TITE. 3oy TITIAN. Edward Irving's church in London (1827-28), and he was the architect of the Roj-al Exoliange (1841-44), and of several palatial railway sta- tions in France and England. He was knighted in 1869. He was a man of varied attainments, a member of several learned societies, and pub- lished .1 Catalogue and Description of the An- tiquities Found in the Excai'ations for the Royal Exchange ( 1848) , and several essays and lectures. TITHES (AS. teopd, a tenth part, from tcon, tien. tijn, ten, Goth, taihun. OHG. zehan, Ger. xhn, ten; connected with Lat. decern, Gk. S^xa, deka, Ir. deich, Skt. dasa, ten). A tenth part of the ])roduce of the lan<l, which has from the earliest times been a rate in a system of taxation for civil and religious pur[)oscs. Tithing is still the prevailing method of taxation in Jloham- medan countries. It was established and def- initely regulated for the support of religion among the Hebrews. For the details of the Hebraic institution of tithes see Lev. xxvii. and Deut. xiv., where it is provided that the tribe of Levi, not having lands assigned to them as was the case with the other tribes, should draw their support from this system of taxation. In the usage of the Christian churches tithes have been one of the methods employed in provid- ing for the support of the clergy. ( See Stipends, Clerical.) The system, though strongly urged as of moi'al obligation by the Apostolic canons, the Apostolic constitutions, and the writings of the Fathers, was for many centuries purely volun- tary; and the legislation of the first Christian emperors, while it presu])posed the duty of main- taining the clergj', did not extend to any general enactment for the payment of a tenth of the pro- duce of the land. Many Church councils in the sixth, seventh, and eighth centuries confirmed the system; and at length the Emperor Charlemagne, by his capitularies at the beginning of the ninth century, formally established the tax within that portion of the ancient Roman Empire to which his legislation extended-. The introduction of tithes into England is as- cribed to Ofl'a, King of Mercia, at the end of the eighth century : and the practice was made gen- eral for all England by Ethelwulf. about the year 850. It would seem that at first, although all were required to pay tithes, it was optional with each to select the church to which payment should be made ; but by a decretal of Pope Innocent III. addressed to the Archbisliop of Canterbury in the year 1200, all were required to pay tithes for the support of the clergy of their respective parishes, and this parochial distribution of tithes has ever since obtained in England. Consult Whitehead, Church Law (London, 1802). TITHING. A territorial or personal division in early English history. The territorial tithing, a tenth part of the hundred (q.v.). dates from early Anglo-Saxon times. The personal tithing probably came in with the Xormans. though many give it a place in Anglo-Saxon polity. It con- sisted of ten men mutually responsible for one another, with a head pledge or tithing man to represent the whole. (See Frank-Pledge.) This officer survived as a petty parish official long after the system to which he owed liis origin had decayed. TITHO'NUS (Lat.. from Gk. Ti«a.i/As). In Greek legend, a son of Laomedon and brother of Priam, who w'as carried ofl' by Eos (the Dawn). She bore him Menmon, and obtained from the gods for him the gift of immortality. The Ho- meric hymn to Aphrodite adds tluit as Eos forgot to ask for eternal youth as well, Tithonus with- ered into heli)less old age, until he remained in her chamber behind closed doors, and only his piping voice was heard. A very late account told of liis final transformation into a cicada. TITIAN, tish'«n (It. Tiziano Vecelli or Vecellio) (1477-1570). The most celebrated and important painter of the Renais.sance in Venice. He was born at Picve di Cadore, a small town in (he Alps of Friuli. The year of his birth has been variously given, the most probable as- sumption (1477) being based upon his own statement in a letter to Philip II. of Spain. His family, the Vecelli, belonged to the petty nobilitj', and had long been identified with the public service in Pieve, Titian's father, Gre- gorio, being honorably known as a magistrate and military commander. At nine the lad was sent to Venice to be educated. He was first apprenticed to the mosaicist Scbastiano Zuecato, then to Gentile and Giovanni Bellini, having Giorgione and Palma Vecchio as fellow pupils. Titian was slow to develop. While Cjiorgione lived, he was content to follow in his footsteps. His work also had much in common with that of Palma Vecchio. but in this ca.se Titian was prob- ably the controlling influence. During the first part of Titian's early period, lasting till 1512, his style resembles" that of Giorgione; but Titian is a more rugged in- dividuality, and his lines and colors are not so soft and melting. Among his earliest surviving paintings are a "Madonna with Saints" (Liech- tenstein Collection, Vienna): a "Holy Family" (National fJallery. London) ; and tlu' so-called "Gyps_y Madonna" (Imperial Gallery, Vienna). They show uncertainty of drawing, but high charm of color. The first of his pictures that can with surety be dated is "Pope Alexander VI. Conuuending Jacopo Pesaro to the Madonna" (1502-03, Antwerp). A higher phase of tech- nical development is shown by the "Madonna with the Cherries" ( Imperial Gallery, Vienna ) . and the Madonnas with Saints at Dresden. Paris, Florence (UflSzi), and London (National Gallery). The "Concert" in the Utfizi has been attributed to him and the "Tribute-Money" (Dresden), representing the well-known incident between Christ and the Pharisee (see Giorgione) , is the most carefully finished of his pictures. Only Leonardo has created a Christ type that can vie with this in gentleness, intellect, and majesty, and the contrast between it and the cunning coar.seness of the Pharisee is especially striking. The I'lfizi also possesses his "Daughter of He- rodias." for whom Titian's daughter sat as model. Other celebrated works are the beautiful allegory of the "Three Ages" (Bridgewater Gallery, Lon- don), and at the end of the period, summing up its best qualities, is "Sacred and Profane Love," perhaps more properly called "Medea and Venus." In the midst of a beautiful landscape two maidens of similar mien sit at a sculptured antique fountain, while a Cupid plays in the wa- ter. One maiden is clothed, the other is nude, and the picture gives fine opportunity for the con- trast in the play of light upon the two figures. The fagade frescoes of the Fondaco dei Tedeschi
