around this group are crowds of figures with grapes and other fruits in their hands, and this work is so carefully coloured that it may be called one of the finest ever executed by Gian Bellino, although there is a certain harshness and stiffness in the draperies, he having imitated a picture by the Fleming, Albert Dürer, which had just then been brought to Venice. It was placed in the Church of San Bartolommeo, an extraordinary work painted in oil, and comprising a crowd of figures. Within the Vat abovementioned Gian Bellino wrote the following words:—

Joannes Bellinus Venetus, p, 1514.

This picture the great age of the master had prevented him from completing; and Titian, as being more eminent than any other artist, was sent for to finish it; wherefore, desirous of progress and anxious to make himself known, he depicted two Stories which were still wanting to that apartment: the first is a River of red wine, beside which are singers and players on instruments half inebriated, females as well as men. There is one nude figure of a sleeping Woman which is very beautiful, and appears living, as indeed do the other figures. To this work Titian affixed his name.^[6] In the second picture, which is near the above, and is seen on first entering, there are numerous figures of Loves and beautiful Children in various attitudes: the most beautiful among these is one who is fishing in a river, and whose figure is reflected in the water. This greatly pleased the Duke, as did the first picture. These children surround an Altar, on which is a statue of Venus with a shell in her hand; she is attended by Grace and Beauty, exquisite figures, which are finished with indescribable care.^[7] On the door of a press Titian painted the figure of Christ, from the middle upwards, a most beautiful and admirable work; a wicked Hebrew is showing to Jesus the coin of Cassar: other pictures, executed in the same place, are declared by our artists to be among the best ever produced by Titian, and are indeed singularly fine. He was consequently rewarded very largely by the Duke, whose portrait he also took, representing him as leaning on a large piece of artillery. He portrayed the Signora Laura likewise, who was afterwards wife of the Duke; and this too is an admirable work: nor is it t<) be denied that the labours of those who toil for art have great energy when stimulated by the liberality of Princes.

About this time Titian formed a friendship with the divine Messer Ludovico Ariosto, and was by him acknowledged as an admirable painter, being celebrated as such in his Orlando Purioso.

.....E. Tizian che onora
Non men Cador che quei Venezia e Urbino.

Having then returned to Venice, Titian painted a picture in oil, for the brother-in-law of Giovanni da Castel-Bolognese; a nude figure of a Shepherd, to whom a Peasant Girl offers a Piute: around the group is a beautiful Landscape: that work is now at Paenza, in the house of the abovenamed Giovanni. Por the High Altar in the Church of the Minorite Priars, called the Ca Grande, this artist painted a picture of our Lady ascending into Heaven, with the Twelve Apostles beneath. But of that work, which was painted on cloth, and perhaps not carefully kept, little can now be seen.^[8] In the same Church, and in the Chapel of the Pesari family, Titian painted a Madonna with the Divine Child in her arms; San Piero and San Giorgio are beside her, and the owners of the Chapel are kneeling around the group. These persons are all portraits from the life; among them are the Bishop of Baffo^[9] and his brother, who had just then returned from the victory which that Bishop had obtained over the Turks.^[10] At the little Church of San Niccolò in the same Convent, Titian also painted a picture, comprising figures of San Niccolò, San Francesco, Santa Caterina and San Sebastiano; the latter is nude, and has been exactly copied from the life without the slightest admixture of art, no efforts for the sake of beauty have been sought in any part, trunk or limbs: all is as Nature left it, so that it might seem to be a sort of cast from the life; it is nevertheless considered very fine, and the figure of Our Lady with the Infant in her arms, whom all the other figures are looking at, is also accounted most beautiful.^[11] This picture was drawn on wood by Titian himself, and was then engraved and painted by others.

After the completion of these works, our artist painted, for the Church of San Rocco, a figure of Christ bearing his Cross; the Saviour has a rope round his neck, and is dragged forward by a Jew; many have-thought this a work of Giorgione: it has become an object of the utmost devotion in Venice, and has received more crowns as offerings than have been earned by Titian and Giorgione both, through the whole course of their lives. Now Titian had taken the Portrait of Bembo, then Secretary to Pope Leo X., and was by him invited to Rome, that he might see the city, with Raffaello da Urbino and other distinguished persons; but the artist having delayed his journey until 1520, when the Pope and Raffaello were both dead, put it off for that time altogether.

For the Church of Santa Maria Maggiore he painted a picture of St. John the Baptist in the Wilderness; there is an Angel beside him that appears to be living; and a distant Landscape, with trees on the bank of a river, which are very graceful.^[12] He took portraits of the Prince Grimani and Loredano, which were considered admirable, and not long afterwards lie painted the portrait of King Francis, who was then leaving Italy to return to France.^[13]

When Andrea Gritti was elected Doge, our artist made his Portrait also; a beautiful thing it is, the likeness being in the figure of Sant’ Andrea, who makes one of a group, consisting of Our Lady, San Marco, and himself The picture is now in the Hall of the College. He painted other portraits of the Doges likewise, that being in his office, as we have said; and these were Pietro Lando, Francesco Donato, Marcantonio Trevisano, and Yeniero; but in respect to the two Doges and brothers Pauli,^[14] he was excused, because he had become very old at the time of their election.

The renowned poet, Pietro Aretino, having left Rome before the sack of that city, and repaired to Venice, then became the intimate of Titian and Sansovino, which was both honourable and useful to the former, who was by that circumstance made known wherever the pen of the writer had reached, more especially to certain powerful princes, as will be related in due time. To return, meanwhile, to the works of Titian: it was by him that the Altar-piece of San Piero Martire, in the Church of S.S. Giovanni and Paolo, was painted. San Piero, a figure larger than life, is seen extended on the earth, in a wood of very large trees, he is fiercely assailed by a Soldier, who has already wounded him so grievously in the head, that although still living, the shadows of death are seen on his face. The countenance of another Monk, who is flying from the scene, exhibits the utmost terror. In the air are two nude figures of Angels descending from Heaven in a blaze of light, by which the picture is illumined; these are most beautiful, as is indeed the whole work, which is the best and most perfectly finished, as it is the most renowned of any that Titian has yet executed.^[15] This painting having been seen by Gritti, who was ever the friend of Titian as well as of Sansovino, he caused the former to receive a commission for the Story of a great Battle-piece, to be painted in the Hall of the Grand Council, and representing the route of Chiaradadda. The soldiers are contending furiously, while heavy rain is falling on them. The work is wholly copied from the life, and is considered the best, most animated, and most beautiful picture in the Hall.^[16] In the same Palace, at the foot of one of the staircases, our artist depicted a Madonna in fresco.

No long time after, Titian painted a Picture for a gentleman of the Contarini family, the subject was Our Saviour at Table with Cleophas and Luke; but the gentleman, considering that the beauty of the work rendered it worthy to be seen in public—as it certainly is—presented it, he being a lover of his country, as a gift to the Signoria, when it was kept for some time in the apartments of the Doge, but it is now placed in a more public position, and where it can be seen by all, over the Door of the Hall leading to that of the Council of Ten namely.^[17] About the same time our artist executed a picture of the Virgin ascending the Steps of the Temple, for the Scuola of Santa Maria della Carita: the Heads in this work are all portraits from the life.^[18] He also painted a small Picture of St. Jerome doing Penance, for the Scuola of San Faustino; this was much commended by artists, but was destroyed by fire about two years since, together with the whole church.

In 1530, when the Emperor Charles V. was in Bologna, Titian, by the intervention of Pietro Aretino, was invited to that city by the Cardinal Ippolito de’ Medici, and there he made a magnificent Portrait of his Majesty in full armour. This gave so much satisfaction that the artist received a present of a thousand crowns for the same.^[19] Out of these he had subsequently to give the half to Alfonso Lombardi the sculptor, who had made a model of that monarch to be executed in marble, as we have related in his Life.

Having returned to Venice, Titian there found that many gentlemen had begun to favour Pordenone, commending exceedingly the works executed by that artist in the Ceiling of the Hall of the Pregai, and elsewhere. They had also procured him the commission for a small Picture in the Church of San Giovanni Elemosynario, which they intended him to paint, in competition with one representing that Saint in his Episcopal habits, which had previously been executed there by Titian. But whatever care and pains Pordenone took, he could not equal nor even approach the work of the former. Titian was then appointed to paint a picture of the Annunciation for the Church of Santa Maria degli Angeli, at Murano; but those who gave the commission for the work, not wishing to pay so much as five hundred crowns, which Titian required as its price, he sent it, by the advice of Pietro Aretino, as a gift to Charles V., who being greatlydelighted with the work, made him a present of two thousand crowns.^[20] The place which the Picture was to have occupied at Murano, was then filled by one from the hand of Pordenone.

When the Emperor, some time after this, returned with his army from Hungary, and was again at Bologna, holding a conference with Clement VII., he desired to have another portrait taken of him by Titian,^[21] who, before he departed from the city, also painted that of the Cardinal Ippolito de’ Medici in the Hungarian dress, with another of the same Prelate fully armed, which is somewhat smaller than the first; these are both now in the Guardaroba of Duke Cosimo.^[22] He painted the portraits of Alfonso, Marquis of Davalos, and of Pietro Aretino, at the same period, and these things having made him known to Eederigo Gonzaga, Duke of Mantua, he entered the service of the latter, and accompanied him to his states. At Mantua our artist made a Portrait of the Duke which appears to breathe, and afterwards executed that of his brother, the Cardinal. These being finished, he painted twelve beautiful Heads of the Twelve Csesars, to decorate one of the Rooms erected by Giulio Romano, and when they were done, Giulio painted a Story from the Lives of the Emperors beneath each head.^[23] In Cadore, the native place of Titian, that artist has painted a picture wherein is Our Lady, San Tiziano, the Bishop,^[24] and his own Portrait in a kneeling position. In the year that Pope Paul III. went to Bologna, and thence to Perrara, Titian having gone to the court, took the Portrait of His Holiness, a very fine work. He also painted that of the Cardinal Santa Piore; both of these works, for which he was very well paid by the Pope, are now in Rome; one in the Guardaroba of Cardinal Parnese, the other in the hands of those who became heirs of the Cardinal Santa Piore: many copies have been taken from them, and these are dispersed throughout Italy. About the same time our artist made the Portrait of Francesco Maria, Duke of Urbino; and this is so wonderfully beautiful, that it was celebrated by Messer Pietro Aretino in a sonnet, which begins thus: —

Se il chiaro Apelle con la man dell'Arte
Rassembro d'Alessandro il volto e il petto.

In the Guardaroba of the same Duke there are two female heads by Titian, which are very pleasing, with a recumbent figure of Venus, partially covered with flowers, and transparent draperies, the whole exceedingly beautiful and finely finished.^[25] There is a half-length of Santa Maria Maddalena, with dishevelled hair, which is likewise very beautiful,^[26] with Portraits of Charles V., King Francis, as a youth, the Duke Guidobaldo IL, Pope Sixtus IV., Julius II., Paul III., the old Cardinal of Lorraine, and Soliman, Emperor of the Turks; all from the hand of Titian, and exceedingly fine In that same Guardaroba, among many other things, is an antique Head of the Carthaginian Hannibal, cut in a cornelian, with a beautiful bust in marble by Donatello.

In the year 1541 Titian painted the picture of the High Altar, in the Church of the Santo Spirito in Venice, the subject being the Descent of the Holy Spirit on the Apostles; the Almighty is represented in fire, and the Spirit as a Dove, This picture having shown signs of deterioration in a very short time, Titian had much discussion with the monks of Santo Spirito respecting it, and was ultimately obliged to re-paint the work, which is that now on, the Altar.^[27] At Brescia Titian painted the picture of the High Altar in the Church of San Nazzaro, which he did in five divisions: the centre has the Resurrection of Our Lord, with soldiers around the sepulchre; in the sides are San Nazzaro, San Sebastiano, the Angel Gabriel, and the Virgin receiving the Annunciation. In the Cathedral of Verona he painted the Assumption of Our Lady into Heaven, with the Apostles standing beneath; this is held to be the best modern painting in that city.^[28] In the same year, 1541, this master painted the Portrait of Don Diego di Mendoza, then Ambassador from Charles V. to Venice; that beautiful portrait is a full-length, standing upright; and from that time Titian began the custom, since become frequent, of painting portraits at full-length. In the same manner he made the likeness of the Cardinal of Trent, then a youth, and for Francesco Marcolini he took the Portrait of Pietro Aretino; but this is not so fine a one as that which the same person caused to be taken, and sent himself as a present to the Duke Cosimo de’ Medici, to whom he also sent the Head of the Signor Giovanni de Medici, father of the Duke. This last was taken from a cast made from the face of Giovanni after his death, at Mantua, which cast was in possession of Pietro. The portraits are both in the Guardaroba of the Duke with other noble pictures.^[29]

In the same year Giorgio Vasari was in Venice, where he passed thirteen months, employed, as I have said, in the decoration of a ceiling for Messer Giovanni Cornaro, and certain works for the Company of the Calza, when Sansovino, who was directing the construction of Santo Spirito, caused him to make designs for three large pictures in oil, which were to be executed in the ceiling of Santo Spirito, and which Vasari was to paint; but Giorgio having departed, the three pictures were given to Titian, who executed the same most admirably, having taken especial pains with the foreshortening of the figures. In one of these pictures is the Sacrifice of Isaac by his father Abraham; in the second, David taking off the head of Goliath; and in the third, Cain killing Abel.^[30] About the same time Titian painted his own Portrait, that this memorial of himself might be left to his children; and in the year 1546, being invited to Rome by the Cardinal Farnese, he repaired to that city accordingly. There he found Vasari, who had then returned from Naples, and was painting the Hall of the Chancery for the Cardinal Farnese, by whom Titian was recommended to his care, whereupon Giorgio kept him faithful company in his visits to the remarkable objects of Rome.

Having rested himself for a few days, Titian then received rooms in the Belvedere, and was commissioned to make another full-length Portrait of Pope Paul III., with that of Farnese,^[31] and of the Duke Ottavio; all of which he executed to the great satisfaction of those Signori, who then prevailed on him to paint a half-length figure of Christ, in the manner of the Ecce Homo, as a present for the Pope. But this work, whether it were that the paintings of Michelagnolo, of Rafiaello, of Polidoro, and of others, had made him lose courage, or from some other cause, although a good picture, did not appear to the painters equal in excellence to others of his productions, more particularly his portraits.

Now it chanced that Michelagnolo and Vasari, going one day to see Titian in the Belvedere, beheld a picture, which he had just then finished, of a nude figure representing Danae, with Jupiter transformed into a shower of gold in her lap,^[32] many of those present beginning to extol the work (as people do when the artist stands by) praised it not a little: when, all having left the place, and talking of Titian’s work, Buonarroto, declared that the manner and colouring of that artist pleased him greatly, but that it was a pity the Venetians did not study drawing more, “for if this artist,” said he, “had been aided by Art and knowledge of design, as he is by nature, he would have produced works which none could surpass, more especially in imitating life, seeing that he has a fine genius, and a graceful animated manner.” And it is certainly true that whoever has not practised design extensively, and studied the best works, ancient and modern, can never attain to the perfection of adding what may be wanting to the copy which he makes from the life, giving to it that grace and completion whereby Art goes beyond the hand of Nature, which very frequently produces parts that are not beautiful.

Titian left Rome enriched by many gifts from those Signori, more particularly by a benefice of good income for Pomponio his son; but first his second son, Orazio, had completed the Portrait of Messer Battista Ceciliano, an excellent player of the violin, which is a good work, Titian himself having made certain Portraits besides, for Gruidobaldo Duke of Urbino. Arrived at Florence, he was amazed at the sight of the fine works in that city no less than he had been by those of Rome. He then visited Duke Cosimo, and offered to take his portrait; but the Duke did not give himself much trouble in the matter, perhaps because he had no mind to offer a slight to the many noble artists of his own city and dominions.

Having reached Venice, Titian then finished an Allocution (as they call it) for the Marquis del Vasto, and which that Signore had made to his soldiers. He afterwards executed the portrait of Charles V., with that of the Catholic King, and of many other persons. These labours completed, Titian painted a small picture of the Annunciation for the Church of Santa Maria Nuova, and afterwards, using the assistance of his disciples, he painted a Last Supper in the Refectory of S. S. Giovanni and Paolo,^[33] with a picture for the High Altar of the Church of San Salvatore, the subject of which was the Transfiguration; and an Annunciation for another Altar in the same Church. But these last works, though there are good qualities in them, were not much esteemed by the master himself, and have not the perfection seen in many of his other paintings. The productions, but more especially the portraits of Titian, are so numerous that it would be almost impossible to make the record of them all. I will therefore speak of the principal only, and that without order of time, seeing that it does not much signify to tell which was painted earlier and which later. He took the Portrait of Charles V. several times, as we have said, and was finally invited by that monarch to his Court; there he painted him as he was in those last years; and so much was that most invincible Emperor pleased with the manner of Titian, that once he had been portrayed by him, he would never permit himself to be taken by any other person. Each time that Titian painted the Emperor he received a present of a thousand crowns of gold, and the artist was made a Cavalier, or Knight, by his Majesty, with a revenue of two hundred crowns yearly, secured on the Treasury of Naples, and attached to his title.

When Titian painted Filippo King of Spain, the son of Charles, he received another annuity of two hundred crowns; so that these four hundred added to the three hundred from the German Exchange, make him a fixed income of seven hundred crowns, which he possesses without the necessity of exerting himself in any manner. Titian presented the Portraits of Charles V. and his son Filippo to the Duke Cosimo, who has them now in his Guardaroba.^[34] He also took the portrait of Ferdinand King of the Romans, who was afterwards Emperor, with those of his children, Maximilian that is to say, now Emperor, and his brother: he likewise painted the Queen Maria; and at the command of the Emperor Charles, he portrayed the Duke of Saxony, when the latter was in prison.^[35] But what a waste of time is this! when there has scarcely been a noble of high rank, scarcely a prince or lady of great name, whose portrait has not been taken by Titian, who in that branch of art is indeed an excellent painter.

He painted King Francis I. of France, as we have said. Francesco Sforza, Duke of Milan; the Marquis of Pescara, Antonio da Leva, Massemiano Stampa, the Signor Giovambattista Castaldo, and other Signori in vast numbers. He has, moreover, produced various works at different times, besides those above mentioned. At Venice, for example, and by command of Charles V., he painted a large Altarpiece, the subject of which is the Triune God Enthroned; Our Lady is present with the Infant Christ, who has the Dove over his head, and the whole ground is of fire, to signify Eternal Love; while the Father is surrounded by glowing Cherubim. On one side of this picture is the Emperor, and on the other the Empress, clothed in linen garments; they are kneeling in prayer with folded hands, and are surrounded by numerous Saints. The composition of this work was in accordance with the orders of his Majesty, who was then giving evidence of his intention to retire, as he afterwards did, from mundane atfairs, to the end that he might die in the manner of a true Christian, fearing God and labouring for his own salvation. This picture the Empeior told Titian that he would have taken to the Monastery, where his Majesty afterwards finished the course of his life; and being a work of extraordinary merit, it is expected that engravings thereof will be published in a short time.^[36]

The same master painted for the Queen Maria a figure of Prometheus bound to the Mount Caucasus and torn by the Eagle of Jupiter; with one of Sisyphus in Hell loaded with his stone,^[37] and Tityus devoured by the Vulture. All these were transmitted to her Majesty, with a figure of Tantalus of the same shze, that of life namely, on cloth and in oil. He painted a Venus and Adonis also, which are admirable; the Goddess is fainting as she sees herself abandoned by ' Adonis, who is accompanied by dogs, which are singularly natural.^[38] In a picture of the same size, Titian painted Andromeda bound to the Pock with Perseus delivering her from the Sea-monster; a more beautiful painting than this could not be imagined; and the same may be said of another,^[39] Diana Bathing with her Nymphs, and turning Actseon into a Stag. He painted a figure of Europa likewise, borne over the Sea by the Bulk These pictures are in the possession of the Catholic King, and are held in high esteem for the animation imparted to them by the master, whose colours have made them almost alive.

It is nevertheless true that his mode of proceeding in these last-mentioned works is very different from that pursued by him in those of his youth, the first being executed with a certain care and delicacy, which renders the work equally effective, whether seen at a distance or examined closely; while those of a later period, executed in bold strokes and with dashes, can scarcely be distinguished when the observer is near them, but if viewed from the proper distance they appear perfect. This mode of his, imitated by artists who have thought to show proof of facility, has given occasion to many wretched pictures, which probably comes from the fact that whereas many believe the works of Titian, done in the manner above described, to have been executed without labour, that is not the truth, and these persons have been deceived; it is indeed well known that Titian went over them many times, nay, so frequently, that the labour expended on them is most obvious.^[40] And this method of proceeding is a judicious, beautiful, and admirable one, since it causes the paintings so treated to appear living, they being executed with profound art, while that art is nevertheless concealed.

In a picture three braccia high and four broad, Titian painted the Infant Christ in the arms of the Virgin, and receiving the Adoration of the Magi; the work comprises numerous figures one braccio high, and is a very good one, as is another which he copied himself from this and gave to the Cardinal of Ferrara (the elder).^[41] Another work by this master, representing Christ derided by the Jews, was placed in a chapel of the Church of Santa Maria delle Grazie at Milan.^[42] For the Queen of Portugal he painted a picture of Christ scourged at the Column; this, which is somewhat less than life, is very beautiful. For the High Altar in the Church of San Domenico, in Ancona, he painted a picture of Christ on the Cross, with Our Lady, San Giovanni, and San Domenico at the foot of the same; this also is very beautiful, and in the bold manner described above. The picture at the Altar of San Lorenzo, in the Church of the Crocicchieri at Venice, is by Titian; it represents the Martyrdom of San Lorenzo, with a building crowded with figures; in the midst of them lies the foreshortened figure of San Lorenzo on the Gridiron, beneath which is a great fire, and the executioners stand around it. The time being night, there are two servants with torches giving light to those parts of the picture, that are beyond the reach of the fire beneath the gridiron, which is a large and fierce one; but the light it throws, as well as that of the torches, is overcome by a flash of lightning which descends from heaven, and cleaving the clouds, shines brightly over the head of the Saint and the other principal figures. In addition to these three lights there is that of lamps and candles, held by those at the windows of the building. All this produces a fine effect, and the whole work is, in short, executed with infinite art, genius, and judgment.^[43]

At the Altar of San Niccolb, in the Church of San Sebastiano, there is a small picture by Titian, representing St. Nicholas, so animated as to seem alive; it is seated in a chair painted to imitate marble, and an angel is holding the mitre; this was executed for the advocate Messer Niccolb Crasso.^[44] At a later period, our artist painted a half-length figure of Mary Magdalene for the Catholic King; her hair falls about her neck and shoulders, her head is raised and the eyes are fixed on Heaven, their redness and the tears still within them, giving evidence of her sorrow for the sins of her past life. This picture, which is most beautiful, moves all who behold it to compassion;^[45] when it was finished, a Venetian gentleman,..... Silvio, was so much pleased therewith, that, being a zealous lover of painting, he gave Titian a hundred crowns for the picture, and the master had to make another for the Catholic King, which was however no less beautiful.

Among the Portraits by Titian is that of a Venetian citizen his friend, called Sinistri; and of Messer Paolo da Ponte, whose daughter, cSlled the Signora Giulia da Ponte, a most beautiful damsel, and a gossip of Titian, the latter also took; as he did the Signora Irene, another lovely maiden accomplished in music, in learning, and in design, who died about eight years since, and was celebrated by the pens of almost all the Italian writers.^[46] Titian also made the likeness of Messer Francesco Filetto, an orator of happy memory, with that of his son in the same picture, the last appears to be living, and the portrait is now in the possession of Messer Matteo Giustiniani, a lover of these arts, who has had his own likeness taken by the painter Jacomo da Bassano,^[47] a fine work, as are many others dispersed through Venice, and also by Bassano, who is particularly excellent in small pictures, and in the painting of animals.

Titian made a second Portrait of Bembo, when the latter had become a Cardinal that is; he also took Fracastoro,^[48] and the Cardinal Accosti of Ravenna, whose portrait the Duke Cosimo has in his Guardaroba. The sculptor Danese has the portrait of a gentleman of the Delfini family by this master in his possession; and Messer Niccolb Zono tells us that he saw the likeness of Rossa, the wife of the Grand Turk, a lady of sixteen, with that of Cameria her daughter, both by the hand of Titian, and wearing dresses and ornaments of great beauty. In the house of the lawyer, Messer Francesco Sonica, a gossip of Titian, is the portrait of that Messer Francesco by the hand of our artist, with a large picture, representing the Madonna in the Flight to Egypt; she appears to have just descended from the Ass, and has seated herself on a stone by the wayside; St. Joseph stands near, as does St. John, a little child who is offering to the Saviour the flowers gathered by an angel from the branches of a tree which is in a wood, wherein are numerous animals; the ass is browsing near. This picture, a very graceful one, has been placed by the Signor Francesco in a palace which he has built near Santa Justina in Padua.

For the Florentine Monsignore Giovanni della Casa, a man illustrious for learning as well as birth, our artist painted a beautiful Portrait of a gentlewom^ whom Della Casa loved when he was in Venice, and by whom the master was honoured for the same, with the exquisite sonnet which begins thus:—

Ben veggo io, Tiziano, in forme nuove
L'idolo mio, che i begli occhi apre e gira.

As also with that which follows it.

This admirable painter likewise sent a picture of the Last Supper to the Catholic King; this work, which was seven braccia long, was a performance of extraordinary beauty; and besides these, with many others of minor importance which we omit, he has still in his house, among numerous sketches and pictures commenced, the Martyrdom of San Lorenzo, of size similar to the above, which he also proposes to send to the Catholic King. He has likewise a large canvass exhibiting Christ on the Cross, the thieves on each side, and the executioners beneath, which he is painting for Messer Giovanni d’Arna; and a picture which was begun for the Doge Grimani, father of the Patriarch of Aquileia. For the Hall of the Great Palace of Brescia, Titian has commenced three large pictures, which are to form part of the decorations of the ceiling,^[49] as we have said when speaking of the Brescian painters, Cristofano and his brother. He also began a picture many years since for Alfonso, first Duke of Ferrara, the subject is a nude figure of a woman bowing before the Goddess Minerva; there is besides another figure, and in the distance is the Sea, with Neptune in his Chariot; but the death of Alfonso, according to whose fancy the work was composed, caused the picture to remain incomplete, and it is still in Titian’s hands.

Another work, brought to a state of considerable advancement, but not finished, is Our Saviour appearing to Mary Magdalen in the Garden; the figures are of the size of life, as are those of another of equal size where Christ is placed in the Sepulchre, while the Madonna and the other Maries stand around: and among other good things to be seen in his house is a picture of the Madonna, with, as it is said, a portrait of himself, finished four years since, and which is very beautiful and natural.^[50] There is, likewise, a figure of San Paolo reading, a half-length figure, which is so fine that it may well be that same which was filled with the Holy Spirit. All these works, with many others which I omit, to avoid prolixity, have been executed up to the present age of our artist, which is above seventy-six years. Titian has been always healthy and happy; he has been favoured beyond the lot of most men, and has received from Heaven only favours and blessings. In his house he has been visited by whatever Princes, Literati, or men of distinction have gone to or dwelt in Venice; for, to say nothing of his excellence in art, he has always distinguished himself by courtesy, goodness, and rectitude.

Titian has had some rivals in Venice, but not of any great ability, wherefore he has easily overcome them by the superiority of his art; while he has also rendered himself acceptable to the gentlemen of the city. He has gained a fair amount of wealth, his labours having always been well paid; and it would have been well if he had worked for his amusement alone during these latter years, that he might not have diminished the reputation gained in his best days by works of inferior merit, performed at a period of life when nature tends inevitably to decline, and consequent imperfection.

In the year 1566, when Vasari, the writer of the present History, was at Venice, he went to visit Titian, as one who was his friend, and found him, although then very old, still with the pencils in his hand and painting busily. Grreat pleasure had Vasari in beholding his works and in conversing with the master. Titian then made known to Giorgio, Messer Gian Maria Verdezzotti, a young Venetian gentleman of great ability, the friend of Titian, and a man well versed in design as well as a tolerable colourist, which he has proved by some very beautiful Landscapes from his own hand. This youth, by whom Titian is loved and revered as a father, has two figures painted in oil within two niches by that artist, an Apollo and a Diana that is to say.

It may be affirmed then, that Titian, having adorned Venice, or rather all Italy, and other parts of the world, with excellent paintings, well merits to be loved and respected by artists, and in many things to be admire’d and imitated also, as one who has produced, and is producing, works of infinite merit; nay, such as must endure while the memory of illustrious men shall remain.

Many young men have been with Titian for the purposes of learning; yet the number of those who may truly call themselves his disciples is not great, seeing that he has never given much instruction; yet all may learn more or less from the works of a master, once they have acquired the power of comprehending them. Among those about Titian meanwhile was a certain Giovanni, a Fleming,^[51] who became a good master, whether for large or small figures, and in portraits was most admirable, as may be seen by his works at Naples, where he lived for some time, and where he ultimately died. By his hand, and they must do him honour to all time, were the designs for anatomical studies which the most admirable Andrea Vessalio caused to be engraved on copper and published with his works.^[52] But the artist who has most successfully imitated Titian, was Paris Bordone; who, born in Treviso, of parents, one a Trevisano, the other a Venetian, was taken, at the age of eight, to certain of his mother’s kindred in Venice. Here, having studied grammar and become an excellent musician, he was sent to Titian, but did not spend many years with that master, whom he perceived to have but little disposition to instruct his disciples, even though entreated by them to do so, and encouraged thereto by the patience and good conduct of those young men. Bordone resolved to leave him therefore, but grieving much that Giorgione was no longer alive at that time, the manner of the latter pleasing him greatly; as did still more his reputation of being an excellent and affectionate teacher to all who desired to learn from him. Since he could not do better, therefore, Bordone set himself to imitate the manner of Giorgione to the utmost of his power, and by earnest labour in the copying of his works, he rendered himself so good an artist that he obtained an excellent reputation. He was thus only eighteen when he received the commission for painting a picture in the Church of San Niccolò, which belongs to the Minorite Priars; but Titian, having heard this, contrived by means of friends and favours to get it out of his hands, perhaps to prevent his giving proof of his ability at so early a period; perhaps, also, induced by the love of gain.

Paris was subsequently invited to Vicenza, there to paint a story in fresco, in the Loggia of the Piazza where the courts are held. This commission he accepted willingly, although Titian had himself painted a picture representing the Judgment of Solomon in that place; and having executed a story of Noah and his Sons, Paris was considered to have acquitted himself extremely well, both as regarded design and execution, insomuch that the work, being no less beautiful than that of Titian, both are considered by those who do not know the truth to be by the same hand.^[53]

Having returned to Venice, Bordone painted certain nude figures at the foot of the Rialto; and, after this proof of his ability, he was employed to decorate the Parades of many houses in Venice. He was then invited to Treviso, where he also executed numerous Parades and other works, more particularly Portraits. Among these was that of the illustrious Messer Alberto Unigo, with those of Messer Marco Serravalle, Messer Prancesco da Quer, the Canon Rovere, and Monsignore Alberti. In the Cathedral of that city he painted a picture at the request of the Signor Vicar; it is in the middle of the church, and represents the Birth of Christ. This being completed, he painted a Resurrection of Our Lord in like manner. In the Church of San Prancesco he painted a picture for the Cavaliere Rovere, with another in San Girolamo, and one in Ognissanti, exhibiting varied heads of Saints, male and female. These are all beautiful, and display much variety in the attitudes and vestments.^[54] There is also a picture, by the hand of Paris, in the Church of San Lorenzo; and in San Polo he painted three ehapels: in the principal of these he represented the Resurrection of Christ; the figures are as large as life, and are accompanied by a vast number of Angels. In the second chapel he painted Saints with Angels around them; and in the third, is Our Saviour Christ in the air with Our Lady, who presents San Domenico to her Divine Son. All these works have made Bordone known as an able painter, and a citizen firmly attached to his native place.

In Venice, where he has almost always lived, he has executed numerous works at various times; but the most beautiful and most praiseworthy performance ever executed by Bordone, was a Story in the Scuola of SS. Giovanni e Polo, in T7hich the Fisherman presents St. Mark’s ring to the Signoria of Venice. We have here a building beautifully painted in perspective, around which are seated the Senators, with the Doge; many of the heads being portraits from life, of great animation, and admirably executed. The beauty of this work, so well painted in fresco, caused Bordone to be employed by many gentlemen, and he executed numerous pictures in the great Palace of the Foscari, near St. Barnabas; among others, a figure of Christ descended to the Gates of Hell, whence he is delivering the Holy Fathers; a picture considered to display great merit. In the Church of St. Job, at the Canal Reio, Bordone painted a very beautiful picture; and at San Giovanni he executed another, with one in each of the Churches of Santa Maria della Celeste, and Santa Marina.

But knowing that he who would succeed in Venice must pay great court to one and another, Paris, who was a man of reserved habits, and had no taste for certain modes of proceeding, which he saw to prevail around him, resolved to accept whatever should be oftered to him in other places, and to take what Fortune might give, without being obliged to go begging for employment. He therefore seized an occasion which presented itself, and in 1538 went to France, where he entered the service of King Francis, and painted numerous Portraits of Ladies for that Monarch, with other pictures of different kinds. At the same time he executed a singularly beautiful Church picture, for the high ecclesiastic. Monsignore de Guise, with one of Venus and Cupid, for his chamber. For the Cardinal of Lorraine he painted the Ecce Homo, with a Jupiter and lo, and many other works. Paris likewise sent the King of Poland a picture of Jupiter and a Nymph, which was considered a very fine one. Two others which he despatched to Flanders, were also reputed to be most beautiful. One of these represented Mary Magdalene in the Hermitage, accompanied by Angels; the other was a Diana bathing with her Nymphs; both of which our artist painted by commission from the Milanese Candiano, physician to the Queen Maria, who intended them as presents for her Highness.

At Augsburg, Paris Bordone undertook works of great importance, for the Fugger Palace; the payment for these was three thousand crowns; and in the same city he executed a large and beautiful picture, wherein he exemplified all the five rules of architecture, in a building painted in perspective, for the Priners, who are great men in that place, and for whom he also painted a cabinet picture, which is now in the possession of the Cardinal of Augsburg.^[55] At St. Augustine, in Crema, this artist painted two pictures, in one of which is the portrait of the Signor Griulio Manfrone, who is fully armed, and represents St. George. The same painter has executed many works, which are much praised at Civitale di Belluno, more particularly a figure of Santa Maria, and one of St. Joseph, which are greatly admired. He sent the Portrait of Signor Ottaviano Grimaldo, the size of life, to Genoa, with a picture of the same size, representing a female figure.

Proceeding at a later period to Milan, Bordone painted a picture for the Church of San Celso in that city; it represents certain figures in the air, wfith a most beautiful landscape beneath them. This he is said to have done at the request of the Signor Carlo da Roma, in whose Palace he also painted two large pictures in oil; the first representing Mars and Venus in the net of Vulcan; the second. King David looking at Bathsheba, who with her Maids is bathing at the fountain. He also painted the Portrait of the Signor Carlo, with the likeness of his Consort, the Signora Paula Visconti, and some Landscapes; these last are of no great size, but are exceedingly beautiful. About the same time our artist painted several of Ovid’s Fables, for the Marquis Astorga, by whom these pictures were taken into Spain; he also executed many works for the Signor Tommaso Marini, but these require no further mention. This then shall sufi3.ce me to say of Paris Bordone, who being now seventy-five years old,^[56] lives quietly in his own house, working only at the request of princes, or others of his friends, avoiding all rivalry, and those vain ambitions which do but disturb the repose of man, and seeking, as he says, to avoid having the serene tranquillity of his life invaded by those who, proceeding by dubious paths, do not seek truth, but rather malignity, and are totally devoid of charitable purpose. He, on the contrary, accustomed to a simple and upright life, desires no contention with the subtleties and craft of those who proceed less openly. This master has lately executed a singularly beautiful picture for the Duchess of Savoy; it represents Venus and Cupid, sleeping under the guard of a servitor, and is so admirably executed, that words do not enable me to praise it sutficiently.

I must not here omit to mention that the art of Mosaic, almost abandoned in all other place, is encouraged and kept in life by the most Serene Senate of Venice, and of this Titian has been the principal cause; seeing that so far as in him lies, he has ever laboured to promote the exercise thereof, and to procure respectable remuneration for those who practise the art. Various works have thus been undertaken in the Church of San Marco, the old Mosaics having been almost wholly restored, and this mode of delineation being now brought to all the perfection of which it is susceptible, exhibits consequently a very ditferent aspect from that displayed in Florence and Rome, at the time of Giotto, Alesso Baldovinetti, the Ghirlandai, or the Miniaturist Gherardo. All that has been done in Venice has been executed after the designs of Titian and other excellent painters, who have made coloured Cartoons for the same; thus the works are brought to perfection, as may be seen in the portico of San Marco, where there is a Judgment of Solomon, so beautiful that it could scarcely be executed more delicately with the pencil and colours.^[57] In the same place is the Genealogical Tree of Our Lady, by Ludovico Rosso; the Sibyls and Prophets are admirably represented in this work, which is carefully conjoined, and displays excellent relief. But in the art of Mosaic there are none who have distinguished themselves more highly in our times than have Valerio and Vincenzio Zuccheri, natives of Treviso,^[58] many stories by whom may be seen in San Marco; those from the Apocalypse may more particularly be specified: in this work the four Evangelists, under the form of various animals, are seen to surround the Throne of God: the Seven Candlesticks, and other things, are also represented so admirably well, that to him who looks at them from below, they appear to be paintings in oil. There are besides numerous small pictures by those artists, and these are filled with figures which look—I do not say like paintings only—but like miniatures, and yet they are made of stones joined together. There are portraits, moreover, of various personages; the Emperor Charles Y. that is to say, with Ferdinand his brother, who succeeded him in the Empire, Maximilian, son of Ferdinand and now Emperor, the most Illustrious Cardinal Bern bo, the glory of our age,^[59] and the Magnifico...all executed so carefully, with so much harmony, so admirable a distribution of light and shadow, and such exquisite tints of the carnatians (to say nothing of other qualities), that no better or more perfect works of the kind could possibly be conceived.

Bartolommeo Bozzato has also worked on the Church of San Marco: he is the rival of the Zuccheri, and has acquitted himself in a sufficiently praiseworthy manner; but that which has most effectually contributed to the success of all these artists, has without doubt been the superintendence of Titian, with the designs prepared for these Mosaics by his hand. In addition to the above-mentioned and others, who have been disciples of Titian, there was besides a certain Girolamo,^[60] of whom I know no other name than Girolamo di Tiziano.^[61]

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1. This is one of the rather numerous inaccuracies of this Life, for such details respecting which, as cannot here find place, our readers may consult Northcote, Life of Titian; Lodovico Dolce, Dialogo della Pittura; Boschini, Carta del Navegar Pittoresco; Cean Bermudez, Diccionario Historico; Pungileoni, (in the Giornale Arcadico for August and September, 1831); or Cadorin, Dell’Amore ai Veneziani di Tiziano Vecellio, &c., with many other works, for the name and titles of which we cannot here find space.
2. Ticozzi remarks that this must be an error of date, since Giorgione could otherwise not have been himself more than sixteen or seventeen.
3. See Zanetti, Varie Pitture a fresco dei principali Pittori Veneziani.
4. Not in the Chiirch, but the Scuola of St. Anthony. Ridolfi, Maraviglie, &c., declares that these works obscure the glory of Titian.
5. This story was left unfinished, not by Bellino, but Giorgione, and the description of it by Vasari is not strictly accurate. See Ridolfi, ut supra.
6. This is the Bacchus and Ariadne of our National Gallery.
7. Boschini tells us that when this picture was sent to Spain, Domenico wept for the loss sustained by Italy in its departure.
8. This work is now in the Venetian Academy of the Fine Arts.
9. The Bishop of Paphos, Monsignore Jacopo da Pesaro.
10. This picture is still to be seen in the Church of the Frari, at Venice.
11. Now in the Vatican. See Grattani, Quadri dell'Appartamento Borgia.
12. This work also is in the Venetian Academy. — Ed. Ven.
13. Now in the Louvre.
14. Priuli. — Ed, Ven.
15. It was taken to Paris, among other spoils of the French, but was restored to Venice in 1816.
16. This work perished, with many others, in the conflagration of the Palace. There is one in the Louvre of similar character, and by the hand of Titian, but this may be that painted for the Marchese Federigo Conzaga in 1531. See Gaye, Cartegqio inedito d’Ariisti, vol. ii. p. 164.
17. Not now in the Palace.
18. Now in the Gallery of the Venetian Academy.
19. Now in the Royal Gallery of Madrid.—Förster,
20. The present was to the Empress Isabella, as we learn from a letter of Pietro Aretino, and the two thousand crowns came from her, andnot fromthe Emperor. —Ed. Flor., 1832-8.
21. This portrait also is believed to be at Madrid.
22. The first of these portraits is in the Pitti Palace, the second is in the Louvre.
23. Ridolfi speaks of these heads as in one of the Royal Collections in England, but they are not now to be found; and the twelve heads said to be by Titian in the Royal Gallery of Munich, are believed by many to be those here in question.
24. This Bishop is said to have been of Titian’s family.
25. This is the Venus of the Tribune of the Uffizj, known to most of our readers.
26. Also at Florence, but in the Pitti Palace
27. This picture is now in the Church of Santa Maria della Salute. —Ed. Ven,
28. This also was taken to Paris, but was restored, and is now in its original place.
29. The portrait of Pietro Aretino is now in the Pitti Palace; that of Giovanni in the Uffizj.
30. These pictures are now in the Sacristy of the Oratory of Santa Maria della Salute.
31. The portrait of Pope Paul III. is believed to be now in Naples; that of Farnese is in the Corsini Gallery in Rome.
32. Now in the Museo Borbonico at Naples.
33. This picture perished in a conflagration.—Ed. Ven.
34. The portrait of Philip is in the Pitti Palace.
35. This portrait is in the Gallery of the Belvedere at Vienna.
36. It was engraved by Cornelius Cort. The picture accompanied Charles V. to the Monastery of St. Just, and on his death was taken to the Escurial, where it remains.— Ticozzi.
37. This picture and the Prometheus are at Madrid.
38. The original work is at Madrid; that in our National Gallery is a replica.
39. Since Vasari speaks of “another Diana,” although he has mentioned no other, he was most probably thinking of the Diana and Calisto of Titian, which, with that above-mentioned, is also at Madrid. There are replicas of both pictures in the Bridgewater Gallery, and at Vienna.
40. “To those who sufficiently understand the matter,” remarks Bottari.
41. Now at Madrid; that in our National Gallery is a replica.
42. This picture was taken to Paris, and has not been restored.
43. This picture had nearly perished when Bottari wrote.
44. Restored some years since by the Count Bernardino Corniani.— Ed. Ven.
45. See the Kunstblatt for 1846. See also Gaye, Carteggio, vol. ii.
46. Irene di Spilembergo, the disciple of Titian. See Maniago, Storia delle Belle Arti del Friuli.
47. For whose Life, see Ridolfi, Vite de' Pittori Veneti.
48. An eminent physician and Latin poet of the time.
49. They were destroyed by fire.—Ed. Flor., 1832-8.
50. Now among the portraits of painters in the Uffizj.
51. Johann Calcar, or Calker. See Lanzi, Storia Pittorica. See also Bryan, Dictionary of Painters and Engravers.
52. This great anatomist was born at Brussels. He was condemned to death for having opened the body of a Spaniard whom he affirmed to have been dead, but who is said to have only appeared to be so. The crime was, however, not fully proved, and his sentence was commuted by the intervention of Philip II., for a pilgrimage to the Holy Land. On his return from this journey, Vessalio was shipwrecked, and died of hunger on a desert part of the island of Zante, in the year 1564. His portrait, painted by Titian, is in the Pitti Palace, and his magnificent work, De humani corporis fuhrica, (some of the plates in which are said to have been designed by Titian) will doubtless be known to many of our readers.
53. These works have both perished. —Bottari.
54. This story is now in the Venetian Academy, as is that of the Fisherman mentioned below. See Zanotto, La Pinacoieca Veneta.
55. None of these works can now be found in Augsburg.
56. It was at this age that Bordone died, according to Ridolfi, Vite, &c.
57. For details respecting these works, our readers may advantageously consult the learned Zanetti, Della Pittura Veneziana. The Judgment of Solomon is by Vincenzio Bianchini.
58. According to Federici, these brothers, more correetly called Zuccati, were not of Treviso but Da Ponte, and the name of the one was not Vincenzio, but Francesco. See Memorie Trevisane.
59. The portrait of Bembo is in the Uffizj. Vasari calls him the “glory of our age,” on account of his literary distinction.
60. Girolamo Dante.
61. For some part of the numerous details which we had proposed to add to various parts of this Life, oUr readers must be referred to Ridolfi; Vite &c.; Zanetti, Pinacoteca Veneta; Zanetti, Della Pittura Veneziana; and the other authorities, whose names alone we have here space to indicate.