ing under his name are not well authenticated. He is seen to the best advantage in Venice. Of his early pictures, which reflect the style of the Bellini modified by the peculiar ideas derived from Giorgione, the most noticeable are the "Visit of Mary to Elizabeth," in the academy at Venice; the Vierge au Lapin, in the Louvre; the "Christ with the Tribute Money" (engraved by Gustav Eilers, Berlin, 1875), at Drosdon; and particularly the "Resurrection," painted in five compartments, in the church of San Nazaro, at Brescia. The more developed period which succeeded the death of Giorgione comprises nearly all the pictures by which he is now known. The first in celebrity of these perhaps is the "St. Peter Martyr," in the church of Santi Giovanni e Paolo in Venice, which ranks with the "Martyrdom of St. Lawrence" among the painter's masterpieces. The academy of Venice contains his "Assumption" and "Presentation of the Virgin," and the Manfrini palace in the same city the "Entombment of Christ." In addition to these may be mentioned the "Last Supper," in the Escurial, upon which he labored seven years; a "Virgin and Child with Saints," in the Uflizi gallery; the "St. Sebastian," in the Vatican; the "Christ crowned with Thorns," in the Louvre; various well known Magdalens in Rome, Florence, the Escurial, and elsewhere; and numerous Madonnas, Holy Families, and similar ploces scattered over Europe. Upon subjects taken from allegory and secular history he executed several important pictures, including the "Victory of the Venetians over the Janizarios," for the doge's palace, which were destroyed by fire. As a colorist merely Titian developed the resources of his art with most success in naked female figures. The most familiar examples are the several Venuses in the galleries of Florence and Dresden; the Dannes at Naples and Vienna; the Florn in the Uffizi gallery; "Diana and her Nymphs" and "Venus rising from the Sea," in the Stafford gallery; "Venus and Adonis" (a duplicate), in the British national gallery; and the so-called Vénus del Pardo in the Louvre.As a portrait painter he is unrivalled; and Fuselisays that landscape dates its origin from him.—See Northcote's "Life of Titian" (2 vols., London, 1830), and that by Crowe and Cavalcaselle (1875).
TITICACA, a lake of South America, partly in Bolivia and partly in Peru, in the valley of the Desaguadero, more than 12,000 ft. above the sea. From recent but incomplete surveys it is estimated to be about 100 m. long, with an average breadth of 35 m. Scattered over its surface are many small islands containing the remarkable ruins called Tinguanaco. These indicate a higher order of art than any existing at the time of the Spanish conquest, and a higher civilization than the aboriginal monuments at Palenque. According to the early Spanish chroniclers, the Peruvians had but the vaguest traditions of their origin, and there are striking evidences of their great antiquity. Some of the structures, on a pyramidal plan, appear to have covered several acres, but the most remarkable features still remaining are monolithic doorways, pillars, and statues elaborately sculptured in a style found nowhere else. One of these doorways is 10 ft. high and 13 ft. broad, with an opening 6 ft. 4 in. by 3 ft. 2 in., the whole cut from a single stone. Its E. front has a cornice, in the middle of which is a human figure crowned with rays, interspersed with serpents with crested heads. On each side are three rows of human and other figures, apparently symbolic. The statues are much broken, but their original dimensions were colossal. The whole neighborhood is strewn with vast blocks of stone elaborately wrought. The principal ruins are on an island bearing the same name as the lake, close to the S. W. shore. On some of the islands are other monuments of great ex- tent, but of true Peruvian type, apparently the remains of temples destroyed on the arri- val of the Spaniards. (See AYMARAS.) Since 1871 two small steamers, carried in pieces across the Andes, have been launched on the lake. A railroad extending about 220 m., across the Andes from Arequipa to Puno on the W. shore of Lake Titicaca, was begun in 1870 and completed Jan. 1, 1874, at a cost of $82,000,000. It opens to market the wealth of the lake shores, alpaca wool, cinchona, chocolate, coffee, and other products, and the silver, copper, and timber of the surrounding mountains.
TITJENS, or Titlens, Therese, a Gorman vocalist of Hungarian extraction, born in Hamburg in 1834. She appeared upon the operatic stage in Hamburg at the age of 15, was engaged for the opera in Frankfort, and subsequently en- tered into an engagement for three years with the director of the imperial theatre at Vionna, during which she established her reputation as a representative of the greater rôles of the lyric stage, such as those of Leonora in Fidelio, Valentina in Les Huguenots, and Donna Anna in Don Giovanni. At the close of this engagement she transferred her services to Her Majesty's theatre, London, and since that time has lived mostly in England, taking part in the great musical festivals in that country, and being equally distinguished as an operatic and oratorio singer. In 1875 she visited America.
TITLARK, the popular name of the small dentirostral birds of the family motacillidæ, subfamily anthinæ, and genus anthus (Bechst.). They resemble the larks in their markings and in the long hind claw, and the wagtails in their movements and habits on the ground, and evidently are intermediate between these sub-families. In this genus the bill is rather straight and slender, with the tip notched; wings very long, the first three quills equal and longest, and the tertials nearly as long as the primaries; tail moderate and slightly notched; tarsi and toes long and slender, the
