TITIAN, or TIZIANO, VECELLI, the head of the Venetian school, and one of the greatest painters that ever lived, was b. of a good family at Capo del Cadore, in the Friulian Alps, in the year 1477, or, according to some, in 1480. His predilection for drawing caused his father to send him to Venice at the age of ten, that he might learn to be a painter. His instructors were Sebastiano Zuccati and the two Bellinis, particu larly Giovanni; but the painter that exercised the greatest influence on his style was Giorgione (q.v.). So vivid and keen was his appreciation of the distinctive features of any artist's work, that he never failed to reproduce them with striking fidelity, and even to leave the impression that he had beaten the master whom he imitated, in his own style. It was owing to this irrepressible superiority that the friendship between Gior gione and him was interrupted. The first work that brought Titian prominently into notice was his completion of the "Homage of Frederick Barharossa to Pope Alexander III." (1512), begun by Giovanni Bellini, but left unfinished by that artist at his death. The Venetian senate, who had commissioned the piece, were so much pleased with Titian's performance, that they conferred on him an office with an annual salary of 300 crowns. In 1514 he painted a "Bacchus and Ariadne," and other works of a similar kind. for the duke of Ferrara, a portrait of the duke himself, and of the lady who after ward became his wife, besides a picture of the " Tribute-money." While residing at the court of Ferrara, he made the acquaintance of the poet Ariosto, who sat to him for his portrait. On his return to Venice he painted an "Assumption of the Virgin," one of his grandest achievements. His reputation now rapidly rose. Pope Leo X. and Raphael both invited him to Rome, and Francis I. to Prance; but he declined. During 1520-30 the most celebrated of his numerous productions were—" St. Peter, Martyr," a work of unsurpassable beauty; " Victory of the Venetians over the Janizaries;" and " St. Sebas tian." In 1530 his friend Aretino (q.v.), the poet, introduced him to the notice of the emperor Charles V., whose portrait he painted at Bologna, and who gave him several other commissions. From Bologna Titian proceeded to Mantua, where he executed a
great number of works for duke Frederico Gonzaga. In 1532 he appears to have accom panied Charles to Spain, where he remained for three years, and painted several of his masterpieces, now found in that country. In 1537 he executed an " Annunciation ;" in 1541 a "Descent of the Holy Ghost upon the Apostles." a "Sacrifice of Abraham," "David and Goliah," and a " Death of Abel;" and in 1543 pictures of the " Virgin," and "San Tiziano," and portraits of pope Paul III., cardinal Farnese, and duke Octavio Farnese, at Rome, where he remained three years. The emperor Charles V., who greatly admired his genius, twice called him to Augsburg (1547 and 1550). Among the religious works which lie executed for Philip II. of Spain are a "Last Supper," " Christ in the Garden," ".St. Margaret with the Dragon," and a "Martyrdom of San Lorenzo ;" besides these we notice a " Venus and Adonis," a " DanaU," a " Medea and Jason," and other classic subjects. A complete catalogue of Titian's works does not exist, but the number known is extraordinarily great—upward of 600. Titian died of the plague in 1576, having attained the extreme age of 99. He is best studied at Venice or Madrid, but splendid specimens of his work are to be seen in the chief European galleries. As already observed, he had at first a tendency to reproduce the style of acknowledged masters, but his genius soon emancipated itself from all imitativeness, and displayed a glorious originality and power. The luxury of light did never so enrich a painter's canvas. This is, indeed, his transcendent excellence. Not inaccurate in design, not ster ile in invention, not infelicitous in composition—these, his minor merits, are neverthe less wholly thrown into the shade by the splendor, boldness, and truth of his coloring, which alone has sufficed to give him a place alongside the greatest names in art, Raphael, Leonardo da Vinci, and Michael Angelo.—See Hume's Notices of the Life and Works of Titian (Lond. 1829); Northcote's Life of Titian (Lond. 1830); and Titian, kis Life and Times, by Crowe and Cavalcaselle (Lond. 1876).