TINTOKETTO— TITIAN. 183 of Christ; the Virgin and Child; the Assumption of the Virgin; the Death of Abel ; and seyeral portraits : in San Giovanni e Paolo, a Madonna, with Saints: in the Scuola di San Marco, several works relating to that Saint : in the Scuola di San Boc<}o, the Cruci- fixion ; the Resurrection ; the Slaughter of the Innocents; the Miracle of the Loaves and Fishes; and upwards of fifty other of Tintoretto's works : Doge's Palace, in the library, the immense picture of Paradise (seventy-four feet by thirty-four), in which his son Do- menico assisted him: in the council hall, the Coronation of Frederic Bar- barossa by Pope Adrian IV. ; and that Emperor's excommunication by Alex- ander III.; the Siege of Zara; and many others : Santa Maria delV Orto, the Last Judgment; and the Adoration of the Golden Calf; also immense works : Santa Maria della Salute, the Marriage at Cana: San Trovaso, the Last Sup- per: Santa Zaccaiia, in the sacristy, the Birth of the Virgin: the Padri Crodferi, the Assumption of the Virgin ; and a Circumcision. Florence, Pitti Palace, Vulcan, Venus, and Cupid. Berlin Museum, three portraits, and two historical subjects. Schleissheim, near Munich, in the chapel, the Cruci- fixion; and many others in the gallery. Louvre, a sketch of the Paradise at Venice; a Portrait of the painter; an- other of a bald-headed man ; Susannah . at the Bath ; and a Dead Christ Eng- land, National Galleiy, St. George and the Dragon: Stafford House, a party of Musicians : Bridgewater Gallery, the Entombment: Castle Howard, the Adoration of the Shepherds; the Temptation of Christ; and the Sacri- fice of Isaac. {Vasarif Midolfi, Za-^ netti.) TITIAN, or Tiziano • Veceiuo, 6. at Capo del Cadore, 1477, d. at Venice, Aug. 27,1576. Venetian School. This great master takes precedence of all other painters of his school, on ac- comit of the universality of his powers, which his longevity afforded him un- usual opportunities of displaying. He was equally great as an historical, a portrait, and a landscape painter. His first master was Sebastiano Zuccati; he then studied under Gentile, and afterwards with Giovanni Bellini ; and his earliest works, such as the Tribute Money, at Dresden, or the Adoration of the Kings, in the ManMni Gallery, at Venice, show something of the cha- racteristics of his master, a certain diy- ness and minute finish, although even at that period he ahready manifested a peculiar power of his own. About 1512, owing to the great age of Gio- vanni Bellini, Titian was selected to finish the incomplete works of Gio- vanni, in the Sala del Gran Consiglio, and the Senate rewarded him with the officie of La Senseria, with a salary of 300 crowns per annum * the chief obli- gation of this office was that of paint- ing the portraits of the Doges, during the whole period of its tenure. Titian's great patrons were Charles V. and his son Philip II., The emperor sat twice to Titian, at Bologna, in 1530 and 1532. Titian is supposed to have visited Spain with the emperor on his return from his visit to Italy, and to have left Spain again in 1535, when the emperor created him a Count Pala- tine, and a Knight of the Order of St. Jago ; the patent of nobility was dated at Barcelona, 1535. Charles granted Titian a pension of 400 crowns, which was continued by Philip. The works of his fellow-scholar, Giorgione, seem also to have influ- enced him ; some of Titian's portraits executed at this time (says Vasari), are hardly to be distinguished from those of Giorgione. They worked together, about 1507, on the exterior of the Fon* daco dei Tedeschi, and their works were so similar, that these firesooes
