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 Frani. 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 Xiccolo dei Frani (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 Frani. 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 1867, showed in its violent dramatic action the influence of Michelangelo. To the same period, probably, belong the "Noli me 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 (Czerniu 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 11., is at Madrid. 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 (Uffizi) 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 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, both 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 wonderful 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" (Uffizi). 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" (Uffizi), 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 highest honors. Of his portraits of Paul III. an original is at Saint Petersburg and an ex cellent copy in the Naples Museum, which also possesses his unfinished picture of the Pope and his two nephews. At Rome he met Michelangelo. whose influence may be seen in the (Naples), painted there. Other famous works executed about this time are the more realistic "Venus" of the Uflizi and a similar figure listen ing to music, at Madrid.