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RAFFAEL, THE WORK OF... $3.00 net REMBRANDT, THE WORK OF... 4.50 net TITIAN, THE WORK OF..... 3.00 net DURER, THE WORK OF..... 3.50 net RUBENS, THE WORK OF..... 4.00 net VELASQUEZ, THE WORK OF... 2.50 net MICHELANGELO, THE WORK OF.. 2.50 net CORREGGIO, THE WORK OF.. 2.50 net DONATELLO, THE WORK OF... 3.00 net VAN DYCK, THE WORK OF.... 5.00 net MEMLING, THE WORK OF.... 2.50 net MANTEGNA, THE WORK OF... 3.00 net FRA ANGELICO, THE WORK OF.. 3.50 net HOLBEIN, THE WORK OF.... 3.50 net WATTEAU, THE WORK OF... 3.00 net MURILLO, THE WORK OF... 3.50 net BRENTANO'S, Fifth Ave. & 27th St., NEW YORK Madrid, Prado-Muscum Selbstportrit Portrait of the artist painted by himself Portrait de I'artiste peint par lui-nienie THE WORK OF T IT I A N REPRODUCED IN OVER TWO HUNDRED ILLUSTRATIONS WITH A BIOGRAPHICAL INTRODUCTION ABRIDGED FROM OSKER FISCHEL NEW YORK B R E N T A N 0 'S MCMXIII Copyright, I907, by Brentano's TITIAN HIS LIFE AND HIS ART TITIAN was born in the little town of Pieve di Cadore in the mountains of Cadore where the road leads by the green cliffs of the Dolomites past the foaming Pieve, from Italy to the Tyrol. The valley and the village are both commanded by a fortress. Mountains and forests, green slopes and ancient castles, were thus the first impressions of the outer world made on the young painter, and they remained with him, with the other associations of his birthplace, throughout his life. Among the hardy people of the village who left their mountain homes to cut timber in the woods, the Vecellio family had been prominent for many generations. Gregorio Vecellio, the father of Titian, had for half his life served the republic of Venice as a soldier. When his son was born to him in 1476 or 1477, Vecellio stood at the head of the little community of Pieve di Cadore. Honors rather than wealth were thus the traditional possession of the family; so that it probably was nothing strange to the father when he found his son had elected to become an artist. It was not to be expected that an aspiring young artist could learn much from the local painters of saints. But in those days tuition began at an early age; so that when Titian was nine years old he was sent with his older brother, Francesco, to Venice, where a brother of their father lived. So little is known of this period of the artist's life that we have no real information even of the names of his teachers. It is, however, immaterial whether he acquired the rudiments of his art from Sebastiano Zuccati, as one authority says, or from Giovanni Bellini, as Vasari has it. It is sufficient toknow that when we hear of him again he is thirty years of age, and competing with the greatest in his art. Much stress has often been laid on the influence of the variegated, busy, sea-girt Venice, on the village-born lad. Undoubtedly there must have been some influence wrought by a change from the mountains of his home to the utterly different landscape of a seashore and its busy mart. In his Alpine home the world about changed only 7 with the changing of the skies; in the city of canals every step brought him to a new picture. It was then a market for all nations, and the whole city, from the Turkish Fondaco to the Rialto and from the Rialto to the Riva de' Schiavoni, was rich in the splendor of colors. Dresses, cloths, carpets, all of the highly variegated tints met the eye everywhere. A taste for color was seen even in the architecture of the city, and the great St. Mark's was built of many-colored antique marble from the Levant, overspun with gold mosaic. It was quite common to cover the marble of the facades of the churches and palaces with colors, and even the plainest of structures was adorned with glazed stone. The pursuit of painting in a city of this character seems the most natural of pursuits; and in this city of glory did Bellini, Titian and Paolo Veronese work. When Titian entered on his Venetian life its art was mainly concerned with reflecting its multi-colored sides. For this progress as for many other departures it had to thank the continent. Old Jacopo Bellini, with his sons, Gentile and Giovanni, had worked in Padua where that genius of the early renaissance in upper Italy, Andrea Mantegna, opened a new world to art. Fate was doubly kind in sending Antonello da Messina to follow Mantegna, and to bring, perhaps from Flanders, the art of oil-painting. Gentile Bellini painted the sunny square of St. Mark's with the sparkling mosaic of its church, and the glittering processions and groups which filled it. Giovanni painted altar pictures with meek-looking Madonnas, dreamy saints, or angels floating about the mother of God. Antonello, in his portraits of young Venetians, for the first time drew attention by the speaking expression of eye and glance. He who was born to be a painter was bound to become one in Venice even though he had no teacher. It was in such an atmosphere that Titian grew; and when he stepped out into the open he took his place by the side of the masters of the Renaissance. The studio of Giovanni Bellini has been honored as the cradle in which this new art was nursed. Out of it came Giorgione, Palma, Sebastiano, and perhaps Titian; even the old master himself, in his later portraits, helped along the coming of the new time. When, in his twenty-second year, Giorgione was carried off by a plague in I5Io, he had already painted the way for Venetian art for the next decade. His work was taken up by Titian who, though he was forty before he attained the full powers of his genius, became in the end the greatest of the Venetian masters in art. The earliest painting which can with any certainty be ascribed 8 to Titian, deals with an historical event. Under the command of J acopo Pesaro, a Papal fleet, to which Venice had contributed a large contingent, had sailed, in I502, against the Turks and took from them the island of Santa Maura (Leukadia). Twenty years later the victory was commemorated in the famous Madonna of the House of Pesaro. But at the time the Venetian marshal had himself painted as kneeling before St. Peter while holding the flag of the Borgias just handed him by the Pope, and receiving the blessing of the saint. In the background is seen the fleet ready to set sail. This painting was Titian's work, and it may be noted how the profiles of the kneeling Pesaro and the kneeling Alexander VI. both stand out vividly against the background of the harbor with its short, curling waves and the sky above it showing the morning sun just risen. Titian had become familiar with such landscapes through the work of old Bellini, and above all through Giorgione; and he expressed similar effects in the early small pictures of Madonnas which were flanked either by figures of saints or landscapes. The symmetry and formal arrangement of composition, so characteristic of the early Renaissance painter, Titian began to break through, even if slightly, in the Gipsy-Madonna, now in Vienna. The face is gently leaning to one side, the child stands to the right, and the background is two-thirds covered by a green curtain. A soft light falls on the bent head, lighting up the forehead and eyelids and leaving the eyes in dreamy darkness. There is the same solemn clearness found in the Madonna of Castelfranco by Giorgione. In the Madonna with the Cherries the symmetrical arrangement of Bellini has been followed; but the beauty of the figures and the almost buoyant manner of the children imparts a new life into the picture. What was but indicated in the Pesaro picture-namely, the change from an assembly of solemn figures into a spirited group-becomes now the rule. The light is now divided among the groups and imparts a new feeling, even though Titian still adheres to the conventional symmetry. No Florentine, however, would have dared to place the head of the chief figure in shadow, and yet without such a half-light the expression would never have shown so spiritual. The figure was the thank-offering for the passing of the pestilence which threatened Venice in i504. In 1507 there took place in Venice one of those open competitions in which the Italian Renaissance is so rich. The Fondaco de' Tedesehi, the market-hall of the Germans, close to the Rialto and the daily rendezvous of the citizens, nobility and merchants, had been 9 newly erected after a fire. For its chapel, Durer had painted his great picture of the Festival of the Roses. The Venetians did not permit foreigners to employ precious material in decorating their buildings, so that it was decided to have frescoes for the facade. The order for this was divided between Giorgione and Titian, so that the former was given the front facing the canal while the latter was apportioned the side facing a little street. It may be that Giorgione himself had a hand in this division of labor. Of these first attempts at Venetian Renaissance, unfortunately, nothing remains to us. The sea air and the northern wind are deleterious to frescoes, even in interiors, and as early as the seventeenth century these frescoes of the Fondaco had become mere blotches, even to the loving, searching eye of the enthusiastic Burckhart. Of the quality of Venetian art at this time we may obtain some idea by noting and measuring the influence it had on those foreign artists of this age who were undoubtedly affected by it. Albrecht Durer lived and worked in Venice from I505 to I507. His Child John, in the Berlin Madonna, brings flowers as he did cherries in the Titian Madonna. In his small Dresden "Crucifixion'" the revival is beginning to assert itself in a struggle with nature that would have been impossible but for Giorgione. In 150o8, Fra Bartolommeo is already forgetting the almost plastic forms of his groups, and shows a fine feeling for soft shadows, and he harks back to Florence with his treasure of half-lights. Unfortunately this flowering of art in Venice occurred at a time of great affliction for the city. The pestilence of I5io, to which Giorgione fell a victim, drove its artists away, while the War of the Liga carried Venice to the very verge of ruin. Sebastiano went to Rome and Titian to Padua. There he remained for some time and atoned to us for the loss of the Fondaco frescoes in some fine monumental paintings. Of the series of frescoes in the Scuola del Carmine in Padua only the "Meeting of John and Anna" over the golden gate is Titian's. The landscape in the background with its architecture appears somewhat out of order, and affects the main group unfavorably. The scenes from the life of St. Anthony, however, in the Scuola del Santo, are dramatic and appealing. The large picture shows the child, at the bidding of the saint, testifying to the faithfulness of the mother. The vivid motions, the lifelike expression of the figures, the shamed husband, the dignified bearing of the innocent wife, the saint still kneeling in the joy of the fulfilment of his prayer, are all magnificent. In the third picture the soft light like that of a summer's evening is I0 beautifully effective on the action of the scene. These spirited Paduan frescoes show the artist's fine feeling for the dramatic, and foreshadow the later ripening of Titian's genius. On his return to Venice, in 1512, Titian found the road clear before him. His only rivals were the octogenarian Bellini and Palma. He became Giorgione's heir, and completed that artist's unfinished "Sleeping Venus," adding to it the landscape. If we had nothing of this period of Titian's life but his "Sacred and Profane Love," it would have sufficed to surround the artist with that halo of romance in which we see his contemporaries. The mysterious expression of the one deep sentiment with which this picture touches us, acts like a confession. To his contemporaries and to the person who ordered the painting, it was not even an allegory; it was but a simple illustration of a myth. If we ask which of the two figures is the sacred and which the profane love, the question is meaningless; and yet the picture itself gives the best answer to the eye. The contrast is to be found in the figures themselves. That it is Venus who approaches a mortal is shown by the accompanying Cupid. The woman has come from the castle in the early morning to the silent spot where she sits with her lute lying untouched under her arm and rose leaves scattered on the well's brim. The first rays of the sun pierce through the bushes and everywhere are signs of awakening life. We feel that a strange voice is whispering into the ears of the listening woman. "Medea persuaded by Venus" might be a better title for the picture. But neither written explanation nor title can add anything to the ineffable beauty of the painting itself. "The Ages of Man" is certainly not without a literary inspiration for its origin; but in its sensitive beauty the picture is above interpretation. The loving couple, the sleeping children, the old man in the expectancy of death, and about them all the young world in its wonderful richness: these are full of a spiritual appeal almost inexpressible. In all Titian's paintings of this period, we find a certain joy in the springtime, as if the delighted eye saw everything-human beings and nature itself-in a perfect light. The two pictures, "Noli me Tangere" and "The Rest of the Holy Family," are examples of this. That sparkling vividness, which was indicated in the Paduan frescoes, is here beginning to express itself in dramatic form and strength, though the great master is still, even if for the last time, under the influence of another artist-namely, Palma. II The painter of Bergamo was a younger man than Titian but of earlier development. At the time Titian was painting the two pictures referred to, Palma was at the height of his fame and power. His "Jacob and Rachel" had been seen by Titian and undoubtedly it had moved him by its beautiful landscape in which were represented the holy men and women of the Bible story. Furthermore, Palma had been fortunate enough to find a sunny type of womanhood, with which to express a full, soft countenance with clear profile and sparkling eyes. His "Palma's Daughter" is said to have kindled the fire in Titian's heart, so that we really find a striking resemblance in the "Sweetheart of the Shepherd," the Magdalen, the Venus in "Sacred and Profane Love" with the Eve of Palma's picture, now in Braunschweig. One woman may have been the same model, but the influence is there as well. Titian's great model, however, was still Giorgione. Several of Titian's paintings of this period are full of Giorgione's spirit; so much so, that they are often ascribed to be the work of that master. In no picture is this more evident than it is in "The Concert," in the Pitti Palace, a picture which is more than a mere group of portraits since it was the expression of thanks for a passing hour's enjoyment in the house of a friend. In Venice, painting and music have always gone hand in hand; for Giorgione, Titian and Sebastiano, both were parts of their life. In his painting of "The Marriage of Cana," Paul Veronese pictures himself, Titian and Bassano as musicians-Titian with the bass-fiddle. It is pleasing to think that the Augustinian monk who gave Titian the opportunity to enjoy a musical hour at his home, found his guest grateful in the painting of "The Concert," and received it from Titian as a graceful acknowledgment. A peculiarity of Titian's half-length paintings of women is that they look to the spectator as animated still-life. The "Daughter of Herodias" is nothing but a pretext for painting the head of a beautiful girl, and the same is true of the "Flora" and the "Laura de' Dianti." The series of these half-lengths ends with "The Tribute Money," a painting of purest harmony for so small a canvas. Leonardo's "Last Supper" is suggested in the contrast between the clear face and hard profile with the common hand; but its dramatic feeling lies not so much in the action as it does in the conjunction of two such utterly different beings. Christ's look is inexpressible, and yet the artist has placed on his canvas so convincing a piece of realism that the incident is perfectly life-like. It is as fine, on the whole, as the best we know of Giorgione and Bellini. The pictures which 12 followed this are free of the influence of any master. They show Titian himself in the glory of his own genius. Titian now set himself to secure an assured position from a material point of view. His fame had spread and many people in high station came soliciting him for his work and personal services. He felt that if he could obtain the approbation of the official authorities of Venice, he would have no difficulty in gaining the f avor of the public at large-esp eci ally of the rich nobility. To this end he petitioned the Council of Ten, on March 31, 1513, for permission to paint the battle scene for the Council Chamber fresco. He desired the task for the honor alone, not for payment. He also asked for the next seat to be vacant in the Fondaco de' Tedeschi on conditions similar to those stipulated for Bellini. The petition was granted, and by the side of Bellini, who had been the privileged painter in the palace for thirty years, now worked a younger man. Bellini was by no means'pleased, but in spite of the inconvenience he caused Titian in his new field, the younger painter pushed ahead and, by the end of the first year had demanded and obtained the salary Bellini was receiving on the grounds that the old man would not live much longer. His position and official recognition thus assured, Titian troubled himself little about the obligations of his office, but set to work to take the advantages which the office gave him and began a prosperous career as an artist on commissions sent him. The battle scene for the Council Chamber, which he had promised to paint for the honor of doing it, was left to itself and was completed only after twenty-five years had passed. His official position in the "Sala Grande" opened a new career in Titian's life. The painting of altar-pieces was then greatly in demand and Titian made his contributions with the rest, but his work marked an entirely new departure even for this kind of church decoration. When on March 20th, 1518, the congregation saw for the first time his "Ascension of Mary," the people must have realized that a new king had arisen in Egypt. This was not mere dreaming but the divine made real. So resplendently beautiful a Madonna and Child had never before been seen as this Madonna of Ancona floating on the clouds. The master had asserted his real self and had left his lyric youth behind him. How far Venetian art had separated itself from the art of Florence may be seen in the Madonna of Pesaro, the votive picture In 1522, when Titian was engaged on the five-part "Resurrection" altar-piece for Brescia, a copy of the Laocoon group came into his possession; the influence of the antique model may be seen in the figures of the resurrected Christ and St. Sebastian in this altar-piece. The group so interested him that he re-drew it, in a spirit of peculiar humor, with monkeys in place of the human beings of the original, and then had this picture engraved on wood by Boldrini. Titian, however, liberated himself from his reverence for the antique in "The Entombment of Christ," one of the purest compositions this artist ever accomplished. The "Peter the Martyr," executed a few years later, may be called a painted counterpart of the Laocoon. Horror of death seems to live in the painting, the figures in which have always been greatly admired. The landscape, so often with Titian a silent companion of tender sentiments, is here pictured as torn by a storm. No reproduction can ever adequately express the color of this painting since the original was destroyed by a fire in 1867. On its first exhibition in Venice both Michael Angelo and Sebastiano del Piombo were on a visit to that city. The thought is thereby suggested that their examination of it must have given them a new conception of power in art which they brought back with them to Florence. Titian now completed his triumph over his rivals in a competition he won against Palma and Pordenone. His former associate, Palma, died the year after, in 1528; but Pordenone, that highly-gifted artist from Friaul, lived on, hating Titian, and at the same time helplessly admiring him. One more competition between these two and the open rivalry ceased. It was a painting for the Church of St. John the Almsgiver. By the side of Titian's "St. John" the "Conversazione" of Pordenone appears pale and inane. In I523, Andrea Gritti was elected Doge of Venice, an with hi ction Titian found himself stin-favor with the head of the s-:. Of all the pictures painte y itian at the Doge's order the great fire of i ad none withtion of the St. Christopher, on the stairs of the hall of the Quattro Porto-the only fresco of Titian's in Venice. Of the portraits of the Doge, only one, that in the Gallery Czernin, and certainly not the best, has come down to us. But the privileged painter of the enlightened republic had now long been known beyond the boundaries of his fatherland. For many years, ever since he came into possession of "The Tribute Money," Alfonso d'Este, Duke of Ferrara, had held Titian in great favor. This princely neighbor of Venice, the husband of 14 the notorious Lucrezia Borgia, had his agents all over Italy, procuring works by the first painters of the day, with which to decorate his gloomy castle at Ferrara. His threatening letters to Raffael, as well as the reports of his agent in Rome, are well known, and we read how the overworked artist gracefully escaped the Duke's wily snares. For the more accessible Titian less difficult and more convincing arguments were employed, and all kinds of gifts and honors were promise1- i theiPa inter would but give ofh-is art. Titian found the gifts the most acceptable of these persuasive methods. We should like to possess a portrait of Lucrezia Borgia which Titian must surely have painted; but among his numerous portraits of women there is not one with which she can be identified. The painting of Alfonso himself, before whom his courtiers trembled, has come down to us in a good copy only. In the year of the Assunta appeared "The Worship of Venus," that perfect stream of blooming children overflowing in the sunlight and in the shadow of the trees. Then came the "Bacchanal" and the "Bacchus and Ariadne." But much t to Titian than his connection with the Co r of Ferrara was the new relation established between iitm and the Mantuan Court and its lord, Federigo Gonzaga. From the --ays ofj Mantegna down to the time when Rubens flourished and was a paid attendant of the Duke's household, the members of this family were ardent patrons of art. Titian owed his introduction to the Duke of Mantua to the son of Isabella d'Este who had once been the favorite mistress of Pope Julian II. A splendid portrait of this man, now in Madrid, whom, it is said, Raffael put into his "School of Athens," shows us a cavalier in the rich dress of the period, with regular though somewhat immobile features. A portrait of his wife, Isabella d'Este, may be the painting in Vienna which, though it possesses little of human interest, is yet a masterpiece in color effect-a beautiful treatment of blue and white. Many conjectures have been offered by way of explanation of Titian's work for Gonzaga's sister, Eleanora of Urbino, and her husband, Francesco Maria della Rovere. Fortunately, of the many pictures by Titian which were seen by Vasari in the Urbino Palace, the most beautiful pieces have been preserved. TThe portraitsL princely pair show a distinct chan e in the artist as ortrait ainter. The dreamerdi n e ave iveway to the realist Above the "ue ar r with whic clothed there 1 ta face perniciousJ to itSelj he woman b n s ite of her dignified bearing, appears esse t may be that I5 the painting of the so-called Bella gives us the Duchess in her earlier years; but we cannot say for certain. On this canvas is represented a figure richly dressed in blue velvet with white puffs, interrupted by violet and gold. The eyes look out mysteriously at the spectator and the whole figure impresses us as if the body were not accustomed to the sumptuous garment Others have tried to find the youthful Duchess in the Venus of Urbino, a wonderful painting separated by more than twenty years from the tenderness of Giorgione; the shimmering body is simply a piece of living reality. But just as real is the girl with the fur cape, in Vienna, or the girl with the mantle in St. Petersburg. Whether we are to argue from the "Bella" to these or from these to the "Bella" is a question which can not be decided. To compensate us for the loss of the portrait of the young Duchess we have the portrait of the younger Duke; and, if we are not deceived in the likeness we find him again in the "Man with the Falcon." Among all princely patrons of art Titian owed most to Federigo Gonzaga, since through the Mantuan Duke the artist came into personal relationship with the Emperor Charles V. The artist was introduced during the Emperor's stay at Mantua, and an opportunity was thus made which eventually brought Titian an international fame. Early in 1533 the Emperor found time to have his portrait painted and Titian represented him in full figure, in Spanish costume, a dog at his side, standing before a green curtain. The picture now adorns the Prado. His imperial patron was exceedingly pleased with the work, and the artist found such favor that it brought him at once into the field of history. Portraits of Charles V., of Alba, Vasto, Mendoza, the Medici, and Farnese were added to those of the Rovere, Gonzaga and D'Este. The young Cardinal Hippolyte de Medici he painted in the costume of the Hungarian Cavalry to commemorate his prowess against the Turks. Probably at this time also was executed the portrait of Francis I., because the French king was at that time being hospitably entertained by his enemy, during an armistice. In this series of historical portraits scarcely one person of note is missing. Following them came the splendid group of the Farnese portraits, and the picture of old Paul III. came later still. The Pope, on the brink of his grave, Titian had seen in Ferrara and Bologna, in 1543, and had painted him then for the first time. The second portrait took him to Rome where he arrived in I545. Titian's journey to the Eternal City was a brilliant one. Later, in a letter, he thanks the Duke Guidobaldo for an escort of seven 16 horsemen, for free traveling, for the honors, kindness and gifts bestowed on him, and for the hospitable reception in a palace which he could regard as his own. In the Vatican rooms were assigned to him near the Pope, in the Belvidere, and there the aged Michael Angelo visited him. Vasari, also, who was then busily engaged painting in the palace, considered it, to his dying day, a great honor to have been "with the Cavaliere Titian." Sebastiano was his escort in viewing the frescoes of the hated Raffael which Sebastiano had himself restored. The restorer was unlucky enough to be asked by Titian as to who the barbarian was who had ruined those divine works. Although Titian was sixty-eight years of age, he yet seized enthusiastically the opportunity afforded him, by this sojourn in Rome, to enter on a study of the ancient sculpture he saw everywhere about him in the Papal home. Influenced by the antique he painted the "Danae" for the Farnese family. Paul III., white-haired and bent with age, Titian reveals in all his venerable greatness. The face is full of will-power. Bareheaded, with hands on the arms of the chair, the figure is sunk in its seated position, but the neck is held uprightly and the face compels a homage from the spectator. The nephew of the Pope, Pier Luigi, is shown in golden armour with a standard-bearer. But his most important historical painting, however, is the Paul III. group. Irritated and distrustful, the Pope is seated between Cardinal Alexander and Ottavio, the sons of Pier Luigi and enemies of the Pope. Ottavio is hypocritically bending to catch the Pope's low-spoken words, an attitude characteristic of the villainous nephew. We can never know the full effect of Titian's intended coloring of this picture because it was never finished. As a reward for the painting Titian was offered the "Piombo," the keeper-ship of the State Seal, a position of great dignity. Titian declined it, however, because the office was already in the hands of Sebastiano, the friend of his youth. A year later, when Sebastiano was dead, the offer was renewed through Cardinal Alexandro, and Titian might have accepted it had not a strong magnet drawn him to another field. The Emperor summoned him to the Diet at Augsburg. Charles attended the Diet as absolute master of Germany. With weakened body, bent by gout, and against the direct orders of his physician, he had mounted his horse and rode as he had ridden, on the morning of Muhlberg, in golden armour with helmet and steel gauntlets. Only Charles's iron and indomitable will could have cari7 ried the weak body through so trying an ordeal. Thus has Titian painted him. He painted him again seated on a chair standing on a red carpet. In all probability Titian, at this time, also painted the portrait of the most prominent man in Augsburg, Chancellor Nicolas Perrenot Gramvella. In comparison with such models the unhappy Prince John Frederick could scarcely show up favorably. Cranach had often painted his beloved Prince, but Titian was able to give even the apoplectic face a certain dignity and aristocratic bearing. Titian left Augsburg at the end of eight months to return to Venice, "not poor as a painter, but rich as a prince," as Aretino wrote. He came back to Augsburg two years later and met Lucas Cranach who painted the painter. The Emperor's greatest wish, at this time, was to fix the succession in favor of his son Phillip, whom he had called from Spain. An urgent order was given Titian to paint a picture of the heir-apparent. In a sketch which seized the main traits without regard to the details the artist drew a masterly characterization of the reticent, melancholy Infant. From that sketch originated the elegant figure in a gold-lined armour over a white costume, standing before a red velvet cloth. The richness of dress is strongly brought out to preserve at least one sympathetic purpose. The Emperor was seeking the hand of the Catholic Mary for his son and the picture was sent to England. The Court noticed that the otherwise not sentimental Queen had fallen in love with the portrait. Among the crowd of aristocrats whom Titian saw at this time, two figures are worthy of mentioning. The bold hunter with the red velvet cuirass over a steel-gray chain armour, perhaps Giovanni Francesco Aquaivra, has had the rare honor to be painted in full length. Beside him the so-called Norfolk in the Pitti Palace, entirely in black, seems rather unimportant; but the mysteriously absent look in the blue eyes is one of the greatest revelations of the artist. ors ppainting of portraits Titian received more than honors or riches. It called him from a secluded island city to take a part inýn tegreat events of his time. These events appealed to his genius and found an echo in his work. We may congratulate ourselves that Titian had no scruples of conscience about the d jsjofic gan ted him, on.condition he painted th_ te scene for the great room of the Venetian palace. Had he felt his obligation keenly he would never have accomplished what he did. The Council of Ten had decided after long and ineffectual pressure that Titian should repay the income he had received from his broker's seat, which he had drawn for ten years, without fulfilling his obligations. The sum amounted to i,8oo ducats. Titian minded this less than he did the favor shown his old rival Pordenone, who was to paint the wall next to the one assigned to him. Titian's "Battle of Cadore" with the other decorations of the fifteenth and sixteenth centuries, also fell a victim to the conflagration of 1577. A small and imperfect copy in the Uffizi gives some idea of the work. The engraving of Fontana preserves at least the boldness of the composition. Masses of horsemen have come into battle over the bridge across the ravine. Over the waves of soldiers, arms, horses, flags and lances the spectator looks toward the valley where fresh troops are entering. Above are the giant mountains from whence deep-hanging clouds seem to invite themselves to mingle with the smoke of the burning castles. Fate was kind to the painter. The battle took place amid the very scenery of his early home, so familiar to him. The mythologic subjects which Titian painted were also executed for the patrons who had sat to him for their portraits. They are mostly paintings of lovely women set in beautiful landscapes. The female figures stretched on a couch have been called Venus on account of their shapes. The Danae, painted for the Farnese family, was the model for a whole series of pictures in the same style. Four compositions are left us. In each the treatment is different with changes in the details and positions. One is in Madrid. At one time it adorned one of the private rooms of Philip II. Of the other three-namely, "Venus and Adonis," "Perseus and Andromeda," and "Medea and Jason"-the last has been lost. The pearl of this series of pictures is the landscape with Jupiter and Antiope, known as the "Venus of Prado." The Venus of Giorgione appears once more. In absolute forgetfulness of her surroundings she has fallen asleep on the edge of a forest, although the horns of the hunters resound through the wood and the hunt passes by her. So highly did Philip prize this painting that when he was told the palace was on fire his first question was for the safety of Titian's Venus. In the beautiful light-flooded pictures in the Bridgewater Gallery, the "Diana and Callisto" and the "Diana and Actaeon," Titian surpassed himself. In his pictures of the poor tortured heroes, Tantalus, Ixion, Prometheus, and Sisyphus, may be seen the very incarna19 tion of the elements. This is shown not so much by their bodies as by the passion which seems to live in them.. Side by side with this expression of passion began a new period and a new era in his church pieces. The archangel in the "Tobias" painting was like an antique Nike. In the landscape a ray of sunlight breaks through clouds and falls between the trees on the kneeling John the Baptist. Wild and gay, but vivid like its cause, is the astonishment reflected in the mass of spectators in the presentation of the "Virgin at the Temple." Since the picture was put back to its old place in a small room over a brown wooden panel, we can understand how Titian could appreciate a decorative effect. The antithesis to this lovely picture is the wild and moving "Ecce Homo." The uproar and shouting from vulgar faces seem as if intended for a picture of a popular scene in a Shakespeare play. Everything is expressed in light and color. The arms of the adversaries are strongly lit up, and their costumes sharply accentuated to lend greater contrast to the misery of the Saviour's figure. The forest of banners and lances is characteristic. In those days Titian loved to outline his groups against a clear air. It has been suggested that Correggio influenced him here. In the "Last Supper" the spectator gazes through the windows at sunny buildings. In "The Resurrection" the soldiers are looking upward as if the sarcophagus stood on the top of a mountain. Titian's religious paintings have a visionary character as if the veil before the other world had for a moment been torn aside. In the "John the Baptist" we feel that the man is speaking of things that are not of this world, and that his words ring louder than the thundering of the montain torrent. The "Last Judgment," or, as the Emperor called it, the "Gloria," was painted for Charles V. Nearest to the origin of light, Charles is.seen shrouded in a winding sheet and kneeling with wife and son. This picture accompanied the hermit to San Yusta. It stood by the side of his death-bed and it was the last earthly object he saw before his eyes closed in death. In his treatment of light Titian was a veritable magician. The "Last Judgment" has just been mentioned; but his allegory of "The Doge Grimani Before Faith" is a marvel of the effective influence of light. Between the two figures of the kneeling Doge and the massive St. Mark, which flank the radiant vision of the centre, a beautiful female with cross and chalice appears marching on the clouds. 20 A revelation of light, as it were, made stronger by the dark wood of the cross. In the "Martyrdom of St. Lawrence," which is hardly visible where it hangs in the church of Gosuati, the battle of earthly and heavenly powers is again expressed by light contrasts. The executioners are dimly lit up by the glowing coals in the iron grates. The light of torches leaps over the columns and statues, and the face of the Saint shines in the rays of the star shining through parted clouds. Thus the divineness of the apparition of the angel in "The Annunciation" is transformed into light radiating upon the Madonna. Where the eye and the hand of the old man refused to obey the spirit he replaced it by a mass of colors, and what in others would have been a weakness, becomes in him a newartistic expression. About this time and for the same church Tit.ian painted "The Transfiguration." Here again everything is made subservient to the light which floods the body of the Saviour. The apostles are treated as heavy, dark masses against this light. No two works of Titian's show more clearly the master's difference in style from his early work and his later than is brought out by a comparison of the paintings known as "The Crowning with Thorns." The earlier picture is in Paris and the later in Munich. They are separated by a period of fifteen years in their execution. The Paris picture shows the brutal scene in a clear light and in horrible realism. In the later work, however, all the realism and wildness of the terrible suffering are accentuated by the treatment of the light effects from the torches. We now come to the last picture Titian painted, the "Pieta." It was intended for his own tomb and was never finished. While he was engaged on it the plague of 1576 seized him, and thus in the ninety-ninth year of his age, after a life full of achievement, the great painter of the Renaissance found his rest. So strong was his genius even at this late period of a long life, that even his death would seem to be rather an interruption than the end of a career. What seemingly appears carelessly done is, in truth, the outcome of long and profound study. Titian had no belief in improvisation nor any faith in trusting to the spur of a moment. So that he obtained his effects he would use any legitimate means. He would often put his colors on with his fingers toward the completion of a painting. But whatever means he employed his aim was the carefully considered and deeply laid scheme. In his later style Titian became the "2i master of Tintoretto, Veronese and Bassano. If he were the liberator of art, he wasealso its lord. -- "And as with his art, so in his life. Older masters and rivals had to make room for him. The great ones of the world had to help him to make his life free from care and himself independent. He has been often blamed for being too mercenary in spirit. It is sometimes painful to read his correspondence, because he is always writing of money or privileges in payment for the work he had done or was about to do. Even princes noticed this peculiar trait in the man. "He has become somewhat avaricious in his old age," writes the Spanish Ambassador to his master. But how trivial does this characteristic seem by the side of Titian's achievement. He was always striving to be free. He lived in his house in the "Bivi Grande" like a grandee. A beautiful garden led down to the water's edge where the eye could rest upon Murano and the mountains of his home. Here it was quiet and cool, and even princes and noblemen were charmed with the spirit of Titian's home. Titian has been often censured for his friendship with Aretino, the ill-famed writer of the Renaissance, but to no one did Aretino display his rich nature as he did to the painter. Further much of Titian's international fame was owing to the letters of this unscrupulous voluptuary. Titian's life had not been free from sorrow. He saw his eldest son Pomponio dissipate his life in degradation, in spite of all the care the father took for the son's future. His second son, Orazio, became thus especially dear to Titian. He hoped to hand to him an artistic heritage, and the young man had already given proofs of talents when the plague carried him off also. Titian's own portrait we know only as he was in his later years. We see him in the Berlin picture with the golden chain which the Emperor gave him when he knighted the painter. In the Madrid painting he stands before us magnificently at the age of eighty-five. In spite of the years which seem to have touched the noble face and figure with a spirit of resignation, the eyes still keep their sharp look and gaze like those of a falcon from out the bold profile. Even thus must the man look who would go through life in eternal youth. 22 TIT IA ABBREVIATIONS AND EXPLANATIONS H.H--eight B. = Width AUF HoLz-on wood AUF LEINWAND==Zn canvas AUF SCHIEFER=0on slate The figures giving the sizes of the paintings stand for metres Venedig, Scuola di San Rocco Der tote Christus Um 1500-15Q2 The dead Christ Le Christ mort Florenz, Uffizien Auf Holz, 1-1. 0,79, B. 1,15 Madonna mit dem Kinde, Antonius dem Abt und Johannes Madonna with Child, St. Anthony abbot Um 1505 La Vierge avec I'Enfant, saint Antoine l'abbd and St. John et saint Jean Tizian 1 I (1) co tn cz 4) tn cis CZc V-4d 1-4 P43 cz 0 cz In t-.4 cna W -4j tý P E 1 1 e: a, a k (1) B r 6 P-4o t4.) cu cz 0 a) a) 0= 2 00 QO Lo 0 CO 3,N C1 C13 0 4) E: 3 1 E IC1 d 3: E a, 9 *Venedig, S. Maria della Salute Auf Leinwand, H. 2,75, B. 1,70 Der heilige Markus mit den Heiligen Sebastian, Rochus (r.), Cosmas und Damian St. Mark between the saints Roch, Sebastian, Um 1504 Saint Marc et les saints Sebastien, Roch, Cosmas and Damian Cosme et Damien 4 bi) 03 tn U) b.0 U) 0a) U) 0 5 ~~-( a v, L, O ba F: I E E (d v, -cr r m E o ed a CP, 3 d a c: ed 3 d dJ c) 1 C):3 C 0 cu C U CI C 0) ~Cr CO~ V3 0) CY 0) C ct~ cz CO LO cn CZ 0) S S s~C Ca a co OC~ ~C O O C 0 a4 CO 0) 5 Cs - S C a, (-r Q) nj M r3 C O 'i; Q X E: O 1 f: O 6 Paris, Louvre Auf Leinwand, H. 1,08, B. 1,32 Maria mit dem Kinde und den Heiligen Stephanus, Ambrosius und Mauritius Madonna with Child and the saints Stephen, Um 1508-1510 La Vierge avec I'Enfant et les saints Etienne, Ambrose and Maurice Ambroise et Maurice rX, c3 pj I n N o 1 bCo > C,3 C/) ~ -4-J (1) 0 a cz u cd CZ Co 0) C" o CO cO CO E I 6, v, I E CH O X F. o, 8 8 ,--4 06 C a) NO 0 -C 0 E-.0 9 Florenz, Galerie Pitti Das Konzert (Ausschnitt) The concert (Detail) Un concert (De'tail) 10 Wien, Hofmuseum Auf Leinwand, H. 0,52, B.0,51 Der kleine Tamburinschliger The little tambourine player Ur 1510 Le petit tambour 11 O Y vl L4 0) 0) -a 0) *0 0 0 0 E: bO 0 0: 0, 0) 0) CO 0 E s0 00 0 0= t L0 0= S 0)O c0 H a, E: E L, a U o a F6 o =J u v, 1 p: a 12 O) 0, 04~Q 0 0. 0u nC 0.10' 0: 0u.0CI 0) 0n V.-.-, 00 0) - 0~ 0.0 3 0j C 0c 0. 13 O IC v, a, Lq 0 r. cz d) bo cz C/) bO hýmd ccz:) '0) a U 0:0 Q):3 00 U)~d > V--4F cn CZ 0=c Cl) 0 oo c0) 0) - CXO cr3f 0).0 0) 0rv C-) 0) 0)'0 0n CI) CO 0.0 00 0.0 0r: I -4Z o (/ c.2.0' Hn co 14 London, Natlonalgalerle Auf Leinwand, H. 1,13,.14 Heilige Familie mit ejiner anbetenden Hirten The Holy Family with an adoring shepherd Umn 1510-1512 Sainte Famille avec un herger adorant 91 CL clý CD CL Cn t'.) -3~3 CD CA f D CD CCD CD 01 C -c cn Ct a to. "H 00 C CnDS ~C"D "a C CDC Cw0 ~X~ r O B a o 3 3 cc a 09 CP R rcl cl b Cu ID "*Rom, Pinakothek des Kapitols Auf Leinwand, H.1,15, B, 0,89 Die Taufe Christi mit Giovanni Ram als Stifter Um 1510-1512 The baptism of Christ with Giovanni Ram Le bapteme du Christ avec Jean Ram en as donor donateur Tizian 2 17 Hampton, Court Palace Auf Leinwand, H. 0,84, B. 0,72 Bildnis eines Mannes (genannt Alexander von Medici) Portrait of a man Um 1511 Portrait d'un homme 18 "* Wien, Hofmnuseum The physician Parma Bildnis des Arztes Parma UMn 1511 Auf Leinwand, H. 1,12, B.0,84 Portrait du mrdecin Parma 19 "* London, Bridgewater-Galerle Auf Leinwand, H. 1,06, B. 1,82 Die drei Lebensalter Um 1510-1512 The three ages of life Les trois Ages de l'homme "*London, Natlonalgalerfe Auf Leinwand, H. 1,05, B. 0,90 Christus erscheint der Maria Magdalena (,Noli me tangere") Christ appearing to Mary Magdalen Um 1511-1512 Le Christ apparait A sainte Marie Madeleine 21 ro 0f: C1 0i Sd LO ~ La Sq LO 7: ti CC 0n 9x 22 Ct3 Rom, Galerie Borghese The sacred and profane love (Detail) Hinmlische und irdische Liebe (Ausschnitt) Auf Leinwand, H. 1,08, B. 2,56 L'amour sacr6 et l'amour profane (Detail) Romi, Galerie Borghese The sacred and profane love (Detail) Himmlische und irdische Liebe Ausschnitt) L'amour sacre' et I'amour profane (D~tal) 24 *Wien, Hofmuseum The Madonna with the cherries Die Kirschenmadonna Um 1512-1515 Auf Holz, H. 0,81, B. 1,00 La Vierge aux cerises 4) cri:CU 0 co CU CU "al1 CUl cfj "C) CIS ---C U) U) U)SE '0 S~ cu b CU a U)) ~-0I 00 UL ~ CUE CU C 0r CU 26 * Paris, Louvre Auf Leinwand, H. 0,96, B. 0,76 Junge Frau bei der Toilette The lady at her toilet Um 1510-1515 La toilette d'une jeune femme 27 N O 1 O I U L m uj v ~f! at 1 u 4 O 14 6, 0 r, o M 0 E W cpj hri u E: u 3 3e 'k) CIS (A -4 U) CI CZ od cu U) CU 4-1 (n V ýo CUm 'C C k 'U) EcU CUC cU CU Y CU~I rc U U) U)LO U) bi C)4) rCU u3 E TCU1 CU U),CUv 28 " Florenz, Uffizien Auf Leinwand, H, 0,79, B. 0,63 Flora Um 1515-1516 29 CA C> Rom, Galerle Doria Auf Leinwand, H. 0,75, B. 0,72 Die Tochter der Herodias mit dem Haupte Johannes des Taufers The daughter of Herodias Um 1514-1515 La fille d'H&rodiade with the head of St. John Baptist avec la tate de saint Jean Baptiste *London, Mr. Benson Die Tochter der Herodias The daughter of Herodias Um 1514-1515 La fille d'Herodiade Mfinchen, Alte Pinakothek Vanitas Van itas' Umn 1515 Auf Leinwand, H. 0,98 B. 0,82 La, Vanite', 31 * Treviso, Dom Au! Holz MariA Verktintdigung Um 1515-1517 The annunciation L'annonciation 32 "* Dresden, Kgl. Gemlldegalerie The tribute money Tizian 3 Der Zinsgroschen Um 1514-1515 Auf Holz, H. 0,75, B. 0,56 Le Christ A la monnaie 33 (Cn (D ~0 eEn0 0. -0 C'n > 0 - CL 0 eD0 0rj'" CL CA (D CA, CD c~n 00 *Florenz, Palazzo Pitti Bildnis des Tommaso Mosti, Sekrethr des Herzogs von, Fe~rrara Tommaso Mosti, secretary of the duke of Ferrara Tommaso Mosti, secr~taire du duc de Ferrare (nach der Restauration) 35 Paris, Louvre MAnnliches Bildnis Um 1510-1520 Auf Leinwand, H. 1,18, 1. 0,92 Portrait d'un homme Portrait of a man 36 London, Bridgewater-Galerie Auf Leinwand, H. 0,736, B. 0,584 Venus Anadyomene Um 1516 37 SParis, Louvre The man ivith the glove Der Mann mit dem Handschuh Um 1510-1520 Auf Leinwand, H. 1,00, B.0,89 L'homme au gant 38 * Venedig, Akademle Auf Holz, H. 6,93, B. 3,60 MariaI Himmelfahrt (L'Assunta) The assumption of the Virgin 1516-1518 L'assomption de la Vierge 39 Venedig, Academle Maridi Himmelfahrt (Ausschnitt) The assumption of the Virgin (Detail) L'assomption de la Vierge (De'tail) 40 *Madrid, Prado-Museum Au! Leinwand, H. 1,72, B. 1,75 Das Venusfest The worship of Venus Urn 1516-1518 Olfrande A la d6esse des'Amours 41 *Madrld, Prado-Museum Bin Bacchanal Um 1518-1519 Au! Leinwand, H. 1,75, B. 1,93 Une bacchanale A bacchanal 42 * Ancona, S. Domenico Auf Holz, H. 3,12, B. 2,05 Maria mit Kind, den Heiligen Franciscus und Blasius und dem Stifter Madonna with Child, St. Francis 1520 La Vierge avec I'Enfant, saint Frangois, and St. Blaise and the donor saint Blaise et le donateur 43 *Brescia, S. Nazaro e Celso The resurrection of Christ Die Auferstehung Christi 1522 La r6surrection du Christ 44 9j7 z Co C4 CrD Cd) "*Richmond, Sir Frederick Cook Auf Leinwand, H. 1,17, B. 0,915 Laura de' Dianti Um 1522-1523 46 iVe'ne'dig, Dogehpalast; St. Christopher Fresko St. Christoph 1523 Saint Christophe 47 *Rom, Pinakothek im Vatikan Auf Holz, H. 3,98, B. 2,63 Madonna in der Glorie mit sechs Heiligen Madonna in glory with six saints Um 1523 La Vierge dans la gloire avec six saints 48 c3.s2. "* Paris, Louvre The entombment Die Grablegung Christi Um 1525 Auf Leinwand, H. 1,48, B. 2,15 La mise au tombeau *Madrid, Prado-Museum Aul IHolz, H. 1,25, B. 0,99 Federigo Gonzaga, Markgraf von Mantua (friiher Alfoniso d'Este genannt) Federigo Gonzaga, margrave of Mantua Urn 1525 Fi~d~ric Gonzague, matgrave de Mantoue 50 "*1Venedig, S. Maria del Frarl The Pesaro Madonna Die Madonna der Familie Pesaro 1519-1526 La famille Pesaro aux pieds de laVierge 51 Venedig, S. Maria del Frari Die Madonna der Familie Pesaro The Pesaro Madonna (Ausschnitt) La famille Pesaro aux pieds de la Vierge (Detail) (D~tai1) 52 *Verona, Dom The assumption of the Virgil Die Himmelfahrt Maria 1 Um 1525 L'assomption de la Vierge 53 *Venedlg, S. Giovanni e Paolo St. Petrus Martyr 1528-1530 Kopie des verbrannten Originals Copy of the original destroyed by fire Copie du loriginal, consum6 par le feu 54 ýle-/ Parls, Louvre The Madonna with the rabbit Die Jungfrau mit dem Kaninchen Um 1530 Auf Leinwand, H. 0,70, B. 0,81 La Vierge au lapin 061 cii Ul) 0-) Cis ciz cn UO aj 0 cz co (1) 56 SFlorenz, Galerie Pitti St. Magdalen Die heilige Magdalena Um 1530-1535 Auf Holz, H. 0,85, B. 0,68 Sainte Madeleine 57 I.fD c,) 0 *0 Q ""a clt 58 "*Paris, Louvre Auf Leinwand, H. 1,21, B. 1,01 Allegorie des Alfons d'Avalos Allegory in honour of Alphonso d'Avalos Um 1533 Alldgorie en L'honneur d'Alphonse d'Avalos 59 * Madrid, Prado-Museum Auf Leinwand, H. 1,92, B. 1,11 Kaiser Karl V. mit seinem Hunde Charles V with his dog Um 1530-1533 Charles-Quint avec son chien 60 *Florenz, Galerie Pitti Auf Leinwand, H. 1,38, B. 1,06 Der Kardinal Hippolyt von Medici The cardinal Ippolito 1533 Le cardinal Hippolyte dei Medici de Medicis 61 "Venedig, San Giovanni Elemosinarlo Auf Leinwand, H. 3,50, B. 1,50 St. Johannes der Almosenspender St. John the almsgiver 1533 La charite de saint Jean I'aum nier 62 *Berlin, Eduard Simon Portrait of a man Mgnnliches Bildnis (Sog. Giorgio Cornaro) Um 1530-1540 Auf Leinwand, H. 1,095, B. 0,945 Portrait d'un homme 63 * Florenz, Calerle Pittl Auf Leinwand, H. 1,00, B. 0,76,La Bella' Um 1536 64 *Florenz, Galerle Pitti,La Bella,, (Detail) (Ausschnitt) (D~tai1) Tizian 5 65 99 It 0 CD 0D CD CD CD (D -V CD CA (D (D CD CD CD C CD C (D CD~ P.C 00 L9 o;it EJ N c 7: N (D tt CA Ir 0 (0~ N) o * 0'0 U2 0 0 0 C) 0 0 0.0 v.4 0, v CI r 68 "*Florenz, Uffizien Auf Leinwand, H. 1,13, 1. 1,00 Francesco Maria della Rovere, Herzog von Urbino Francesco Maria della Povere, Francois Marie della Rovere, duke of Urbino -duc d'Urbin 69 *Florenz, Uffizien Auf Leinwand, H. 1,111, B. 1,02 Eleonore Gonzaga, Herzogin von Urbino Eleanora Gonzaga, duchess of Urbino 1536-1538 Leonore de Oonzague. duchesse d'Urbin 70 "*Florenz, Galerie Pitti Alfonso I, duke of Ferrara Alfons I., Herzog von Ferrara (Kopie) Um 1536 71 Auf Leinwand, H. 1,55, B. 1,44 Alphonse I, duc de Ferrare "*Venedig, S. Marziale Tobias und der Erzengel Gabriel Tobias and the angel Gabriel Um 1538-1543 Auf Leinwand, H. 2,00, B. 1,45 L'ange Gabriel et Tobie 72 -4, CA The battle of Cadore After the engraving of Giulio Fontana Die Schlacht bei Cadore Nach dem Stich von Giulio Fontana La bataille de Cadore D'apris la gravure de Jules Fontana CD) 0~ CrD 0 k< CDe CD 0DC "r) ca, N(D 0.1 0' 0 (D W)) 0 - r.. C) 0 4d ) 4)l 4) 4 4): 0 4)r H-l 4) 4) 4), 4) 0d (4 0 b4~ 4) H, 75 "* Venedig, Akademie Maria Tempelgang (Ausschnitt aus dem Bilde S.,75) The presentation of the Virgin in the temple (Detail of the picture p. 75) La presentation de la Vierge au temple (D6tail du tableau p. 75) *Venedig, Akademie Maria Tempelgang (Ausschnitt aus dem Bilde S. 75) The presentation of the Virgin in the temple La presentation de la Vierge au temple (Detail of the picture p. 75) (Detail du tableau p. 75) 77 * Venedig, Akademie Maria Tempelgang (Ausschnitt aus dem Bilde S. 75) The presentation of the Virgin in the temple La presentation de la Vierge au temple (Detail of the picture p. 75) (Detail du tableau p. 75) 78 *Miinchen, Hans Lenbach Auf Leinwand, H. 1,015, B. 0,83 Franz I. Francis I Um 1538-1539 Francois I 79 * Paris, Louvre Auf Leinwand, H. 1,09, B. 0,80 Franz I. Francis I Um 1538-1539 Francois I 80 ~ N. *Malland, Brera Auf Leinwand, H. 1,10, B. 0,90 Bildnis des Antonio Porcia Portrait of Antonio Porcia Um 1540-1542 Portrait d'Antoine Porcia *Neapel, Museo nazionale Auf Leinwand, H. 1,06, B. 0,84 Pier Luigi Farnese Um 1546 * Wien, Galerie Czernin Doge Andreas Gritti Urm 1540 82 Mailand, Ambrosiana Gian Giovanni dei Medici Portrait of 1530-1540er Jahre Portrait de Gian Giovanni dei Medici Gian Giovanni dei Medici "*London, P. & D. Colnaghi Auf Leinwand, H. 1,00, B. 0,75 Kardinal Bembo Urn 1539-1540 "*Verona, Museo civico Portrait of a man Bildnis eines Mannes Portrait d'un honme 84 "Florenz, Galerle Pitti Auf Leinwand, H. 1,11, B. 0,93 Bildnis eines jungen Engifnders Portrait of a young Englishman Urn 1540-1545 Portrait d'un jeune Anglais 85 *Florenz, Galerie Pitt! Blidnis eines jungen Engliinders Portrait of' a young Englishman (Ausschnitt) (Detail) Portrait d'un jeune Anglais (Detail) 86 "* Paris, Louvre Auf Leinwand, H.0,99, B. 0,82 Bildnis eines Mannes Portrait of a man Um 1540-1545 Portrait d'un homme 87 * Wien, Hofmuseum Auf Leinwand, H. 1,17, B. 0,90 Filippo Strozzi (?) Um 1540 88 *Madrid, Prado-Museum Auf Leinwand, H. 2,23, B. 1,65 Ansprache des Generals del Vasto an seine Soldaten Allocution of the general del Vasto Um 1540-1541 Allocution du gendral del Vasto to his soldiers a ses soldats 89 * Berlin, Kaiser-Friedrich-Museum Portrait of a young man Bildnis eines jungen Mannes Um 1542-1545 Auf Leinwand, H. 0,94, B. 0,72 Portrait d'un jeune homme 90 "Ehem. Trient, Baron Valentino de' Salvadori Cristoforo Madruzzo 1541-1542 Auf Leinwand, H. 2,10, B. 1,10 91 *Berlin, Kaiser-Friedrich-Museum Auf Leinwand, H. 1,15, B. 0,98 Bildnis einer Tochter des Roberto Strozzi A daughter of Roberto Strozzi 1542 Portrait d'une fille de Robert Strozzi 92 * Florenz, Uffizien Auf Leinwand, H. 1,00, B. 0,74 Caterinia Cornaro (Kopie) 1542 93 *Rom, Pinakothek Im Vatikan Aul Leinwand, H. 1,05, B. 0,89 Doge Niccolb Marcello Urm 1542 94 Urbino, Stfidtische Galerle The last supper Das Abendmahl 1542-1544 Auf Leinwand, H. 1,63, B. 1,04 La sainte cene 95 SUrbino, St~dtische Galerie The resurrection of Christ Die Auferstehung Christi 1542-1544 Auf Leinwand, H. 1,63, B. 1,04 La resurrection du Christ 96 "* Paris, Louvre Auf Holz, H. 3,03, B. 1,80 Christus mit Dornen gekr5nt The crowning with thorns Antang der 1540er Jahre Le Christ couronn6 d'6pines Tizian 7 97 owUoq ang O9' *T '~9'Z *I-I'puIMuT1T)] Jl nVtwnlaST1uXOH '"laM* 00~ cc cu C1 LO 04 W E cj) a) U) (u U P1 1 O cl r, 34 99 Petersburg, Eremitage Christ blessing Auf Leinwand, H. 0,965, B. 0,805 Der Erlbser Um 1560-1565 Le Christ btnissant Wien, Hofmuseum Christus mit der Weltku Frfiher als das nebenstehende Christ with the globe Auf Leinwand, H. 0,83, B. 0,61 gel Bild Le Christ avec le globe "Venedig, Akademie St. John the Baptist Johannes der TAufer 1540er Jahre Autif Leinwand, H. 1,97, B. 1,36 Saint Jean Baptiste 101 Berlin, Kalser-Frledrich-Museum Au! Holz, H. 0,18, B. 0,4 Ranuccio Farnese Kopie voB Francesco Salviati nach elnem verschollenen Original Tizians von 1542 102 "*Richmond, Sir Frederick Cook H. 0,915, B. 0,75 Ranuccio Farnese Kopiz nach einem verschollenen Original Tizians von 1542 103 *Neapel, Museo nazionale The pope Paul III Papst Paul III. Um 1543 Auf Leinwand, H. 1,06, B. 0,83 Le pape Paul III 104 Neapel, Museo nazionale Auf Leinwand, H. 2,10, B. 1,74 Papst Paul Ill. mit Ottavio und Kardinal Farnese The pope Paul 111, 1545 Le pape Paul III, Ottavio and cardinal Farnese Ottavio et le cardinal Farnese 105 B a err 3;, a r: B d ii ~d o, c: o ed C O 1 OI 6, Z Q, a ccj oOl Q1 a c a E oJ d Q, c) Ti 04) 04) CIO P-44 4) 0 cn c4) 0-4 4) a4 cu C4 0 CC 04 44 0a 4) 04 0 04 4) H 106 o pd o o, 3e ~rt E R, r: ar le rr ~b: a, ca E o rd I= C') Cu Cu m Co O 6, m 1 r Q1 a Ed Q) Z N O 3= ul 1 Cd 03 Cu t"aC tz Cu.E C-, Ef 0 107 per X o p 3 m B 3 cu 3 a, 3 3 O Mm 3 O eu v, 3 E a, a m o -t~ 108 tCu z 109 "* Venedig, S. Maria della Salute Abrahams Opfer The sacrifice of Abraham Um 1543-1544 Le sacrifice d'Abraham 110 Venedig, S. Maria della Salute Venedig, S. Maria della Salute Kain erschligt Abel Cain slaying Abel Um 1543-1544 Cain tuant Abel David and Goliath David und Goliath Um 1543-1544 David et Goliath *Florenz, Galerie Pitti Auf Leinwand, H. 1,08, B. 0,76 Pietro Aretino 1545 112 "* London, P. & D. CotnaghI Auf Leinwand, 1-. 0,19, B. 0,82 Pietro Aretino Gegen 1545 Tizian 8 113 "* Madrid, Prado-Museum The empress Isabel of Portugal Isabella von Portugal Um 1543-1545 Auf Leinwand, H. 1,17, B.0,98 L'impdratrice Isabelle de Portugal 114 * Florenz, Pitti-Palast Portrait of a lady Weibliches Bildnis Um 1546-1547 Auf Holz, H. 1,11, B. 0,85 Portrait d'une dame 115 0 0 Laj 0 0 0 ad ca 0 Q u cu 116 "*HaIpton, Court Palace Portrait of a man Mfinnliches Bildnis 1545 117 Auf Leinwand, H. 1,04, B. 0,86 Portrait d'un homme 0 0) 0 0 '0 0 0 0) *0 U '0 0 'U 0 0 4, 118 *Madrid, Prado-Museum Venus and a young man playing the organ Auf Leinwand, H. 1,36, B. 2,20 Venus und der Orgelspieler Um 1545-1548 Venus et le joueur d'orgue Chantilly, Muske CondC Auf Leinwand, H. 0,72, B. 0,58 Ecce homo 1547 120 "* Madrid, Prado-Museum Auf Holz, H. 0,68, B. 0,61 Mater dolorosa (die Schmerzensmutter) Mater dolorosa Um 1548 Mere de douleurs 121 "Madrid, Prado-Museum Auf Schiefer, H. 0,69, B. 0,56 Madrid, Prado-Museum Auf Schiefer, H. 0,68, B. 0,53 Ecce homo Um 1547 Mater dolorosa 1554 *Serravalle, Dom Auf Leinwand, H. 4,25, B. 2,12 Die Madonna in der Glorie mit den Heiligen Petrus und Andreas Madonna in glory with Saint Peter 1547 La Vierge en gloire avec Saint Pierre and Saint Andrew et Saint Andre 123 *Madrid, Prado-Museum Charles V in the battle of Mtihlberg Auf Leinwand, H. 3,32, B. 2,79 Karl V. bei Mihlberg 1548 Charles-Quint dans la bataille de Mtihlberg 124 *Madrid, Prado-Museum Charles V in the battle of Mfihlberg (Detail) Karl V. bei Mfihlberg (Ausschnitt) Charles-Quint dans la hataille de Mfihlberg (Detail) 125 *Miinchen, Alte Pinakothek Portrait of Charles V Bildnis Karls V. 1548 Auf Leinwand, H. 2,00, B. 1,18 Portrait de Charles-Quint 126 b-.& Florenz, Uffizlen Portrait of Titian Auf Leinwand, H. 0,77, B.0,63 Selbstbildnis Um 1550 Portrait de l'artiste "*Wien, Hofmuseum Auf Leinwand, H. 1,10, B. 0,84 Kurfiirst Johann Friedrich von Sachsen The elector John Frederick of Saxony 1548 L'Ulecteur Jean Freddric de Saxe * Besanpon, Gaterle Nicholas Perrenot Granvella 1548 128 "* Madrid, Graf von Huescar Herzog von Alba The duke of Alba 1548 Le duc d'Albe Tizian 9 129 Madrid, Prado-Museum Auf Leinwand, H. 1,22, B. 1,01 Bildnis eines Malteserritters Um 1550 Un chevalier de 1'ordre de Saint Jean de Malte A knight of Malta 130 *Florenz, Galerie Pitti Auf Leinwand, H. 1,76, B. 1,12 Bildnis eines Mannes (Don Diego de Mendoza?) Portrait of a man Um 1548 Portrait d'homme 131 "* Wien, Hofmuseum Autif Leinwand, H. 1,16, B. 0,92 Benedetto Varchi Um 1550 132 "*Madrid, Prado-Museum Prometheus Prometheus 1549-1550 Auf Leinwand, H. 2,53, B. 2,17 Promethie 133 * Madrid, Prado-Museum Auf Leinwand, H. 2,37, B. 2,16 Sisyphus Sisyphus 1549-1550 Sisyphe 134 "* Mailand, Brera Auf Holz, H. 2,23, B. 1,35 Der heilige Hieronymus in der Wuiste St. Jerome in the desert UrM 1550 Saint Jertme dans le desert 135 *Miinclhen, Hans Lenbacli Auf Leinwand, H. 0,96, B. 0,75 Philipp II. Um 1550 136 ",Rom, Galerie Corsini Philipp II. Um 1550 137 Madrid, Prado-Museum Auf Leinwand, H. 1,93, B. 1,11 Philipp II. Urnm 1550-1551 138 Neapel, Museo nazionale Auf Leinwand, H. 1,90, B. 1,00 Philipp II., Kdnig von Spanien, als Prinz Philipp II, king of Spain, Um 1553 Philippe II, roi d'Espagne, as prince en qualitý de prince 139 Berlin, Kaiser-Frledrich-Museum Portrait of Titian Selbstbildnis Tizians Um 1550 Auf Leinwand, H. 0,96, B. 0,75 Portrait de lartiste 140 " Berlin, Kaiser-Friedrich-Museum Lavinia, the daughter of Titian Tizians Tochter Lavinia Urm 1550 Auf Leliwand, I. 1,02, B.0,82 Lavinie, fille de I'artiste 141 * Madrid, Prado-Museum Salome Salome Um 1550 Auf Leinwand, H. 0,87, B. 0,80 Salom6 142 * Petersburg, Eremitage The toilet of Venus Toilette der Venus Um 1559 Aul Leinwand, H. 1,24, B. 1,045 La toilette de Venus 143 1fI 0 CD ct 0~ 01 0 ID 0 rCD rp b-. (D CA 0 -1o: CD 0 0r 0t CD 0 0w CD 0d Do 0a 0 bD LO. 0: CD 01 01 01 CCD CD (D0 CD CD C0 CD 0. (a CD CD rto CD, el 0r 2p 0v, 0 0, *Berlin, Minister von Dirksen Auf Leinwand, H. 0,78, B. 0,67 Antonio Anselmi 1550 Tizian 10 145 9pi 10 0 0 c/, to C)' CD, (D tz IV I 'C, C 0 'C ND N, CD CD CO N, (N N' N, -C, N'N'ND ND0 NCD ND ": Madrid, Prado-Museum St. Margaret Die heilige Margarete Um 1550-1552 Auf Leinwand, H. 2,42, B. 1,28 Sainte Marguerite 147 st1 N IrD 0D" Mo 0 5~1i 0..eD (D (I Im. -1~ U)) CD W NeD ( CD~ to C~D CL' tA smo 0C CD EnC) (D-U 0' (UU) 0.t rn i4 0, r-4 0n U) -' (D CD9 EnW C,, ~~ 0.-i cW(U U).t 0) C-( 0) 009 U)cn UO U (U / 0-t~ Z P, a e! a a c! o, a o 2 vl n, SL t Lh 3 Co =t pi 3 a 3,O cn or, 3,O or h3 "* Kassel, Kgl. Galerie The duke of At I Giovanni Francesco Aquaviva, Herzog von Atri ri 1552 Auf Leinwand, H. 2,23, B. 0,96 Le due d'Atri 149 *NM*nchen, Alte Pinakotbek Madonna with Child Maria mit dem Jesuskinde Um 1550-1560 Auf Leinwand, HI. 1,72, B. 1,32 La Vierge avec l'Enfant 150 00 Ct 4) E 1 o E: 8 a (d Pc a c( a E 151 *Wien, Hofmuseum Auf Leinwand, H. 1,38, B. 1,52 Danae Um 1554 * Petersburg, Eremitage Danaý Auf Leinwand, H. 1,95, B. 1,87 Urn 1554 152 *Medole, S. Maria Auf Leinwand, H. 2,76, B. 1,98 Christus erscheint seiner Mutter Christ appearing to his mother Um 1554 Le Christ apparait A sa mere 153 * Madrid, Prado-Museum The Trinity in glory Auf Leinwand, H. 3,46, B. 2,40 Der Triumph der Dreifaltigkeit (La gloire) 1554 La glorification de la Sainte Trinitd 154 London, Wallace-Museum Auf Holz, H. 1,76, B. 1,93 Perseus und Andromeda Perseus and Andromeda Um 1554-1560 La delivrance d'Andromnide 155 * Madrid, Prado-Museum Auf Leinwand, H. 1,86, L. 2,07 Venus und Adonis Venus and Adonis 1554 Venus et Adonis 156 "* Venedig, Jesuitenkirche Auf Leinwand, H. 5,50, B. 3,00 Das Martyrium des heiligen Laurentius Martyrdom of St. Lawrence Um 1555-1560 Martyre de saint Laurent 157 *Venedig, S. Maria della Salute Auf Leinwand, H. 5,00, B. 2,50 Die Ausgiessung des Heiligen Geistes The descent of the Holy Spirit Um 1554-1560 La descente du Saint-Esprit 158 Wien, Holmuseum Auf Leinwand, H. 1,82, B. 2,01 Diana entdeckt den Fehltritt der Kallisto Diana discovering the fault of Calisto 1559 Diana ddcouvrant la faiblesse de Calisto 159 *London, Bridgewater-Galerie Auf Leinwand, H. 1,905, B. 2,071 Diana entdeckt den Fehltritt der Kallisto Diana discovering the fault of Calisto 1559 Diane decouvrant la faiblesse de Calisto 160 London, Bridgewater-Galerle Aul Leinwand, H. 1,905, B. 2,07 Diana und Action Diana and Actaeon 1559 Diane et Acteon Tizian 11 161 * Paris, Louvre Auf Leinwand, H. 0,80, B. 1,02 Hieronymus St. Jerome Um 1558-1559 Saint J6rome "*Dresden, Kg9. Gemrn1degalerle Auf Leinwand, H. 1,02, B.0,86 Lavinia als Neuverm~hlte Lavinia as bride 1555 Lavinie en jeune marite 163 Venedig, Palazzo Peale (Bibliotbek) Die Weisheit (Deckengemiflde) Wisdom (Ceiling) Urn 1559 La sagesse (Plalond) 164 z ~.0 Cj Cv C 0 C 'C 0, C ca Cl 165 * Wien, Hofmuseum The entombment Auf Leinwand, H. 1,00, B. 1,16 Die Grablegung Christi Um 1559 La mise au tombeau "*London, Sir Charles J. Robinson Die Grablegung Christi The entombment Um 1559 La mise au tombeau 166 * London, Julius Wernher Giacomo Doria Urn 1560 167 oieuioz);I1!ILU~j LwI o9sI ulf71 X11ul jOleUJO:D aq OJIUJOD 31!I!W.4a (!G lo' -L,;) -H*u ~j'puumula-I Jny pupLaJqLufin~poN UQA 2ZJ41 'aJlSle: )PIMtUlV* *Paris, Louvre Auf Leinwand, H.1,96, B. 3,85 Jupiter und Antiope Um 1560 Jupiter and Antiope Jupiter et Antiope OLT CD Maniago, Casa Maniago Auf Leinwand, H. 1,20, B. 1,o Emilia di Spilimbergo Urm 1560 171 Maniago, Casa Manlago Auf Leinwand, H. 1,20, B. 1,00 Irene di Spilimbergo Umr 1560 172 Madrid, Prado-Museum Auf Leinwand, H. 0,98, B. 1,16 Christus und Simon von Kyrene Christ and Simon of Cyrene Ur 1560 Le Christ et Simon le Cyr~ncen Madrid, Prado-Museum Auf Leinwand, 1I. 0,67, B. 0,77 Christus und Simon von Kyrene Christ and Simon of Cyrene Urn 1560 Le Christ et Simon le Cyrdneen 173 -4 "Boston, Mrs.-Gardner-Museum The rape of Europe Der Raub der Europa Um 1559-1562 Auf Leinwand, H. 1,76, B. 2,04 L'en1everent d'Europe 0C C1 0 ho 94 - Lo ýo LO Cý C.0 LO cu 0, cc 175 * Narbonne, Museum Vincenzo Capello 176 O cn_ O P3 u3 LI N o 5: Cd o C m IS v, m P V3 rn M a oJ E: a, a v3 13 03 ac M a r= B e ik =r 4 cn 0 0 0 0 cz W" 0 z cn z CO CO c,) (1 S cz 0 co 0 0 0 0 CL 0) 0) CO 0) f0 P CO 0 0 0I Tizian 12 177 0 co a) 0z U) 00 a) 178 Lo La -. Cd_ a" a cn. IKC Lo uj CD b, ao E M ba 3 a rn k a, a ~je 179 Petersburg, Eremitage Saint Sebastian St. Sebastian Um 1565 Auf Lelnwand Saint Sebastien 180 * Escoria1, Refectorium Das Abendmahi The last supper 1564 La Sainte C~tne bO 0 0 -4 -0 0 u00 '0 0: In cq cu-0 00 i ' P i 00 40-4 cz (1) 0 U '0 0U 4 dco 0vj lc 0'<'0. a 0.0l,06 0I 0. 0,~c '0 rm P r= crJ X~ 182 00" 00 Madrid, Prado-Museum The magi adoring Christ Die Anbetung der Kinige 1560er Jahre L'adoration des rois *Ancona, Pinakothek Christ on the cross Christus am Kreuz Um 1561 Le Christ en croix 184 Venedig, S. Salvatore The annunciation MariA Verkfindigung Um 1560-1565 Auf Leinwand, H. 4,00, B. 2,00 L'annonciation 185 Neapel, Museo nazionale St. Magdalen Die bfissende Magdalena Um 1565-1567 Auf Leinwand, H. 1,28, B. 1,02 Sainte Madeleine 186 Petersburg, Eremitage St. Magdalen Die biissende Magdalena Umn 1565 Auf Leinwand, H. 1,19, B. 0,98 Sainte Madeleine 187 Escorial (Sakristei) Christ on the cross Christus am Kreuz 1560er Jalre Le Christ en croix 188 Venedig, S. Lio Der heilige Jakobus St. James 1560er Jahre Saint Jacques 189 *Fscorial (Sakristei) Christ on the mount of olives Christus am Oelberg 1562 zirka Le Christ sur le mont des oliviers 190 Madrid, Prado-Museum Christ on the mount of olives Christus ani Oelberg Le Christ stir le mnont des oliviers 191 * Escorial (IKapttelsaal) St. Jerome Der heilige, Hieronymus I5G0er Jahre Saint Jftonie 192 1(3 Oo_ 1 P3 co 5: la r nt B r= a, cu I C 0,<U 00 Cn c13 LO W U, '0 u 0 C3 0, *0.0 H4 CO Tizian 13 193 W 0 0 LU Q0 194 IOJ PI JUEJOP-0 TUItUTJD;)?Op;)-I 9991-999T puaimluzN nv U!p JOA 'TUVUJ!J[ D20Q J;)(J rnivj aiojaq Jupwij[H9 op a1LL jsuiedua~o~ 'BIPau3A LO~ * Madrid, Prado-Museum The fall of man Der Siindenfall Um 1565-1570 Auf Leinwand, H. 2,40, B. 1,96 Le p'ch6 originel 196 * Wien, Hofmuseum Auf Leinwand, H. 1,25, B. 0,95 Jacopo de Strada 1568 197 Madrid, Prado-Museum Portrait of Titian Selbstbildnis Um 1565-1570 Auf Leinwand, H. 0,86, B. 0,65 Portrait de Fartiste 198 Miinchen, Alte Pinakothek Christ crowned with thorns Dornenkr6nung Christi Um 1570-1571 Auf Leinwand, H. 2,80, B. 1,81 Le couronnement d'6pines 199 *London, Mrs. Mond Auf Leinwand, H. 0,74, B. 0,62 Maria mit dem Kinde Madonna with Child Um 1570-1576 La Vierge avec l'Enfant 200 *Madrid, Prado-Museum Auf Leinwand, H. 1,68, B. 1,68 Spanien kommt der Religion zu Hilfe Religion succoured by Spain Um 1566-1575 La Religion secourue par l'Espagne 201 * Madrid, Prado-Museum Auf Leinwand, H. 3,35 B. 2,74 Philipp II. und sein Sohn Ferdinand Philipp II offering infant Don Fernando Um 1571- 1575 Philippe II offrant son fils l'infant Ferdinand to Victory A la Victoire 202 "Venedig, Akademie Auf Leinwand, H. 3,50, B. 3,95 Pieta 1573-1576 203 ANHANG ZWEIFELHAFTE, UNECHTE UND WERKSTATTBLLDER (n 0 LfN VIC$'Q - 4) NC~ t-4 W~ 0 4) - LO 0 C) Cl(d co) -oo 0 01 0 ~c 4).0 H 6, u L s: a, II o a m u p 6, 3 a, a 205 kcu 03 Cd cl 206 Log 11 uuIZTI 0 N) 0 CD CA 0 N) (N 0 N) 0 N) 0 -N) H N N) 0 N) 0. CD N) 0p N. -o N) 0z 0 0 0 0 %0 208 *Schloss Sanssouci bel Potsdam Kardinal Antonio Pallavicini 209 Olz (D oCD (D cn, 0 o -P (CD * 0. rDD w >~ C'D(D C 0 (D 00 a) -d 0j 0 a) a ) - ca 0 H) 0d Z 211 *MViet, Holmuseum Auf Leinwand, H. 0,95, B. 1,27 Allegorie Allegory Urn 1533-1535 AI1~gorie W Wien, Hofinuseum Allegorie Auf Leinwand, H. 0,95, B. 1,27 Allegory Um 1533-1535 Allegorie 212 Paris, Louvre Auf Holz, Durchmesser 1,17 Christus zwischen Kriegsknecht und Henker Christ between a soldier Le Christ conduit and an executioner au supplice *Florenz, Uffizien Auf Leinwand, H. 0,63, B. 0,57 Mater dolorosa cis C) 'C c) 214 0 b4~ 0z 0z 2M 215 0 0 c '0,0 0 03 CU 0 -r.) 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O,57 Giovanni de' Medici (delle bande nere) 221 "* Berlin, Kalser-Friedrich-Museum Auf Leinwand, H. 0,83, B. 0,67 Bildnis des Admirals Giovanni Moro The admiral Giovanni Moro L'amiral Giovanni Moro * Frankfurt a. M., Stddelsches Kunstinslitut Auf Holz, H. 0,19, B. 0,157 Bildnis eines jungen Mannes Portrait of a young man Portrait d'un jeune homme ('4lI ~ zj IKJ (D (V CD En CD 0 0 0 CD n M n PL Konstantinopel, Kais. Deutsche Botschaft, aus dem Kaiser-Friedrich-Museum, Berlin Auf Leinwand. H. 0,87, B. 1,04 Der Humanist Giovanni Francesco Leoni und der junge Ranuccio Farnese The humanist Giovanni Francesco Leoni Etwa 1542 L'humaniste Giovanni Francesco Leoni and the young Ranuccio Farnese et le jeune Ranuccio Farnese 0~ C1 > Ct Cu c, #4-4 0 -)-4 I)0 0*-. Cu cif Cu 2 tr 0 ~ CU00 ~Q.0 )~ O 0 uC C)Z N~C) CN C) ~0 03 C)'-' VC) --cucC 0CC a F a,)c) 0 NB C C) 'C) Cu C) C)v ~c/ 0)) H-r ~Cu 0v Cu 0, E 0 N 0*.o, Q2) 0 Co o, 0E '0 0.0 225 * Augsburg, Ffirst fugger-Babenhlusen Karl V. (Kopie) Charles V (copy) Charles-Quinti (Copie) 2 2.6 ~ Aug~sbu g, First Fugge,-Babenhausen Emperor Ferdinand (copy) Kaiser Ferdinand (Kopie) Erpereur Ferdinand (Copie) 227 Q (9 0 CI).0 to 0 0 0 (9 2 0. 0 U. 228 tb r, err o ~s, c a 5: e I C 0~ C) N= U2 0.Q 4 -C 0 0: 30 o 21: ot c= a Y E: 9, J= u c: i, E a o o ed o 3= ~cr c cn c, a3 c3 =I ~d m L, o a (2, 2: (u ca t3 E o a;?le 'C CC) 0)0 C 9 CC) 4)0 C)) 'C 'Cf 0 C co C4 C CC 229 oUZ "0 0 Cy r) 0 CO 0 0 DC 0t 0 (D CD 'DC C/) 0 ro tin 0r 0 c:D DC, 0. 0. CD 0. CA) 0. 0= (DC 0 CO 0 C/) 0 0) 0 Nt 0s C (p a os trl a (p a cD t H, r re, 3 'i; =t a 3 r W,O oo Ctr f t7 n:io tf X~ os Q rr, 3 p: a rr, os n, cD r: -h r co u 3 a 3 S IXI,O oo nCM -t 0. 00 (D9 0 (D eD O VD CD ( D C 0eTh 0. 0 0.3 DCD CD" 02 0I DCC CD 0. * Rom, Galerie S. Luca Auf Leinwand, H. 1,00, B. 0,80 Vanitas Nenpel, Museo nazionale Charles V Karl V. Auf Leinwand, H. 0,98, B. 0,76 Charles-Quint o o CA C) CD 0 0) Ct-..1 Turin, Pinakothek Der heilige Hieronymu St. Jerome *Ragusa, S. Domenico Magdalena mit dem heiligen Blasius, dem jungen Tobias Auf Holz, H. 0,55, B. 0,47 mit dem Engel und dem Stifter is St. Magdalen with St. Blaise, the Sainte Madeleine avec Saint JrJ6me young Toby with the angel and Saint Blaise, le jeune Tobie avec the donor I'ange et le donateur cz 0 "Cl 4" 0 0l 0) co 0 - 0) 0cz CO 934 VU E CI ii LnJ E b4 0 7: C crz E Va V~'C 'c H1 a, z a, ed bd e, p:cd E e, r3 ba r= a v, c, L, a 235 (rp Cn CD CD e1~ CJC 0 cD C) 0 CD CC 0 -aS E.to cc n Z CD CD I (D cn C; -C lailand, Brera tdekIo.f Auf Leinwand, H. 0,37, B. 0,28 Mailand, Btera id sensGrss Auf Leinwand' H. 0'491 B. 0'43 Study-head Tate d'6tude Portrait of an old man Portrait d'un viejilard t London, Herzog von Westminster Die Ehebrecherin vor Christus The adulteress before Christ La femme adultre devant le Christ 238 "* Wien, Hofmuseumrn Auf Leinwand, H. 1,06, B. 1,37 Die Ehebrecherin vor Christus The adulteress before Christ La femme adult&re devant le Christ "*Budapest, Georg vom Rath Auf Leinwand, H. 0,54, B3. 0,61 Die Ehebrecherin vor Christus The adulteress before Christ La femme adultere devant le Christ Tizian 16 239 4-4 u *c 0, 0 a Cp 00 00' U, C', czn 0 cn~r cu C)0 CC.~ 00 a C 0 0, 0,0 240 Paris, Louvre Heilige Familie Auf Leinwand, Ff. 0,81, B. 1,08 La sainte famille The hoiy family * London, G. Lindsay Holford Heilige Familie The holy family La sainte famille 241 Paris, Louvre Auf Leinwand, H. 1,17, B. 1,50 Das Konzil von Trient The Council of Trient Le Concile de Trente London, Buckinghampalast Landschaft mit Schafherde A landscape with a flock of sheep Paysage avec un troupeau de moutons 243 * THE UNIVERSITY OF- MICHIGAN THE UNIVERSITY OF MICHIGAN DATE DUE FES 2 6 1994 UNIVERSITY OF MICHIGAN 11111I01 II I I lI IIII11 3 9015 01334 2780 DO NOT REMOVE OR MUTILATE CARD