TITIAN. 310 TITIAN. (1507-08), which Titian executed as an assistant of tiiorgione, liave perished, but of those in Padua several survive, though not well preserved. One is in the Scuola del Carininc, and in the Scuola del Santo he depicted three miracles from the life of Saint Anthony (1511). It was probably after his return to Venice in 1512 that he painted the well-known altar-piece of Santa Maria dclla Salute, representing "Saint Mark Enthroned" with four other saints. In 1513 Titian was summoned to Eome by Pope Leo X., but, preferring to remain at Venice, he pe- titioned the Senate to grant him a position like that of Giovanni Bellini, who was odicial painter to the State, and a commission to paint a large battle-piece in the Hall of the Grand Council. This petition was granted, but when, upon the death of Bellini, Titian was named his succes- sor, with a yearly pension of 300 crowns, he neg- lected the promised battle-piece. He did, how- ever, complete Bellini's picture, the "Submis- sion of Barbarossa," in 1522, and executed a series of frescoes in the Chapel of the Ducal Palace — both of which were destroyed in the great fire of 1577, but his fresco of "Saint Christopher" (1523) still survives. The work executed between 1513 and 1530 may be classed as belonging to a second part of Titian's early period. It still shows reminiscences of Giorgione, but also an increasing realism, breadth of treatment, and mastery of color. To this period belong most of his great religious al- tar-pieces, beginning with the "Assumption of the Virgin," formerly over the high altar of the Church of the Frari. Its position called for an over life-size figure and great breadth of treat- ment, the effects of which are lost in the present position of the picture in the Venetian Academy. The lower part is a scene of great exaltation among a group of the Apostles, the figures of Peter and .John being particularly strong. Above the Virgin rises to the heavens in an effulgence of golden light, surrounded by hosts of the most beautiful angels imaginable. The chief attrac- tion of the Madonna painted for San Niccolo dei Frari (1523. Vatican Gallery) is the six fine figures of saints in the lower part of the pic- ture. The most perfect and important of his madonnas is probably the "Pesaro Madonna" (1526), still in the Frari. This very original composition represents the Madonna seated on the side of the picture at the base of a mighty column, where several saints commend to her the members of the Pesaro family. The cele- brated "Death of Peter Martyr"" (1530), de- stroyed by fire in 1807. showed in its violent dramatic action the influence of Michelangelo. To the same period, probably, belong the "Noli nie tangere" (Christ appearing to Magdalen), in the National Gallery, London; the delight- ful "Madonna with the Rabbit," "Holy Family," and the grandly dramatic "Entombment" — all in the Louvre. Among Titian's mythological pictures of this period, chiefly painted for Alfonso, Duke of Fer- rara, are the "Worship of Venus," in which numberless little Cupids disport themselves be- fore a statue of Venus, a "Bacchanal" (both at Madrid), and "Bacchus and Ariadne" (National Gallery, London), a highly dramatic representa- tion. As State painter he had the monopoly of portraying the Doge. His official portraits per- ished in the fire of 1577; but many replicas sur- vive, like that of the Doge Gritti (Czernin Col- lection, Vienna). He found also a generous patron in Alfonso d'Este, Duke of Ferrara, whose reputed portrait, lately declared to be that of his son, Ercole II., is at Jladrid. At Ferrara he also painted the fine likeness of the poet Ariosto (National Gallery), and perhaps the idealized portrait widely known as "Alfonso d'Este (Ercole II.?), and Laura Dianti" (Louvre), for- merly called "Titian's Mistress." The same model is portrayed in the Flora (Uflizi) with wonderful effect of light draperies. Other cele- brated portraits belonging to this period are the "Young Man with a Glove" (Louvre), the por- trait of an unknown man (Munich), and the so-called Alessandro de' Medici (Hampton Court). The death of his wife, Cecilia, in 1530 was the cause of change in Titian's mode of life. In the quiet northeastern quarter of Venice he pur- chased a house which he furnished with great magnificence, and which speedily became the centre of a famous literary and artistic circle, which even kings were glad to join. Titian has been much blamed for his friendship with Are- tino, whose advice perhaps increased his besetting sin, the love of wealth. In painting, his treat- ment grew broader and his work more powerful, and while his ideals grew more sensuous and realistic, it was a gracious and dignified sensu- ality. In 1531 he painted in the Ducal Palace the celebrated picture of the "Doge Andrea Gritti Presented to the Virgin by Saint Mark." and in 1537 he at length finished the great battle-piece of Cadore, Iiotli destroyed in the fire of 1577. The celebrated "La fede" (1555), a votive offering of Doge Andrea Grimani, had a better fate. Other decorative works are the ceiling of the choir and sacristy of Santa Maria della Salute, and the W'onderful figure of "Wisdom," on the ceiling of the library of Saint Mark (now the Royal Palace). Splendid decorative canvases of un- usual size are the "Presentation of the Virgin in the Temple" (Venetian Academy) and the realis- tic "Ecce Homo" (Vienna). In 1532 he was summoned to Bologna to por- tray Charles V. and performed his task with such success that he was named Court painter. Knight of the Golden Spur, and Count Palatine, with the privileges of the Spanish Court, and his children were made nobles of the Empire. One of his portraits of the Emperor painted at this time (1533), representing him with his dog, is at Madrid. Other celebrated portraits of this period are those of "Ippolito de' Medici" (Pitti Palace, Florence), the "Maltese Knight" (Madrid), and a "Young English Nobleman" (LTffizi). Very fruitful for Titian's art were his relations (1532-38) with the Duke of Urbino, whose portrait in full armor, as well as that of his wife, Eleanora Gonzaga, is in the Uffizi. With most subtle flattery he por- trayed the lady's rejuvenated features in the celebrated "La bella di Tiziano," perhaps his finest female portrait, in the "Girl with a Fur Cloak" (Vienna), and in the world-renowned "Venus of Urbino" ( Uflizi ) , a rival of Giorgione's Venus, and the most beautiful representation of refined voluptuousness in modern painting. For the Duke he also portrayed Francis I. (Louvre). In 1545. after invitations from the Pope, Titian visited Rome, where he was received with
