We must now briefly advert to Titian's individual works, taking them in approximate order of time, and merely dividing portraits from other pictures. The earliest works which we proceed to mention may date towards 1505. In the chapel of S. Rocco, Venice, is his "Christ Carrying the Cross," now greatly dilapi dated; it was an object of so much popular devotion as to pro duce offerings which formed the first funds for building the Scuola di S. Rocco : in the scuola is his "Man of Sorrows." The "Tribute Money" ("Christ and the Pharisee"), now in the Dresden Gallery, dated towards 1508. In the church of S. Marcuola, Venice, is the "Christ Child between St. Andrew and St. Catherine"; in S. Marziale the "Tobias and the Angel"; in the Capitoline Museum, Rome, "The Baptism of Christ"; in the Antwerp Museum, "Pope Alexander VII. presenting Jacopo Pesaro to St. Peter"; in the church of the Salute, Venice, St. Mark enthroned, along with SS. Sebastian, Roch, Cosmo and Damian. Somewhat later, painted after Giorgione's death in 1510 is the famous picture in the Villa Borghese, Rome, commonly named "The Sacred and Profane Love" (c. 1510-12). Towards 1512 was painted the "Three Ages," now in Bridgewater House—a woman guiding the fingers of a shepherd on a reed-pipe, two sleeping children, a cupid, an old man with two skulls, and a second shepherd in the distance— one of the most poetically impressive among all Titian's works, copies of which are in the Doria and Borghese galleries in Rome. Two of the pictures in the National Gallery, London—the "Holy Family With Adoring Shepherd" and the "Noli me tangere"—and the "Salome with the head of the Baptist" in the Doria Gallery, Rome, were going on at much the same time. The great Assump tion in the Frani, Venice, painted in 1518, constitutes a landmark in Titian's work. Then followed three pictures painted for Duke Alphonso of Ferrara, the "Worship of Venus" showing the statue of Venus, two nymphs and many cupids, the "Bacchanal," with Ariadne dozing over her wine-cup, both now in Madrid, and the famous "Bacchus and Ariadne" in the National Gallery, completed in 1522. The "Resurrection of Christ" in S. Nazaro e Celso,Brescia, is dated 1522. The "Flora" of the Uffizi and the lovely "Venus Anadyomene" of the Bridgewater Gallery may date a year or so earlier. Another work of 1523 is the stupendous "Entombment of Christ" in the Louvre. The picture comes from the Gonzaga col lection and from the gallery of Charles I. in Whitehall. In 1530 Titian completed the "St. Peter Martyr" for the church of SS. Giovanni e Paolo; for this work he bore off the prize in competition with Palma Vecchio and Pordenone. Of all his pic tures this was the most daring in design of action. A fire destroyed it in 1867 ; the copy of it by Cardi da Cigola has taken its place. To 1530 belongs also the "Madonna del Coniglio" (Louvre), painted for Gonzaga; to 1533 the "St. John the Almsgiver" for San Giovanni Elemosinario, Venice; to about 1538 belongs the "Venus" in the Uffizi, Florence; and the "Venus of Florence"; the portraits of the "Twelve Caesars," for Gonzaga, no longer extant; the "Presentation of the Virgin in the Tem ple"—one of the conspicuous examples in the Venetian Acad emy, was finished in 1538. About 1540 were done the forcible paintings for S. Spirito, Venice, now in the church of the Salute —"Cain Killing Abel," the "Sacrifice of Abraham" and "David and Goliath"; in 1543 the "Ecce Homo" of the Vienna Gallery, where Aretino figures as Pilate. The "Venus and Cupid" of Florence, the "Venus" of Madrid and the "Supper of Emmaus" in the Louvre were still in hand, or just completed, when Titian was summoned to Augsburg in 1547. Probably in the forties he also painted the "St. John the Baptist" of the Academy at Venice, an impressive figure, classic in conception. In 1554 he sent to Philip II. in England a second "Danae" and a "Venus and Adonis." About the same time he sent to Charles V. a "Trinity" (or, as Titian himself termed it, "Last Judgment"), which represented the emperor, with his family and others, all in shrouds, praying to the Godhead. This was the object upon which Charles con
tinued to keep his eyes fixed until the film of death closed on them. A sketch of this picture ascribed to Titian has recently been acquired by the National Gallery, London. Later pictures, from 1558 onwards, are the "Martyrdom of St. Lawrence," "Christ Crowned with Thorns" (Louvre), "Diana and Actaeon," "Diana and Callisto," "Jupiter and Antiope," the "Magdalene." "Christ in the Garden," and "Europa"—the last six for Philip II. ; the two Diana subjects are now in Bridgewater House, 'The Europa" in the Gardner collection. Boston. The "Jupiter and Antiope," is commonly called "La Venus del Pardo." having at first been in the Pardo Palace. It was presented to Charles I. of England and is now in the Louvre. In 1564 Titian offered to Philip II. his "Last Supper," which had been in hand for six years : it was cut down in the Escorial to suit a particular space. The "St. Jerome" of the Brera Gallery in Milan, a work of wonderful energy, spirit and force, was probably rather earlier than this. The last "Madonna" painted by Titian is in the National Gal lery (Mond Collection). It is enveloped in golden tone and loosely painted with utmost mastery of the brush. "The Christ Crowned with Thorns" in Munich and The Entombment" in Madrid are powerful, emotional works of his last years. Here as in his last work, "The Pieta," his work displays a mystic in tensity which contrasts with the superb materiality of his middle period. Two of the mosaics in St. Mark's church. Venice, namely, the Mark in pontificals and the sword sheathing angel on the right of the high altar, were said to have been worked out after Titian's designs.
We now turn to the portraits—works great in style, stately, and simple in perception and feeling. Among the finest examples are Federigo Gonzaga of Mantua (Madrid), "The Lady at her Toilet," commonly called "Titian and his Mistress" or "Laura Dianti" (Louvre); Francis I. (Louvre), painted towards :536, from a medal, for Titian never saw the French king; various likenesses of himself, one of about 155o, and another of 1562; Paul III. (Naples)—done in about four weeks, was pre sented to the pontiff in May 1543 and cost two gold ducats; Pietro Aretino (Pitti) ; Titian's daughter Lavinia (Dresden); the Vendramin Family, until it left Alnwick Castle (1929) Imown as the Cornaro Family (Nat. Gall.); "L'Homme au Gant," an un known youth (Louvre) ; Eleonora duchess of Urbino, Francesco duke of Urbino; Caterina Cornaro queen of Cyprus (Uffizi); Charles V. on horseback after the battle of Mtilalberg painted at Augsburg in 1548 (Madrid) and "Charles seated" executed at the same time (Munich) ; the portrait of a man called Alexander Medici (Hampton Court Palace) ; the physician Parma (Vienna). The female portraits done by Titian are few, usually of women of exalted rank. The beautiful Flora (Uffizi) and the Bella (Pitti) are among the master's most celebrated pictures. Of Ariosto the painter is said to have done three portraits. Much uncertainty, however, exists regarding these supposed portraits of Ariosto. One of the three appears as a wood-cut in an edition of the Orlando furioso. A portrait from Cobham Hall in the National Gallery, London, was wrongly identified with Ariosto.