In 1548 Titian was summoned by the Emperor Charles V. to Augsburg, and there he painted his equestrian portrait in full armor (Madrid)._ a wonderful characterization of the irresistible but disappointed master of Europe and the New World. Another portrait of Charles V. (1548), in black costume, is at Munich. At the same time Titian portrayed the captive .John Fred erick, Duke of Saxony (Vienna), and Cardinal Granvella (Besancon). On a second summons to Augsburg, in 1550, he painted the portrait of Philip 11. as prince in armor (Madrid). He en joyed the extreme intimacy of the world-weary Charles V., and together they designed the "Trinity." the Emperor's last commission. After his death Titian continued to sen•e his son, Philip II.
It is impossible to mention even the important works of Titian during the last period of his long career (1530-76). Among religious pic tures some of the most celebrated are a "Magda len" ( l'itti Palace) ; a "Madonna with Saint John and Cathatine" (National Gallery), celebrated for the landscape; "Christ at Emmaus" (Louvre) : "Saint Margaret," and several others at Madrid. His mythological subjects include the celebrated "Venus and Cupid" (Borghese Gallery, Rome), and "Venus del Pardo" (Louvre), representing in reality "Jupiter and Antiope." Of his innumerable portraits we mention only those of his beloved daughter Lavinia with a dish of fruit in Berlin, as a bride and as is matron—both at Dresden: of himself at Berlin, Florence, and Madrid; his friend Aretino (1545, Pitti) ; Doctor Parma and the antiquarian Strada, in Vienna; and the splendid Cornaro family (Duke of Northumber land).
Titian's last pictures were chiefly religions. like the "Saviour of the World" (Saint Peters burg) and the grand "Pietr (Academy, Venice), finished after his death by Palma Giovane. In his hundredth year he was stricken by the plague, August 17, 1576. Be was buried in the Frani Church, where a fine modern monument marks his resting place. His son Orazio, an able painter and his faithful assistant, soon fol lowed him. For Titian's pupils. see PAINTING.
ns is the modern custom, painting he judged by the pictorial qualities only. then surely Titian is the greatest painter of Italy. if not of all times. All Venetian art centred in him. Cer tain painters of Venice and of other schools have equaled Titian in single pictorial elements, but no one united all these qualities with the same degree of excellence. His color is bright, but deep and transparent; a splendid golden tone suffuses his pictures, which only in his later works tends toward a more sombre brown.
Light and shade, atmosphere and perspective are all perfectly rendered, and his rapid, sweep ing handling, in place of the ancient detailed finish, revolutionized painting, preparing the way for Rembrandt and Velazquez. Being a Vene tian, lie was not as seitmlitie a draughtsman as the Florentines, though at best his drawing is good. Ilis composition is always good, and at best it is excellent. He did not attempt, like the Tuscans. to make art the vehicle of in tellectual ideas, but his grasp upon life was firmer than theirs, and his art was wider in scope. Ile preferred an art. that was tranquil and serene, though at times—witness the "As sunta" and the "Peter Martyr"—he could be profoundly (Iran If Ciorgione was the founder of the modern landscape, Titian did more for its development, achieving the highest perfection before Poussin and Claude: Eliminating the detail of former painters, he rendered the typical in a landscape with high poetic charm. Though he used land scape as only a setting for his figures, he ren dered it in itself perfect and complete. Ilis favorite subjects were the Alps of his native Cadore and the lagoons of Venice. Titian was one of the greatest portrait painters of all times. He could render a portrait with the baldest realism, but at the same time with noble and striking characterization. He was the great painter of kings and nobles.
BIBLIOGRAPHY. Among the earlier works on Bibliography. Among the earlier works on Titian are those of Tieozzi (Milan, 1817), Hume (London, 1829), and Northeote (ib., 1813). By far the most complete and erudite contribution is that of Crowe and Cavalcaselle (ib., 1879-81), which should, however, be corrected by Morelli, Italian Painters (London, 1892). The other chief work on Titian, that of Lafenestre (Paris, 18SS), is remarkable for its acute criticism. Con sult also Max Jordan. in Dohme, Kunst and Kiinstler Italiens (Leipzig. 1878) : Heath, in Great Artists Series (London, 1879) ; Barfold (Copenhagen, 1889) ; the very excellent contribu tions of Phillips, in the Portfolio (1897-98) : the monographs by Knackfuss (Bielefeld, 1897) and Gronau (Berlin, 1900) ; and the popular com mentary by Hurll (Boston, 1901). See also the notes in Blashfield and Hopkins's translation of Vasari's Lives. (New York. 1896).