See also:

• TITIAN
• TITIAN (c. 1477-1576)

TITIAN (c. 1477-1576)  . Tiziano Vecellio, or Vecelli, one of the greatest painters of the See also:

• WORLD

world, and in especial the typical representative of the Venetian school, was commonly called during his lifetime " Da Cadore," from the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, and has also been designated " Il Divino." The See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country of Cadore, in the See also:

• FRIULI (in the local dialect, Furlanei)

Friuli, barren and poor, is watered by the Piave torrent poured forth from the Carnic See also:

• ALPS

Alps, and is at no See also:

• GREAT

great distance from See also:

• TIROL (or TYROL 1)

Tirol . See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, therefore, was not in any sense a Venetian of the lagoons and Adriatic, but was native to a country, and a range of association, See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception and observation, of a directly different See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice conquered Friuli at a date not very remote from the birth of Titian; and Cadore, having to choose between Venetian and imperial See also:

• ALLEGIANCE (Mid. Eng. ligeaunce; med. Lat. ligeantia, &c.; the al- was probably added through confusion with another legal term, allegeance, an allegation; the Fr. allegeance comes from the English; the word is formed from " liege," of which the derivatio

allegiance, declared for the former . Approaching the See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

castle of Cadore from the See also:

• VILLAGE

village Sotto See also:

• CASTELLO, BERNARDO (1557—1629)
• CASTELLO, GIOVANNI BATTISTA (1500 ?–1569 ?)
• CASTELLO, VALERIO (1625-1659)

Castello, one passes on the right a cottage of humble pretensions, inscribed as Titian's birthplace; the precise locality is named Arsenale . The near See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain—all this range of hills being of See also:

• DOLOMITE

dolomite formation—is called Marmarolo . At the neighbouring village of See also:

• VALLE, PIETRO DELLA (1586–1652)

Valle was fought in Titian's lifetime the See also:

• BATTLE

battle of Cadore, a Venetian victory which he recorded in a See also:

• PAINTING

painting . In the 12th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century the See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count of Camino became count also of Cadore . He was called Guecello; and this name descended in 1321 to the See also:

• PODESTA (Lat. potestas, power)

podesta (or See also:

• MAYOR (Lat. major, greater)
• MAYOR, JOHN EYTON BICKERSTETH (1825– )

mayor) of Cadore, of the same stock to which the painter belonged . Titian, one of a See also:

• FAMILY

family of four, and son of Gregorio Vecelli, a distinguished councillor and soldier, and of his wife See also:

• LUCIA (or LucY), ST

Lucia, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1477 . So it has very generally been stated; but of See also:

• LATE

late years a subsequent date, 1489-1490, has been suggested, so as to make Titian, at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of his See also:

• DEATH

death, not so singularly See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long-lived a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man . As to this interesting point one should remember that See also:

• VASARI, GIORGIO (1511-1571)

Vasari in one passage (at variance with some others) says that Titian was born in 148o; while Titian himself, See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing to See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip II. in 1571, professed to be ninety-five years old .

It used to be said that Titian, when a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child, painted upon the See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall of the Casa Sampieri, with See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

flower-juice, a Madonna and See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant with a boy-See also:

• ANGEL

angel; but See also:

• MODERN

modern connoisseurs say that the picture is a See also:

• COMMON

common See also:

• WORK

work, of a date later than Titian's decease . He was still a child when sent by his parents to Venice, to an See also:

• UNCLE

uncle's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house . There he was placed under an See also:

• ART

art teacher, who may perhaps have been Sebastiano Zuccato, a mosaicist and painter now forgotten . He next became a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

• GENTILE
• GENTILE, C

Gentile See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini, whom he See also:

• LEFT

left after a while, because the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master considered him too offhand in work . Here he had the opportunity of studying many See also:

• FINE

fine antiques . His last instructor was Giovanni Bellini; but Titian was not altogether satisfied with his tutoring . The youth was a contemporary of See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione and See also:

• PALMA, JACOPO (c. 1480-1528)
• PALMA, or PALMA DE MALLORCA
• PALMA, or SAN MIGUEL DE LA PALMA

Palma Vecchio; when his See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of pupilage expired, he is surmised to haveentered into a sort of See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership with Giorgione . A See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of " See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules " on the See also:

• MOROSINI

Morosini See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace is said to have been one of his earliest See also:

• WORKS

works; others were the " Virgin and Child," in the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere, and the " Visitation of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary and See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth " (from the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of S . See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea), now in the Venetian See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . In 1507—1508 Giorgione was commissioned by the See also:

• STATE
• STATE, GREAT OFFICERS OF

state to execute frescoes on the re-erected Fondaco de' Tedeschi . Titian and Morto da See also:

• FELTRE (anc. Feltria)
• FELTRE, MORTO DA

Feltre worked along with him, and some fragments of Titian's paintings, which are reputed to have surpassed Giorgione's, are still discernible . According to one See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, Giorgione was nettled at this superiority, and denied Titian admittance to his house thenceforth .

Stories of jealousies between painters are rife in all regions, and in none more than in the Venetian—various statements of this kind applying to Titian himself . One should neither accept nor reject them uninquiringly; See also:

• COUNTER

counter-See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of some See also:

• WEIGHT

weight can be cited for Vecelli's vindication in relation to See also:

• MORONI, C
• MORONI, GIAMBATTISTA (c. 1510-1578)

Moroni, Corieggio, See also:

• LOTTO (Ital. for " lot ")
• LOTTO, LORENZO (c. 1480-1556)

Lotto and See also:

• COELLO, ALONSO SANCHEZ (1515-1590)
• COELLO, ANTONIO (1610?-1652)

Coello . Towards 1511, after the cessation of the See also:

• LEAGUE

League of Cambraiwhich had endeavoured to shatter the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of the Venetian See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

republic, and had at any See also:

• RATE

rate succeeded in clipping the wings of the See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

lion of St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark—Vecelli went to See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, and painted in the Scuola di S . See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio a See also:

• SERIES (a Latin word from serere, to join)

series of frescoes, which continue to be an See also:

• OBJECT

object of high curiosity to the students of his See also:

• GENIUS (from Lat. genere, gignere)

genius, although they cannot be matched against his finest achievements in oil painting . Another fresco, dated 1523, is " St See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher carrying the Infant See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," at the See also:

• FOOT

foot of the See also:

• DOGE

doge's steps in the ducal palace of Venice . From Padua Titian in 1512 returned to Venice; and in 1513 he obtained a See also:

• BROKER (according to the New English Dictionary, from Lat. brocca, spit, spike, broccare, to broach "—another Eng. form of the same word; hence O. Fr. vendre d broche, to retail, e.g. wine, from the tap, and thus the general sense of dealing; see also for

broker's patent in the Fondaco de' Tedeschi (state-warehouse for the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German merchants), termed " La Sanseria " or " Senseria " (a See also:

• PRIVILEGE

privilege much coveted by rising or risen artists), and became See also:

• SUPERINTENDENT

superintendent of the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government works, being especially charged to See also:

• COMPLETE

complete the paintings left unfinished by Giovanni Bellini in the See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of the great See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council in the ducal palace . He set up an atelier on the See also:

• GRAND

Grand See also:

• CANAL
• CANAL (from Lat. canalis, " channel " and " kennel " being doublets of the word)

Canal, at S . Samuele—the precise site being now unknown . It was not until 1516, upon the death of Bellini, that he came into actual enjoyment of his patent, at the same date an arrangement for painting was entered into with Titian alone, to the exclusion of other artists who had heretofore been associated with him . The patent yielded him a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• ANNUITY (from Lat. annus, a year)

annuity—120 crowns—and exempted him from certain taxes—he being See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound in return to paint likenesses of the successive doges of his time at the fixed See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price of eight crowns each . The actual number which he executed was five . Titian, it may be well to See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note as a landmark in this all but centenarian See also:

• LIFE

life of incessant See also:

• ARTISTIC

artistic labour and productiveness, was now (if we adopt 1477 as the birth-date) in the fortieth See also:

• YEAR

year of his See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age .

The same year, 1516, witnessed his first See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• FERRARA

Ferrara . Two years later was produced, for the high See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of the Frari, one of his most world-renowned masterpieces, the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Madonna," now in the Venetian Academy . It excited a vast sensation, being indeed the most extraordinary piece of colourist See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution on a great See also:

• SCALE
• SCALE (1) A

scale which See also:

• ITALY
• ITALY (Italia)

Italy had yet seen . The signoria took note of the facts and did not fail to observe that Titian was neglecting his work in the hall of the great council . Vecelli was now at the height of his fame; and towards 1521, following the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of a figure of " St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian for the papal See also:

• LEGATE (Lat. legatus, past part. of legare, to send as deputy)
• LEGATE, BARTHOLOMEW (c. 1575-1612)

legate in See also:

• BRESCIA
• BRESCIA (anc. Brixia)

Brescia (a work of which there are numerous replicas), purchasers became extremely urgent for his productions . In 1525, after some irregular living and a consequent See also:

• FEVER (Lat. febris, connected with fervere, to burn)

fever, he married a See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady of whom only the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian name, See also:

• CECILIA, SAINT

Cecilia, has come down to us; he hereby legitimized their first child, Pornponio, and two (or perhaps three) others followed . Towards 1526 he became acquainted, and soon exceedingly intimate, with Pietro See also:

• ARETINO, PIETRO (1492-1556)

Aretino, the See also:

• LITERARY

literary See also:

• BRAVO (Ital. for " brave ")

bravo, of See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence and audacity hitherto unexampled, who figures so strangely in the See also:

• CHRONICLES, BOOKS OF

chronicles of the time . Titian sent a portrait of him to See also:

• GONZAGA
• GONZAGA, THOMAZ ANTONIO (1744-1809)

Gonzaga, See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• MANTUA (Ital. Mantova)

Mantua . A great affliction befell him in See also:

• AUGUST (originally Sextilis)

August 1530 in the death of his wife . He then, with his three See also:

• CHILDREN, LAW RELATING TO

children—one of them being the infant Lavinia, whose birth had been fatal to the See also:

• MOTHER

mother—removed to a new See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home and got his See also:

• SISTER

sister Orsa to come from Cadore and take See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of the See also:

• HOUSEHOLD, ROYAL

household . The See also:

• MANSION (through O. Fr. mansion, mod. maison, from Lat. mansio, dwelling-place, stage on a journey; manere, to remain)

mansion, difficult now to find, is in the See also:

• BIRI

Biri Grande, then a fashionable suburb, being in the extreme end of Venice, on the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea, with beautiful gardens and a look-out towards See also:

• MURANO (anc. Ammariuno)

Murano . In 1532 he painted in See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna a portrait of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V., and was created a count See also:

• PALATINE (from Lat. palatium, a palace,)

palatine and See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight of the See also:

• GOLDEN

Golden See also:

• SPUR (A.S. spura, spora, related to spornan, spurnan, to kick, spurn; cf. M.H.G. sporn, mod. Ger. Sporn)

Spur, his children also being made nobles of the See also:

• EMPIRE

empire—for a painter, honours of an unexampled kind .

The Venetian government, dissatisfied at Titian's neglect of the work for the ducal palace, ordered him in 1538 to refund the See also:

• MONEY

money which he had received for time unemployed; and See also:

• PORDENONE
• PORDENONE, IL (1483-1539)

Pordenone, his formidable See also:

• RIVAL

rival of See also:

• RECENT

recent years, was installed in his place . At the end of a year, however, Pordenone died; and Titian, who had meanwhile applied himself diligently to painting in the hall the battle of Cadore, was reinstated . This great picture, which was burned with several others in 1577, represented in life-See also:

• SIZE

size the moment at which the Venetian See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain, D'Alviano, fronted the enemy, with horses and men crashing down into the stream . See also:

• FONTANA, DOMENICO (1543-1607)
• FONTANA, LAVINIA (1552-1614)
• FONTANA, PROSPERO (1512-1597)

Fontana's See also:

• ENGRAVING

engraving, and a See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch by Titian himself in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of the Uffizi in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record the energetic See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . As a See also:

• MATTER

matter of professional and worldly success, his position from about this time may be regarded as higher than that of any other painter known to See also:

• HISTORY

history, except See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael, See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo, and at a later date See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens . In 1540 he received a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension from D'Avalos, See also:

• MARQUIS

marquis del See also:

• VASTO (anc. Histonium)

Vasto, and an annuity of 200 crowns (which was afterwards doubled) from Charles V. on the See also:

• TREASURY

treasury of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . Another source of profit—for he was always sufficiently keen after money—was a See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract, obtained in 1542, for supplying See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain to Cadore, which he visited with regularity almost every year, and where he was both generous and influential . This reminds us of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare and his relations to his birthplace, See also:

• STRATFORD
• STRATFORD, JOHN DE (d. 1348)

Stratford-on-See also:

• AVON

Avon; and indeed the great Venetian and the still greater Englishman had some-thing akin in the essentially natural See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of their See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration and performance, and in the See also:

• PERSONAL

personal tendency of each to look after See also:

• PRACTICAL

practical success and " the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance " rather than to work out aspirations and pursue ideals . Titian had a favourite See also:

• VILLA

villa on the neighbouring Manza See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill, from which (it may be inferred) he made his See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief observations of landscape See also:

• FORM (Lat. forma)

form and effect . The so-called " Titian's See also:

• MILL
• MILL (O. Eng. mylen, later myln, or miln, adapted from the late Lat. molina, cf. Fr. moulin, from Lat. mola, a mill, molere, to grind; from the same root, mol, is derived " meal;" the word appears in other Teutonic languages, cf. Du. molen, Ger. muhle)
• MILL, JAMES (1773-1836)
• MILL, JOHN (c. 1645–1707)
• MILL, JOHN STUART (1806-1873)

mill," constantly discernible in his studies, is at Collontola, near See also:

• BELLUNO (anc. Bellunum)

Belluno (see R . F . See also:

• HEATH
• HEATH, BENJAMIN (1704-1766)
• HEATH, WILLIAM (1737—1814)

Heath's Life of Titian, p .

5) . A visit was paid to See also:

• ROME
• ROME (Roma)

Rome in 1546, when he obtained the freedom of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city, his immediate predecessor in that See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour having been Michelangelo in 1537 . He could at the same time have succeeded the painter Fra Sebastian in his lucrative See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of the piombo, and he made no See also:

• SCRUPLE

scruple of becoming a See also:

• FRIAR (from the Lat. (rater, through the Fr. frere)

friar for the purpose; but this project lapsed through his being summoned away from Venice in 1547 to paint Charles V. and others, in See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg . He was there again in 1550, and executed the portrait of Philip II., which was sent to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and proved a potent See also:

• AUXILIARY (from Lat. auxilium, help)

auxiliary in the suit of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince for the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen Mary . In the preceding year Vecelli had affianced his daughter Lavinia, the beautiful girl whom he loved deeply and painted various times, to Cornelio Sarcinelli of Serravalle; she had succeeded her aunt Orsa, now deceased, as the manager of the household, which, with the lordly income that Titian made by this time, was placed on a corresponding footing . The See also:

• MARRIAGE

marriage took place in 1554 . She died in childbirth in 1560 . The years 1551 and 1552 were among those in which Titian worked least assiduously—a circumstance which need excite no surprise in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of a man aged about seventy-five . He was at the Council of See also:

• TRENT
• TRENT (Lat. Tridentum; Ital. Trento; Ger. relent)
• TRENT, COUNCIL OF

Trent towards 1555, of which his admirable picture or finished sketch in the Louvre bears record . He was never in See also:

• SPAIN
• SPAIN (Espana)

Spain, notwithstanding the many statements which have been made in the affirmative . Titian's friend Aretino died suddenly in 1556, and another See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close intimate, the sculptor and architect Jacopo See also:

• SANSOVINO, ANDREA CONTUCCI DEL MONTE (1460-1529)
• SANSOVINO, JACOPO (1477—1570)

Sansovino, in 1570 . With his See also:

• EUROPEAN

European fame, and many See also:

• SOURCES

sources of See also:

• WEALTH

wealth, Vecelli is the last man one would suppose to have been under the See also:

• NECESSITY (Lat. necessitas)

necessity of writing querulous and dunning letters for See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment, especially when the defaulter addressed was See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

lord of Spain and of the See also:

• AMERICAN

American Indies; yet he had constantly to complain that his pictures remained unpaid for and hispensions in arrear, and in the very year of his death (See also:

• FEBRUARY

February) he recites the many pictures which he had sent within the preceding twenty years without receiving their price .

In fact, there is ground for thinking that all his See also:

• PENSIONS

pensions and privileges, large as they were nominally, brought in but See also:

• PRECARIOUS

precarious returns . It has been pointed out that in the summer of 1566 (when he was elected into the Florentine Academy) he made an See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official See also:

• DECLARATION (from Lat. declarare, to make fully clear, clams)

declaration of his income, and put down the various items apparently below their value, not naming at all his See also:

• SALARY

salary or pensions . Possibly there was but too much See also:

• REASON (Lat. ratio, through French raison)

reason for the omission . In See also:

• SEPTEMBER (Lat. septem, seven)

September 1565 Titian went to Cadore and designed the decorations for the church at Pieve, partly executed by his pupils . One of these is a Transfiguration, another an See also:

• ANNUNCIATION

Annunciation (now in S . Salvatore, Venice), inscribed " Titianus fecit," by way of protest (it is said) against the disparagement of some persons who cavilled at the See also:

• VETERAN

veteran's failing handicraft . He continued to accept commissions to the last . He had selected as the place for his See also:

• BURIAL

burial the See also:

• CHAPEL

chapel of the Crucifix in the church of the Frari; and, in return for a See also:

• GRAVE

grave, he offered the See also:

• FRANCISCANS (otherwise called Friars Minor, or Minorites; also the Seraphic Order ; and in England Grey Friars, from the colour of the habit, which, however, is now brown rather than grey)

Franciscans a picture of the " Pieta," representing himself and his son See also:

• ORAZIO (c. 1565—1646)

Orazio before the Saviour, another figure in the composition being a sibyl . This work he nearly finished; but some See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences arose regarding it, and he then settled to be interred in his native Pieve . Titian was ninety-nine years of age (more or less) when the See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

plague,' which was then raging in Venice, seized him, and carried him off on the 27th of August 1576 . ' He was buried in the church of the Frari, as at first intended, and his " Pieta " was finished by Palma Giovane . He lies near his own famous painting, the " Madonna di Casa See also:

• PESARO (anc. Pisaurum, q.v.)

Pesaro." No memorial marked his grave, until by See also:

• AUSTRIAN

Austrian command See also:

• CANOVA, ANTONIO (1757-1822)

Canova executed the See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument so well known to sightseers .

Immediately after Titian's own death, his son and pictorial assistant Orazio died of the same epidemic . His sumptuous mansion was plundered during the plague by thieves, who prowled about, scarce controlled . Titian was a man of correct features and handsome See also:

• PERSON, OFFENCES AGAINST THE

person, with an uncommon See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of penetrating observation and self-possessed composure—a Venetian presence worthy to pair with any of those " most potent, grave and See also:

• REVEREND (Lat. reverendus, gerundive of revereri, to revere, pay respect to)

reverend signors " whom his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil has transmitted to posterity . He was highly distinguished, courteous and winning in society, personally unassuming, and a fine See also:

• SPEAKER

speaker, enjoying (as is said by Vasari, who saw him in the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1566) See also:

• HEALTH

health and prosperity unequalled . The numerous heads currently named Titian's See also:

• MISTRESS

Mistress might dispose us to regard the painter as a man of more than usually relaxed morals; the fact is, however, that these titles are See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy-names, and no inference one way or the other can be See also:

• DRAWN

drawn from them . He gave splendid entertainments at times; and it is related that, when See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry III. of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France passed through Venice on his way from See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland to take the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• THRONE

throne, he called on Titian with a See also:

• TRAIN (M. Eng. trayn or trayne, derived through Fr. from Late Lat. trahinare, to drag, draw, Lat. trahere, cf. trail, trace, ultimately from the same source)

train of nobles, and the painter presented him as a See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift with all the pictures of which he inquired the price . He was not a man of universal genius or varied See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty and accomplishment, like Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci and Michelangelo; his one great and supreme endowment was that of painting . Ever since Titian See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose into celebrity the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict has been that he is the greatest of painters, considered technically . In the first place neither the method of fresco painting nor work of the See also:

• COLOSSAL

colossal scale to which fresco painting ministers is here in question . Titian's See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province is that of oil painting, and of painting on a scale which, though often large and grand, is not colossal either in See also:

• DIMENSION (from Lat. dimensio, a measuring)

dimension or in inspiration . Titian may properly be regarded as the greatest manipulator of paint in relation to See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, tone, luminosity, richness, texture, See also:

• SURFACE

surface and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony, and with a view to-the production of a pictorial whole conveying to the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye a true, dignified and beautiful impression of its general subject-matter and of the See also:

• OBJECTS

objects of sense which form its constituent parts . In this sense Titian has never been deposed from his See also:

• SOVEREIGNTY

sovereignty in painting, nor can one forecast the time in which he will be deposed .

For the complex of qualities which we sum up in the words colour, handling and general force and harmony of effect, he stands unmatched, although in particular items of forcible or impressive execution—not to speak of creative invention—some painters, one in one respect and another in another, may indisputably be preferred to him . He carried to its See also:

• ACME (Gr. 6.Kµii, point)

acme that great colourist conception of the Venetian school of which the first masterpieces are due to the two Bellini, to See also:

• CARPACCIO, VITTORIO, or VITTORE (c. 1465-c. 1522)

Carpaccio, and, with more fully See also:

• DEVELOPED

developed suavity of manner, to Giorgione . Pre-eminent inventive power or sublimity ' Out of a See also:

• TOTAL

total See also:

• POPULATION (Lat. populus, people; populare, to populate)

population of 190,000 there perished at this time 50,000 . of See also:

• INTELLECT (Lat. intellectus, from intelligere, to understand)

intellect he never evinced . Even in See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of See also:

• ACTION

action and more especially in See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty or affluence of composition the See also:

• PALM (Lat. palma, Gr. iraX6.jn )
• PALM, JOHANN PHILIPP (1768-1806)

palm is not his; it is (so far as concerns the Venetian school) assignable to See also:

• TINTORETTO, JACOPO ROBUSTI (1518-1594)

Tintoretto . Titian is a painter who by wondrous magic of genius and of art satisfies the eye, and through the eye the feelings—sometimes the mind . Titian's pictures abound with memories of his home-country and of the region which led from the hill-summits of Cadore to the queen-city of the Adriatic . He was almost the first painter to exhibit an appreciation of mountains, mainly those of a turreted type, exemplified in the See also:

• DOLOMITES, THE

Dolomites . Indeed he gave to landscape generally a new and See also:

• ORIGINAL

original vitality, expressing the quality of the objects of nature and their See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control over the sentiments and See also:

• IMAGINATION

imagination with a force that had never before been approached . The earliest See also:

• ITALIAN

Italian picture expressly designated as " landscape " was one which Vecelli sent in 1552 to Philip II . His productive faculty was immense, even when we allow for the abnormal length of his professional career . In Italy, England and elsewhere more than a thousand pictures figure as Titian's; of these about 250 may be regarded as dubious or See also:

• SPURIOUS

spurious .

There are, for instance, 6 pictures in the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, 18 in the Louvre, 16 in the Pitti, 18 in the Uffizi, 7 in the See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples Museum, 8 in the Venetian Academy (besides the series in the private See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting-hall) and 41 in the See also:

• MADRID

Madrid Museum . In the National Gallery 3 other works used to be assigned to Titian, but are now regarded rather as examples of his school . , Naturally a good See also:

• DEAL

deal of See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention has been given by artists, connoisseurs and experts to probing the See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of how Titian managed to obtain such astonishing results in colour and surface.' The upshot of this See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research is but meagre; the secret seems to be not so much one of workmanship as of faculty . His figures were put in with the See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush dipped in a See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown See also:

• SOLUTION (from Lat. solvere, to loosen, dissolve)

solution, and then altered and worked up as his intention developed . The later pictures were touched off rapidly, telling well from a distant view . He himself averred that after his visit to Rome in 1546 he had greatly improved in art; and in his very last days he said—certainly with the modesty of genius, perhaps also with some of the tenacity of old age—that he was then beginning to understand what painting meant . In his earlier pictures the See also:

• GAMUT (from the Greek letter gamma, used as a musical symbol, and ut, the first syllable of the medieval hymn Sanctus Johannes)

gamut of colour rests mainly upon red and See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green, in the later ones upon deep yellow and See also:

• BLUE (common in different forms to most European languages)

blue . The See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments which he used were nothing unusual; indeed they were both few and common . Palma Giovane records that Vecelli would set pictures aside for months, and afterwards, examining them with a stern countenance. as if they were his mortal enemies, would set to work upon them like a man possessed; also that he kept many pictures in progress at the same time, turning from one to the other, and that in his final operations he worked far more with See also:

• FINGER

finger than with brush . It has been said, and probably with truth, that he tried to emulate Palma Vecchio in softness as well as Giorgione in richness . Michelangelo's verdict after inspecting the picture of " See also:

• DANAE

Danae in the See also:

• RAIN (O.E. regn; the word is common to Teutonic languages, cf. Ger. Regen, Swed. and Dan. regn; it has been connected with Lat. rigare, to wet, Gr. 13pixeav)

Rain of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

Gold," executed in 1546, has often been quoted . He said, " That man would have had no equal if art had done as much for him as nature." He was thinking principally of severity and majesty of draughtsmanship, for he added, " Pity that in Venice they See also:

• DON
• DON (anc. Tanais)

don't learn how to draw well." As a draughtsman of the human figure Titian was not only competent but good and fine, and he is reported to have studied See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy deeply; but one can easily understand that he See also: