Ulrich Middeldorf 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/noticesoflifeworOOhume 
 
NOTICES 
 
 OF 
 
 THE LIFE AND WORKS 
 
 OF 
 
 TITIAN. 
 
 LONDON: 
 
 SOLD BY JOHN RODWELL^ NEW BOND-STREET^ AND 
 COLNAGHI, SON AND CO. PALL MALL EAST. 
 
 1829. 
 
London: Printed by William Nicol, 
 Cleveland -row, St. James's. 
 
TO THE 
 
 RIGHT HONORABLE 
 CHARLES LORD FARNBOROUGH, 
 
 who^ having most honorably filled more than one 
 important situation in the service of his Country, 
 now devotes a portion of his leisure to the encou- 
 ragement of the Fine Arts, and Liberal Sciences, 
 these Notices are dedicated with the warmest 
 feelings of esteem and affection. 
 
 A. HUME. 
 
The object of these Notices is to lay before 
 the English Reader the substance of what 
 various Authors have stated respecting the 
 Life and Works of Titian ; and should their 
 perusal excite any share of that interest or 
 amusement which the collecting them afforded, 
 it would be very gratifying to the Writer to 
 think that his time has not been wholly thrown 
 away. 
 
 Respecting the authorities which have been 
 consulted to the most advantage, the edition 
 of Vasari's Lives, printed at Leghorn in 1767, 
 having several additional notes, Ridolfi's ac- 
 count of the Venetian school, and Boschini, 
 who, in a small volume printed at Venice in 
 1674, called Ricche minere della pittura 
 Veneziana," states Titian's mode of colour- 
 ing, contain the most detailed and ample 
 information. 
 
 Vasari w as cotemporary with Titian, Ridolfi 
 and Boschini lived soon after his time. Con- 
 
[ii] 
 
 siderable advantage has also been derived 
 from Ludovico Dolce's Dialogue on Painting, 
 said to be written by Aretine himself, and 
 among the Familiar Letters of the latter, near 
 one hundred are addressed to Titian on 
 different subjects. 
 
 Of the more modern Authors, whose writ- 
 ings have materially contributed to the present 
 xmdertaking, are Sandrart, Barri in his pictu- 
 resque Journey into Italy, Zanetti on the 
 Venetian Painters, Ponzi, Conca, Twiss's His- 
 tory of the Escurial, Cumberland's Account of 
 the Pictures in Spain, Lanzi, Mengs, Mariette, 
 Visconti, Ticozzi who wrote in 1817, and 
 Maier the year following, not omitting Sir 
 Joshua Reynolds' very luminous, and tasteful 
 observations which are to be found in his 
 Lectures, and his notes on Mason's Transla- 
 tion of du Fresnoy's Poem. 
 
 In addition to the works recorded by the 
 above mentioned Writers, such Catalogues as 
 have been attainable, of the principal Galleries 
 and Collections, modern, as well as those of 
 former times, have been consulted, and extracts 
 
[iii] 
 
 from them are introduced; but it must be 
 acknowledged that an attempt to trace down 
 or enumerate with accuracy, the many pictures 
 Titian executed during so long a life, would 
 be quite hopeless, as well as presumptuous at 
 the present day; several have perished by 
 fire, others ruined by time, and some have 
 escaped being noticed 5 Vasari and Ridolfi 
 both candidly confess, that in their time it 
 could not be done, particularly on account of 
 the early dispersion of his easel pictures 
 throughout Europe. 
 
 In the next place some records are given 
 relating to Titian's Protectors and Patrons, of 
 his intimate Friends, his habits of Life, and 
 other particulars. To these are added an 
 account of his several Scholars, and a Genea- 
 logical Table of his part of the Vecelli family. 
 
 A descriptive Catalogue of Engravings after 
 the Works of Titian, which was obtained from 
 the Bibliotheque du Roi at Paris for the 
 present purpose, is annexed. 
 
NOTICES 
 
 etc. 
 
 PiEVE is a small town situated on the confines of 
 Friuli^ being the principal of the seven Communes 
 of Cadore ; it is nearly surrounded by inaccessible 
 mountains^ in the midst of which is the source of 
 the Pieve^ a torrent river. In this sequestered 
 spot Titian was born in the year 1477^ his father 
 being of the ancient family of Vecelli. 
 
 He began very early to show a turn for draw- 
 ings and designed a figure of the Virgin, with the 
 juice of flowers, the only colours, probably, within 
 his reach. When ten years old, his father sent 
 him to a maternal uncle at Venice, where he 
 became the scholar and inmate of Giovanni Bel- 
 lino, with whom he remained for some time. 
 Lanzi, however, says, that he learnt the rudiments 
 of his art from a painter at Trevigo, named Sebas- 
 tian Zuccati, antecedent to his becoming the 
 scholar of Bellino ; and also that he had imbibed a 
 partiality for the style of Albert Darer, who visited 
 Venice in 1495, and again in 1506, at which time 
 
 B 
 
2 
 
 NOTICES OF THE LIFE 
 
 the high finishing of the hair, and giving a po- 
 lished surface to the skin, were said to be among 
 the objects of his imitation. 
 
 The pictures which Titian painted after leaving 
 the school of Bellino, naturally retained a strong 
 resemblance to his master s style, as may be seen 
 in Tobit and the Angel in the church of St. Ca- 
 therine at Venice, and in several portraits, painted 
 on panel. It is equally conspicuous in the Birth 
 of Christ, and in a picture he executed in dis- 
 temper for his native town of Pieve, representing 
 St. Roc, St. Sebastian, and other Saints, adoring 
 the Virgin ; among the attendant figures are several 
 portraits ; and also in another of St. Mark, St. Se- 
 bastian, and St. Roc, done for a church in the island 
 of San Spirito, near Venice, and in several other 
 pictures for individuals, he adhered to the man- 
 ner of his master. 
 
 It was about this period that he painted the 
 Portrait of Catherine Cornaro, Queen of Cyprus, 
 who left by will, that kingdom, to the Republic 
 of Venice ; of which picture there are numerous 
 copies. 
 
 There is also in the Dresden Gallery, a finely 
 coloured portrait of the same Queen, as it is 
 conjectured, in a widow's habit, with a chaplet in 
 one hand, and a handkerchief in the other; it 
 was one of the famous Modena Collection, and 
 measures 3 ft. 9 in. by 3 ft. 1 in. engraved in the 
 Dresden Gallery, by L. Basan. 
 
AND WORKS OF TITIAN. 3 
 
 The large picture of the Presentation of the 
 Virgin Mary in the Temple is next recorded by 
 Ridolfi ; it still remains in the Scuola della Carita 
 in Venice, for which place it seems to have been 
 painted. It is twenty-two feet in length, and 
 contains divers portraits, among which is that of 
 Andrea Franchescini, grand Chancellor of Venice, 
 in a scarlet robe ; next to him in black is Lazzaro 
 Crasso, a lawyer, certain Monks of the Convent 
 are following them : by the side of the steps lead- 
 ing to the Temple, is an old countrywoman with 
 baskets, containing eggs and fowls, so true to 
 nature as to be quite a deception ; it is said to be a 
 likeness of one who frequented the Rialto, and 
 not inaptly introduced here, as the Jewish markets 
 were held, and trade carried on in the outer court 
 of the Temple : the back ground is a very grand 
 mountainous landscape, with a large striking light 
 in the sky, and the colouring throughout is ex- 
 tremely rich. It is engraved by Zucchi, and the 
 finished study is in a private collection in London. 
 
 It was about 1507, that Titian abandoned the 
 formal manner of G. Bellino, and adopted that of 
 Giorgione, so successfully, that to several portraits 
 their respective claims could not be ascertained. 
 At the age of eighteen he had become an inmate 
 of Giorgione's habitation, and Vasari considers 
 him to be his pupil, but that does not appear to be 
 correct, for they were nearly of the same age, and 
 were brought up together in the house of Bellino ; 
 
4 
 
 NOTICES OP THE LIFE 
 
 and Vasari mentions, as an instance of resemblance 
 -of style, a portrait of a friend of Titian, belonging 
 to the Casa Barbarigo, which would have passed 
 for the work of Giorgione, had he not inscribed 
 his name on it. 
 
 Near this time he was employed to paint in 
 fresco, the fa9ade of the Fondaco, or Exchange, 
 of the German Merchants, the opposite front 
 towards the Canal being allotted to the pencil of 
 Giorgione. 
 
 Titian chose for his subject female figures and 
 boys, and over the door represented Judith with 
 the head of Holofernes, very admirably coloured ; 
 but this work unfortunately was the cause of a 
 breach between these two great masters 5 for the 
 Venetians were so pleased with the performance 
 of Titian, that they inadvertently extolled it to 
 Giorgione, supposing it to be by his hand ; the 
 consequence was, that he dismissed Titian from 
 his house, and their friendship ceased. 
 
 Titian also painted the Portico of the Casa 
 Catergi ; and for the Casa Grimani, the figures of 
 two Virtues, and a Flight into Egypt, in which an 
 Angel is leading the Ass ; in the distance is a 
 soldier and some shepherds, and a very fine land- 
 scape, with various animals in the back ground : in 
 Vasari's time this picture was in the Collection of 
 Andrea Loredano at Venice. 
 
 Being invited to Vicenza, he was engaged to 
 paint the Judgement of Solomon for the Palace of 
 
AND WORKS OF TITIAN. 
 
 5 
 
 the Curia^ which was unfortunately destroyed 
 when the palace was rebuilt. At this period, 
 while residing at Padua, he represented, on the 
 walls of the room he lived in, the Triumph of 
 Faith, designed and drawn with the greatest power 
 and skill ; the infant Saviour is carried by St. 
 Christopher in a procession of the Prophets, Saints, 
 and Martyrs ; of this performance there is a coarse 
 wood-cut with the date of 1506, but without a name. 
 
 In the same city he was employed in competition 
 with Campagnola and other Paduan artists, to 
 paint three Miracles for the Convent of St. An- 
 thony. The first represents that Saint in the act 
 of holding out a beautiful young child, who im- 
 mediately identifies it's own father in the midst of 
 a group of spectators, and thus clears up the cha- 
 racter of its mother, who is standing by. En- 
 graved by le Febvre. 
 
 The second is the story of a young man, who, 
 in contrition for having struck his mother with his 
 heel, cut off his foot ; a medical attendant, clothed 
 in red, is standing by, but St. Anthony alone is 
 competent to effect the cure. The composition 
 of this picture is very interesting ; in front lies the 
 young man with his foot severed at the ancle, the 
 forgiving mother is holding his head, and a female 
 by her is supplicating St. Anthony's aid, behind 
 them is another woman showing where the blow 
 was given by pointing to her bosom ; in the group 
 is a soldier with a shield, on which a Phoenix is 
 
6 
 
 NOTICES OF THE LIFE 
 
 seen, emblematical of the recovery of the young 
 man from death. Some of the figures are evi- 
 dently portraits, and the landscape is very fine. It 
 has been engraved by Le Febvre, and a finished 
 study for it on paper is in a private Collection in 
 London. In the third, a Cavalier is in the act of 
 stabbing his wife in a fit of unfounded jealousy. 
 The background shows him on his knees returning 
 thanks to St. Anthony for having restored her to 
 life. Of this picture there is a modern engraving 
 by Novelli, 1793. There is also another on the 
 walls of the Church at Padua, in which the same 
 saint is raising his father from the grave, amidst a 
 group of spectators. These four pictures are in 
 fresco^ and have suffered considerably ; a circum- 
 stance much to be lamented, for it is upon record 
 that Titian far surpassed the works of the other 
 competitors. 
 
 In 1511, Giorgione fell a victim to the plague at 
 Venice, and Titian, being so well acquainted with 
 his mode of laying on his colours, was employed 
 to complete several pictures which he had left 
 unfinished. 
 
 After the death of G. Bellino, he finished for the 
 grand Sala di Consiglio at Venice, a large Histo- 
 rical work, the subject of which was, Frederick 
 Barbarossa on his knees, making submission to 
 Pope Alexander III. who is putting his foot on his 
 neck. Frederick Barbarossa, so called from the 
 colour of his beard, succeeded Conrad in 1152. 
 
AND WORKS OF TITIAN. 
 
 7 
 
 The Pope was besieged by him in Rome 1167, and 
 after a war of long continuance, a peace took place 
 between them in 1177 ; but it is a matter of doubt 
 if the circumstance recorded in this picture ever 
 happened. Ridolfi says, this picture was in the 
 Church of St. Mark ; but from a note by the Editor 
 of the Florence edition of Vasari, it appears that 
 in 1772, it was in the Sacristy of the Chiesa della 
 Salute at Venice. The draperies are hard and 
 cutting, in consequence of Titian being at that 
 time disposed, according to Vasari, to imitate a 
 picture of Albert Durer, then brought to Venice. 
 The Portraits of several distinguished characters, 
 contemporary with the painter, are introduced in 
 their different costume ; whose names are given by 
 Ridolfi. 
 
 About the same period, Titian painted in a 
 Chapel of the Church of St. Roc, a small picture 
 of Christ dragged along by a rope fastened round 
 his body, which Vasari erroneously attributes to 
 the pencil of Giorgione. In the Church of St. Mar- 
 cellino, he also painted Tobit and the Angel, a 
 dog in the foreground, and St. John the Baptist 
 praying near a wood in the distance. This was 
 wrought with a tender and delicate, yet spirited 
 pencil, and met with the highest admiration. En- 
 graved by H. Thounmeyer. 
 
 Having been invited to the Court of Alphonso I. 
 Duke of Ferrara, he there finished a Bacchanal 
 scene begun by G. Bellino, the fine landscape of 
 
8 
 
 NOTICES OF THE LIFE 
 
 which is entirely by the hand of Titian. To com- 
 plete the decoration of the apartment in which 
 this picture hung^ he was called upon to paint two 
 others of the same size, one the Triumph of Bacchus, 
 and the other a similar subject. The Triumph of 
 Bacchus, or as it is also called Bacchus and Ari- 
 adne, is amply described by Ridolfi in the follow- 
 ing terms ; " Bacchus is seen throwing himself 
 from his car, drawn by two panthers, struck with 
 Ariadne's beauty, who deserted by Theseus, is 
 standing on the sea shore. The figure nearest the 
 car is Pampino,the favourite attendant of Bacchus, 
 dragging along the head of a calf, in memory of 
 Pentheus, who, slain by the Bacchants, was 
 changed into that animal. Several Bacchants are 
 playing on cymbals, and other loud sounding in- 
 struments ; amidst them is a drunken man, with 
 serpents entwined about his limbs, as the votaries 
 of Bacchus were accustomed to bind themselves, 
 it being emblematical of the torments and agita- 
 tions of mind and body attendant on the immode- 
 rate use of wine ; others are carrying the limbs of 
 a calf, and Silenus lies on the ground, crowned 
 with grapes, and vine leaves, and overcome by 
 liquor : in the distance is the vessel of Theseus, 
 under sail, and in the sky the crown of Ariadne." 
 
 Ridolfi in his life of Titian, proceeds to the con- 
 templation of this noble picture, which he charac- 
 terises as one to whose unparalleled merits he is 
 inadequate to do justice " there is," he says, " such 
 
AND WORKS OP TITIAN. 
 
 9 
 
 a graceful expression in the figure of Ariadne, — 
 such beauty in the children, — so strongly marked, 
 both in the looks and attitudes, is the joyous 
 character of the licentious votaries of Bacchus, 
 — the roundness and correct drawing of the man 
 entwined with snakes, — ^the magnificence of the 
 sky and landscape, — the sporting play of the 
 leaves and branches of the most vivid tints, and 
 the detailed herbage on the ground tending to 
 enliven the scene, and the rich tone of colour 
 diffused throughout, form altogether such a whole, 
 that hardly any other work of Titian can stand 
 in competition with it." This highly finished 
 picture is wrought up with immense care, and its 
 smoothness is such, that in the flesh the touches 
 of the pencil are not to be distinguished, and 
 shows how judiciously he improved on the man- 
 ner of Giorgione. Sir Joshua Reynolds in his 
 third Lecture, in the Royal Academy, elucidates 
 the conduct of Titian in this picture ; he says *^ that 
 it has been much and justly celebrated for the 
 harmony of colouring. The figure of Ariadne is 
 separated from the great group and is dressed in 
 blue, which added to the colour of the sea, makes 
 that quantity of cold tint which Titian thought 
 necessary for the support and brilliancy of the 
 great group, which group is composed, with very 
 little exception, entirely of mellow colours ; but as 
 the picture in this case would be divided into two 
 distinct parts, one half cold, and the other warm, 
 
 c 
 
10 
 
 NOTICES OF THE LIFE 
 
 it was necessary to carry some of the mellow 
 colours of the great group into the cold part of 
 the picture, and a part of the cold into the great 
 group; accordingly Titian gave Ariadne a red 
 scarf, and to one of the Bacchants a little blue 
 drapery." 
 
 It appears that this picture was formerly in the 
 Ludovisi^and after in the Aldobrandini Palace, until 
 it was purchased by Mr. Irvine for 9000 crowns, 
 and brought to England by the agency of Mr. 
 Buchanan, when it became the property of the late 
 Lord Kinnaird, and afterwards of Mr. Hamlet : 
 from whom it was purchased in 1826 ; and under 
 the Patronage of His present Majesty George IV, 
 and with the concurrence of Parliament, a jewel 
 of the first water has been added to the National 
 Gallery : a collection formed under such auspices, 
 and aided by the present encreasing taste for the 
 Fine Arts, bids fair to compete with the most ce- 
 lebrated Galleries of any other country. 
 
 In the composition of the second Picture before 
 mentioned, a number of the votaries of Bacchus 
 are assembled on the bank of a rivulet, flowing 
 with red wine from a hill in the distance ; some 
 of them are employed in distributing the liquor 
 to their associates, while a nymph and two men are 
 engaged in dancing ; the female is supposed to 
 be a portrait of Violante, Titian's Mistress, as he 
 has painted, in allusion to her name, a violet 
 on her breast, and his own name round her arm. 
 
AND WORKS OF TITIAN. 
 
 11 
 
 Her lig:ht drapery, resembling taffeta, is raised 
 by the breeze, and discovers the beautiful form 
 and morhidezza of her limbs. In the foreground 
 a female lies asleep, her head resting on a rich 
 vase, in place of a pillow: nothing can surpass 
 the natural colouring and delicacy of her limbs, 
 and her countenance is expressive of the sweetest 
 repose. Cumberland says, that Mengs, who lived 
 long at Madrid, at the time when this picture was 
 in the receiving room of the new Palace, was of 
 opinion, that Titian's superior taste was no where 
 more strikingly displayed ; and remarks, that he 
 himself could never pass by it without surprise 
 and admiration, more particularly excited by the 
 beauty of the sleeping female in the foreground, 
 the colouring of which is in the Painter's brightest 
 manner, and the gradations of tint inimitable. 
 Every part of this picture is said to be perfection ; 
 a most harmonious tone of colour is diffused over 
 the whole ; while at the same time the sky, trees, 
 and ground display their proper tints, and preserve 
 a general brilliancy in accordance with nature. 
 A very striking effect is produced by the transpa- 
 rency of a vase, held up against the sky, contain- 
 ing wine of a brilliant purple colour. It was en- 
 graved by Podesta, in 1656, and there is also a 
 larger print from it without a name. Respecting 
 the merits of these two last mentioned pictures, 
 the testimony of Agostino Caracci should not be 
 omitted ; when he viewed them in the possession 
 
NOTICES OF THE LIFE 
 
 of the Duke of Ferrara, he declared " that he con- 
 sidered them as the first in the world, and that no 
 one could say he was acquainted with the most 
 marvellous works of art without having seen them.'* 
 
 Titian painted also, at Ferrara, a picture of 
 Cupids amusing themselves in various sports, in a 
 field of rich herbage, surrounded by trees bearing 
 golden apples, over which some are sporting in 
 the air, while others are engaged in gathering the 
 fruit and throwing it to their companions ; some 
 are climbing the trees, or preparing to shoot their 
 arrows at each other, and some are embracing 
 with infantine affection. The composition is fur- 
 ther enriched by groups who, having hung up 
 their bows and quivers, are chacing a hare, or 
 dancing in a circle. No less than sixty children 
 are contained in the different groups ; the coun- 
 tenances of all are expressive of the feelings arising 
 from the various pursuits thejrare engaged in, no 
 two attitudes are alike, and each figure is beauti- 
 fully relieved, although combined with the general 
 mass, over which a broad gleam of light is thrown. 
 At the foot of a statue of Venus are the Graces, 
 and on a rock behind it is the date, 1550. Mengs 
 considers this picture more beautiful and much 
 more highly finished than the preceding one. It 
 was in the receiving room of the new Palace at 
 Madrid. Podesta engraved it in 1636. 
 
 After finishingthesethreepictures, Titian painted 
 the portraits of his Patron the Duke of Ferrara, 
 
AND WORKS OP TITIAN. 
 
 and his second Duchess, who was first his mis- 
 tress, Laura Eustachia, the daughter of an arti- 
 zan at Ferrara. She is in a dress of black velvet 
 with slashed sleeves, richly ornamented with j ewels, 
 her left hand rests on the shoulder of a black 
 page, who holds her gloves. 
 
 He painted also for the Duke, upon the door 
 of a cabinet, in his finest manner. The Tribute 
 Money; in which he introduced the portrait of his 
 friend Sperone Speroni, as he himself states in 
 his works ; (tom. 5. p. 268.) it passed from the 
 Gallery at Modena into the Royal Collection at 
 Dresden. 
 
 For the father-in-law of Gio. da CastelBolognese, 
 and in whose house the picture was in Vasari's 
 time, he painted a Shepherd playing on his pipe 
 in a most beautiful landscape; engraved by Le 
 Febvre. 
 
 The merits of Titian were at this time so highly 
 appreciated by the Duke of Ferrara, that he fre- 
 quently invited him to accompany him in his 
 barge, when going from Venice to Ferrara. It 
 was during his residence at the latter place, that 
 he became acquainted with Ariosto, with whom 
 he frequently conferred on the subject of his com- 
 positions, and from such conferences it may be 
 supposed that the Poet and the Painter derived 
 mutual advantage. 
 
 However highly at this period the works of 
 Titian were held in estimation by the best 
 
14 
 
 NOTICES OP THE LIFE 
 
 judges, he was still in very indifferent circum- 
 stances, and the price paid for his labours was 
 quite inadequate to their merit, until he obtained 
 the notice of the Emperor Charles V. and other 
 illustrious persons. 
 
 Being now in the prime of his life, he produced 
 the fine picture of the Virgin's Ascension to Heaven, 
 where the Padre Etemo, surrounded by Cherubs, 
 is stretching out his arms to receive her. The 
 Virgin, in a most powerful mass of light, is sup- 
 ported by a cloud, and accompanied by a very 
 numerous host of Angels, in the most beautiful 
 variety of attitudes ; this group is, with infinite skill, 
 connected with the assemblage of the Apostles 
 below, who are in the act of reverence and adora- 
 tion; among them, St. James is distinguished by 
 a pilgrim's habit and a scallop shell. This pic- 
 ture was executed for the Chapel of the Convent 
 of the Frari, at Venice; and as Titian there 
 worked on it, he was frequently interrupted by 
 the Friars, particularly by one Germano, who 
 took upon himself to criticise the large dimensions 
 of the Apostles ; Titian endeavoured in vain to set 
 him right by explaining to him, that figures ne- 
 cessarily ought to be in proportion to the distance 
 from which they are to be viewed, and that he 
 would find when the picture was in its place, they 
 would appear of their proper size. The Monks 
 however were at length convinced of their igno- 
 rance, for the Emperor s Ambassador happening 
 
AND WORKS OF TITIAN. 
 
 15 
 
 to see the picture^ offered to purchase it for his 
 master at a large price ; this opened their eyes, 
 and drew from them the confession that they were 
 better acquainted with their breviaries, than with 
 works of Art. Though this picture is full of 
 grand effect, it is said that the colouring is not so 
 brilliant as his usually was ; it formed part of the 
 French plunder, but was restored in 1816, and is 
 now in the Pinacotheca at Venice. It has been 
 etched by George Hayter, an eminent British 
 painter, and superbly engraved on a large scale, 
 by Natale Schiavoni at Venice, in 1826. 
 
 In the same Chapel of the Frari, was another 
 picture by Titian, of the Conception, which re- 
 presents the Madonna holding the Child in her 
 arms, and leaning against a pedestal, by the side 
 of which is St. Peter, with his hand on a book, 
 and the keys at his feet, his eyes turned towards 
 a figure kneeling, being the Vescovo di Baffo, 
 whom St. George in armour is presenting to the 
 Virgin upon his return, after the victory he ob- 
 tained over the Turks; on the opposite side is 
 St. Anthony of Padua, near whom, in attitudes of 
 devotion, are others of the Baffo family, for which 
 family the picture was painted. This union of the 
 military and ecclesiastical profession was common 
 in early times, and may be exemplified from a cir- 
 cumstance that happened in the war between our 
 Richard 1. and Philip King of France, in 1195, — 
 Philip de Dreux, Bishop of Beauvais, a near rela- 
 
16 
 
 NOTICES OP THE LIFE 
 
 tion to the King of France being in a battle was 
 taken prisoner by the English, and a high ransom 
 set upon his head. His Holiness the Pope strongly 
 interceded for his dearly beloved son, as he called 
 him, in a letter to Richard, who in answer sent 
 the Bishops Coat of Armour^ all bloody as it was, 
 and asked him whether he knew if it was his sons 
 coat or not. The composition is very grand, and 
 the execution in the most delicate and finished 
 manner of the master. Engraved by Le Febvre. 
 
 This picture is particularly noticed bySir Joshua 
 Reynolds in his 25 th Note in Mason s Translation 
 of du Fresnoy's Poem on Painting, in which he 
 takes the opportunity of comparing together a 
 picture of Titian with one by Rubens, with that 
 felicity of taste and language peculiar to his en- 
 lightened mind. The note is upon the following 
 passage, 
 
 In ev'ry figured group, the judging eye 
 Demands the charms of contrariety." 
 
 " The rule of contrasting figures in groups, is not 
 " only universally known and adopted, but it is 
 
 frequently carried to such excess, that our Au- 
 " thor might, perhaps, with more propriety have 
 " fixed his caution on the other side, and recom- 
 " mended to the Artist, not to destroy the gran- 
 " deur and simplicity of his design by violent and 
 " affected contrasts. 
 
 The artless uniformity of the compositions of 
 
 the old Gothic Painters is far preferable to this 
 
AND WORKS OP TITIAN. 
 
 17 
 
 false refinement, this ostentatious display of 
 Academic art. A greater degree of contrast 
 and variety may be allowed in the picturesque 
 or ornamental stile ; but we must not forget 
 ^ they are the natural enemies of simplicity, con- 
 sequently of the grand stile, and destroy that 
 solemn majesty, that soft repose, which is pro- 
 duced in a great measure by regularity and uni- 
 formity. 
 
 An instance occurs to me where those two 
 " qualities are separately exhibited by two great 
 "Painters, Rubens and Titian; the picture of 
 Rubens is in the church of St. Augustine at Ant- 
 " werp, the subject (if that may be called a sub- 
 ject where no story is represented) is the Virgin 
 " and Infant Christ, placed high in the Picture on 
 " a pedestal with many Saints about them, and as 
 " many below them, with others on the steps, to 
 " serve as a link to unite the upper and lower part 
 " of the Picture. 
 
 " The composition of this Picture is perfect in 
 " its kind ; the Artist has shewn the greatest skill 
 " in disposing and contrasting more than twenty 
 " Figures without confusion, and without croud- 
 "ing; the whole appearing as much animated, 
 " and in motion, as it is possible, where nothing is 
 " to be done. 
 
 " The Picture of Titian which we would oppose 
 to this, is in the church of the St. Frari at 
 Venice. One peculiar character of this piece is 
 
 D 
 
18 
 
 NOTICES OF THE LIFE 
 
 "grandeur, and simplicity, which proceed in a 
 " great measure from the regularity of the com- 
 " position, two of the principal figures being re- 
 " presented kneeling directly opposite to each 
 " other, and nearly in the same attitude, this is 
 " what few Painters would have had the courage 
 " to venture ; Rubens would certainly have re- 
 " jected so unpicturesque a mode of composition 
 " had it occurred to him. Both these Pictures 
 ^ " are equally excellent in their kind, and may be 
 " said to characterize their respective Authors. 
 " There is a bustle and animation in the work of 
 " Rubens ; a quiet solemn majesty in that of 
 " Titian. The excellence of Rubens is the pic- 
 " turesque effect he produces : the superior merit 
 " of Titian is in the appearance of being above 
 " seeking after any such artificial excellence." 
 
 By order of the Senate, Titian undertook two 
 large pictures for the Hall of the Collegio, in 
 which are the portraits of the Doges L. Loredano 
 and Antonio Grimani, with their protecting Saints, 
 the latter was elected in 1521, and lied 22 
 months after, in his 90th year, having distin- 
 guished himself as a consummate General of the 
 Republic. Of this picture, Ridolfi says there is a 
 wood-cut. In 1523, he painted the Doge Gritti 
 on a large canvas, with St. Andrew by him, toge- 
 ther with the Doges P. Lando, Mark Antonio 
 Trivisani and F. Venieri, prostrate at the feet of 
 the Virgin, For this work the Senate bestowed 
 
AND WORKS OF TITIAN. 
 
 19 
 
 upon the painter, a rent of 400 crowns on the Fon- 
 daco of the German Merchants, upon the con- 
 dition that from time to time, he should execute 
 the portraits of the future Doges at eight crowns 
 a piece. These works were burnt at the fire in 
 the Collegio. The Senate also appointed him to 
 paint for the same hall, the battle of Ghiaradadda 
 between the Venetians and Imperialists, in 1509. 
 To give grandeur to this picture he introduced the 
 scenery of his native spot ; on a hill stands a castle 
 fired by lightning, from whence issue volumes of 
 black smoke blending with the sky, and the horrors 
 of the scene are increased by a tremendous tempest. 
 The conflict is maintained both by horse and 
 foot, and the attack and defence of the Imperial 
 Standard mark the brunt of the engagement ; a 
 reinforcement, bearing the flag of St. Mark, appears 
 advancing over a bridge to the succour of the Ve- 
 netians. The General, Liviano, is seen in the fore- 
 ground leaning his head on his truncheon ; a page 
 is lacing on the shoulder-pieces of his armour, 
 near to whom is a groom, in a red slashed dress, 
 reining in a spirited charger, excited by the sound 
 of the trumpets, and the din of battle. A naked 
 soldier in the water, is endeavouring to recover 
 the bank : and a handsome young female, in great 
 distress, is holding by the roots growing on the 
 river side. The principal feature of the Picture 
 is, the grand contest for the Standard, which. 
 
20 
 
 NOTICES OF THE LIFE 
 
 agitated by the tempest, is floating in the grandest 
 folds imaginable, while a variety of spirited fi-- 
 gm es in different attitudes, contribute to the bustle 
 of the scene. Ridolfi observes, that after the 
 execution of this Picture, Titian's knowledge in 
 composition could no longer be questioned, even 
 by those who had invidiously pronounced his ta- 
 lents to be only calculated for the scale of portrait 
 painting. Many copies have been made of it, which 
 may serve to give an idea of the original, the de- 
 struction of which by fire, is much to be lamented; 
 for, from the testimonies of those who had seen it, 
 and, from the print, engraved by Gio. Baptista 
 Fontana, it must have been a very extraordinary 
 effort of the mind and pencil of the Artist. 
 
 In the small Church of St. Nicholas, at the top 
 of the staircase, called la scala di Giganti, he 
 painted in fresco, over the altar, the Madonna 
 and Child looking towards the Doge Gritti ; and, 
 in another piece, St. Louis, in an episcopal habit, 
 with the Evangelists, by the side of the altar ; and 
 opposite, St. Mark reading, accompanied by the 
 Lion. But the figure of St. Christopher over the 
 door of the Scala Vecchia, is one of the most mag- 
 nificent single figures the art ever produced. He is 
 crossing a river, having the infant Saviour on his 
 shoulders, and seemingly oppressed by the weight 
 of the holy burthen he bears. This work is in 
 Titian's grandest manner of design, the attitude 
 
AND WORKS OF TITIAN. 
 
 21 
 
 is finely conceived, and the anatomy marked with 
 equal strength and correctness. It is engraved by 
 Andrea Zucchi. 
 
 In a church, (then the Museum according to 
 Ridolfi,) where the Statues were kept, there was 
 a striking picture of Titian, the subject of which 
 is Christ with the Disciples at Emaus, the host 
 and a servant attending ; this is probably the very 
 fine picture now in the Mus6e at Paris, one of the 
 King's former collection, known by the name of 
 the Table Cloth, which is admirably painted, and 
 is most beautifully engraved by Masson. 
 
 At the foot of the stairs in the Ducal Palace, is 
 a figure of the Virgin in the clouds, with the infant 
 Christ lying on her bosom. 
 
 In the Church of S** Maria Maggiore, was a 
 whole length of St. John the Baptist, standing in 
 a very grand landscape, the further part of which 
 is made up of trees overshadowing a fall of water, 
 on which the light produces the most brilliant 
 effect : the touches of which are laid on with a fat 
 and spirited pencil; it is painted in a very sublime 
 and broad style. Engraved by Le Febvre. 
 
 Ridolfi states that Titian, Pordenone, and old 
 Palma, were called upon to furnish designs for a 
 Picture of the Assassination of St. Peter Martyr, 
 and that the sketch given in by the latter, was in 
 the Contarini Palace di S. Samuele. Saint Peter 
 Martyr being on his return to his Convent at 
 Como, after preaching against the heretics at 
 
22 
 
 NOTICES OF THE LIFE 
 
 Milan, was assassinated on the road at their insti- 
 gation. Titian has represented this event as 
 taking place at the edge of a grove of lofty trees, 
 distinguished from each other by their different 
 foliage, and by the manner in which the branches 
 shoot from the trunks, while the density of the 
 leaves nearly excludes the light of the sun. 
 The Saint is struck down by the assassin, who 
 seizing his garment, is about to repeat the blow, 
 while the former is tracing on the ground with his 
 finger, wet with his own blood, these words ; " lo 
 credo in Dio, Padre omnipotente;" while his com- 
 panion, who appears also to be wounded, is endea- 
 vouring to make his escape. In the sky, two little 
 angels are holding out the palm of martyrdom. 
 
 The resignation of the Saint, and the ferocious 
 countenance of the murderer, are finely contrasted: 
 and the difference between their colouring is very 
 skilfully managed. The sky is extremely grand 
 and beautiful, shewing in the horizon the streaks 
 of day-break, indicating the time; while a light 
 from heaven falls on the trees, and illuminates the 
 rest of the Picture ; the lower part, and the beau- 
 tiful herbage on the ground, is said to have suf- 
 fered so much from damp in its situation at 
 Venice, as almost only to be known from copies 
 and prints. It was originally painted on very 
 thick board ; but, when at Paris, during the Revo- 
 lution, for its better preservation, M. Haquin, with 
 great ingenuity, transferred it to canvas. In its way 
 
AND WORKS OP TITIAN. 
 
 23 
 
 to France, a cannon ball, fired at the vessel it was on 
 board of, passed through the centre of it, but fortu- 
 nately the sky only was injured ; in the year 1816, it 
 was restored to Venice. Engraved by Martin Rota, 
 afterwards by Le Febvre, and in 1739, by J. R. 
 Jackson, on wood. This Picture has been gene- 
 rally considered the chef-d'oeuvre of the Master. 
 
 Among the many fine portraits painted by 
 Titian at this time, was that of a Lady, called La 
 Gattina, admiring herself in a glass; her hair, 
 bound with a red ribband, falling over her shoul- 
 ders. Her figure is very graceful, and the colour- 
 ing of her face quite perfection. That also of 
 Parma, his physician, is equally excellent: the 
 beard is cut, and the white hair hangs down to the 
 middle of the ear. Both these portraits were in 
 the possession of Signor Bartolomeo della Nave; 
 two others, his Confessor, of the order of Pre- 
 dicatori, and an aged Senator, with a bald head, 
 of the Grimani family, belonged to Signor Vin- 
 centio Grimani di S. Ermanacora. 
 
 Ariosto coming to Venice, was painted by Titian, 
 in a black Berretta, a sort of cap, ornamented 
 with a tuft of feathers, and a gold medal, bearing 
 the legend " Fides," given to him by the Duke of 
 Mantua : in the right hand of the poet is a crown 
 of laurel. The portrait of Urtado di Mendo9a, 
 a distinguished general in the armies of Charles V. 
 and who is said to have been the author of the 
 fir§t part of Lazarillo de Tormes, and is celebrated 
 
24 
 
 NOTICES OF THE LIFE 
 
 by the pen of Ariosto, was painted by Titian, as 
 well as that of the Mistress of Urtado, for whom 
 he also painted several half lengths, among which 
 were, Tarquin and Lucretia, Cornelia in the arms 
 of Pompey, and Pepona nourishing her Father. 
 
 Titian, having communicated to Ariosto how 
 poorly he considered himself remunerated for his 
 works, his friend exerted both his interest and po- 
 etical talents in his behalf, and so far succeeded 
 in making his merit known at the Courts of the 
 neighbouring Princes, that when Charles V. came 
 to Bologna in 1530, to receive the imperial crown 
 from Pope Clement VII. he sent for Titian without 
 delay, and received him in the most gracious 
 manner, requiring him at once to begin that pic- 
 ture of him, in which he is represented in bright 
 armour, on a bay horse, richly caparisoned, with 
 a star on its forehead ; it is probably the same 
 that is in the King's Supper Room of the new 
 palace at Madrid, in which, according to Cum- 
 berland, the Emperor is on horseback, poising 
 his lance, and appearing as if he were preparing 
 to pass his troops over a river ; it is of the size 
 of life, on a very large canvas, and by all account 
 extremely fine. At the same time, he painted 
 Antonio de Leyva, one of the Emperor's principal 
 generals, wearing a cuirass, with a cap on his 
 head, also his successor in command, the Marquis 
 de Vasto, or Guasto, who remunerated him with a 
 pension of fifty golden crowns upon the revenues 
 
AND WORKS OF TITIAN. 
 
 25 
 
 of Castel Lione. On Charles V. leaving Bologna 
 Titian returned to Venice loaded with honours, 
 and bringing back with him a thousand crowns in 
 gold, the half of which, Vasari says, he was obliged 
 to make over to a Sculptor of Lombardy, who was 
 to execute a bust of the Emperor in marble. 
 
 He then was engaged in some public works. 
 For the Chapel of St. Giovanni di Realto he painted 
 St. John, in a violet coloured dress wearing 
 the rochet, relieving a poor object ; and for the 
 Convent of Angeli di Murano a large and very 
 capital picture of the Annunciation, in which the 
 rays of light descending from the sky, produce a 
 very grand and striking effect. When finished, 
 the Friars grudging to pay the sum of 500 crowns, 
 which Titian, by the advice of Aretin, demanded, 
 they made a present of the picture to Charles V. 
 who sent them 2000 crowns in return. On a step 
 in the foreground is seen " Titiani Figuraruni 
 ad Csesarem exempla." Engraved by Jacobus 
 Caralius. 
 
 For the Friars of St. Nicolo de Frari he painted 
 an altar piece in his finest manner, in which the 
 Madonna in white is reposing on a cloud holding 
 the infant Saviour in her arms, with two little 
 Angels in the act of adoration, and below St. 
 Nicolo Vescovo saying Mass, and holding the 
 pastoral staff ; whose head is said to be taken 
 from that of the Laocoon ; he is accompanied by 
 St. Peter, St. Catherine, on the right, a very 
 
26- 
 
 NOTICES OF THE LIFE 
 
 elegant figure, St. Francis^ St. Anthony of Padua, 
 and on the left St. Sebastian^ the colouring of 
 whose body is nature itself, but it cannot be de- 
 nied that the figure is very indifferently drawn, 
 which drew the following observation from Tin- 
 toret, " that Titian sometimes could not be sur- 
 passed in correctness, but on the other hand his 
 drawing was occasionally defective." Sir Joshua 
 lamented the choice of his model in this instance, 
 particularly in regard to the legs. There is a wood 
 cut of this picture, done, according to Vasari, by 
 Andrea Andreani, but it only takes in the lower 
 part of the composition; the engraving by Le 
 Febvre comprehends the whole ; and there is also 
 a fine modern print taken when the picture was in 
 the Musee at Paris, from whence it was restored 
 to the Capitol at Rome in 1816. 
 
 At the request of Giovanni dall' Armi his com- 
 pare he painted a large Ecce homo, in which Pilate 
 is the likeness of Ariosto, and the portraits of 
 Charles V. and Solyman the Emperor of the Turks 
 on horseback, are introduced among the specta- 
 tors : his own portrait and those of some of his 
 family are in the centre, near which is inscribed 
 " Titianus." On one of the steps is written " Titi- 
 anus Eques Caes. P. 1540," when he was 63. This 
 magnificent work is on canvas, measures 11. 3. 
 by 7. 7. and contains seventeen figures the size of 
 life. It came into the possession of George Villiers, 
 Duke of Buckingham, who was offered ^7000. 
 
AND WORKS OF TITIAN. 
 
 27 
 
 for it, in money or land, by Lord Arundel. The 
 Duke's Executors sold it at Brussels to the Vienna 
 Gallery, where it now is. Hollar engraved it in 
 1650 ; a fine impression of this print is very scarce. 
 
 The Emperor s Legate, the Cardinal Hippolite 
 de Medicis passing through Venice, was painted by 
 Titian in a Hungarian dress ; and the picture 
 being considered one of the finest portraits of the 
 Master, was removed from the Pitti Palace at 
 Florence to Paris, but restored in 1816. Engraved 
 in La Gallerie de Grand Due de Toscane by Ver 
 Cruys, and again at Paris by Chataignere. 
 
 Titian accompanied the Cardinal to Bologna, 
 where Charles V. sat to him a second time; and it 
 is not improbable that it was in this picture, that 
 the Emperor is drawn at whole length, with a large 
 Irish Wolf Dog, as this portrait is said to have been 
 painted before he entered into the service of that 
 Monarch. It was given by Philip II. to Charles I. 
 and after his death carried back to Spain, and 
 according to Cumberland hangs in the Queen's 
 great salon in the New Palace. Titian a second 
 time painted the portrait of Cardinal Hippolite, 
 as well as those of the Marquis de Vasto and Duke 
 Pederigo de Gonzaga, who invited him to Mantua, 
 in which city he painted the twelve Caesars, figures 
 to the knees, some in armour, and others with 
 imperial mantles and laurel crowns. An opinion 
 has been entertained by persons of Science in Italy 
 that they were executed for a noble family at 
 
I 
 
 28 NOTICES OF THE LIFE 
 
 Mantua, and afterwards came by purchase into 
 the Duke s possession. They are larger than life, 
 and designed with great grandeur and freedom of 
 outline, coloured in his finest style and touched 
 with infinite spirit, particularly in the armour. 
 The likenesses must necessarily have been taken 
 from the medals and coins in the rich collection 
 of the Duke of Mantua. 
 
 Baldinucci, in his life of Bernardo Campi, affirms 
 that eleven only of the Caesars were painted by 
 Titian, and that the other, Domitian, was added 
 by Campi. At the sacking of Mantua in 1639 the 
 Ducal Gallery was divided into equal parts be- 
 tween the two generals Galeazzo and Aldingher. 
 One part was carried to Prague, which was re- 
 moved from thence to Stockholm by Gustavus 
 Adolphus when he took that city ; Christina, his 
 daughter, on her abdication carried these pictures 
 with her to Rome, and at her death they fell into 
 the hands of Cardinal Azzolini, Avhom she had 
 made her heir ; from thence they passed into the 
 Odelschalci Collection, which was bought by the 
 Duke of Orleans of that day. The other part of 
 the Mantua Gallery, including the twelve Caesars, 
 was purchased by our Charles I. by the advice of 
 Rubens and the Duke of Buckingham, and after- 
 ward sold by the Parliament, and some of them 
 were bought for the Orleans Gallery. The prints 
 by i^gidius Sadeler after these pictures are but very 
 indifferent; conveying no idea of the originals ; but 
 
AND WORKS OP TITIAN. 
 
 29 
 
 one, Otho, by V oerst, is good. Augustin Caracci, 
 in a marginal note written by himself in the copy 
 of Vasari preserved in the Corsini Library, refer- 
 ing to the Caesars, says, sono molte belle, e belle 
 di sorte, che non si puo far piii, ne tanto." It is 
 well known at Venice that Titian made studies 
 of the Caesars nearly of the same size, in which 
 the back grounds were left plain, and which vary 
 considerably from the finished pictures. Two of 
 these studies, Otho and Domitian, are in a private 
 Collection in London. He also painted the por- 
 traits of the Duke of Mantua and his brother the 
 Cardinal. 
 
 Paul in. arriving at Ferrara in 1543 sat for his 
 portrait to Titian, at the recommendation of the 
 Cardinal Farnese, and was extremely desirous that 
 he should accompany him to Rome, which Titian 
 declined, being engaged on the portrait of Duke 
 Francesco Maria della Rovine. When at Urbino 
 he executed for the Duke, a Mary Magdalene in 
 contemplation, and several portraits of Popes, 
 Princes and Cardinals, as well as a Venus lying 
 on a silken bed with a dog by her, and also, for the 
 second time, the Duke and Leonora his wife. 
 
 Titian had now attained the age of sixty four, 
 when he was employed by the Convent Di Spirito 
 Santo, a small island in the Lagoons near Venice, 
 to paint the descent of the Holy Spirit on the 
 Apostles, in the midst of whom is the Virgin ac- 
 companied by two other female figures. It is a 
 
30 
 
 NOTICES OP THE LIFE 
 
 picture of great effect and finely composed. In 
 the ceiling of the church there are three circular 
 pictures, the subjects of which are David returning 
 thanks after killing Goliah, the Sacrifice of Isaac, 
 and Cain slaying Abel. The design and fore- 
 shortening of these figures are not inferior to the 
 ideas of Michel Angelo ; that of Cain particularly, 
 is one of the grandest efforts of Titian s powers, and 
 has a most surprising effect at the point it is viewed 
 from. In the angles are four doctors of the church, 
 (one a portrait of himself,) which are no less strik- 
 ing from a certain " sprezzo di maniera " which 
 Titian possessed, than from the perfect knowledge 
 he had of accommodating his figures to the dis- 
 tance from which they were to be viewed. 
 
 At this period he produced the following por- 
 traits, Giovanni di Medicis, the Duke of Alba, 
 another of Aretine, and of his daughter Adria 
 threading a needle. 
 
 In the ceiling of a room belonging to Aretine he 
 painted Marsyas flayed by Apollo, Mercury be- 
 heading Argus, St. John's head in a charger, which, 
 at the suggestion of his friend, he took from a 
 marble figure done by Sansovino, and a singularly 
 fine portrait of Donna Ehzabetha Massola, whose 
 praises are recorded by Ariosto. 
 
 For the Cathedral of Trevigo he painted an 
 Altar piece, the Annunciation, with grand archi- 
 tecture in the back ground, over which was placed 
 the portrait of Brocardo Malchiostro, a Canon of 
 
AND WORKS OF TITIAN. 
 
 31 
 
 the Church, by whom the Altar was erected ; in 
 the Scuola de Sacramento adjoining, was the 
 Resurrection of Christ supported by Cherubs. 
 
 For the Chapel of the Nichisole family in the 
 Cathedral at Verona there is a very fine picture of 
 the Assumption of the Virgin ; the figures are of 
 the size of life, and, in the group of the Apostles, 
 Titian has introduced his friend Michaele san 
 Michiale, the distinguished architect of Verona. 
 Ridolfi says, that the heads in this picture are so 
 ably managed in point of light and shade, as to 
 produce a most beautiful effect. 
 
 In the Church of San Vagaro at Brescia, there 
 is a picture, in the most delicate manner of the 
 Master, consisting of five compartments. The 
 Resurrection is the center one, and the figures of the 
 Virgin, an Angel, St. Vagaro, and St. Sebastian, 
 form the other four. He also painted for the city 
 of Brescia three pictures, each fourteen feet square; 
 the first represented the City in the figure of a fe- 
 male in armour, surrounded by lakes and rivers, 
 emblematical of its situation ; in the second, Ceres, 
 with sheaves of corn, indicating the fertility of 
 the soil ; in the third, the Cyclops forging arms, 
 stamped with the Lion of St. Mark, in allusion to 
 those of Venice being manufactured at Brescia. 
 These pictures unfortunately, with other of his fine 
 Works, perished by fire, and the last mentioned 
 subject has alone been preserved by an engraving. 
 
 At Milan Titian executed, for the Church of 
 
32 
 
 NOTICES OF THE LIFE 
 
 S. Maria della Grazia, one of his most celebrated 
 works, in which the soldiers are in the act of 
 mocking our Saviour, and forcing down on his 
 head the crown of thorns. The expression of 
 calmness and resignation in the countenance and 
 attitude of Christ, contrasted with the violence 
 and indignation which mark those of the Execu- 
 tioners, cannot be surpassed ; one of them in ar- 
 mour is offering him a mock sceptre, and they are 
 all engaged in treating him with the utmost bar- 
 barity. This may be considered as one of the 
 great pillars on which the reputation of Titian 
 rests, so admirably does it combine every quality 
 that constitutes a fine picture, in point of compo- 
 sition, in the magic of the penciling, and in the 
 truth of colour ; all which are eminently displayed 
 in the figure of Christ. Even Mengs, with all his 
 causticity, says, that it characterizes Titian as one 
 of the Patriarchs of the Art, and that a more popu- 
 lar picture does not exist. Over an archway is a 
 bust of Tiberius with his name, and on the picture is 
 seen " Titianus F." This picture was carried away 
 by the French and placed in the Museum at Paris, 
 but being purposely taken down and concealed, at 
 the time of the restitution of the other plunder in 
 1816, it was not reclaimed, and continues to be 
 one of the prime ornaments of that collection. 
 There is an old print of it by le Febvre and a mo- 
 dern one done at Paris by Massieu called Le 
 Couronnement d'Epines. 
 
AND WORKS OP TITIAN. 
 
 33 
 
 Titian's reputation was raised so much by this 
 noble work that several Princes solicited him to 
 visit their courts. In the year 1548 he went to 
 Rome, at the request of the Cardinal Farnese, 
 where he again painted the portrait of Paul III. 
 sitting in conversation with the Duke Ottavio 
 and the Cardinal, for whom he also executed a 
 second picture: 
 
 During his residence at Rome he was introduced 
 to Vasari, who informs us, that he had great plea- 
 sure in accompanying Titian in viewing that city. 
 Apartments were appointed for him in the Bel- 
 vedere Palace, and it was there that Michael 
 Angelo, together with Vasari, called upon him to 
 see the Picture of Danae, just finished, and on 
 which they bestowed great commendations. In 
 talking over the picture after their departure, 
 Michael Angelo expressed his great gratification 
 at what he had seen, and how particularly he was 
 pleased with the colouring and manner, but said, 
 it was to be regretted that the Venetians were not 
 sufficiently versed in drawing, and that they had 
 not a better mode of study, for had Titian been 
 as well acquainted with art as he was with na- 
 ture, he could not have been surpassed, for nothing 
 could be more spirited than his manner. This 
 picture is now at Naples. 
 
 Adonis parting from Venus was another of his 
 productions at Rome ; the figures are somewhat 
 less than life, the carnations are very rich and 
 
 F 
 
34 
 
 NOTICES OF THE LIFE 
 
 beautiful^ and the countenance of Venus endea- 
 vouring to detain her lover from the chase, is full 
 of expression. The picture that was formerly in 
 the Farnese Collection is now in the Capo di 
 Monte Palace at Naples, and is probably the best 
 he painted of this subject ; he repeated it several 
 times, chiefly varying the back-ground and sky. 
 
 For these works Titian was very handsomely 
 remunerated 5 and the Pope bestowed a large bene- 
 fice upon his son Pomponio, and offered him the 
 Bishoprick of Ceneda, but Titian did not think 
 his son competent for such a situation. Still desi- 
 rous of retaining the Painter in Rome, the Pope 
 wished to appoint him to the place styled Officio 
 di Piombo, vacant by the death of Sebastiano, in 
 1547; but he declined the appointment, not choos- 
 ing to abandon the society of Ariosto, Sansovino, 
 and his other friends residing at Venice. 
 
 About the end of this year, at the invitation of 
 Charles V. he joined the Imperial Court held at 
 Innspruck and at Augsburgh, with a train of dis- 
 tinguished young persons and attendants. 
 
 He took with him an extraordinary fine picture 
 on stone of a dead Christ, and another of a beau- 
 tiful Venus. The Emperor, then advanced in years, 
 sat to him for the third time; the costume he 
 chose to be painted in was brown armour enriched 
 with gold. During the time of sitting Titian hap- 
 pening to drop one of his pencils, the Emperor 
 took it up, and on the Artist expressing how un- 
 
AND WORKS OF TITIAN. 
 
 35: 
 
 worthy he was of such an honour^ Charles replied, 
 that Titian was worthy of being waited upon by 
 Caesar." While attending this court he was em- 
 ployed on the Portraits of various illustrious per- 
 sonnages of the House of Austria^ and was often 
 required to introduce himself into the composition. 
 
 Ridolfi states the price received by Titian for 
 each portrait of the Emperor to have been 1000 
 crowns ; but in further reward, and as a mark of 
 high consideration, he was created " Cavaliere," 
 his Imperial Patron buckling on the golden sword 
 with his own hands, and at the same time con- 
 fering on him the title of Count Palatine, with 
 letters of nobility to himself and his descendants, 
 accompanied with many important immunities. 
 
 To support his rank, an assignment of 200 
 ducats annually was given him on the Chapter at 
 Milan, and his son Pomponio was appointed a 
 Canon of that Cathedral, and to his son Orazio a 
 pension of 500 Crowns, besides being natura- 
 lized in Spain. Charles V. became so partial to 
 Titian that he gave him permission to enter the 
 Royal apartments at pleasure, and to attend on 
 his person with the Ambassadors of the different 
 Courts wherever he went. These unusual marks 
 of favor on the part of this liberal Emperor, ex- 
 cited the envy of the courtiers, who exclaimed 
 against his associating with a Painter : this having 
 reached the Monarch's ears, he replied that he 
 
36 
 
 NOTICES OF THE LIFE 
 
 could find many Princes, but there was but one 
 Titian in world." 
 
 At Innspruck Titian painted Ferdinand, King of 
 the Romans, his Queen Maria, with seven of their 
 Sons on the same canvas, for which he received a 
 jewel from the Queen at each sitting, with other 
 remunerations bestowed on him by Ferdinand, 
 and a grant to his Brother Francesco to cut tim- 
 ber in the Tirol, adding thereto a gift of 300 scudi 
 out of the duties or customs ; at the same time 
 the portrait of Maximilian, the Brother of Ferdi- 
 nand, afterwards Emperor, and those of other 
 Princes, were painted by him. 
 
 After remaining three or four years in Germany, 
 he carried back with him to Venice the sum of 
 11000 Crowns which he had received during his 
 residence there, and on his return he was employed 
 on the portrait of the Cardinal of Trent ; and he 
 made an offer to the Doge F. Veneiro, to paint 
 three large historical pictures for the Sala di gran 
 Consiglio ; but it may be doubted whether they 
 ever were executed. By order of Charles V. he 
 produced a figure of St. Sebastian, afterwards 
 placed by Philip II. in the Sacristy of the Escurial, 
 and a picture of considerable dimensions which is 
 known by the name of Paradise, or the Apotheosis 
 of Charles V. In the upper part is the Trinity 
 surrounded by Cherubims, the Virgin praying, and 
 behind her St, John the Baptist on the right, to 
 
AND WORKS OF TITIAN. 
 
 37 
 
 the left Charles V. and his Empress in a suppli- 
 cating- attitude^ their Crowns lying at their feet, 
 and below them Titian has introduced his own 
 portrait ; the centre figure is Noah holding up the 
 Ark, Moses with the Tables, which are likewise 
 sustained by St. John the Evangelist supported on 
 his Eagle, David to the right, with his harp, and 
 a female figure representing the Church is extend- 
 ing her arms towards the Emperor, others of the 
 Evangelists and Martyrs make part of the compo- 
 sition, whose figures, Ridolfi says, Titian studied 
 from the Antique ; a very beautiful landscape is 
 seen at the bottom of the picture. 
 
 This magnificent work, termed the Glory of 
 Titian, was carried by Charles V. with him into 
 Spain at the time of his abdication, and placed in 
 the monastery of St. Juste, seven miles beyond 
 Piacenza in Estramadura, to which he retired. 
 After his death it was brought by Philip II. to the 
 Escurial, and is now in the Sala aulilla of that 
 Palace. Engraved by Cornelius Corte in 1566. 
 
 For the Emperor he also painted the Virgin in 
 meditation on Christ's Passion, on stone, which is 
 reported to be a very capital work, probably the 
 Mater dolorosa in the old Church of the Escurial. 
 This picture was accompanied by a letter to 
 Charles. And lastly, a very large picture of 
 Religion persecuted by Heresy. The Catholic 
 Faith is represented by a beautiful and modest 
 
38 
 
 NOTICES OF THE LIFE 
 
 Virgin naked, kneeling on a stone, and leaning 
 against a lofty tree, being beset by a multitude 
 of serpents: the stone is supposed to be the foun- 
 dation of the Catholic Church, and the Tree our 
 Redeemer. Heresy is designated by the serpents. 
 The Cross and Chalice are lying on the ground, 
 and on the side of Faith is Hispania as a martial 
 female defending her. Upon the sea in the dis- 
 tance the Turk appears, drawn in a car by Sea 
 Horses. The figures are nearly as large as life, 
 and the canvas measures two yards by two and a 
 half in height. 
 
 After the death of Charles V. Titian continued 
 in the service of his successor, Philip II. with the 
 title of His Painter, and for whom he executed a 
 very capital work, the subject of which is Christ 
 praying in the Garden, an Angel presenting the 
 cup to him. Nothing can be more striking than 
 the effect produced in this picture^ The darkness 
 of the night is broken in upon by a gleam from 
 the moon : one of the soldiers coming forward to 
 lay hands on the Saviour carries a lantern, which 
 illuminates the nearest group, the second receives 
 a dubious light from the moon, and the remainder 
 is lost in obscurity. The effect of this picture is 
 said to call to mind Raphael's Deliverance of St. 
 Peter from prison in the Vatican. Philip received 
 it in 1558, with a letter, in which Titian pleads 
 for the more punctual payment of his pension^ 
 
AND WORKS OF TITIAN. 
 
 39 
 
 which the Monarch gave immediate orders for. 
 It is preserved in the Capitolo Priorial in the 
 Escurial. 
 
 Titian also painted Christ taken down from the 
 Gross, lying in Mary's bosom, and other sub- 
 jects devotional as well as poetical, for Philip; all 
 of which are probably still in Spain. He also 
 shewed the extraordinary power and universality 
 of his talents in the Martyrdom of St. Lawrence, 
 the composition of which is in a very grand style. 
 Titian here, as in the Christ in the Garden, has 
 availed himself of the solemnity of night illumi- 
 nated in various ways ; a blazing flame from an 
 iron vessel throws a light on the principal group, 
 and on the rolling clouds, approaching the earth, 
 in which two angels appear with the palm of 
 martyrdom, very similar to those in the St. Peter, 
 * and the smoke curling in various directions, in- 
 termingles with the clouds, producing an asto- 
 nishingly grand effect. On the base of a statue 
 of the Virgin, supported by an enriched pedestal, 
 is written, " Invictiss. Philippo Hispaniarum regi 
 D." Twiss mentions it to be in the old Church, 
 at the Escurial, over the great altar, and that 
 it is of a very large size. A similar picture is 
 said to be at Venice. Spiritedly engraved by 
 C. Corte, 1571. It appears that the engravings of 
 Corte and Le Febvre partake more of the spirit 
 of Titian's outline and manner than the more 
 modern ones. 
 
40 
 
 NOTICES OP THE LIFE 
 
 . He also painted for Philip the Tribute Money, 
 half the size of nature, placed in the Sacristy of 
 the Escurial ; the Adoration of the Magi and the 
 Burial of Christ are in the old Church. But, says 
 Ridolfi, nothing can go beyond the figure of the 
 Magdalen done at this time for Philip II. There 
 is a good print from it by C. Corte, 1566. Titian 
 took the idea from an antique statue in his 
 own possession, but availed himself of nature in the 
 person of a young girl in his neighbourhood, who 
 being fatigued by long standing, the tears ran 
 down her face, and Titian attained the desired ex- 
 pression. So intent was he on what he was about, 
 that it is said he neglected taking his ordinary 
 repast. In point of colouring and lovely expres- 
 sion Titian never surpassed this picture, which 
 from the pains and labour he bestowed on it must 
 have been a favorite subject. The fine landscape 
 back ground, and all the accompaniments are 
 equally attended to. In sending this to Philip, 
 he took the opportunity of renewing his solicita- 
 tions for the arrears of his pension, in which he 
 says he joins his tears with hers, to obtain the 
 payment of them. Philip sent accordingly a pe- 
 remptory order for that purpose. 
 
 He also painted two more of the same subject, 
 not inferior to the first, one of which was sold to 
 D. Silvio Baduario for a hundred silver Crowns, 
 and purchased after his death byElinoni, a Flemish 
 merchant, for 500, and sent to Flanders. The 
 
AND WORKS OP TITIAN. 
 
 41 
 
 other remained in Titian's house, and was bought 
 of his son by the Barbarigo Family, in whose 
 palace it now is, 1827. This subject he painted 
 several times with different back grounds, but 
 without any material variation in the figure, ex- 
 cepting in that engraved by Martin Rota, where 
 the Magdalen is leaning forward over an open 
 book, in which is written, Domine exaudi orati- 
 onem meam, et domus mens ad te veniet, non 
 avertas faciem tuam a me ;" in the back ground 
 are seen two streams of water gushing from a rock. 
 He also executed for Philip a Venus and Adonis, 
 and the Rape of Europa, both now in the King's 
 Supper Room of the New Palace. Perseus and 
 Andromeda, and Pan and Syrinx, are in the same 
 Palace. 
 
 Having been occupied during seven years on 
 the celebrated picture of the Last Supper, Titian 
 at length sent it to Philip, with a letter petition- 
 ing once more for the payment of his arrears. 
 The king was so struck with the excellence of the 
 performance, that he sent him in return a present 
 of 2000 crowns, issuing at the same time an order 
 to the government of Milan for the punctual pay- 
 ment of his pension in future. 
 
 The punishments of Tantalus, Sisyphus and 
 Prometheus were painted for our Queen Mary 
 when wife of Philip 11. such subjects according 
 with her severe and gloomy disposition ; but no 
 doubt they are among the grandest single figures 
 
 G 
 
42 
 
 NOTICES OF THE LIFE 
 
 that ever came from his pencil ; the attitudes are 
 admirably varied, and their bold and correct out- 
 line may stand in competition with that of Mi- 
 chael Angelo. In the back ground of the Tantalus, 
 Pluto's fiery palace is seen rising to the sky, with 
 divers infernal figures flying within and without. 
 The Prometheus and Sisyphus are in the King's 
 antichamber in the New Palace. He painted a 
 Flagellation for the Queen of Portugal ; and in 
 1554 he sent to Mary, Queen of England, a holy 
 family in a landscape, with a boy leading a horse 
 in the distance ; which picture, after Charles's 
 death, was bought, and given to Philip IV. by Don 
 Luiz Mendez de Haro, and now hangs in the 
 Capitolo Vicario in the Escurial. 
 
 Among the following eminent men who sat for 
 their portraits to Titian, may be enumerated. 
 
 Pope Julius, called Julio della Rovere before he 
 became Pope. 
 
 Clement VII. known by the name of Jules de 
 Medicis ; elected Pope in 1523. 
 The Cardinal of Medicis. 
 Accolti, of an antient Tuscan family ; born at 
 Florence in 1497, made Cardinal in 1527. 
 Duke of Saxony, when young. 
 Peter Bembo in old age. 
 Francis I. This portrait is in profile, and Vasari 
 is of opinion it was painted a short time before 
 he returned to France, after his imprisonment, 
 when he was about 31. He is in a purple dress 
 
AND WORKS OP TITIAN. 
 
 43 
 
 with a hat and feather on his head, his right hand 
 grasping his sword. This fine portrait is well 
 preserved, and equal to any of the Master. Crozat 
 and Mariette conjecture that the head was taken 
 from a medal, as it shows a certain degree of 
 stiffness. There is a fine modern engraving of it 
 by le Roux, and one by Boutrois. 
 
 Solyman, the second of the name who was 
 Emperor of the Turks. His portrait with that of 
 Charles V. is among the spectators in the great 
 picture of the Ecce Homo before mentioned. 
 
 The Duke of Savoy. 
 
 The Doge M. Ant. Trevisano. 
 
 The Doge Pietro Lando, in the act of walking. 
 
 The following portraits were in the house of 
 Pietro Lando. 
 
 Sforza, Duke of Milan. 
 
 The Marquis of Pescara. 
 
 Don Diego di Mendoga, and others. 
 
 At Padua in the possession of Sig. Canonico 
 CoNTi is the portrait of Sperone Speroni, where 
 a boy is introduced playing with a Lion, alluding 
 to some incident of Speroni's life. 
 
 Fracastorius, the Poet. 
 
 Fran. Filetto, a Venetian lawyer^ and his Son 
 on the same canvas. 
 
 Torquato Bembo and his Wife, together with 
 the portrait of a Cardinal. 
 
 Saint Margaret standing 
 
 Monsignore Ludovico Becatello sitting in a 
 
44 
 
 NOTICES OF THE LIFE 
 
 chair, holding in both hands a writing ; a pointed 
 cap on his head. He was a native of Bologna, 
 and employed as nuncio at Venice. This fine por- 
 trait is celebrated by Aretine. Engraved lately 
 by C. Ulmer. 
 
 Paolo dal Ponte and Nicolo Zono. 
 
 Alessandro degli Organi. 
 
 Pietro de' Benedetti. 
 
 For his friend Nicolo Crasso, a Lawyer, (whose 
 portrait is introduced in the Presentation of the 
 Virgin in the Scuola della Caritd at Venice, in 
 black, next to the Doge in red), he painted, at the 
 age of 86, St. Nicholas with an Angel holding his 
 mitre, executed in a broad style with wonderful 
 freedom. A Magdalen similar to those already 
 mentioned. A capital picture of Venus admiring 
 herself in a glass, accompanied by two Cupids. 
 A young girl with a basket of fruit in her hand, 
 said to be the likeness of his own daughter Cor- 
 nelia. And the Graces, with Cupid and other 
 figures. 
 
 In the Aldobrandi Palace, 
 
 A picture similar to that of Religion, done for 
 Charles V. 
 
 Two Shepherds playing on the flute in a Land- 
 scape. 
 
 The Virgin with St. Jerome, and St. Laurence 
 in a deacon's habit. 
 
 In the Marquis Giustiniani's collection is. 
 
AND WORKS OF TITIAN. 
 
 45 
 
 The Virgin and St. John playing with the young 
 Christ. 
 
 Sig. PiETRO Matte I has the portrait of Ant. de 
 Leyva, a celebrated General of Charles V. 
 
 In the LoMELLiNi Palace at Genoa, is a picture 
 of Venus and Adonis. And in the Pallavicini 
 Palace, are the Birth of Christ, and the Flight into 
 Egypt. 
 
 In the year 1781 the following pictures of Titian 
 were to be seen in the different Palaces at Genoa. 
 Gentili Palace. 
 Woman brought before Christ. 
 Portrait of a Philosopher. 
 The Virgin and Child. 
 
 Durazzo, Marcellini Palace. 
 A Magdalen. 
 
 Ceres, with Bacchus, nymphs and Cupids. 
 
 The Flagellation. 
 
 St. Jerome in the desert. 
 
 Another of the same. 
 
 A Philosopher. 
 
 Durazzo Palace. 
 
 The Virgin and Child, two shepherds and an 
 old man, figures one fourth the size of nature. 
 
 A very fine figure of our Saviour going to be 
 crucified ; in the chapel. 
 
 Brignole Palace. 
 
 A Portrait. 
 
 A Portrait of a man having a white beard, and 
 fur sleeves. 
 
46 
 
 NOTICES OF THE LIFE 
 
 Giorgio Dandi Palace. 
 An old man with a Dog. 
 The Crucifixion. 
 
 Spinola Palace. 
 Herodias with the head of St. John the Baptist. 
 A very fine picture. 
 
 Cambiasi Palace. 
 A Female Portrait. 
 
 A study of Christ carrying his Cross^ head very 
 fine. 
 
 Ambrose Doria Palace. 
 A Magdalen. 
 Venus admiring herself. 
 
 Mari Palace. 
 A female Portrait. 
 
 Portraits of Calvin and his supposed Wife, in 
 one piece. 
 
 At Verona, according to Ridolfi, in the House 
 of Sig. Francesco Muselli, are the following 
 pictures. 
 
 A Jeweller, to whom, an eagle with its wings 
 expanded sitting on a golden helmet, presents 
 with its beak and talons a collar of the same 
 metal, to which is suspended a medal of Sigismund 
 the second. King of Poland. 
 
 Charles V. holding a sceptre in his right hand ; of 
 this there is a large and coarse wooden cut. Two 
 fine portraits of the Anna family, one with a white 
 beard, the other without a beard. 
 
 The finished study measuring 2ft. Hin. by 1. 11. 
 
AND WORKS OF TITIAN. 
 
 47 
 
 for the celebrated Magdalen, of which there are 
 several repetitions by Titian. The character in 
 this model is more beautiful than in any of the 
 larger and more finished pictures, and the tints are 
 blended with a sweet and tender pencil. It is now 
 in a private collection in London. Three designs 
 for the Marriage of St. Catherine. The Virgin 
 and Child, St. John when young, with St. Jacob. 
 Christ appearing to Mary Magdalen. Two other 
 pictures in which the Virgin and Saints are in- 
 troduced. 
 
 For Fran. Assonico, a lawyer, his portrait. The 
 Virgin and Child to whom an Angel is giving 
 dates, an ass feeding in the distance. A female 
 with a man by her playing on the organ. 
 
 Among the distinguished female portraits by 
 the hand of Titian, are 
 
 Rossa, wife to Solyman, Emperor of the Turks. 
 
 Cameria, her daughter, celebrated for her beauty. 
 
 A Lady of the Marcella family. 
 
 Giulia di Ponte, of the same family. 
 
 Irene di Spilimbergo, a young Lady of great 
 beauty, and possessed of superior endowments, 
 excelling in music and drawing, with a consider- 
 able share of learning. She was the favorite theme 
 of the poets of her time. Dionigi Atanagi mentions 
 three sonnets sent by her to Titian, in her own 
 hand writing, with his replies. She died at the 
 early age of eighteen. 
 
 For Monsignore della Casa, the Pope's nuncio 
 
48 
 
 NOTICES OF THE LIFE 
 
 at Venice, a very handsome Venetian Lady, cele- 
 brated by Ariosto. 
 
 Verdizzoti, Titian's friend, was possessed of two 
 figures, Apollo and Diana, and also the portrait 
 of a very handsome female. 
 
 Ticozzi mentions in his dictionary some fine 
 works of Titian to be in the Gallery of Count 
 Teodoro Lecci at Milan, also a capital and well 
 preserved production painted in 1539, belonging 
 to Sig. DoMENico Belosi, besides other of his pic- 
 tures in the Museum of that City. 
 
 A sleeping Nymph, from the Duke of Alva's 
 Collection, was carried away by the Prince of 
 Peace, but sent back to Spain. 
 
 In the DussELDORF Gallery, now forming part of 
 that at Munich, are some fine portraits of men by 
 Titian, on one of which Sir J. Reynolds makes the 
 following observations, in his Tour to the Low 
 Countries " a portrait of a Gentleman, by Titian, 
 a kitcat ; one hand a kimbo, the hand itself not 
 " seen, only a bit of the ruffle ; the other, the left, 
 " rests on what appears to be his sword ; he is 
 " looking off. This portrait has a very pleasing 
 countenance, but is not painted with much faci- 
 " lity, nor is it at all mannered ; the shadows are 
 of no colour, the drapery being black, and the 
 ground, being nearly as dark as it, prevents the 
 " arm a kimbo having a bad effect it is no small 
 " part of our Art, to know what to bring forward 
 " in the light, and what to throw into shadow." 
 
AND WORKS OP TITIAN. 
 
 49 
 
 The Marquis of Bevilacqua has a picture of 
 the Madonna and Child, Joseph and St. John, 
 with two Angels, in a woody scene. 
 
 In the BoRGHESE Collection at Rome, there were 
 before the French revolution several fine pictures 
 of Titian, viz. 
 
 The portrait of himself and his Mistress. 
 
 A Man s portrait. 
 
 The Madonna and Child, with other saints. 
 Christ disputing with the Doctors. 
 A Madonna. 
 
 Sampson and Dalilah : there is an old wood 
 cut of this subject. 
 Portrait of a Nun. 
 Lucretia. 
 
 The Flagellation of Christ. 
 Machiavel, with Cardinal Borgia. 
 The last Supper. 
 Two portraits of Men. 
 St. Sebastian. 
 
 The Woman brought before Christ. 
 A Madonna. 
 A Holy Family. 
 Portrait of a Cardinal. 
 
 A Man drinking, now in a private Collection in 
 London. 
 
 Birth of Christ. 
 
 Madonna and Child, and another figure. 
 Venus sleeping, Cupids and a Satyr at play. 
 Two Portraits. 
 
 H 
 
50 
 
 NOTICES OF THE LIFE 
 
 Venus sleeping". 
 
 A repetition of the Venus of the Florence gal- 
 lery. 
 
 A Portrait. 
 
 Portrait of a Lady^ with two men. 
 A small Portrait of a Lady. 
 A picture representing a whole Family. 
 Venus blinding Cupid, engraved by Strange ; a 
 very capital picture. 
 
 The Madonna, with St. Catherine. 
 
 A Madonna. 
 
 A Portrait. 
 
 Two Men s Portraits. 
 
 Portrait of a Lady. 
 
 The Magdalen. 
 
 A Magdalen from the Borghese was bought 
 for four hundred guineas, by Mr. Walsh Porter, 
 vide Buchanan, 179, vol. ii. 
 
 The Madonna, with various Saints. 
 
 Lady's Portrait, with light coloured hair. 
 
 The three Graces, engraved by Strange. 
 
 The Tribute Money. 
 
 Portrait of Bramante. 
 
 In the DoRiA Pamphili Palace, a portrait of 
 Andrea Doria, three-quarters, looking to the left, 
 and Titian's own portrait among the collection of 
 Artists. 
 
 Martin Luther, the same Palace. 
 Jeanne Vesella, paintress, Titian's daughter, 
 engraved by Hollar, 1650. 
 
AND WORKS OF TITIAN. 
 
 51 
 
 Two Women and a Boy with a Cupid looking 
 at himself in a fountain, engraved by Strange ; a 
 very fine picture. 
 
 Return of the Prodigal Son. 
 
 A Portrait. 
 
 Portrait of a Lady. 
 
 A Madonna. 
 
 Head of a Shepherd. 
 
 A Lady's Head. 
 
 RiDOLFi mentions that Sig. Cassiopina took 
 with him to Antwerp two subjects of devotion, 
 and Sig. G. Van Uffel who resides there, has the 
 following. 
 
 Death of Pyramus. 
 
 Cupid lamenting. 
 
 Virgin and Child, and St. Jerome in a Cardi- 
 nal's dress. 
 
 St. Francis and the Archangel Michael, half 
 figures. 
 
 St. Jerome praying in a cave. 
 An Ecce Homo. 
 
 A young Girl, said to be Cornelia Titian's 
 daughter, holding a basket with two lemons in it. 
 D. Barbaro with his hand on a Book. 
 Aretine with a laurel branch. 
 A Greek Patriarch. 
 
 A Jeweller with a string of pearls in his hand, 
 near a table, in Charles the First's collection. 
 A bald headed Man. 
 
 Portrait of a very handsome widow, probably 
 
52 
 
 NOTICES OF THE LIFE 
 
 that of Catherine Cornaro, in the Dresden Gal- 
 lery. 
 
 Another of his own daughter, differing from the 
 last mentioned. 
 
 Virgin and Child, St. John, and St. Joseph, in a 
 Landscape. 
 
 Virgin under a Tree, with St. Antonio Abbate. 
 
 St. Francis and St. Jerome, size of life, consi- 
 dered as one of his finest works, engraved by Le 
 Febvre. 
 
 In the house of M. Bonfio at Padua, a Ma- 
 donna, and many other pictures of Titian are to 
 be found. 
 
 In the Palagio d'oro, belonging to the Duchess 
 Grimani, is our Saviour carrying his Cross, a sol- 
 dier having a dagger by his side. 
 
 In the Cabinet of Sig. Galeazzo Belogio, is a 
 whimsical design of a female with naked arms, 
 holding on her knees the globe of the World, in 
 which a little transparent child is seen ; a young 
 man is near with snakes in his hand, and a monster 
 with a dish full of fruit. It is supposed to allude 
 to Divine Providence; the child (according to 
 Plato) is the soul of the world : the two figures 
 are meant to represent Anger and Concupisence. 
 
 At Ferrara, the Marquis of C. Bevilacqua has 
 a picture of the Virgin pressing Christ to her 
 bosom, to whom St. John is conducting a lamb, 
 St. Catherine holding her arms over him. " Titianus 
 inventor," on a stone step. 
 
AND WORKS OF TITIAN. 
 
 53 
 
 The portrait of the great Chancellor Fraii- 
 chescini. 
 A St. Sebastian. 
 
 Sig. Jacomo Pighetti, has a fine head of a 
 middle aged man. 
 
 Sig. Bartolo da Fino^ portrait of Martino, a 
 Sculptor, when young. 
 
 Sig. Franc. Buyonico, a man with a short 
 beard holding some jewels. 
 
 In the Cabinet of Sig. Christoforo Orsetti, a 
 fine portrait of a man, somewhat in Giorgione's 
 manner, whose hair comes half way down his 
 ears, with a roundish beard beginning to turn 
 grey. He is in a black robe trimmed with martin's 
 skin, thrown negligently over his shoulders, in 
 his right hand he holds a written scroll of paper ; 
 now in a private Collection in London. 
 
 Christ bound to the pillar ; a very fine picture. 
 
 Sig. Battista Rota of Bergamo, has a figure 
 of the Virgin. 
 
 And in the Cabinet of Bartolomeo della 
 Nave, are sundry pictures of devotion, among 
 others the Virgin with several Saints. 
 
 The Woman brought before Christ, and other 
 portraits of Men and Women. 
 
 In the apartments of the Procuratia, are por- 
 traits of divers Procurators ; one, the Procurator 
 of Saint Marco, sitting in a chair, is engraved by 
 Franco Ferma; the church of the Capucins in 
 
54 
 
 NOTICES OF THE LIFE 
 
 the distance. Francesco Donato, Doge in 1545 ; he 
 built the Palace of St. Marco, died 1553: and 
 one of the Doge Donati. 
 
 The Cavalieri Gussoni, have at Venice, 
 
 A Madonna. 
 
 A portrait of an old man in black, with his 
 hand on his side. 
 
 A Landscape in which Saint Catherine is ca- 
 ressing the young Christ. 
 
 A portrait of Hyppolite d'Este, similar to that 
 described before. 
 
 A Woman, half length, with two soldiers. 
 
 The Senator Grimani, has a picture of the 
 Virgin with certain Saints. 
 
 Sig« Fran. Contarino, a Madonna with the 
 child on her knee. 
 
 In the Gallery of the Senator Dom^. Buzzieri, 
 are two portraits, one of a young man of a florid 
 complexion, the other of a grown up person. 
 
 Titian's portrait done in a mirror in his old 
 age, with Francis Mosaico, showing a drawing on 
 a card. This picture Buchanan says is in the pos- 
 session of the Earl of Darnley. 
 
 Christ giving the Benediction. A Magdalen in 
 contemplation. St. Francis, half figure. 
 
 Portrait of Vicentio Capella, a renowned naval 
 commander, in brown armour, relieved by strong 
 lights, which reflect his purple mantle, that hangs 
 over his shoulders. 
 
AND WORKS OF TITIAN. 
 
 55 
 
 In the Casa Barbarigo at Venice, are the fol- 
 lowing : 
 
 A Magdalen, similar to that sent to Philip II. 
 a picture of the finest quality ; the colouring rich, 
 painted with a very vigorous pencil ; the landscape 
 in the back ground spirited and mellow ; it is in 
 perfect preservation. 
 
 Mary holding the alabaster box of ointment, 
 unfinished. 
 
 Christ carrying his Cross, assisted by Simon of 
 Cyrene, which is the portrait of his friend Franc. 
 Mosaico : the heads are very fine, though it is 
 unfinished. A picture of the same subject and 
 size, is in a private Collection in London, but much 
 further advanced towards finishing. 
 
 Saint Sebastian, whole length standing, size of 
 life, little more than a study, but the freedom 
 and boldness of the pencilling, and the variety of 
 unbroken tints, produce a very striking effect, 
 and illustrate Titian's mode of beginning his pic- 
 tures. 
 
 Portrait of Paul III. 
 
 Portrait of Philip II. 
 
 The Doge Gritti sitting, a very capital picture 
 of his best time. 
 Francis I. in profile. 
 The Doge Grimani. 
 
 A Venus to the knees, looking in a glass with 
 two Cupids. 
 
 Pan and Syrinx, unfinished. 
 
56 
 
 NOTICES OF THE LIFE 
 
 These pictures were in Titian's house at the 
 time of his deaths and were purchased by the Bar- 
 barigo family, with whom many are still remaining. 
 
 The Sig''. Malispieri di San Janucello, have 
 a Madonna and Child. 
 
 The Portrait of Cattarina Malispieri killed in 
 an engagement, 1571. 
 
 Giovanne Reinst, a Flemish gentleman, has 
 the portrait of an aged Senator, in a dress orna- 
 mented with gold ; a very fine picture. 
 
 A small figure of St. Francis, the Cross in his 
 hand, in a rocky landscape. 
 
 The Virgin near a rose tree, contemplating the 
 infant lying on the ground, in the distance the 
 Angel Raphael walking, reckoned an extremely 
 fine picture. 
 
 Sig. Paolo della Lena, possesses a landscape 
 with small figures and animals. 
 
 Sig. Bernardo Giunti, has a small portrait, 
 very capital in point of colour. 
 
 The Cabinet of the Sig"'. Vidmani contains a 
 number of Titian's best easel pictures among them. 
 
 The Virgin, Christ, and St. John holding out a 
 scroll with Agnus Dei upon it. 
 
 A Female figure representing History, a boy 
 holding a scroll. 
 
 RiDOLFi takes this opportunity of stating, " that 
 in giving an account of Titian's pictures, I have 
 been anxious not to consider any as of his paint- 
 ing, which I have not myself seen, or obtained 
 
AND WORKS OF TITIAN. 
 
 57 
 
 satisfactory evidence of their originality, from 
 those whose judgement can be depended upon. 
 
 Aboiit the year 1570, Cornelius Cort, a Flemish 
 engraver, was received into Titian's house, where 
 he engraved the Paradise Lost, — the Martyr- 
 dom of St. Laurence. — St. John in the Desert. — 
 Calisto. — Prometheus. — St. Jerome in the Desert. 
 — Sisyphus. — Tantalus. — Andromeda, and several 
 others, having the advantage of working under 
 Titian's own eye and instruction. 
 
 Titian painted on panel, Pharoah in the red sea, 
 from which is a wood cut in four sheets. 
 
 The Virgin and St. Ann in chiaro scuro, placed 
 near the tomb of Luigi Trevesani, in the Church 
 of St. Peter and St. Paul, at Venice. 
 
 The birth of Christ. 
 
 Saint Francis receiving the Stigmata. 
 
 Saint Jerome in the Desert. 
 
 Sampson and Dalilah : from the three last there 
 are large wood cuts. 
 
 Certain Animals. 
 
 A singular fancy of three Monkies entwined 
 with Serpents, in imitation of the Laocoon, en- 
 graved on wood. 
 
 Titian also composed several Cartoons for Mo- 
 saic work, in the Church of St. Marco. 
 
 For his own family chapel, he did a picture of 
 the Virgin and Child, adored by Bishop Titian, 
 (a relation) together with St. Andrew, in which 
 he also introduced his own portrait, holding the 
 
 I 
 
68 
 
 NOTICES OF THE LIFE 
 
 Crozier ; Titianus IN. P." is seen, and it is en- 
 graved by Le Febvre. 
 
 For the Church of St. Maria Maggiore de Ser- 
 RAVALLE, he painted in a very bold style, the Virgin 
 in glory, surrounded by Angels ; in the distance 
 Christ on the sea shore calling Peter and St. An- 
 drew, the first of whom is in purple, holding out 
 the keys in one hand, and a book in the other. 
 
 For the City of Ancona, he did a Crucifixion 
 with St. John and St. Dominic. 
 
 And for the Friars of Zoccoli, a St. Francis. 
 
 In the Church of the Crociferi at Venice, is 
 the Martyrdom of St. Laurence, similar to that 
 sent to Spain. This picture became injured by 
 the atmosphere, arising from an excavation made 
 near it. 
 
 For St. Maria nova, a small picture of St. 
 Jerome, holding a Crucifix, with the lion by 
 him. 
 
 For the ceiling of the Fraternity of St. John, 
 The Vision of the Apocalypse. 
 
 The Rape of the Sabines in fresco, is in the 
 Court of the Palace of the Count Pitoni di Bel- 
 luno, with whom Titian resided during his an- 
 nual visit to Cadore ; engraved by Giampiccoli. 
 
 In St. Salvadore ; the Annunciation with Angels 
 hovering above ; but the persons who ordered it, 
 not being satisfied with the execution, Titian to 
 reprove their ignorance put his name in this 
 marked manner, " Titianus fecit, fecit." 
 
AND WORKS OF TITIAN. 
 
 59 
 
 For the same Churchy also the Transfiguration, 
 executed with bold and resolute strokes of the 
 brush. 
 
 For the Refectory of St. John and St. Paul; 
 the Last Supper, which was destroyed by fire. 
 
 In San Leone, a figure of St. James journeying, 
 only a sketch. 
 
 Titian had also begun other pictures, viz. 
 
 Christ lying in the Tomb. 
 
 Christ appearing to Mary. 
 
 Adoration of the Magi. 
 
 For the Cardinal of Ferrara, Iphigenias Sa- 
 crifice; the Priest is about to strike the fatal 
 blow, when an Eagle snatches the knife from 
 him. 
 
 A piece containing two statues, Eutinichius and 
 Rhodope, pouring water out of a vase, which forms 
 a fountain ; where young females are seen bearing 
 tablets around their necks, on which were in- 
 scribed their declarations of chastity — if true, the 
 water remained tranquil and at its level — but if 
 the contrary, it rose up till it touched the tablet. 
 The story is in the Greek Romance of Achilles 
 Tatius, called the Loves of Clitophon and Leucippe. 
 
 He left also in an unfinished state ; 
 
 The Doge Grimani in armour, wearing over it a 
 rich golden dress lined with ermine, on his knees 
 adoring the figure of Faith and the Cross seen in 
 the sky ; a page, in red, holding the Ducal cap, 
 and St. Mark with a book on the other side ; it 
 
60 
 
 NOTICES OP THE LIFE 
 
 hangs in the Pregradi at Venice, and was finished 
 by one of Titian's scholars, after his decease : this 
 picture, known by the name of la Fede, was car- 
 ried by the French to Paris, but restored in 1816. 
 
 The study for the Doge is in a private collection, 
 in London ; doubts have arisen if it were meant for 
 the Doge Grimani, as the supposed event took 
 place before he was Doge, but it should be recol- 
 lected that events of History were recorded in 
 pictures long after they occurred, witness the 
 battle of Ghiaradadda, &c. 
 
 There was also another unfinished picture, of 
 Christ lying dead in the Virgin's lap, supported 
 by St. Jerome, with the Magdalen having her 
 arms extended, which was intended for the Chapel 
 of Christ, in the Church of the Frari. This pic- 
 ture was finished by the elder Palma, who put 
 the following inscription on it. " Quod Titianus 
 inchoatum reliquit, Palma reverenter perfecit, 
 Deoque dicavit opus." * 
 Titian left several other pictures unfinished at 
 his death. 
 
 Ticozzi, describes a St. Jerome kneeling on 
 one knee, and holding a stone in his right hand, in 
 the act of striking his breast, with an hour glass 
 and a scull standing near; he has on a purple 
 mantle, and the lion is lying by him ; the light 
 penetrates through an opening in the cave, which 
 discovers a very beautiful landscape, in which the 
 greens are said to be uncommonly fresh : it was 
 
AND WORKS OF TITIAN. 
 
 61 
 
 sent to Charles V. with the picture of the Paradise^ 
 and placed also in the Convent of St. Juste. There 
 is another St. Jerome in the Museum at Milan, 
 of a smaller size, which was painted for a church 
 at Venice. 
 
 L°. Dolce records a Venus and Adonis sent 
 to Philip II. 
 
 In Titian s letter to Philip, which he sent with 
 the Danae, (a second picture,) 10th Sep. 1554, he 
 states that he had designed it in a different man- 
 ner from the first, in which the parte dinanzi, or 
 fore parts, were displayed. And in this la con- 
 traria, the hinder parts, which would better suit 
 the apartment intended for it. 
 
 Ticozzi says that St. John in the Desert, which 
 was in the Church of S. Maggiore is now in the 
 Academia della belle Arte at Venice. 
 
 Vasari notices that he left behind him an un- 
 finished picture of a naked young female praying 
 to Minerva; with another figure, Neptune in 
 his car at a distance ; for the Duke of Modena, 
 unfinished. 
 
 Christ appearing to the Magdalen and Virgin 
 Mary. 
 
 His own Portrait, very finely painted. 
 
 St. Paul reading, half figure, the countenance 
 full of inspiration. 
 
 Maier mentions a picture of Death dressed 
 like a Cavalier, etched by Theodore de Bry. 
 
62 
 
 NOTICES OP THE LIFE 
 
 The Daughter of Roberto Strozzi, whole figure, 
 playing with a dog; she is about eight or nine 
 years old^ and is mentioned as having been a most 
 beautiful and amiable child ; she has light hair, 
 and is draped in white; the dog is red and 
 white. In the Lettere familiare d'Aretino this 
 picture is very highly spoken of ; it was done in 
 1542, and still remains with the Strozzi family 
 at Florence; engraved by Cunego, in Gavin 
 Hamilton's Schola Italica. 
 
 Ticozzi records a capital picture of the Virgin 
 and Child, accompanied with St. Thomas d'Aquino 
 and another Saint, said to be in the house of Sig. 
 DoMiNico Petori, at Milan. 
 
 The Ages of Man, painted for the Pe krone i 
 family ; purchased by the Queen of Sweden for 
 1000 sequins ; came afterwards into the Orleans 
 Gallery, and is now in that of the Marquis of 
 Stafford. 
 
 He also mentions that at Villa Viciosa in Spain, 
 there is a picture of his best time, and very highly 
 finished, size of life, in which a Pope wearing the 
 Tiara, is presenting a warrior carrying the stan- 
 dard of the Church to St. Peter, which probably 
 is the same warlike churchman BafFo, mentioned 
 by Ridolfi in the picture of the Pesaro Chapel in 
 the Frari at Venice. 
 
 The Ganymede, now in the National Gallery of 
 Great Britain, from the Colonna Gallery at Rome ; 
 
ND WORKS OF TITIAN. 
 
 63 
 
 a picture done in Titian's best time, in which he 
 united the richest tints with grandeur of design ; 
 the Eagle is fine beyond description. 
 
 A Portrait of a Man with a chain round his 
 neck, and holding his gloves; in the print by 
 Manuel Esquival it is called that of an Asiatic ; 
 In the Royal Collection at Madrid. 
 
 Small Portrait, richly coloured, of Rhamnius, 
 Ranuccio, or Rannusis, a Venetian ; he was Secre- 
 tary to the Consiglio di Dieci of the Republic. 
 He wrote a Treatise on the Overflowing of the 
 Nile, and made a collection of Voyages in 3 vol. 
 folio, a work still in great request ; now in a pri- 
 vate collection in London. 
 
 A. Pallavicinus, Cardinal, sitting in a chair, with 
 a book open ; engraved by Arnold de Jode. 
 
 Flora, of which there are two, with slight va- 
 riations ; one is in the Vienna, the other in the 
 Florentine Gallery, both very fine pictures ; the 
 first engraved in the Teniers Gallery, and the 
 other by Gio. Rivera, 1826. 
 
 Titian's Son and Nurse, who is giving him 
 cherries : a deep toned picture, was in the Hough- 
 ton Gallery, now at Petersburgh. Engraved by 
 Murphy, 1778. 
 
 A Man with a Hawk in his hand, called in the 
 print by Skelton, 1811 — a nobleman of Cyprus; 
 belonging to the Earl of Carlisle. 
 
 A Lady in the character of St. Justine, said 
 to be the portrait of Catherine Cornaro, Queen of 
 
64 
 
 NOTICES OP THE LIFE 
 
 Cyprus ; in the landscape is seen a unicorn cou- 
 chant ; a very fine portrait in his rich and delicate 
 manner, the hands exquisitely painted. It came 
 from the Cornaro Palace at Venice, now in a pri- 
 vate collection in London. 
 
 In the Pinacoteca at Venice are preserved at 
 this time certain Mascheroni by Titian, which 
 constitute some of its principal ornaments, and may 
 be fairly classed among* his most sublime works. 
 They anciently formed part of the ceiling of the 
 Scuola di San Giovanne Evangelista, much of 
 which is now destroyed. 
 
 There is also to be seen in the Pinacoteca four 
 Gorgons by him, in the finest style of the antique. 
 
 In the last picture done by Titian of Charles V. 
 he is draped in a short Guibione, with silk 
 sleeves, his cloak reaching half way down his 
 thighs, holding a pair of gloves in his right hand, 
 and his left resting on the pummel of his sword, 
 suspended in a broad belt. 
 
 Another portrait of Charles V. represents him 
 with his son Philip in his arms, whom he is offering 
 up to Fame, seen above, with a palm branch and 
 a crown of gold, with this motto, " majora tihi^' 
 and inscribed " Titianus V ecellius eques Ccesaris 
 fecif — in Spain. 
 
 At the end of the eighteenth century, there was 
 in the new palace at Madrid, a Venus, size of life, 
 sleeping on a bed. 
 
AND WORKS OF TITIAN. 
 
 65 
 
 A Venus, lying down, with a Cupid standing by, 
 and a man playing on an organ. 
 
 Another Venus of a smaller size, in the same 
 posture, caressing a dog. These three are men- 
 tioned by Conca. 
 
 Lord Yarborough at Brocklesby in Lincoln- 
 shire, has a very fine picture on board, of the Holy 
 Family, in his rich and high finished manner. 
 
 The Virgin with the Infant Saviour in her arms; 
 inscribed " Parce somnum rumpere." Engraved 
 by Morghen. 
 
 Vanity. A female half lying down on a bed, 
 with a crown and sceptre at her feet, near her a 
 large vase, from whence smoke issues, pieces of 
 money are seen on the ground. She is looking 
 up at a tablet on which is written backwards 
 " Omnia Vanitas." At the bottom " Titiano In. et 
 P." Engraved by Le Febvre : this is one of the 
 Master s very finest compositions of a single figure, 
 accompanied by a magnificent landscape in the 
 back ground. In 1786, it was in the Vidmani 
 Gallery at Venice, and is now probably that which 
 is in the Capitol at Rome. 
 
 A large picture of Venus and Adonis from the 
 Orleans Gallery, but not offered for sale with the 
 rest of that Collection, it having been made a pre- 
 sent of to the late Mr. West, who sold it to Mr. 
 Hart Davis, it is said for ,£.4000, and is now the 
 property of Mr. Mills of Leigh Court, near Bristol. 
 
 Portrait of a Senator to the knees, in black 
 turned up with fur; to the left a table with a 
 compass on it, a glove on the left hand, the other 
 
 K 
 
66 
 
 NOTICES OF THE LIFE 
 
 hand and face are very finely coloured, and the 
 attitudes gives the idea of senatorial dignity. 3ft. 
 by 2. 3~. Now in a private Collection in London. 
 
 The Cornaro Family, probably the first assem- 
 blage of portraits ever painted by Titian; it was 
 engraved by Baron from the Duke of Somerset s 
 Collection, from whence it descended to the Duke 
 of Northumberland. It measures 9ft. by 7|-. 
 
 In his present Majesty's superb Collection is an 
 upright landscape about 4ft. by 3. with a shepherd 
 driving cattle and sheep. It appears to have been 
 painted about the middle time of Titian, and 
 though in a slight free manner, has a very striking 
 eflfect. Titian's landscapes are extremely scarce. 
 At Kensington, His Majesty possesses a fine pic- 
 ture of a Venus. 
 
 The Venus and Adonis, now a striking feature 
 in our National Gallery, came from the Colonna 
 Palace, where not long ago hung a capital Portrait 
 of a Monk, which Sir Joshua held in high esti- 
 mation. 
 
 A Head of Navagero in profile ; he was a friend 
 of Titian, and well known as a Latin Poet. It was 
 ill the Contarini Palace at Venice, now in a private 
 Collection in London. 
 
 Portrait of a Lady to the knees in a velvet dress, 
 holding in her right hand a fan ; in a close cap 
 ornamented with jewels. Engraved by Coypel. 
 
 Sebastian del Piombo, bald headed, wearing a 
 cloak. Engraved by Vischer. 
 
 Aretine, full faced, on canvas, measuring 2ft. 
 9in. by 2. 2. holding a letter. " Titianus Vecellius 
 
AND WORKS OF TITIAN. 
 
 67 
 
 faciebat Venetiis. In the King of Prussia's Gal- 
 lery at Sans souci. Engraved in 1766. 
 
 Head of the Doge Andrea Gritti on paper, with 
 the date at the back, 1525 ; in a private Collec- 
 tion in London. 
 
 Philip II. and his Mistress, a capital picture ; 
 nearly the same design as that in the Fitzwilliam 
 Gallery at Cambridge. In Mr. Coke's Collection 
 at Holkham. 
 
 The Adoration of the Magi, some time past in 
 the Balbi palace at Genoa, now in the possession 
 of the Earl of Hopetoun. 
 
 St. Jerome in the desert, from the same palace, 
 is now in Scotland. 
 
 A young female, half length ; supposed to be 
 Titian's daughter, with a garland of flowers in her 
 hands ; very beautifully painted in Titian's latter 
 manner. From the Royal Collection at Madrid, 
 now belonging to the Duke of Wellington. 
 
 In the Duke of Devonshire's Collection is a 
 very capital whole length of Philip II. in com- 
 plete armour, surprisingly wrought up, and the 
 whole picture most carefully finished. 
 
 A Venus, whole length, lying on a bed, in the 
 back ground one of her attendants playing on a 
 harpsichord, two others engaged in arranging a 
 a wardrobe ; the face is a portrait, but not hand- 
 some; nothing can go beyond the delicate colour- 
 ing of the flesh, and both the body and limbs are 
 designed in Titian's finest manner; one grand 
 
68 
 
 NOTICES OF THE LIFE 
 
 mass of uninterrupted light spreads over the figure 
 and the bed clothes. This picture^ which came 
 from the Villa Borghese at the time of the 
 French Revolution^ was sold to Mr. Willet for 
 ^.1500^ and is now the property of Mr. Neeld, 
 nephew of the late Mr. Rundell. 
 
 The Portraits of Aretine^ and Ferdinand de 
 Leyva, General to Charles V. on the same canvas. 
 Aretine is bald headed^ and Leyva has a black 
 cap on ; done in Titian's finest time, and though 
 not finished, has a very powerful effect. In a pri 
 vate Collection in London. 
 
 Titian painted several Portraits of himself, and 
 also introduced his own likeness not unfrequently 
 in his compositions, at the command of Charles V. 
 and other persons by whom the pictures were or- 
 dered. His portrait in the Florentine Collection 
 seems to have been d(me at an earlier period of 
 life than any of the others, with the exception of 
 that in the Museum at Paris, known by the name 
 of Titian and his Mistress with mirrors ; but in 
 this the features bear so little resemblance to any 
 of his other portraits, that most probably it was 
 intended for some other person. 
 
 In the frieze round a room at Augsburg, his por- 
 trait is introduced among the great Austrian per- 
 sonages, by the Emperor's special order. It may 
 
AND WORKS OF TITIAN. 
 
 69 
 
 be observed, byway of judging of his countenance, 
 that in the Marriage Supper by Paul Veronese, now 
 at Paris, Titian is playing on the bass viol, among 
 the performers. This picture being covered and 
 thus concealed by the pictures of the modern 
 French Exhibition, by that means was not returned 
 to Venice with the others. 
 
 It does not appear where the painting is, but 
 there exists a print, in which Titian is seen laying 
 his hand on the belly of a beautiful young Woman 
 big with Child, and looking at her with much 
 affection ; one arm resting on a casket, in which 
 there is a scull : below, are the following Latin 
 verses : 
 
 Ecce viro, quae grata suo est, nec pulchrior ulla 
 " Pignora conjugii ventre pudica gerit 
 Sed tamen an vivens, an mortua, picta tabella 
 Hsec magni Titiani arte ta fuit" 
 
 The last line is imperfect ; but, from the introduc- 
 tion of the scull, she probably died in child-bed, 
 and from the word conjugii, was the wife, not the 
 mistress of Titian. There is another similar print 
 dedicated by Vandyck to Signor Lucas Van UfFel, 
 entitled, " il vero ritratto de Unico Titiano." 
 
 Titian's Head was done in bronze, by Sansovino, 
 by order of the Procurators of St. Mark, and 
 placed over the door leading into the sacristy of 
 St. Mark's Church, to which Sansovino added 
 his own portrait, together with that of Aretine, 
 in order to perpetuate their mutual friendship. 
 
70 
 
 NOTICES OF THE LIFE 
 
 Medals of Titian were also cast by the best 
 artists of the time. 
 
 In the great Ecce Homo at Vienna, Titian, and 
 some of his family, are among the spectators. The 
 Earl of Carlisle has a small head of him, which 
 was in the Orleans Gallery. Among the prints 
 of Titian, that by Augustin Caracci is the most 
 distinguished. 
 
 Having brought to a conclusion an account of 
 Titian's Works, dispersed through different coun- 
 tries, as far as it was attainable, various omissions, 
 and some repetitions could scarcely be avoided, 
 considering the multiplicity of his pictures, and 
 the distant time in which he lived ; a liberal share 
 of indulgence is, therefore, again resquested from 
 those who maybe disposed to cast an eye on these 
 notices, imperfect as they must necessarily be. 
 
 In the next place, it is proposed to give such 
 Catalogues of the different Galleries in Europe as 
 have been printed. 
 
AND WORKS OF TITIAN. 
 
 71 
 
 The Vienna Gallery, in the Belvidere Palace, 
 contains nearly fifty pictures, attributed to Titian, 
 according to Mechel's Catalogue, printed in 1784 ; 
 but, as doubts have been entertained that they are 
 not equally genuine, those which formed a part of 
 the Teniers Gallery, belonging to the Arch- 
 duke Leopold, at Brussels, and transferred from 
 Prague in 1657, have probably, from the time in 
 which they were collected, the fairest claim to 
 originality ; they are here indicated by the letters 
 T. G. 
 
 Landscape, Evening; in the foreground Shep- 
 herds and their flock; in the second distance 
 Jacob's dream. 5ft. 3in. by 3. 5. 
 
 The Woman brought before Christ; half 
 length figures, size of nature : on board, 4ft. 2in. 
 by 3. 3. T. G. 
 
 Bust of our Saviour, size of nature, holding a 
 Globe, 2ft. 7in. by 1. 11. 
 
 St. James the great, on canvas, 2ft. 7in. by 1. 11. 
 
 An allegorical Subject; Virtue teaching Inno- 
 cence the way to Heaven, represented by a mother 
 embracing her child, and pointing to the sky. 
 Entire figures, size of nature, on canvas, 5ft. 9in, 
 by 2. 11. T.G. 
 
 Jean de Calcar, a Scholar of Titian, having a 
 dark coloured beard, drest in black, holding a 
 letter ; on a table a book and papers. 2. 8. by 2. 2. 
 
72 
 
 NOTICES OF THE LIFE 
 
 Two allegorical Subjects, one representing Love, 
 the other, Conjugal Fidelity. On canvas, 4. by 3. 
 
 The Virgin, having the Child standing on her 
 knees, St. John touching his right foot: 3. 2. by 
 2. 7. T. G. 
 
 Virgin and Child sitting in a landscape, St. Ro- 
 salia offering a basket of flowers. Size of nature, 
 4ft. Sin. by 3. 4. T. G. 
 
 Jacques de Strada, a learned Antiquarian, hold- 
 ing a small antique statue, and on the table medals 
 and manuscripts. T. G. 
 
 Fabricius Salvaresius of Venice, in a pelisse and 
 scarf, wearing a bonnet ; a young black offering 
 flowers: and on the top of the picture is seen 
 these words " Fabricius Salvaresius aged L. Titiani 
 Opus MDLVIII." On canvas, 3ft. 8in. by 2. 10. 
 
 Bacchus sitting under a tree with a flute; 
 Ariadne lying on a Tigers skin. On canvas, 
 5ft. 10in.by4. 10. T. G. 
 
 Charles V. in black, standing, size of nature, 
 inscribed Carolus V. IMP. AN. ^TA. MDL. On 
 canvas, 6ft. 5in. by 3. 4. 
 
 Giacomo Sansovino, a celebrated sculptor and 
 architect. 
 
 The learned Benedetto Varchi, of Florence, in 
 a black pelisse, holding a book, and leaning 
 against a pillar on which Titian has put his name. 
 On canvas, 3ft. 9in. by 3. T. G. 
 
 A man in a black dress, having a brown co- 
 loured beard, and a cap with a medal in it ; his 
 
AND WORKS OF TITIAN. 
 
 73 
 
 left hand on the pummel of his sword. Said to 
 be the portrait of the Duke of Valentinois. On 
 canvas, 3ft. 6in. by 2. 7. T. G. 
 
 John Frederic, Elector of Saxony, in a black 
 dress with long plaits, sitting in an elbow chair, 
 holding his cap in his left hand, figure to the 
 knees. 
 
 Philip Strozzi, in the prime of life, a Venetian 
 noble ; he has a black beard, and his dress is lined 
 with Tiger skin, which he is crossing over his 
 breast. On canvas, 3ft. Sin. by 2. 10. 
 
 Portrait of Titian at an advanced age, in black, 
 a triple chain of gold round his neck. 
 
 Portrait of a Lady in the character of Lucretia. 
 In the shaded part is seen, in very small letters, 
 sibi Titianus faciehat. On canvas, 3ft. lin. by 2. 4. 
 
 Portrait of a young Lady, in purple velvet with 
 a string of large pearls round her neck, and having 
 on a scarf, ornamented with gold and precious 
 stones ; a table covered with a Turkey carpet. On 
 canvas, 3ft. lin. by 2. 2. 
 
 Ulysses Aldrovandus, the learned Naturalist of 
 Bologna, holding on his left hand a bird of prey. 
 On canvas, 3ft. lin. by 3. 4. 
 
 A man in a cloak, having a black beard ; he is 
 sitting at a table, a little girl offering him some 
 flowers; half figures, natural size. On canvas, 
 2ft. 9 in. by 2. 6. T. G. 
 
 A man with a reddish beard, in black, his gloves 
 in his right hand; half length. On canvas. 
 
 L 
 
74 
 
 NOTICES OF THE LIFE 
 
 Discovery of Calisto ; entire figures, two-thirds 
 the size of nature. On canvas ; it differs mate- 
 rially from that in the Stafford Gallery, 6ft. 4in. 
 by 5. 9. 
 
 Portrait of Boccaccio, advanced in years, in a 
 black dress, and over it a mantle of the same 
 colour, which he holds in his hand. On canvas, 
 3ft. 6in. by 2. 7. 
 
 The Holy Family ; St. John presenting Cherries 
 to the Infant Saviour, Zachariah standing behind. 
 On board, 3ft. lin. by 2. 6. T. G. 
 
 A man in black, with a red beard ; his gloves 
 in his right hand. On canvas, half-length, 2ft. 8in. 
 by 1. 10. 
 
 Portrait of a young Lady with a Kitten in her 
 arms ; half length, 3ft. by 2. 
 
 A man with dark hair, and a brownish beard, 
 with a ruff round his neck. 
 
 A man having an animated countenance, with 
 a reddish beard, and black pelisse. On board, 
 llin. by8. 
 
 Portrait of an extremely beautiful young woman, 
 her neck and arms uncovered, called Titian's 
 Mistress. On canvas, 3ft. 2in. by 2. 
 
 A child naked, sitting under a tree, and playing 
 on a tambourine ; flowers scattered on the ground. 
 On canvas, 1ft. 7in. by 1. 7. T. G. 
 
 A young woman in the character of Flora, being 
 in her shift, with flowers on her head ; said to be 
 Titian's mistress, Violante ; 2ft. Gin. by 2. T. G. 
 
AND WORKS OF TITIAN. 
 
 75 
 
 The large and magnificent Ecce Homo ; entire 
 figures, large as life; dated 1543, purchased by 
 the Archduke Leopold, from the Anna family, 
 lift. Sin. by 7. 7.; before described, page 26. 
 
 The Virgin holding the Child in her arms, bend- 
 ing towards St. John, who presents him with roses. 
 On the left, St. Anthony leaning on a stick, 1^ size 
 of nature, 3ft. by 2. 2. 
 
 Two small pictures, one the Adoration of the 
 Kings, the other the Resurrection. On board, 
 each measuring 1ft. lOin. by 1. 6. T. G. 
 
 The Virgin in a vestibule, holding our Saviour, 
 who is standing on a balustrade, a mountainous 
 landscape seen through the openings. On board, 
 2ft. 7in. by 2. 
 
 The Holy Family reposing under a tree ; a 
 round tower in the distance. On canvas, 2ft. Gin. 
 by 1.6. 
 
 Christ with the disciples at Emaus. On canvas, 
 small nature ; appears to be an early work, 5ft. 6in. 
 2. 10. T. G. 
 
 St. Catherine, half-length, standing, and hold- 
 ing a broken wheel ; in her left hand a palm 
 branch, 3ft. lin. by 2. 4. T. G. 
 
 Lucretia killing herself ; a man s head behind, 
 supposed to be her father s. 2ft. 4. by 2. 
 
 Joseph of Arimathaea and Nicodemus laying 
 Christ in the tomb ; the Virgin and Mary Mag- 
 dalen standing by. On canvas, entire figures, 
 i size of nature. 3ft. 7in. by 3. 1. 
 
76 
 
 NOTICES OF THE LIFE 
 
 The Virgin with the Child on her knees ; St. 
 Jerome in a red robe standing* by, and reading; 
 on the right, St. Stephen with a palm branch ; on 
 the left, St. George holding a lance, figures to 
 the knees. On canvas, 4ft. 3in. by 3. 6. T. G. 
 
 The Collection of Charles I. 
 
 was by far the most splendid of its time, and 
 enriched all the Galleries of Europe when sold 
 after his death, in 1648. A Catalogue of the Pic- 
 tures and Statues was made by one Vanderdort, 
 keeper of the King's cabinet, which was trans- 
 cribed from a manuscript in the Ashmolean Mu- 
 seum, by Vertue, published in 1757. 
 
 The following Works of Titian were appraised 
 and sold for the sums mentioned : 
 
 The Twelve Caesars - £,1200 
 Alexander Borgia - - 100 
 
 Burial of Christ - - - 120 
 
 Venus lying; a man playing on the organ 165 
 Three Jewellers - - - 100 
 
 The great Venus de Pardo, appraised at 1 
 £500. sold for - - - J 
 The Marquis de Guasto (Vasto) making ] 
 
 ] 
 
 an oration to his soldiers, 
 Titian and his Mistress - - - 100 
 St. Margaret afraid of a Monster - 100 
 Herodias with the Head of St. John in al 
 charger - - - j 
 
AND WORKS OF TITIAN. 
 
 77 
 
 Three Figures - - - £.100 • 
 
 Lucretia stabbing herself - - 200 
 
 A Piece of the Mauri tanians - - 174 
 Charles V. whole length _ - _ 150 
 
 Titian with a Senator - - - 112 
 
 Of the Twelve Caesars an account has been already- 
 given. 
 
 Alexander Borgia. 
 
 The Burial of Christ is the fine picture now in 
 the Museum at Paris, and, one of the most capital 
 of the master. The subject is our Saviour carried 
 to the Sepulchre ; Visconti describes it as admir- 
 ably composed, and that the group cannot be im- 
 proved. St. John's face, which is turned towards 
 the Virgin, is full of grief and sensibility for her 
 sufferings, and the care and tenderness with which 
 Joseph of Arimathaea and Nicodemus support 
 their charge, is replete with the most exquisite 
 feeling. The colour of the body is inimitable: and 
 the relaxation of the limbs is closely studied after 
 nature, and probably Titian never painted with 
 more forcible expression ; it measures 4ft. Gin. by 
 6. 1. and was painted for the Duke of Mantua, 
 when it came into Charles' Collection, and, after 
 his death, fell into the hands of M. Jabach, who 
 sold it to Lewis XIV. Engraved by Baron, and 
 again in the Musee Frangois. 
 
 Venus lying, a man in black playing on the 
 organ, a little dog by her. 4ft. 4in. by 7. 
 
 Three Jewellers ; being the same man in three 
 
78 
 
 NOTICES OF THE LIFE 
 
 views of his face^ in front and both sides : holding 
 a ring case. 2ft. lin. by 2. 5. 
 
 The great Venus del Pardo, containing seven 
 entire figures, size of life, and others in the land- 
 scape, with six dogs. 6ft. 6in; by 12. 11. Most 
 probably a very capital picture of the Master, as 
 it was given to Charles by the King of Spain, and 
 carried back there after his death. 
 
 The Marquis de Vasto making an oration to his 
 Soldiers. In another place of the Catalogue it is 
 called the Marquis of Vaugona, a page is standing 
 by him ; there are four figures the size of life, the 
 army seen in the distance. 7ft. 4in. by 5* 5. Cum- 
 berland says he saw in the Infanta's apartment in 
 the New Palace, a picture said to be Charles V, 
 haranguing his Soldiers ; possibly the same. 
 
 Titian and his Mistress ; probably the Picture 
 at Paris with the looking glasses. 
 
 St. Margaret triumphing over the Devil, in the 
 shape of a Monster ; a little red cross in her right 
 hand. 6ft. 2in. by 5. 3. Twiss says, it is in the 
 Sacristy of the Escurial. 
 
 Herodias with St. John s head in a charger. 
 
 Three figures. 
 
 Lucretia stabbing herself, holding a red veil 
 over her face, a dagger in her right hand, Tarquin's 
 face appearing behind. 2ft. 7in. by 2. 2. One of 
 the Mantua Collection. 
 
 A Piece of the Mauritanians. 
 
 Charles V. whole length, standing, with a large 
 
AND WORKS OF TITIAN. 
 
 79 
 
 white Irish dog. 6ft. 2in. by 4. Painted at Bo- 
 logna before Titian entered into his service. This 
 capital picture was brought from Spain by King 
 Charles firsts and now is in the Saloon^ New Palace, 
 Madrid. 
 
 Titian with a Senator ; now in Windsor Castle. 
 2ft. 9in. by 3.1. 
 
 Besides those whose valuation is specified, there 
 were many other capital pictures in the Collection. 
 
 St. Sebastian, entire figure, large as life ; in the 
 landscape, some little archers shooting; a little 
 Angel in the sky. One of the Mantua Pictures. 
 
 Tarquin and Lucretia, entire figures, size of life, 
 (defaced). 6ft. Sin. by 4. 3. 
 
 The Pope presenting the General of his navy to 
 St. Peter. 4ft. 9in. by 5. 11. 
 
 Portrait of a dark complexioned Man, with a 
 little falling band. 1ft. llin. by 1. 6. 
 
 Christ with the Disciples at Emaus ; on canvas, 
 7ft. 7in. by 5.3. A very capital picture ; Christ is 
 separated from the others ; to the right there is a 
 group consisting of one of the disciples, a servant 
 carrying a plate, and a cook ; the other disciple 
 is at the further end of the table. There is a tra- 
 dition that the Pilgrim on the right of our Sa- 
 viour represents Charles V. the Page, Philip II. 
 and the other Pilgrim the Cardinal Ximenes. It 
 is known by the name of Titian's table cloth, and is 
 beautifully engraved by Masson : the Sieur Jabach 
 bought it at King Charles's sale, and it is now in 
 
80 
 
 NOTICES OP THE LIFE 
 
 the Musee at Paris. It was one of the Mantua 
 pictures. 
 
 The Virgin sitting on the ground with Christ 
 on her lap, three Angels in the Landscape. On 
 board, 9-^in. by 2. 
 
 The Emperor Charles V. and his Wife; she 
 is without a ruff, and holding some roses in her 
 right hand ; half figures, size of nature. She was 
 daughter and heiress to the King of Portugal. 
 Charles I. bought it of one Nat. Garvat. 
 
 Portrait of an Italian woman holding, with both 
 hands, a furred gown over her naked shoulders ; 
 half figure, size of life. Bought by Charles I. in 
 Spain. 3ft. 11 in. by 2. 
 
 A man with a globe on a table, on which he 
 rests his right elbow, in a black dress ; half figure, 
 on canvas. Bought by the King of Peter Oliver, 
 a miniature painter. 3ft. 3in. by 3. 
 
 The Marquis of Vasto, size of life; brought from 
 an almoneda in Spain by Charles I. Fine half 
 length, large as life. 3ft. 4in. by 3. 5. 
 
 The allegory contained in this picture is not easy 
 to be made out. He is in armour with his hand on 
 the bosom of a female who is sitting, and holding 
 in her hands a glass globe, her face turned towards 
 a young girl crowned with laurel, supposed to repre- 
 sent Victory, and who appears to be rendering 
 homage to Alphonso; a Cupid oflfers him an enor- 
 mous bundle of arrows, and behind is a young 
 person seen with a basket of flowers. Titian 
 
AND WORKS OF TITIAN. 
 
 81 
 
 seems to have bestowed uncommon pains on this 
 picture, which for suavity of colour and beautiful 
 pencilling cannot be exceeded. It is now in the 
 Mus^e at Paris. Finely engraved by Natalis, and 
 again in the Musee by Oortma. 3ft. 5in. by 3. 3. 
 
 A picture of five half figures; one teaching, 
 another singing, another playing on the bandore, 
 a fourth on the flute, and a woman listening to 
 the music ; half size of life. On canvas, 3ft. 3in. 
 by 4. 3. From Mantua. 
 
 Madonna, and the child sitting in her lap ; she 
 is in blue, and Joseph in yellow drapery; some 
 Angels in the landscape. 9lin. by 2. 
 
 A picture of 3 heads, on pannel ; one a woman 
 supported by a man, as if she were in a swoon. 
 2ft. 5in. by 2. 1. 
 
 Portrait of the Doge Gritti holding up his dress 
 with his right hand. 4ft. 4in. by 3. 4. 
 
 A large picture of the Virgin and Christ, to 
 whom St. Luke is presenting a Genoese Gentleman, 
 four entire figures, size of life. 4ft. 2in. by 5. 7. 
 King Charles bought it of Frosley, who procured 
 for his Collection several pictures. 
 
 The Marchioness of Mantua on her knees in an 
 old fashioned velvet dress, shewing her right hand. 
 3ft. by 2. 5. 
 
 M 
 
82 
 
 NOTICES OF THE LIFE 
 
 King of Spain's Collection. 
 
 It is matter of regret that the Catalogues of 
 Titian's pictures in Spain by Conca^ Twiss, and 
 Cumberland are so meagre and concise, seldom 
 entering into any description of their merits or 
 composition consequently as few of them have 
 been engraved, they are but very little known. 
 
 Escurial. 
 
 In the Sacristy of the EscuriaL 
 
 The flight into Egypt, the young Christ is eat- 
 ing cherries given him by St. John. 
 A Madonna. 
 
 St. Margaret and the Dragon, large as life: 
 already described in the Collection of Charles I. 
 
 The Magdalen putting off her garments. 4ft. Gin. 
 by 4. 
 
 Tribute money, many figures crowding round 
 Christ. 
 
 The Virgin, Child, St. John and St. Catherine. 
 The Crucifixion. 
 Saint Sebastian. 
 Ecce Homo. 
 
 Christ descending into Limbo. 
 St. John in the Desert. 
 
 In the Refectory. 
 
 The famous last Supper^ boldly engraved by 
 Bertelli. 
 
AND WORKS OF TITIAN. 
 
 83 
 
 Titian states in the letter he sent with the last 
 Supper to Philip II. that he had been employed on 
 it continually for seven years, with the earnest de- 
 sire of presenting to His Majesty, in his latter days, 
 a testimony of his unbounded devotion, which he 
 hoped would meet with the approbation of his 
 enlightened judgement. 
 
 There are many fine figures among the Apostles 
 in this grand composition, and a solemn dignity 
 of expression in the figure of the Saviour. The 
 Holy Spirit appears above with rays of light dart- 
 ing through the surrounding clouds, and through 
 the opening in the centre a magnificent moun- 
 tainous landscape presents itself ; there is a cor- 
 respondent formality in the two sides of the picture 
 which gives grandeur to the whole, and it is carried 
 to the two attendants, who are both bringing in 
 similar dishes ; Judas has the bag in his hand, and 
 turns his head seemingly indifferent to what passes, 
 and a large dog coming from under the table helps 
 to break the lower line of the table cloth. Old 
 Palma has imitated this in a picture of the same 
 subject, in which a white dog is also very useful 
 in carrying out the light. This picture was finished 
 in 1564, Titian then being 88. 
 
 In the Old Church. 
 
 Martyrdom of St. Lawrence ; described, page 
 39. 
 
 Adoration of the Wise men. 
 
84 
 
 NOTICES OF THE LIFE 
 
 Burial of Christ. 
 Ecce Homo. 
 Mater dolorosa. 
 
 In the Capitolo PrioriaL 
 
 Christ, with a globe in his hand. 
 Christ praying in the Garden ; already de- 
 scribed, page 38. 
 
 St. Jerome in the Desert ; described, page 60. 
 An Allegorical picture of Religion ; mentioned 
 before. 
 
 The Flight into Egypt, a boy holding a horse. 
 Vide Charles I. pictures ; painted for our Queen 
 Mary. 
 
 Paradise, called the glory of Titian, is fully de- 
 scribed at page 36. 
 
 Philip II. in armour, lifting up his infant son in 
 his arms to devote him to Fame, who appears de- 
 scending from the skies, and crowning the new 
 born Prince with a palm wreath. On a scroll are 
 these words, " Majora tibi,'' and Titian has thus 
 put his name " Titianus, Titianus Vecellius Eques 
 Ceesaris, fecit. 
 
 In the Capitolo Vicarial, 
 
 Sala Aulilla. 
 
 New Palace, Madrid. 
 King's Anti-chamber, 
 
 Sisyphus. 
 Prometheus. 
 
AND WORKS OF TITIAN. 
 
 85 
 
 Four whole length female portraits. 
 Four ditto of men, one being of himself in old 
 age. 
 
 A beautiful portrait of a boy, whole length. 
 A composition of two Bacchants. 
 Venus admiring herself in a glass held by a 
 Cupid. 
 
 Venus presenting a cup to a Nymph and two 
 Satyrs, with baskets of fruit in the back ground. 
 
 Adam and Eve in Paradise, size of life ; their 
 attitudes are simple and natural, but the colour- 
 ing is of a lower tone than is usual for Titian's 
 pencil. 
 
 The back-ground presents to the eye a noble 
 landscape, the scenery of which is finely charac- 
 terized ; opposite hangs a copy of it by Rubens. 
 Cumberland observes, " When we contemplate 
 " this picture of Adam and Eve, we are convinced 
 " they never wore clothes ; turn to the copy, and 
 " the same persons seem to have laid theirs 
 " aside and Mengs says that this copy of the 
 Adam and Eve by Rubens, and the one he did 
 of the Bacchanals, ought to be considered as a 
 book, translated into the Flemish tongue, which 
 preserves the conception, but loses all the graces 
 of the original. 
 
 Venus, Cupid, and two Nymphs. 
 
 The King's Supper Room. 
 Emperor Charles V. on Horseback ; described. 
 
86 
 
 NOTICES OF THE LIFE 
 
 page 24. The colours are said to have become 
 obscure, and it has also the disadvantage of hang- 
 ing between two windows. 
 
 A Madonna and Child, with an old Man and 
 five Girls. 
 
 A Head of Christ. 
 
 Head of the Virgin. 
 
 In the adjoining Room, 
 
 A Magdalen ; described, page 40. 
 A larger Magdalen. 
 Venus and Adonis. 
 A General and three Soldiers. 
 A picture of Nymphs and Satyrs, figures 2ft. 
 high. 
 
 A ditto ditto. 
 Small picture representing a Convent. 
 Diana hunting ; figures six inches. 
 Philip offering his infant Son upon an altar; 
 whole length, size of nature. 
 
 Palace of Buen Retiro. 
 
 Portrait of Henry II. King of France. 
 Ditto of Ferdinand and Isabella. 
 
 The Kings Dressing Room, 
 Three half-lengths of noble Persons. 
 
 7%e Kings sitting Room, 
 Two small Portraits. 
 
AND WORKS OF TITIAN. 
 
 87 
 
 The Queens Anti-chamber, 
 
 Philip III. of Spain. 
 A Venetian Nobleman. 
 
 The Queeris great Saloon, 
 
 A whole-length Portrait of Charles V. is of a 
 small size, with a large Irish Dog, and is reported 
 by an English Artist who has lately visited Madrid 
 to be extremely fine. Described in Charles I. 
 Catalogue. 
 
 Portrait of a Man, at half-length. 
 
 Portrait of a Woman, ditto. 
 
 The Princes Dining Room, 
 
 Six portraits, half lengths, four of which are 
 men, and two women. 
 
 Orpheus charming the beasts ; of Titian's best 
 time and manner. 
 
 The Princes Dressing Room, 
 
 An Ecce Homo. Mater Dolorosa ; both very 
 fine heads. 
 
 Mary worshipping Christ, in Titian's early style. 
 
 The Receiving Room, 
 
 The famous picture of Bacchanals before de- 
 scribed, page 10. 
 
 The Infantds Apartment, 
 Charles V. haranguing his army, probably that 
 
88 
 
 NOTICES OF THE LIFE 
 
 described in Charles I. collection, where it is 
 questioned whether it is Charles V. or the Marquis 
 de Vasto. 
 
 Cumberland says, That in the custody of an 
 " artist belonging to the King, there is the Venus 
 " del Pardo, belonging to Charles V." 
 
 A Venus and Cupid, a man in the back-ground 
 playing an organ. 
 
 A Venus recumbent on a couch. 
 
 A similar Venus, with a little Dog. 
 
 A Dance. 
 
 A half-length of Titian. 
 
 Mengs says that Titian made a fine copy of the 
 Magdalen, from Correggio. 
 
 A Female figure, from the Palace at Madrid, is 
 in the Collection of the Duke of Wellington. 
 
 The picture of Cupids amusing themselves in 
 various sports, described at page 12, is also in the 
 new palace at Madrid. 
 
 The fire at the Prado Palace was destructive to 
 several of Titian's fine works, one of which was his 
 own portrait, holding in his hands that of Charles 
 V. Many of the Spanish pictures of Titian were 
 collected by Velasquez in Italy under the orders 
 of Philip IV. 
 
AND WORKS OF TITIAN. 
 
 89 
 
 FLORENTINE GALLERY. 
 
 A man standing, whole length, bare-headed, in a 
 short cloak, with his right hand in his girdle, the 
 left holding the end of his cloak ; a bas-relief, 
 with musical instruments in the back-ground. 
 Engraved by Picchianti. 
 
 Venus lying on a Couch ; two attendants 
 taking clothes out of a trunk ; it is universally 
 considered the finest picture of the subject, that 
 ever came from Titian's pencil, and has been very 
 often copied. The colouring approaches as much 
 as art can do, to nature, and the local tints are so 
 happily blended, as to give the swells and depres- 
 sions of a most beautiful female form in a style 
 which nothing but the most eminent taste and 
 judgment could have accomplished. Engraved in 
 a bold and free manner by Vercriiys, in the Gal- 
 lerie de Grand Due de Toscane, and again most 
 beautifully by Sir Robert Strange. 
 
 Another Venus, lying on a couch, called la 
 Venus a Vhihou, from an owl sitting in the 
 window, at which a little dog is barking, a Cupid 
 behind is caressing the Venus. This picture is 
 said to be even of a higher quality than the former 
 Venus, but is very seldom seen, being concealed 
 by a picture over it, probably from its being too 
 voluptuous. The landscape capital. Engraved 
 by Massard. These two hang in the Tribune. 
 
 The Adoration of the Kings, one of whom is 
 o 
 
90 
 
 NOTICES OF THE LIFE 
 
 presenting a globe; from the style of the land- 
 scape, probably of his early time. 
 
 Philip II. whole length, standing, very richly 
 dressed, with short breeches, and slashed shoes, 
 holding his gloves in the left hand. Engraved by 
 Mogelli. 
 
 A fine picture of the Adoration of the Shep- 
 herds; a night scene; the principal light ema- 
 nates from the Child, and there is a bright ray 
 breaking forth from the clouds; whence it goes by 
 the name of Titian s Aurora. Engraved by Mo- 
 gelli ; there is also an old wood-cut of it. 
 
 Holy Family ; St. John, a Child, and St. Eliza- 
 beth ; Joseph reaping in the fore-ground; a small 
 figure of a man shooting, is seen in the distance. 
 Engraved by Mogelli. 
 
 The Resurrection. The composition is not of 
 the happiest description; the guard of soldiers, 
 shew the greatest consternation ; and it is a picture 
 of great effect. Engraved by Picchianti, Gallerie 
 de Due de Toscane. 
 
 Madonna and Child holding a pen. 
 
 The fine portrait of the Cardinal de Medicis, in 
 a Turkish dress. Engraved by Vercriiys ; and 
 again, in the Musee Francois. 
 
 Andrea Vesalio, the famous Professor of Ana- 
 tomy, who is said to have instructed Titian in that 
 science : he is holding his spectacles in one hand, 
 and a book in the other ; probably his own work 
 on anatomy. 
 
AND WORKS OF TITIAN. 
 
 91 
 
 Madonna and Child^ Saint John and St. Cathe- 
 rine in a Landscape; the Virgin extending her 
 hand to a lily: finely composed. Engraved by 
 Vercriiys. 
 
 Man with a large beard, sitting in a chair, hav- 
 ing on the Order of the spread Eagle ; letters in 
 his right hand. Engraved by Vercriiys. 
 
 Aretine, in black, a chain collar round his neck, 
 gloves in his right hand. 
 
 A subject of Bacchants; probably the first de- 
 sign for a part of the fine Triumph of Bacchus 
 and Ariadne, and by no means inferiorily exe- 
 cuted. Engraved by Mogelli. 
 
 Holy Family, with Saint Catherine; the Child 
 in the Madonna's lap bending forwards towards 
 her. There is much truth in the composition. 
 Engraved by Picchianti. 
 
 Portrait of an elderly man sitting, who is bald ; 
 his right hand resting on the elbow of his chair. 
 Engraved by Vercriiys. 
 
 Portrait of a man with a black beard ; one hand 
 only seen with a glove on it ; a rich sash over his 
 shoulders. Engraved by Vercriiys. 
 
 Adoration of the Shepherds ; two boys looking 
 into the stable, one holding a candle, being a 
 night scene ; a Shepherd in front holding a lamb 
 whose legs are tied. Engraved by Lorrezzini 
 Mineau. 
 
 The very fine picture of the Tribute Money. 
 Engraved by Picciarnini, Roma. 
 
92 
 
 NOTICES OF THE LIFE 
 
 Virgin and the Child giving an Apple ta St. 
 Catherine. 
 
 Portrait of Louis Beadotti, holding a brief of 
 Pope Julius II. Well engraved by Ulmer. 
 
 St. Catherine with a broken wheel, in a habit 
 trimmed with precious stones^ wearing an Orien- 
 tal head-dress. 
 
 The Virgin surrounded by several Angels, 
 Christ in her lap ; St. John caressing him. 
 
 The Virgin in a red dress, Christ in her arms, 
 wrapped in linen ; a landscape seen through a 
 window. 
 
 Maier says that the greater part of Titian's pic- 
 tures, in the Florentine Collection, was obtained 
 by the purchase of the celebrated Gallery of Paolo 
 Serra, who also possessed an extraordinary fine 
 duplicate of the Magdalen, but Maier is at a loss 
 to say what became of it. 
 
AND WORKS OF TITIAN. 
 
 93 
 
 DRESDEN GALLERY. 
 
 A Holy Family, with St. Catherine and St. John ; 
 the child Jesus is caressing the latter; entire 
 figures, 3ft. 9in. by 2. 8. 
 
 A man with a cap on, sitting in an arm chair ; 
 on wood, 2ft. lin. by 1. 9. 
 
 Venus admiring herself in a glass, held by a 
 Cupid, 4ft. lin. by 3. 6. 
 
 Portrait of a Lady in red, holding her fur sleeve 
 in her hand, 4ft. 9in. by 3. 9. 
 
 Venus lying down with a flute in her hand, 
 Cupid holding a garland of flowers over her head ; 
 at her feet, a young man playing on a lute. A 
 very beautiful picture, both in regard to colour 
 and expression ; 7ft. 2in. by 5. 1. 
 
 Portrait of Catherine Cornaro, Queen of Cyprus, 
 holding in one hand a chaplet, and a handkerchief 
 in the other ; figure to the knees. Her black dress 
 materially contributes to the beauty and bril- 
 liancy of the flesh ; it came from the Modena Gal- 
 lery; 3ft. 3in. by 3. 1. described, page 2. 
 
 Portrait of Lavmia, Titian s Daughter ; she has 
 pearls round her neck, and holds in her right 
 hand a plume of feathers ; her name is written on 
 the wall. A very capital picture, 3ft. 9in. by 3. 1. 
 
 Portrait of a young Girl, holding in her two 
 hands a vase. 3ft. Gin. by 3. 1. 
 
94 
 
 NOTICES OF THE LIFE 
 
 Portrait, called Titian's Mistress, dressed in 
 white, carrying a sort of fan, 3ft. 8in. by 3. 1. 
 Engraved. 
 
 The Family of his Benefactor, Alphonso I. 
 Duke of Ferrara, putting themselves under the 
 protection of the Virgin, in which is introduced 
 the portraits of his wife, the Duchess Lucretia 
 Borgia, and their Son, kneeling. Engraved : an 
 extremely fine picture. 
 
 The Tribute Money. On wood; before de- 
 scribed, page 13 ; 2ft. 3in. by 2. 
 
 The Virgin and Child, with St. Catherine, John 
 the Baptist, St. Paul, and St. Jerome ; figures to 
 the knees, 9ft. lOin. by 5. Engraved. 
 
 Tobit and the Angel. On canvas, 6ft. by 4. 1. 
 
 Venus lying down in the back-ground, land- 
 scape and buildings, 6ft. 6in. by 4. 1. 
 
 Portrait of Peter Aretine, bald headed; he is 
 drest in black, holding a Palm branch. Vasari 
 says this picture is not equal to another of him 
 by Titian, sent to Cosmo de Medicis, which is pro- 
 bably that in the Grand Duke's Collection at 
 Florence. 
 
AND WORKS OF TITIAN. 
 
 95 
 
 THE ORLEANS GALLERY. 
 
 The Orleans Gallery, which was sold by pri- 
 vate contract in London, in the year 1799, con- 
 tained several very fine pictures by Titian : among 
 whom the most select were ; 
 
 A small portrait of himself, purchased by the 
 late Earl of Carlisle, for seventy guineas ; Gin. i 
 by 5in. -i, French measure. Guineas. 
 The Rape of Europa, by Lord Berwick, for 700 
 This fine picture was brought into 
 France, from the King of Spain's Col- 
 lection, by the Duke de Grammont, 
 and is now in the possession of the 
 Earl of Darnley ; 5ft. G^in. by G. 4. 
 Acteon and Diana ; purchased by the Duke 
 of Bridgewater, now the magnificent 
 Stafford Gallery, 5ft. llin. by 6. 4. for 2500 
 Diana and Calisto, its companion, for - 2500 
 These two capital works were pro- 
 bably executed when Titian was near 
 70; 5ft. llin. by G. 4. 
 Philip II. and his Mistress; an extremely 
 fine picture, having a grand and richly- 
 coloured landscape in the back- 
 ground, the figures size of nature; 
 purchased by Viscount Fitzwilliam for 1000 
 and is now in the Fitzwilliam Museum 
 
96 NOTICES OP THE LIFE 
 
 Guineas. 
 
 at Cambridge: another similar and 
 very fine original is in the collection 
 of Thomas Coke, Esq. at Holkham. 
 
 Perseus and Andromeda, valued at - 700 
 Figures size of nature ; 5ft. Sin. by 6. 
 It came into the Orleans Gallery from 
 M. la Vrilliere, and now belongs to 
 the Marquis of Hertford. This and 
 the Europa were the property of the 
 Queen of Sweden. 
 
 The temptation of our Saviour ; purchased 
 
 by Thomas Hope, Esq. for - - 400 
 
 Avery fine coloured Picture, the arm 
 of the Tempter quite inimitable. 
 
 Venus admiring herself ; purchased by the 
 
 Earl of Darnley,for - - - 300 
 
 Size of nature to the knees, 3ft, Sin. 
 by 3. 1. ; it formed part of the Queen 
 of Sweden's Collection. 
 
 Diana pursuing Acteon ; purchased by Sir 
 
 Abraham Hume, for - - - 200 
 
 Painted in Titian's broad manner, 
 with a very spirited landscape in the 
 back-ground ; in parts, it appears not 
 to have received the finishing touches. 
 It belonged to the Queen of Sweden ; 
 5ft. 6in. by 6. 1. 
 
 Education of Cupid ; purchased by Lord 
 
 Gower, now Marquis of Stafford, for SOO 
 
AND WORKS OP TITIAN. 97 
 
 Guineas. 
 
 Titian's Daughter, holding* up a Casket on 
 a dish ; purchased by the Countess de 
 Grey, for - - - 400 
 
 In the Master's broad bold manner ; 
 it is said that Titian had originally 
 painted the head of John the Baptist 
 in the dish ; 5ft. Gin. by 6. 4. It 
 formerly belonged to the Chevalier de 
 Lorrain. 
 
 Clement VII. ; a very grand portrait, pur- 
 chased by the Duke of Bridgewater, 
 for - - - - 400 
 
 Now in the Stafford Gallery. 
 The Magdalen ; purchased by T. Maitland, 
 
 Esq. for - - - 350 
 
 It belonged to the Queen of 
 Sweden, 3ft. 7in. by 3. 
 Venus and Adonis ; purchased by ■ 
 
 Fitzhugh, Esq. for - - 300 
 
 Allegory of human Life ; purchased by the 
 
 Duke of Bridgewater, for - - 600 
 
 Now in the Stafford Gallery. This 
 fine specimen of Titian's richest style 
 of colouring, partakes a good deal of 
 Giorgione's manner. It belonged to 
 the Queen of Sweden ; 2ft. 9in. by 4. 7. 
 
 Painted about the year 1514, for the 
 father-in-law of John de Castel, a Bo- 
 lognese, in whose possession it was 
 when Vasari wrote his life of Titian. 
 
98 NOTICES OF THE LIFE 
 
 Guineas. 
 
 Our Saviour appearing to the Magdalen, 
 called in France the noli me tangerey 
 valued at - - 400 
 
 The colouring is as rich as that of 
 Giorgione; it was sold among Mr. 
 Champernown's pictures in 1820, at 
 Mr. Christie's, and is now in the Col- 
 lection of Samuel Rogers, Esq. ; 3ft. 
 3iin. by 2. 9. 
 Riposo in Egypt ; purchased by Mr. Walton, 
 
 for - - - - 250 
 
 A fine, but rather early picture of 
 the Master; it was also in the Collec- 
 tion of Mr. Champernown, who paid 
 Mr. Walton £2000. for it. It was sold 
 among his pictures in 1820, and is 
 now the property of William Wilkins, 
 Esq. R. A. ; 3ft. 3iin. by 2. 9. 
 Venus rising from the Sea, known by the 
 name of Venus a la coquille; bought 
 by the Duke of Bridgewater, for - 800 
 
 It forms a distinguished feature of 
 the Stafford Gallery. 
 
 Painted in Titian's finest time. It 
 belonged to the Queen of Sweden. 
 Charles V. on horseback; purchased by 
 
 J. J. Angerstein, Esq. for - - 150 ' 
 
 This bold and spirited sketch is now 
 in the Collection of Samuel Rogers, 
 Esq. 2ft. 5in. by 2. 8. 
 
AND WORKS OF TITIAN. 99 
 
 Portrait of the celebrated Count Castiglione, the 
 friend of Raphael and Titian. On canvas, 3ft. 1 lin. 
 by 3. 1. Purchased at the sale of the Orleans 
 Collection by Mr. E. Coxe, and now belongs to 
 Lord Mansfield, and is at Scone. Painted in 
 Titian's best time. 
 
 A Portrait called L'Esclavone. On canvas, 
 3ft. 7in. by 2. 11. From the Queen of Sweden's 
 Collection. 
 
 This picture was in Titian's finest manner. 
 
 THE COLLECTION OF JAMES II. 
 
 An old man with a bald head, leaning on both 
 hands. 
 
 Large picture of Diana and Cupid. 
 Charles V. in armour to the knees ; spoiled. 
 Tarquin and Lucretia, to the waist. 
 A Magdalen, to the knees. 
 Lucretia ; on board, to the knees. 
 Another Magdalen. 
 
 A naked Venus, a Soldier at a distance. 
 
 Titian and Aretine ; now at Windsor Castle. 
 
 Acteon and Diana ; much spoiled. 
 
 Virgin and Child, with St. Catherine, and a 
 man in black, (called) Titian. 
 
 Herodias with the Baptist's Head. 
 
 Madonna, with St. Catherine, St. John, and St. 
 Joseph. 
 
100 
 
 NOTICES OF THE LIFE 
 
 The best Madonna, with Tobit and the Angel. 
 Charles I. Collection. 
 
 Large Madonna, with St. Luke. 
 
 Woman putting on her smock. Charles 1. 
 Collection. 
 
 Lucretia with a red mantle, small size ; proba- 
 bly one of Charles I. 
 
 QUEEN dowager's COLLECTION. 
 
 Virgin and Child, St. John and Elizabeth ; one 
 of Charles 1. Collection ; presented by the States 
 of Holland. 
 
 Naked Venus, with a woman looking into a 
 Trunk. 
 
 An Ecce Homo. 
 Burial of Christ. 
 
 A Magdalen, to the waist. Probably from the 
 Collection of Charles I. 
 
AND WORKS OF TITIAN. 
 
 101 
 
 DUKE OF Buckingham's (george villiers) 
 
 COLLECTION 
 
 was sent to Antwerp, and there sold at the time 
 of his exile. 
 
 1. The Virgin holding Christ in her lap^a man 
 kneeling before him, St. John and St. Joseph, 
 3ft. 6in. by 5. 2. 
 
 2. The Virgin Mary. 3ft. by 2. 6. 
 
 3. A Magdalen. 1ft. by 0. 10. 
 
 4. Portrait of an Italian Lady. 3ft. by 2. 3. 
 
 5. Aretine. 3ft. 9in. by 2. 3. 
 
 6. Venus looking in a glass, and a Cupid. 4ft. 
 by 3. 
 
 7. Virgin and Christ. 4ft. by 2. 6. 
 
 8. Holy Family, with St. John. 3ft. 6in. by 
 3.6. 
 
 9. Virgin, Christ, St. John and St. Ann. 
 
 10. Great Ecee Homo. 8ft. by 12 ; described 
 before. 
 
 11. Sisyphus. 4ft. 6in. by 3. 
 
 12. An Italian Lady sitting in a chair. 5ft. by 4. 
 
 13. Diana and Acteon. 3ft. 3in. by 3. 3. 
 
 14. Burial of Christ, Joseph of Arimathea, the 
 Virgin and Magdalen, five figures. 4ft. by 3. 3. 
 
 15. Holy Family, St. John, and another figure. 
 4ft. by 3. 
 
 16. Two pictures, one of Adam, the other of 
 Eve. 6ft. 6in. by 2. 2. 
 
102 
 
 NOTICES OF THE LIFE 
 
 17. Virgin and Child, and another figure. 
 
 18. Naked Venus and Cupid. 
 
 19. Two Heads, supposed to be those of two 
 priests. 1ft. 6in. by 1. 
 
 SIR PETER LELY's PICTURES. 
 
 Venus and Adonis, size of life. 5ft. Gin. by 
 7.4. 
 
 Tantalus, a whole figure. 5ft. Sin. by 3. 8. 
 
 THE FRENCH MUSEUM. 
 
 The Virgin and Child, St. Stephen with a palm 
 branch, and St. Ambrose turning over the leaves 
 of a book : St. Maurice behind in armour. This, 
 like many others of religious subjects, contains 
 many anachronisms, of which Titian could not be 
 ignorant, but he was obliged to follow the in- 
 junctions and tastes of those who gave him com- 
 missions. It is a fine picture, and the heads of 
 the Madonna and Child are extremely well pre- 
 served : engraved in the Mus6e Francois by Liza- 
 betius. There is one nearly similar in the Vienna 
 Gallery, but in this St. Ambrose's head is covered 
 with a cap, known by the appellation of ex voto. 
 
 Portrait of a man in a black Spanish dress, with 
 
AND WORKS OF TITIAN. 
 
 103 
 
 a cuirass underneath, leaning against a pillar ; one 
 hand rests on the pommel of his sword : it was 
 bought at Rome, by Cardinal Mazarine, of the 
 Marchioness Sanesi, and from the Cardinal's heirs, 
 for the French King's Collection. On canvas ; 
 engraved by Boudrois, M. F. 4ft. 2in. by 2. 6. 
 
 Christ carried to the tomb ; described with 
 Charles I. Pictures. 
 
 Titian and his Mistress ; by her portrait she 
 appears to have been very beautiful and attrac- 
 tive ; she is employed in arranging her hair in a 
 glass, which Titian holds to her in one hand ; and 
 he has a larger mirror in the other : it is probably 
 the picture described by Ridolfi of the same sub- 
 ject, in which he mentions many reflecting glasses; 
 by Boschini, it has been called the daughter of 
 Old Pal ma ; but, on comparing the age of Titian, 
 with that of Old Palma, it appears that this young 
 person could not have been more than sixteen when 
 Titian was ninety-nine : consequently, it is not 
 very probable that she was the person alluded to. 
 It is a very charming picture, and finely preserved, 
 considering it has been painted at least 250 years; 
 probably it belonged to Charles I. as there is a 
 picture in his Catalogue of a similar description 
 on canvas, engraved by Henry Dancken, and by 
 Foster, an Englishman, also in the Musee, by 
 Daque. 2ft. 6in. by 2. 4. 
 
 A picture, called La Vierge au Lapin, the Virgin 
 is sitting on the grass, with her hand on a white 
 
104 
 
 NOTICES OF THE LIFE 
 
 rabbit, the child is in St. Catherine's arms^ and 
 turns his eyes with a smile towards the little 
 animal ; a basket of flowers lies on the ground ; 
 in the landscape, a shepherd attending his flocks. 
 L'Epicier highly praises the expression and co- 
 louring of this picture, and the truth of the flesh 
 and draperies, as well as the extremely fine and 
 richly cultivated landscape, which, he observes, 
 would be very striking even if without the figures. 
 It is in very fine preservation, and forms a part of 
 the French King's Cabinet. Titian put his name 
 upon it : engraved by Dambrun, M. F. 2ft. 2in. 
 by 2. 8. 
 
 Portrait of Francis I. described in Ridolfi, 
 page 42. 
 
 Alphonso d'Avalos and his mistress, one of 
 Charles I. pictures, and described in that Cata- 
 logue. 
 
 Madonna and Child, St. John and St. Agnes. 
 The Madonna with the child on her knees, 
 and St. Agnes is crouching down by her side, 
 holding a palm branch in one hand, the other 
 being placed on the head of the lamb near St. 
 John. There can be no question but this picture 
 is of Titian's very best time, and he appears to 
 have painted it con amove; the figure of the Infant, 
 and the heads, according to Visconti, of the Virgin 
 and St. Agnes are very graceful, and admirable 
 in point of colour ; it measures 4ft. 8in. by 4. 9. 
 and 6 lines. It belonged to the old Collection of 
 
AND WORKS OF TITIAN. 
 
 105 
 
 the Crown, and Visconti says it has been added 
 to in order to fit some particular place, a bar- 
 barism which several of Poussin's pictures have 
 undergone ; engraved by Langlois, M. F. 
 
 Christ crowned with thorns, described at large 
 at page 32. 
 
 Mary praying over the Infant Christ, a youthful 
 Angel on each side, half figures, size of life, co- 
 loured with great brilliancy, and executed with a 
 moelleux pencil, the colour has however lost some 
 of its effect it was in the old Collection of the 
 French King. Outline in the Annales de Musee, 
 in octavo. 
 
 Head of Christ, of a low tone of colour ; it was 
 in the old Collection. Outline in the Annales de 
 Mus^e. 
 
 Disciples at Emausj described in Charles I. 
 Collection, finely engraved by Lorichon, at Paris, 
 1823. 
 
 Ecce Homo, Christ between two soldiers, it is 
 well composed, and the resignation of our Saviour s 
 countenance is admirable, one of the old Collec- 
 tion ; on pannel. 3ft. 7in. square. 
 
 A Holy Family, where a young St. John offers 
 a lamb to Christ in his mother's arms, accompa- 
 nied by St. Joseph ; in the distance a shepherd 
 and his flock ; two little Angels holding a cross, 
 are seen in the sky ; the back ground a landscape 
 with buildings. The old Collection. 2ft. 6in. by 
 3. 11. 
 
106 
 
 NOTICES OP THE LIFE 
 
 A Magdalen, on pannel. 2ft. 7in. by 1. 11. 
 
 St. Jerome kneeling in a grot, and striking his 
 breast with a stone ; the light falls on his figure : 
 on the left is a Cardinal's Hat at the foot of a 
 Crucifix. 2ft. Gin. by 3. 1. 
 
 A sketch of the Council of Trent, held in 1545, 
 given to Lewis by M. Chataiqueraye ; on pannel. 
 Old Collection. 8ft. 7in. by 5. 6. 
 
 Jupiter and Antiope. The figures are drawn in 
 a grand style, and the Antiope appears to be 
 taken from a most beautiful model, and is very 
 fine in point of colour. This magnificent picture 
 measures 12ft. Sin. by 6. 1. and is full of subject; 
 for besides the principal group, several others are 
 introduced as accessories to embellish the land- 
 scape; a female attendant of Antiope carrying 
 flowers, is in conversation with a Satyr, and 
 Huntsmen are encouraging their dogs just start- 
 ing from a wood, and Nymphs appear to be coming 
 out of the bath : in the distance some hounds are 
 pulling down a stag. M. Crozat says it is one of 
 the finest pictures existing of the Master. Philip IV. 
 made a present of it to Charles I. and after his 
 death, it came into the French King's Cabinet. 
 This picture narrowly escaped the flames when 
 the Palace of the Pardo was burnt in 1608 ; and 
 again when the old Louvre was on fire in 1661, 
 though not without suffering some injury, which 
 was encreased by falling into ignorant hands, but 
 it was afterwards ably restored by Coypel, first 
 Painter to the King. Engraved by Baron. 
 
AND WORKS OP TITIAN. 
 
 107 
 
 Perseus and Andromeda, of a very good quality. 
 On canvas, 6ft. by 7. 
 
 Tarquin and Lucretia. On canvas, finely co- 
 loured, but not in good condition. Engraved by 
 Cort. 
 
 Alphonso d'Avalos. King Charles I. Collection. 
 Titian and his Mistress. King Charles I. Collec- 
 tion. 
 
 Portrait of a Man in a black habit ; his right 
 hand open, as in the act of speaking, a table is 
 seen in front, and a column in the back-ground ; 
 6ft. by 2. 8. 
 
 Portrait of a Man, holding a glove in his left 
 hand. Executed in a broad and moelleuse 
 manner; 3ft. Sin. by 2. 11. 
 
 Portrait of a Man in black; his right hand 
 placed on his hip, his thumb resting through his 
 scarf; 3ft. Sin. by 3. 8. 
 
 Portrait of an old Man with a long beard; 
 3ft. Sin. by 3. 3i. 
 
108 
 
 NOTICES OF THE LIFE 
 
 RESPECTING THE DIFFERENT MANNERS 
 OF TITIAN. 
 
 It appears to be generally understood that Titian 
 had, in the different periods of life, three distinct 
 manners of painting; the first hard and dry, 
 resembling his Master, Giovanni Bellino; the 
 second, acquired from studying the works of Gior- 
 gione, was more bold, round, rich in colour, and 
 exquisitely wrought up ; the third, was the result 
 of his matured taste and judgement, and properly 
 speaking may be termed his own ; in which he 
 introduced more cool tints into the shadows and 
 flesh, approaching nearer to nature, than the uni- 
 versal glow of Giorgione. To these de Piles has 
 added a fourth manner, which he describes as 
 partaking of the feebleness of hand, and decay of 
 eyesight accompanying old age ; but if credit is 
 to be given to the opinions of Ridolfi, Vasari, and 
 other competent judges, the setting sun of Titian 
 was not to be surpassed by the meridian rays of 
 his younger cotemporaries. Zanetti ascribes only 
 three manners to Titian ; and Maier, in reply to 
 the assertions of Ticozzi and others respecting the 
 inferiority of Titian's works in his latter time, quotes 
 a letter of Aretine in these words, " avesse riser- 
 " vato i suoi miracoli, nella maturita della vec- 
 " chiezza;" and the famous picture of the Last 
 
AND WORKS OF TITIAN. 
 
 109 
 
 KSupper in the Escorial, which was finished at the 
 age of 87^ he calls " opera di straordinaria belezza." 
 Zanetti also gives it as his opinion, that Titian in 
 his old age was " sempre grande tuttavia, h sempre 
 Tiziano To these authorities the opinion of 
 Vasari may be added respecting his latter works. 
 He says that Titian's mode of painting in his 
 " latter works, differs from that of his earlier time, 
 " principally on account of its not being worked 
 " up with the same diligence, and delicacy, but 
 " was executed with touches of the pencil, ^ et tinti 
 " via di grosso con Macchie di maniera,' for which 
 " reason they were difficult to make out when 
 " looked at near the eye, but if placed at a proper 
 distance, they shewed themselves to great per- 
 " fection : many have concluded from this mode of 
 laying on the colours, that he bestowed no labour 
 on his latter works, when, on the contrary, they 
 " have been gone over several times with the 
 " greatest judgement and attention, and fall in no- 
 " wise short of the representation of real life." A 
 very substantial proof may be drawn in Titian's 
 favor, from inspecting the works themselves, now 
 remaining at Venice and elsewhere ; particularly 
 the Magdalen in the Casa Barbarigo, sold to that 
 family by his son Pomponio, a late picture, but in 
 nowise inferior to that sent in 1554, to Philip 11. 
 which made the deepest impression on Vasari 
 when he visited Venice in 1564, and on which he 
 bestowed the following eulogium in his life of 
 
110 
 
 NOTICES OF THE LIFE 
 
 Titian, with the view of placing these two Mag- 
 dalens on a par. 
 
 " The Magdalen (says Vasari) painted for Philip, 
 " is looking up, with her eyes fixed on heaven, 
 " which being red with weeping, and still dropping 
 
 tears of repentance, makes a deep impression on 
 " the spectator, while her beauty excites no other 
 
 sensations but those of commiseration." Vasari 
 also observes, that he saw, when he visited Titian 
 at Vienna in 1564, the beginning of the admirable 
 picture, now in the French Musee, of Christ 
 crowned with thorns ; and as Dolce, in his Cata- 
 logue of Titian's finest works in 1555, makes no 
 mention of it, which he undoubtedly would have 
 done, had it been in existence at that time. Of 
 this picture Visconti in the Catalogue of the Mus6e 
 says, " the colours are rapprochees, blended and 
 " melted together, as if they had been laid on by 
 
 the hand of nature, while the mode in which 
 " Titian proceeded, and the touches of his pencil, 
 " bid defiance to the most practised eye to dis- 
 " cover." It is further recorded, that the three 
 fine pictures in the saloon at Brescia (destroyed 
 by fire) were executed at the advanced age of 92. 
 Even in his extreme old age he never passed a 
 day without doing something with charcoal or in 
 distemper, and Ridolfi says, that many of these 
 designs were in the hands of Connoisseurs ; and 
 Vasari mentions that when he visited Titian at 
 Venice in 1566, old as he then was, he found him 
 
AND WORKS OF TITIAN. 
 
 Ill 
 
 with the pencil in his hand, and was highly gra- 
 tified in conversing with him on his works. Nulla 
 dies sine linea, seems to have been Titian s favorite 
 maxim to the last. 
 
 Though further proof of the longevity of Titian's 
 powers, may be unnecessary, yet the fine work of 
 St. Nicolas in the Church of St. Sebastian at Venice, 
 executed in 1563, should not be omitted, as Ridolfi 
 describes it in the following terms, — the expres- 
 
 sion of the Saint's countenance indicates what is 
 " passing in his mind ; and the colouring of this 
 
 picture is likewise very brilliant ; but it is the 
 " mode in which the tints are laid on, that gives 
 
 spirit and surprising effect to every part." 
 
112 
 
 NOTICES OF THE LIFE 
 
 OP titian's colouring and mode of 
 
 PAINTING. 
 
 A knowledge of the colours used by Titian^ and 
 his mode of laying them on^ has been the subject 
 of anxious enquiry^ as well as of abundant specu- 
 lation ; and it is to Boschini alone in his " Ricche 
 minere della Pittura Veneziana/' that we are in- 
 debted for any knowledge of the subject. The 
 particulars were communicated to him by the 
 younger Palma, who, in his youth, was Titian's 
 scholar. 
 
 Boschini proceeds to say, " Palma giovane, told 
 " me, that he had had the good fortune to profit 
 " by Titian's precepts under his own eye, and that 
 " his practice in beginning his pictures was to lay 
 " on a mass or body of colour as a foundation or 
 
 basis for the subject he intended to represent ; 
 " after which, I have myself seen him lay on bold 
 " and masterly touches with a pencil full of colour, 
 " sometimes of pure red earth, which served as a 
 " middle tint ; at other times with a pencil full of 
 
 white, and the same pencil dipped in red, black, 
 " and yellow, with which he relieved the lights, 
 " and thus in a masterly manner he produced in 
 " four strokes, the promise of an admirable figure, 
 " and to intelligent persons it was a high gratifi- 
 " cation to see a mode so desirable to be adopted 
 
AND WORKS OF TITIAN. 
 
 113 
 
 by the Professors of the art. I'itian having pro- 
 
 ceeded so far with a picture, turned it with its 
 " face to the wall, where he left it sometimes for 
 
 months without looking at it ; and when he felt 
 " disposed to work upon it again, he examined it 
 " with as much severity, as if it had been his most 
 " capital enemy, in order to discover the defects, 
 " and then proceeded to reform every part that 
 " did not accord with his feelings ; and like an 
 
 able surgeon, reducing the contours which hap- 
 " pened to be too protuberant or overloaded with 
 " flesh, altering the drawing of the limbs, where 
 
 the anatomy was incorrect, without sparing his 
 " labour, and thus obtaining the most beautiful 
 
 symmetry, grounded on nature, and perfectioned 
 
 by art. Titian went over each picture as the 
 
 colours dried, laying on the flesh tints from time 
 ^'^ to time, with repeated touches ; but it never 
 " was his practice to complete a figure at once, 
 " observing, that ^ he who sings offhand, can never 
 
 compose correct and faultless verses.' In order 
 " to bring the finishing touches to perfection, he 
 " blended them with a stroke of his finger, soften- 
 " ing the edges of the lights with the half tints, 
 " and thus uniting them together, which gave 
 " force and relief to both. He sometimes put in 
 " with his finger a touch of dark in some angle, 
 " or a touch of a rich red tint, similar to a drop 
 
 of blood, — giving by these means a surprising 
 " degree of animation to his figures." And again, 
 
 R 
 
114 
 
 NOTICES OF THE LIFE 
 
 I was assured also by the younger Palma, that 
 " in finishing his pictures, Titian's practice was, to 
 
 make more use of his fingers than of his pencil " 
 to which Boschini adds his own opinion on the 
 works of Titian in these words — nothing could 
 " be more admirable than his children, and no 
 " one excelled him in his draperies, whether of silk, 
 
 woollen, or linen ; his weapons and armour were 
 " most faithfully represented by his pencil, and 
 
 when he introduced architecture or stone work, 
 " they might be considered as admirable examples 
 " in that part of the art. His trees, plains, and 
 " mountains are true to nature ; his animals are 
 ^' characterised with the greatest truth ; but to his 
 ^' taste and feeling, in delineating the affections of 
 " the mind, no one can do adequate justice, so 
 
 ready was he in expressing them, that if he in- 
 " tended to represent grief, he drew tears from the 
 " eye of the spectator; if joy, a correspondent 
 " sensation was raised ; if valour, a martial spirit 
 " was excited ; if modesty, every one felt conscious 
 " of its presence " 
 
 Boschini adds several curious particulars re- 
 specting the mode of painting adopted generally 
 by the Venetian school at that period. He relates 
 that " the Masters made their sketches or designs, 
 " according to their genius and imagination, with- 
 " out availing themselves of living models, or the 
 " assistance of statues and bas-reliefs, but when 
 " the sketch was dry, the next step was to place 
 
AND WORKS OP TITIAN. 
 
 115 
 
 nature before their eyes^ and correcting its pecu- 
 " Jiarities by the assistance of the antique, but not 
 " confining themselves to copying closely either 
 
 the one or the other ; after which they laid on 
 
 the flesh tints^ using principally earthy colours ; 
 " such as a small proportion of cinnabar, minium, 
 " and lake, avoiding, as they would the plague, 
 " gambouge, smalt, blue-green, and yellow, toge- 
 " ther with all varnishes. After going over the 
 
 picture a second time, they relieved one colour 
 " from another by a low tint ; then putting on a 
 " prominent touch of light, for example on a head 
 " or foot, of dry colour, with a spirited pencil, and 
 " glazing the shadows with asphaltum, observing 
 " to maintain a great breadth of demi-tint, intro- 
 " ducing a considerable proportion of dark, but 
 
 with few high lights." 
 
 In addition to the above quotations from Bos- 
 chini, it is handed down among the Venetians, 
 that Titian began to work by tinting a paper as 
 his first sketch, and then transferring the same 
 design to canvas, with little or no variation, and 
 in finishing, with smart and spirited touches judi- » 
 ciously placed, concealed the repeated labor he 
 had bestowed upon them. It is much to be re- 
 gretted that Boschini makes no mention whatever 
 of the medium or vehicle with which Titian mixed 
 his colours, as it is probable the permanency and 
 brilliancy, which many of his pictures maintain to 
 this day, in great measure depended upon it ; not 
 
116 
 
 NOTICES OF THE LIFE 
 
 but what the purity of the colours, being free from 
 any extraneous substance, was another cause of 
 their preservation ; and it is said that several of 
 the old painters paid the greatest attention to the 
 manufacture of their colours, and some performed 
 it with their own hands. Some persons have been 
 inclined to think that the vehicle of the Venetian 
 painters, was one, into which neither oil, water, or 
 varnish entered ; but considering the injury they 
 receive from being wetted, or hanging in damp 
 places, it may be thought that some were done 
 partially with water colours, and also that mois- 
 ture acting on gess grounds, might detach the 
 colour ; and it is in fact observable how easily the 
 rich yellow of the Venetian draperies suffers by 
 being wetted. More than one fine work of Titian 
 has been ruined, and skinned to the bone, in at- 
 tempting to investigate the vehicle he used, and 
 his mode of conducting his pictures ; but his grand 
 secret of all, appears to have consisted in the 
 unremitting exercise of application, patience, and 
 perseverance, joined to an enthusiastic attach- 
 ment to his art ; his custom was to employ consi- 
 derable time in finishing his pictures, working on 
 them repeatedly, till he brought them to perfection^ 
 and his maxim was, that whatever was done in a 
 hurry, could not be well done, " cJie canta al im- 
 proviso, canta male'^ 
 
 Titian's mode of laying in his latter pictures is 
 distinctly seen in the whole length study of St» 
 
AND WORKS OF TITIAN. 117 
 
 Sebastian^ now remaining in the Barbarigo palace 
 at Venice^ in which a great variety of warm and 
 cool unbroken tints are dashed in with surprizing 
 freedom and spirit ; a good deal in the manner of 
 Rembrandt : and Maier says^ " that Count Cico- 
 " gnara, President of the Academy at Venice, and 
 " the author of a distinguished work in 3 vol. fol. 
 " on Sculpture, in continuation of Winkelman, is 
 
 possessed of a very curious and interesting por- 
 " trait of Titian, the head of which is entirely 
 " finished, while the drapery and hands are merely 
 
 sketched in, the latter being designed with a few 
 " touches of a dirty obscure colour, which to an 
 " inexperienced eye might appear the effect of 
 " chance ; but the articulations of the joints, the 
 " position of the bones, and even the shape of the 
 " nails, are expressed with the greatest correctness ^ 
 " the folds of the drapery are marked with the 
 " same accuracy, and are of the same brownish 
 " tint ; and it is curious to observe the giusta 
 " cuore, which is touched, here and there, with 
 " spots of white, indicating the design of the pat- 
 " tern, while the rest is kept in quiet repose." 
 Count Cicognara was so much pleased by the 
 acquisition of this beginning, that he congratulates 
 himself " in having detected Titian in the very 
 " act of painting." 
 
 M. Hacquin, who with much skill and inge- 
 nuity, transferred several pictures in the Musee 
 
118 
 
 NOTICES OF THE LIFE 
 
 at Paris^ from panel to canvas, obtained a clear 
 insight into the preparation or priming, used by 
 the Roman and Venetian schools, which he con- 
 ceives to have been a compound of chalk, or 
 Spanish white, tempered with a glue of parchment. 
 The St. Peter Martyr, he is convinced is done on 
 this, or a very similar white ground, over which 
 was laid a thin glazing of a reddish tint in oil ; the 
 sketching of the design is hardly visible, and ap- 
 pears not to have been done with a crayon, but a 
 pencil dipped in cinnabar ; and the various alte- 
 rations shew that the design had not been correctly 
 studied, particularly, as to the hands and feet of 
 the assassin. In the St. Cecilia by Raphael, M. 
 Hacquin found, on paring away the board to the 
 priming, that the design was drawn with a very 
 few coarse dark strokes, serving merely as hints 
 for the outline, on a white preparation. 
 
 In a portrait by Titian of a Lady on panel, the 
 white preparation appears to be covered with a 
 slight grey tint, and the design so lightly marked 
 in, that it appears to have been done with the 
 point of a pen, and was visible through the colour. 
 In it many pentimenti are seen. 
 
 The late Mr. Champernoun was possessed of a 
 very interesting work of Titian, the subject of 
 which is allegorical, with female figures, the size 
 of life, where the canvas in some parts is merely 
 stained of a brownish tint, while the other parts 
 
AND WORKS OF TITIAN. 
 
 119 
 
 are more or less worked up; thus showing his 
 mode of proceeding, though the finishing touches 
 are wanting. 
 
 Count Michael Woronzow has in his Collection 
 a Holy Family, painted originally on board, which 
 from its decayed state, he has had transferred to can- 
 vas. On the removal of the old wood, the original 
 outline appeared through the ground of chalk and 
 size on which it was painted, and which differed 
 materially from the finished picture, Titian having 
 in the course of it made repeated alterations and 
 improvements. 
 
 Before it was laid on the new canvas, an etching 
 was taken from the original design, to show the 
 difference between that and the finished picture. 
 
 Whatever was the medium or vehicle which 
 Titian mixed his colours with, it seems to have 
 been different from that of the other Venetian 
 Artists of his time ; as on a close inspection with a 
 lens, an infinity of very minute hair cracks may 
 be seen in almost all his pictures, while in Porde- 
 none, Giorgione,Tintoret, P.Veronese, andBassan, 
 the cracks are of a different description. Lanzi 
 observes, " that Titian marked the eyes, nose, and 
 mouth with great precision, giving thereby a spi- 
 rited animation to the features, but blending the 
 other parts with a melting sweetness of tint." 
 
 Sir Joshua Reynolds in one of his discourses, 
 gives it as his opinion, that " it is to Titian we 
 
120 
 
 NOTICES OF THE LIFE 
 
 " must turn to find excellence in regard to colour, 
 " and light and shade in the highest degree. He 
 " was both the first, and the greatest Master of 
 
 this art : by a few strokes he knew how to mark 
 " the general image and character of whatever 
 " object he attempted, and produced by this alone 
 " a truer representation of nature, than his Mas- 
 " ter, G. Bellino, or any of his predecessors, who 
 " finished every hair. His great object was to 
 
 express the general colour, to preserve the masses 
 
 of light and shade, and to give by opposition, 
 " the idea of that solidity, which is inseparable 
 " from natural objects. Many artists, as Vasari 
 " observes, have ignorantly imagined, they imi- 
 " tated Titian, when they left their colours rough 
 " and neglected the detail, but not possessing the 
 " principle on which he wrought, they produced, 
 " what he called, goffi pitture, absurd, foolish pic- 
 " tures. Raphael and Titian seem to have looked 
 
 at nature for different purposes ; they both had 
 " the power of extending their view to the whole, 
 " but one looked only at the general effect as pro- 
 " duced by form, the other, as produced by colour. 
 
 We cannot refuse Titian the merit of attending 
 " to the general form of the object, as well as 
 
 colour ; but his deficiency lay, a deficiency at 
 " least when he is compared with Raphael, in not 
 
 possessing the power, like him, of correcting the 
 " form of his model by any general idea of beauty 
 
AND WORKS OF TITIAN. 
 
 121 
 
 " in his own mind. Of this his St. Sebastian, with 
 " other Saints, is a particular instance. This figure 
 appears to be a most exact representation, both 
 " of the form and colour of the model, which he 
 " then happened to have before him ; and has all 
 " the force of nature, and the colouring of flesh 
 " itself ; but unluckily the model was of a bad 
 " form, especially the legs. Titian has with much 
 " care preserved these defects, as he has imitated 
 the beauty and brilliancy of the colouring. In 
 his colouring he was large and general, as in his 
 " designs he was minute and partial ; in the one 
 " he was a genius, in the other not much above a 
 " copier. I do not however speak now of all his 
 pictures ; instances enough may be produced in 
 " his works, where these observations on his de- 
 fects could not with any propriety be applied ; 
 but it is in the manner or language, it may be 
 called, which Titian and others of that school 
 express themselves, that their chief excellence 
 lies. The same excellence of manner, which 
 " Titian displayed in History or Portrait painting^ 
 is equally conspicuous in his Landscapes, whe- 
 " ther they are professedly such, or serve only as 
 " back grounds. One of the most eminent of the 
 latter is to be found in the picture of St. Peter 
 " Martyr." (Vide Sir Joshua's description of this 
 picture for the remaining part of his observations 
 on it.) 
 
 s 
 
122 
 
 NOTICES OF THE LIFE 
 
 The following note, 43 of Sir Joshua, in Mason's 
 translation of du Fresnoy, is too important to be 
 omitted ; the verses are. 
 
 The hand that colours well must colour bright, 
 " Hope not that praise to gain by sickly white." 
 
 Sir Joshua after having- discussed the mode of the 
 different schools, observes, but if any preemi- 
 nence is to be given, it must be to that manner 
 which stands in the highest estimation with 
 " mankind in general, and that is the Venetian, 
 or rather the manner of Titian, which simply 
 " considered as producing an effect of colours, will 
 certainly eclipse with its splendor, whatever is 
 " brought into competition with it. But as I hinted 
 " before, if female delicacy and beauty be the 
 principal object of the Painter's aim, the pureness 
 *^ and clearness of the tint of Guido will coiTCspond 
 " better, and more contribute to produce it, than 
 " even the glowing tint of Titian." And again in 
 the same note, he observes " the simplicity of the 
 " Bolognese style requires the nicest hand to pre- 
 " serve it from insipidity. That of Titian may be 
 called the golden manner, but when unskilfully 
 managed becomes what the painters call foxy, 
 and the silver degenerates into the leaden, or 
 " heavy manner. All of them, to be perfect in 
 their way, will not bear any union with each 
 other ; if they are not distinctly separated, the 
 
AND WORKS OF TITIAN. 
 
 123 
 
 " effect of the picture will be feeble and insipid, 
 without any distinguished character." 
 Sir Joshua Reynolds, in one of his discourses, 
 also speaks of " the brilliancy of sunshine which 
 enlightens Titian's pictures," and states " that 
 his portraits alone, for the nobleness and simpli- 
 " city of character, which he always gave them, 
 " will intitle him to the greatest respect, as he 
 " undoubtedly stands in the first rank in this 
 branch of art." 
 
 Another illustration of Sir Joshua's, in a note on 
 the foUoAving lines of Fresnoy, is too interesting to 
 be omitted — 
 
 " Then only justly spread, when to the sight, 
 A breadth of shade, pursues a breadth of light," 
 
 The highest finishing (he says) is labour in vain, 
 unless at the same time there is preserved a 
 " breadth of light and shadow : it is a quality 
 " therefore that is more frequently recommended 
 to Students, and insisted upon, than any other 
 whatever, and perhaps for this reason, because 
 it is most apt to be neglected, the attention of 
 " the Artist being often entirely absorbed in the 
 " detail. To illustrate this, we have recourse to 
 " Titian's bunch of Grapes, which we will suppose 
 placed so as to receive a broad light and shadow, 
 *^ though each individual grape, on the light side, 
 has its light and shadow and reflection, yet 
 *^ altogether they make but one broad mass of 
 
124 
 
 NOTICES OP THE LIFE 
 
 " light ; the slighest sketch therefore, where this 
 " breadth is preserved, will have a better effect, 
 " and will have more the appearance of coming 
 " from a master's hand ; that is, in other words, 
 
 will have more the characteristic and general 
 " appearance of nature, than the most laborious 
 " finishing where the breadth is lost or neglected." 
 
 The Editor of the Tuscan edition of Vasari, page 
 19 of the Life of Titian, in observing on the dif- 
 ference between the Roman and Venetian schools, 
 and considering whether the palm should be be- 
 stowed on fine colouring and la hella maniera, in 
 preference to correctness of outline, gives it as his 
 opinion, that a well coloured picture, though in- 
 differently drawn, would find readier purchasers, 
 than such as are faultless in that respect, but 
 feebly and ordinarily coloured. It cannot be 
 denied that there is a sort of enchantment in co- 
 lour, similar to harmony in music, which diffuses 
 a delightful sensation over the mind, and to which 
 the Dutch school is indebted for no small share of 
 that popularity which attaches to the works of 
 Rembrandt, Cuyp, Ostade, Gerard Dow, Maas, 
 de Hooge, &c. 
 
 Mengs, having discussed at large the compara- 
 tive merits of Raphael, Correggio, and Titian, some 
 of his observations may be mentioned, though his 
 general feelings were almost wholly engrossed 
 by the Roman and Lombard Schools. He states, 
 that " Titian was in point of colour atid massing 
 
AND WORKS OF TITIAN. 
 
 125 
 
 " a perfect model for imitation^ as Raphael was 
 " for design, and Correggio for elair-oscura. Ra- 
 " phael's taste was that of expression, Correggio 
 " adopted the agreeable, and Titian sought after 
 " truth ; but it happened that they occasionally 
 " invaded each others province ; Raphael was 
 " sometimes as fascinating as Correggio, and as 
 " true as Titian; Correggio in some pictures not 
 " inferior to Raphael, joined with the truth of 
 " Titian ; and again, Titian at times shewed himself 
 " equal to Raphael, and was not less delightful 
 " than Correggio. No one understood so well as 
 " Titian the introduction of the carnations in the 
 " middle tint, or surpassed him in the beauty of 
 " his children, which served as models to N. 
 
 Poussin, Dominichino, Albano and Fiamengo, 
 " the sculptor." 
 
 It has been generally acknowledged that Titian 
 was so complete a master of his pencil, that his 
 touches are always in their properest place ; and 
 the striking effect and breadth of his pictures are 
 not so much owing to the depth of the shadows, 
 or the brightness of the lights, as to the just ar- 
 rangement of the local tints, and his skill in 
 balancing his colours. Titian is however severely 
 criticised by Mengs, for having sometimes erred 
 on the score of taste ; and that when he intro- 
 duced a beautiful figure, it seemed to be more the 
 result of accident than of study, being often accom- 
 panied by others of a more ordinary character ; 
 
126 
 
 NOTICES OF THE LIFE 
 
 but he praises him^ however, for giving the natural 
 appearance to every object, whether figures or 
 landscape, his judgement guiding him in the se- 
 lection of those parts of nature which are within 
 the reach of representation : in his landscapes he 
 never failed to accommodate the scenery to the 
 subject, and to the business of the figures, of which 
 the Peter Martyr, Bacchus and Ariadne, also the 
 Bacchants and Cupids in the King of Spain's 
 Collection, are marked examples. 
 
 It has been remarked, that Titian not unfre- 
 quently gave a certain turn to the head, shewing 
 the ear, which he drew to perfection, and at the 
 same time displayed a very graceful view of the 
 neck and cheek. He was partial also to exposing 
 the knee, and often drew up the drapery for that 
 purpose. In his portraits he never failed to be- 
 stow great pains on the hands, giving them the 
 appearance of being copied from those of the in- 
 dividual represented, whether the person was of a 
 slender or muscular form, en embonpoints or other- 
 wise. Like the best artists of his time, he gave 
 such a substantial appearance to his portraits, as 
 to indicate the body underneath ; the folds of the 
 drapery at the same time assuming a natural swell 
 and easy form ^ on the contrary, when recourse 
 has been had to a Layman, the shapes are meagre 
 and without relief, and the dress appears as hang- 
 ing on a peg in flat vacuity. He also displayed 
 profound skill in selecting his drapery, never fail- 
 
AND WORKS OP TITIAN. 
 
 127 
 
 ing to accommodate the style, folds, and colour to 
 the character and condition of the persons : to 
 Saints and Apostles he assigned broad and ample 
 folds, to Angels and Nymphs light and flying 
 garments, and, let the dress be what it would, the 
 shape of the body and limbs was always to be 
 distinguished under it. Maier mentions that the 
 courtezans of his time, la Spadana,Zafette, Virginia 
 and others, were among models he selected for 
 his Venuses; but the beauty cf the face did not 
 always correspond with that of the figure, as Titian 
 was frequently compelled to introduce the likeness 
 of some favorite, as in the Venus of the Tribune, 
 which is known to be the portrait of the mistress 
 of the Duke of Urbino. 
 
 Though Titian s figures appear sometimes too 
 short, and his drawing not always attended to, yet 
 it is evident that he had studied Greek and Roman 
 Sculpture before he went to Rome, there being an 
 assemblage at Venice of several fine works of 
 antient Art, which had been dispersed during the 
 troubles and wars of Italy, and especially after 
 the sacking of Rome, which lasted no less than a 
 month; independent of casts and models after the 
 finest statues, which were in his possession as well 
 as in that of Tintoret. 
 
 The moist air of Venice proved injurious to se- 
 veral pictures of that school, and the Altar-pieces 
 in other parts of Italy have suffered from having 
 been scorched, or fried, by the proximity of the 
 
128 
 
 NOTICES OF THE LIFE 
 
 candles ; and it is also to be lamented, that there 
 was a practice formerly at Venice andin Lombardy, 
 Avhich did infinite mischief — it was known by 
 the term " dare un bollionej' or in other words, 
 pouring boiling hot drying oil on the surface, 
 which penetrating the cracks, turned the colours 
 to brown or black, and which no skill could 
 recover. 
 
 L'Epicier, in his Catalogue des Tableaux du Roi 
 de France, mentions that Titian executed a consi- 
 derable number of pen drawings, both of figures 
 and landscape, which were etched by le Febvre 
 and others, many of which are to be found in the 
 King's Cabinet at Paris. 
 
 After contemplating the works of Titian, and 
 of the other celebrated old Masters of the various 
 Schools, whose pencil did honor to their country, 
 it is most gratifying to feel the conviction, that for 
 many years past, the Art of Painting in Great 
 Britain has been in a state of progressive improve- 
 ment, maintaining a marked superiority over the 
 rest of Europe ; and it must be equally allowed 
 that a general attachment to the Fine Arts has 
 been rapidly increasing in the same ratio, and has 
 become one of the most prevailing tastes of the 
 country. 
 
AND WORKS OF TITIAN. 
 
 129 
 
 Titian's Protectors and Friends. 
 
 To reckon up the protectors and friends of Titian, 
 would be to name nearly all the persons of the 
 ag-e, to whom rank, talents, and exalted character 
 appertained, but it would not be doing justice to 
 pass by those which Vasari and his other Biogra- 
 phers have recorded. 
 
 The Emperor Charles V. 
 
 Philip II. King of Spain. 
 
 Henry III. King of France. 
 
 Ferdinand, King of the Romans. 
 
 Gonzaga, Duke of Mantua. 
 
 Alphonso, Duke of Ferrara. 
 
 The Duke of Urbino. 
 
 Pope Paul III. 
 
 The Cardinals Farnese, Medici, Gonzaga, Este 
 and Granvel, Mandrucci, and other distin- 
 guished Prelates. 
 The Doges of Venice, Grimani, Gritti, Lando, 
 Trevisano, Venieri, and the Doge of Genoa, 
 Angus tin Doria. 
 Several of these distinguished men are reported 
 to have helped Titian in his correspondence with 
 persons of rank, not disdaining to lend their assis- 
 tance to an individual who, independent of his 
 talents, conducted himself so meritoriously in every 
 respect. 
 
 The following extract of a letter to Charles V. 
 
 T 
 
130 NOTICES OF THE LIFE 
 
 from Titian proves how high he stood in the Em- 
 peror s estimation. If the unfounded account 
 " of my death gave your Majesty any concern, it 
 " was very gratifying to me, to know that my 
 services were in your Majesty's recollection, 
 which has rendered my life doubly dear to me, 
 " and I hope God will preserve it until I have 
 " finished the work I am now employed upon, and 
 " which by September next will be ready to be 
 sent to your Imperial Majesty." 
 Among his intimate friends were, Aretine, 
 Ariosto, Gio. della Casa, Archbishop of Benevento. 
 Pietro Bembo, created Cardinal by Paul III. 
 Navagero, a distinguished Latin Poet. Sperone 
 Speroni. Bernardo, father to Torquato Tasso, 
 Pietro Valerio, Ludovico Dolce, author of the 
 dialogue on painting called Aretine. Botarello, 
 Sansovino the famous Architect. Gio. Maria Ver- 
 dizzoti, distinguished for his attachment to the art 
 of Painting, &c. Count Baldessar Castiglione, the 
 elegant Author of the Libro del Cortegiano. An- 
 tonio da Leyva, one of Charles V. ablest Generals. 
 The Marquis of Guasto or Vasto, and other dis- 
 tinguished Commanders. Ariosto thus celebrates 
 him among the distinguished Artists of his time, 
 
 E quei, che furo ^ nostri di, o sonhora^ 
 Leonardo, Andrea Mantegna, Gian Bellino, 
 Duo Dossi, e quel, ch' k par sculpe, e colora 
 Michel, pill che mortal. Angel diuino ; 
 Bastiano, RafFael, Titian, ch' honora 
 Non men Cador, che quei Venetia, e Vrbino j 
 
AND WORKS OP TITIAN. 
 
 131 
 
 Egli altri di cui tal opra si vede, 
 Qual de la prisca etk si legge, e crede." 
 
 Our age may boast with these an equal band 
 In painting's school to lift the forming hand. 
 Lo ! Leonardo ! Gian' Bellino view j 
 Two Dossi, and Mantegna reach'd by few : 
 With these, an Angel, Michael styl'd divine. 
 In whom the sculptor and the painter join : 
 Bastiano, Titian, Raphael, three that grace 
 Cadora, Venice, and Urbino's race : 
 Each genius that can past events recall. 
 In living figures on the story'd wall : Kooi/B. 
 
 It would not be doing justice to Titian to omit 
 stating, that when Michel Angelo made the ob- 
 servation to Vasari, on seeing the Danae at Rome, 
 " that it was to be lamented that the Venetians had 
 " not adopted a better mode of study," he had 
 seen none of Titian's capital works ; but when he 
 was compelled to fly from Florence, in the appre- 
 hension of the return of the Medici, Duke Alphonso 
 shewed him at Ferrara several pictures of Titian's 
 painting, which so far excited his admiration, that 
 he exclaimed " that he never before believed the 
 " Art could arrive at such a pitch of excellence, 
 
 and that Titian was alone worthy to be termed 
 " a Painter." 
 
 Annibal Caracci, after having seen the works of 
 Titian, remarks in a letter to his cousin Ludovico> 
 " how natural his painting was, and how much he 
 " was pleased by his schiettezza.'' 
 
 Nothing could shew Vandyck's high estimation 
 
132 
 
 NOTICES OF THE LIFE 
 
 of Titian's works, more fully than his hailing him 
 the Prince of Painters, and the pains he took to 
 study after him. 
 
 In proof of the consideration in which Titian 
 was held by his own countrymen, it deserves 
 to be recorded, that in 1541, during the rival 
 contest between Charles V. and Francis I. the 
 government of Venice being dubious of the good 
 faith of the Emperor of the Turks, thought it ex- 
 pedient to lay a tax on all the inhabitants of 
 Venice, without regard to rank or situation, from 
 which Titian was the only person exempted, on 
 the score of his talents, or as it was termed, " la 
 sua rara eccellenza." 
 
 Two medals were cast of Titian during his life 
 time ; the first by Varino, and the last probably 
 by Camelio, having on the reverse a Genius and 
 a figure of Fame. 
 
 As any circumstances relating to the private 
 life of such a man as Titian, cannot fail of being 
 interesting, the following notices may not be 
 unacceptable to the Reader. 
 
 In the Lettere familiere of Aretine, there are 
 near a hundred addressed by him to Titian ; and 
 several letters and notes which passed between the 
 three friends, Sansovino, Titian, and Aretine, and 
 other members of the Academy at Venice on the 
 score of conviviality, in which luxurious allusions 
 are made with spirit and humour to the delicacies 
 they supped upon at their respective houses, where 
 
AND WORKS OF TITIAN. 
 
 133 
 
 among" the most distinguished guests, were also 
 F. Marcelino, Conde de Collatto, Bernardo Tasso, 
 Bembo, &c. a select party of ladies, Paola Sanso- 
 vina,la Marcolini, Angiola ZafFetti^la Franceschini, 
 la Violante, frequently graced these Attic enter- 
 tainments. Titian regulated his domestic expences 
 with considerable attention to economy till he 
 arrived at the age of fifty, after which the increas- 
 ing affluence, the society of his friends, and the 
 habits of the various courts he frequented, led him 
 from the year 1530 to adopt a more liberal esta- 
 blishment, and induced him to add to his former 
 habitation, another house with pleasant gardens, 
 situated at the extremity of Venice towards Murano, 
 in which quarter were the most fashionable walks 
 of the city. Here he received the high honour of a 
 visit from Henry III. King of France and Poland, 
 on his return from the latter kingdom, accompa- 
 nied by the Dukes of Ferrara, Mantua, and Urbino. 
 In company he was always sumptuously dressed, 
 and during the journies he made to the different 
 Courts, entertained at a very liberal expence ; and 
 it is recorded that on the occasion of Cardinals 
 Granvel and Pacicco coming one day unexpect- 
 edly to dine with him, he threw his purse to his 
 steward with orders to provide the best entertain- 
 ment in his power. 
 
 Titian's manners, like those of the most eminent 
 Painter this country ever produced, were courteous, 
 gentle, and unassuming, and like him also his 
 
134 
 
 NOTICES OF THE LIFE 
 
 friendship was solicited and his character esteemed 
 by the most accomplished persons of his time. 
 Titian being in the habit of living- in the best 
 society, acquired the ease and carriage of an ac- 
 complished gentleman, never presuming on his 
 superior talents, but disposed to encourage the 
 exertions of other artists ; one of whom shewing 
 him a picture he had just finished, Titian observed 
 " that he was so pleased with it, that it ap- 
 peared as if he had done it with his own hand." 
 There were other points of similarity to be ob- 
 served between the Prince of the Venetian school 
 and Sir Joshua Reynolds, for the latter produced 
 several grand compositions, as well as fascinating 
 fancy pieces ; and to both all the Rank, Talents 
 and Beauty of the time were anxious to sit. The 
 Engravings after Sir Joshua's portraits amount to 
 about five hundred. 
 
 Another highly gifted British Artist, who now 
 fills the Chair of the Royal Academy, in addition 
 to the celebrity he enjoys in his own country, has 
 been selected to paint the first Princes and Heroes 
 of Europe, to whom it is at this time indebted for 
 its peace and freedom. These admirable por- 
 traits, it is understood, are destined to adorn an 
 apartment in Windsor Castle, in the restoration 
 and improvement of which, taste, grandeur and 
 convenience, are most successfully combined. 
 
 Vasari, who visited Titian twice at Venice in his 
 advaxiced years, says, that he appeared to have 
 
AND WORKS OF TITIAN. 
 
 i35 
 
 enjoyed uninterrupted health during his very long 
 life, together with an abundant share of every 
 earthly felicity. His art gave him character, and 
 his character contributed to dignify his art. 
 
 Maier has endeavoured to identify the house at 
 Pi eve in which Titian was born, and says it was 
 situated in the street Lovera, near a place called 
 the Arsenal, which is confirmed by Tizianello ; 
 and Maier further mentions a deed of sale thereof 
 by Pomponio, Titian's son, which was found among 
 the papers of Fausto Vecelli, a notary residing 
 there, reciting the parties appointed to negociate 
 the purchase on one side and the other. 
 
 Cumberland and Pilkington assert that Titian 
 passed seven years, from 1548, to 1555, in Spain, 
 having been, probably, misled by an error of Ri- 
 dolfiin inserting a Diploma, dated Barcelona, 1550, 
 constituting him a Count of the Empire, sent him 
 by Charles V. and they therefore conclude Titian 
 must have been in Spain at that period, as well as 
 the Emperor ; with respect to the latter, Ulloa, 
 Dolce, and Robertson, and his other historians, all 
 agree that, from 1543, to 1556, he never set his 
 foot in Spain, having been, during that period, 
 constantly and personally engaged in war with the 
 King of France, or the Protestants in Germany ; 
 and, particularly in 1553, during which year he 
 was personally present at the sieges of Terouan » 
 and Hesdin, in French Flanders, and the last time 
 he went into Spain, until he finally retired there 
 
136 
 
 NOTICES OF THE LIFE 
 
 after abdicating- his crown, was in 1541. And 
 moreover, letters of Titian's writing are extant, 
 one to Aretine, from Augsbourg, dated November 
 11, 1550, and one to Philip, then King of England, 
 from Venice, 10 Sept. 1554, besides several fami- 
 liar letters to Titian at Venice, from Aretine, 
 alluding to daily occurrences; and particularly 
 one dated 1550, congratulating him on his safe 
 arrival at Augsbourg. In further proof of this 
 bein^ a mistake, it appears also, that he painted at 
 Augsbourg, in 1550, certain pictures for the family 
 of Fugger, and a fine work for Peronci, a mer- 
 chant of that city, and also an Allegory of Human 
 Life, for the Cardinal of that place, which became 
 the property of Christina Queen of Sweden, and 
 is now in the Stafford Gallery. It is acknow- 
 ledged that Titian was about five years absent from 
 Venice, which period he passed in Germany, being 
 the time he has been supposed to have been in 
 Spain ; and it is known that the famous picture of 
 Paradise was sent by Charles V. into Spain, from 
 Venice, with many others. 
 
 Papillini, an author not to be depended on, attri- 
 butes, in his Traitd de la Gravure en hois, several 
 wood-cuts to the hand of Titian ; but Bartsch is of 
 opinion that he never engraved any of his own works, 
 and the circumstance is not mentioned by Ridolfi, 
 Vasari, Gandellini, &c. Vasari, in speaking of the 
 wood-cut of the Triumph of Faith, merely notices 
 that Titian, in 1508, mando fuoriy the aforesaid 
 
AND WORKS OF TITIAN. 
 
 137 
 
 prints which does not imply that he engraved it 
 himself. Ridolfi's words respecting it are, " that 
 " there is a wooden cut of the same, disegnata di 
 
 propria ma/zo, drawn by his own hand /' which 
 probably means to say that Titian drew, or marked 
 the design on the block for the engraver, and no 
 more ; as Raphael is said to have drawn the out- 
 line for some of Mark Antonio's engravings. 
 
 Pharaoh in the Red Sea ; the Madonna and 
 St. Anne ; the Birth of Christ; St. Francis receiv- 
 ing the Stigmata, in a landscape; St. Jerom in 
 the Desert ; Sampson and Dalilah have also been 
 attributed to Titian, but all these prints are with- 
 out any mark of the engraver, except the Pharaoh, 
 on which there is an inscription, concluding with 
 these words : — " disegnata per il mano di Titian, 
 " Venezia 1549, per Dominico delle Grecche 
 " dipintor Veneziano," who was a distinguished 
 scholar of Titian, and executed some capital 
 works in Spain. 
 
 On some other prints given to Titian, may be 
 observed the cypher of Boldino and Campag- 
 Buola. After all it seems extraordinary that Titian, 
 who was so constantly and laboriously employed 
 in painting, could have found leisure to occupy 
 himself in engraving wood-cuts, though many of 
 them are very masterly performances. 
 
 Titian was frequently called upon to repeat his 
 pictures by his own hand : there is more than one 
 original of the Disciples at Emaus, the Entomb- 
 
 u 
 
138 
 
 NOTICES OF THE LIFE 
 
 merit of Our Saviour^ the Venus and Adonis, the 
 Magdalen, and several other subjects ; but in all 
 these repetitions a considerable variety will be 
 found, either in the number or distribution of the 
 figures ; also in the landscape and back grounds, 
 and other subordinate parts. There is a letter 
 extant from Titian to Bertramo, Chamberlain to 
 the Cardinal de Medicis, apologizing for not send- 
 ing home, by the promised time, a picture which 
 had been ordered, as the Cardinal de Lorena hav- 
 ing seen it, he was obliged previously to make a 
 copy of it for him. 
 
 Titian being full of years and honours, fell a 
 victim to the plague in 1576, at the age of ninety- 
 nine. To perpetuate his memory, the Artists at 
 Venice proposed celebrating his obsequies with 
 great pomp and magnificence in the Church of 
 St. Luke, the programme of which is given at 
 length by Ridolfi ; but owing to the prevalence of 
 the plague no funeral ceremony was allowed by 
 the State: the authorities however made an ex- 
 ception in Titian's favour, and suffered him to be 
 buried in the Church of the Frari, at the foot delF 
 Altare di Crocifisso. 
 
 Tizianello says his own wish was to have laid 
 with his ancestors in the Archidiaconal Church at 
 Pieve. 
 
 In addition to Orazio and Pomponio, his sons, 
 and Cornelia, his daughter, it may be presumed 
 that he had other children, as there is in the 
 
AND WORKS OF TITIAN. 
 
 139 
 
 Dresden Gallery a Portrait of a young* person by 
 him^ inscribed " Lavinia Tit. V. E. ab eo pi eta," 
 engraved by Basan ; also another Portrait in the 
 Vienna Gallery, a youthful female, with the fol- 
 lowing- inscription, "Joannina Vecella Pictressa 
 filia prima Titiani," engraved by Hollar ; and in 
 the Countess de Grey's possession, one of a young 
 person holding up a casket, supposed to contain 
 her nuptial apparel, engraved by Heart. Liruti 
 mentions other sons of Titian ; and that Girolamo 
 di Titiano, who superintended his household, was 
 a natural son of his. The fact and time of Titian's 
 marriage are not positively known ; but Maier 
 says, that the most probable way of ascertaining 
 the fact would be by consulting the original letters 
 written and received by Titian, which with other 
 important documents are now in the hands of 
 the Brothers Carnielluti, residing at Serravalle 
 in the vicinity of Ceneda. 
 
140 
 
 NOTICES OF THE LIFE 
 
 Titian's scholars. 
 
 Having brought to a conclusion the Life of 
 Titian^ it is proposed to subjoin some account of 
 his scholars and imitators, many of whom distin- 
 guished themselves in approaching more or less to 
 his style, his colouring, and mode of painting; 
 and by their abilities have contributed to the fame 
 of their great prototype. 
 
 Francesco, the brother of Titian, possessed suf- 
 ficient talent to insure him considerable reputa- 
 tion as an artist, but was induced to take up the 
 profession of a soldier for a time, and is said to 
 have distinguished himself in personal combat. 
 The war in Italy being terminated, Francesco re- 
 turned to his brother at Venice, where he painted 
 for the Padri de San Salvadore, on the doors of 
 an organ, a subject representing San Teodoro in 
 armour, holding a standard and a shield, with the 
 impression of a white cross on it, together with 
 S. Agostino and certain Monks on the other side ; 
 and within the doors, the Transfiguration and 
 Resurrection of Christ ; at first sight this picture 
 was taken to be the work of Giorgione, so admi- 
 rably was it coloured. Francesco also painted 
 three large banners, which were displayed on 
 festivals ; and the Annunciation for the school of 
 Zoppi in 1528. The Company of Bombardier! at 
 
AND WORKS OF TITIAN. 
 
 141 
 
 Yenice have a picture of this master, wherein is 
 seen the Virgin protecting divers monks under 
 her mantle ; and there is another by him in the 
 Church of San Eustachio. The town of Oriago 
 on the Brenta has a picture of the Resurrection of 
 Christ in blue drapery, with the Magdalen stand- 
 ing by, both very fine figures ; a capital landscape 
 glows in the back ground, shewing Francesco's 
 excellence in every branch of the art. One of his 
 works is also to be seen in the Church of the 
 Frati di Zoccoli at Campo San Pietro in the 
 Paduan, in which Lewis King of France is in a 
 brocaded mantle, with the Baptist and St. John 
 the Evangelist, the Virgin, and an Angel ; and at 
 Ongarone, in the jurisdiction of Cadore, is a fine 
 picture by his hand of St. Jerome ; another also 
 for San Vito, representing that Saint in armour, 
 with several other figures, of which performance 
 Titian is reputed to have been jealous, and ad- 
 vised his brother to employ himself as a dealer in 
 wood, and obtained for him the place of Collector 
 of the Gabelle by his interest with Ferdinand King 
 of the Romans. Francesco having entered into 
 business relinquished painting, with the exception 
 of the portraits of a few of his friends, a circum- 
 stance much to be regretted, considering what 
 might have been expected from so promising an 
 artist. 
 
 Orazio Vecelli, the son of Titian, stood very 
 high as a portrait painter, some of his works in 
 
142 
 
 NOTICES OF THE LIFE 
 
 that line being not unworthy of his father s pencil. 
 He also painted subjects of invention : among 
 others destroyed by fire in the Ducal Palace^ in 
 the Hall of the Great Council, a Combat which 
 took place at Rome at the coronation of the Em- 
 peror Frederick Barbarossa betwixt the Roman 
 and Imperial Barons, where there is a horse, held 
 by a page, so extremely beautiful, as to appear 
 to have been touched by Titian himself. Orazio 
 accompanied his father to the Court of Rome, when 
 he went to that city to paint the portrait of Paul III. 
 and was himself employed on several portraits, par- 
 ticularly that of Battista Siciliano, a musician, and 
 others of the Pope's suite ; after which, in 1548, he 
 went with his father to the Imperial Court in Ger- 
 many, where Charles V. made him a denizen of 
 Spain, with an annual pension of 500 crowns. A 
 letter of Titian to the Emperor on this occasion is 
 extant, acknowledging with the strongest expres- 
 sions of gratitude the many favours bestowed on 
 himself, and concluding with thanks for the pen- 
 sion granted to his son, and the monarch's libe- 
 rality in portioning his daughter. Orazio however 
 being disposed to live at ease, and in a grand style, 
 laid the pencil entirely aside, and unfortunately 
 devoted himself to the study of alchemy ; so that 
 the riches which his father earned with so much 
 labour, were speedily consumed in smoke. 
 
 Marco, the son of Titian's brother, Toma 
 Tito Vecellio, was from a youth brought up 
 
AND WORKS OF TITIAN. 
 
 143 
 
 in Titian's house, whence he got the name of 
 Marco Titiano, and became an able artist. In the 
 Church of the Madonna di San Floriano di Zoldo 
 there was a fine picture by him of the Virgin and 
 Christ surrounded by Angels and Saints ; but in 
 rebuilding the Church in 1577 it was removed: 
 St. Florian himself is a portrait of Philip II. In 
 the Council Hall of the Ten, in many of the 
 Churches, and in the Doge's Palace, are some of 
 Marco's best works; and he repeatedly painted 
 his patron the Doge Donato. Marco died at 
 Venice, at the age of 66, in 1611. 
 
 GiROLAMo DI TiTiANo was amoug those who 
 studied in the school of Titian, and was employed 
 by him for a considerable time in drawing after 
 models ; nor would it have been possible for the 
 Master to have executed such a quantity of pic- 
 tures, unless he had derived assistance from the 
 labour of his pupils, and particularly from Giro- 
 lamo ; but as he was constantly employed under 
 Titian's roof, his reputation, as well as his fortune, 
 was but little advanced. In the Church of San 
 Giovanni nuovo is a picture by his hand of S. S. 
 Cosimo and Damaro ; but the figure of the Deity, 
 and the little children above, appear to be the 
 work of some inferior hand. There is a portrait 
 of a Prelate by him in the Cabinet of the Cavaliere 
 Gassoni at Venice. 
 
 Nadalino di Murano is distinguished as one 
 who availed himself particularly of his master's 
 
144 NOTICES OF THE LIFE 
 
 instructions. He painted several pictures of de- 
 votional subjects, which he sold to the dealers in 
 Venice, and was also very successful in portraits ; 
 and there is a work by his hand in the Cathedral 
 of Ceneda, containing the Virgin, S. S. Rocco 
 and Sebastiano, together with an individual of 
 the Casa Sarcinnella, extremely natural, and 
 touched throughout in Titian's style. Bartolomeo 
 della Nave has the head of an elderly female, said 
 to be the mother of Nadalino, coloured equal to 
 nature itself ; also the portrait of a young woman 
 with her bosom uncovered, most admirable in 
 point of colour. Ridolfi adds that these two were 
 taken to England. Cavaliere Gassoni possesses 
 two portraits of Nadalino's painting; one of a 
 young man, resting his hand on his hip, in a 
 doublet of black satin, which has all the lustre 
 of real silk ; the other is of a most delicate female. 
 In the Casa Ruzina is a picture of the Virgin and 
 several Saints ; likewise a sketch of Adam and 
 Eve driven out of Paradise. Sig. Gio. Van Veerle 
 has a portrait by him of a musician and a boy, 
 surrounded by various musical instruments, with 
 a landscape in the distance ; and another picture 
 of the Madonna and St. Joseph sitting on the 
 grass; also the Virgin and Child with three Saints : 
 a portrait of a Man adoring the Cross, and the 
 Annunciation, entirely in Titian's style of colour. 
 In the Collection of the Procurator Morisino was 
 a Lady with a smile on her countenance, draped 
 
AND WORKS OP TITIAN. 
 
 145 
 
 in linen, and her hair bound about with a cloth, 
 as if just coming out of the bath. In the Con- 
 tarini Palace di San Samuelo may be seen a 
 naked Venus, with a Satyr giving her flowers. 
 Nadalino, who died young, was admired for the 
 delicacy of his pencil. 
 
 Damiano Mazza of Padua, another scholar of 
 Titian, was an excellent colourist, and at times 
 counterfeited his master's style to perfection, as 
 may be seen at the High Altar in the Church of 
 the Hospital of St. Paolo, where the Virgin is 
 crowned by the Deity in the presence of Christ : in 
 the ceiling of the same Church is the Assumption 
 of the Virgin, with several little Angels foreshort- 
 ened sustaining the cloud she reposes on; but 
 this picture was removed on the reparation of the 
 Church. In Santo Silvestro is a picture of Santa 
 Elena leaning on the Cross, with S. Damiano in 
 pontifical robes sitting, before whom the Emperor 
 Constantine is on his knees. In the Casa di Sig- 
 nora Donati at S. Maria Formosa, are two pictures 
 exhibiting Deities, Cupids, and Satyrs with baskets 
 of fruit, doves, and flowers 3 and again in the Casa 
 della lonica is to be seen Ganymede and the Eagle, 
 so naturally and so exquisitely represented, as to 
 be worthy of Titian's own pencil. Damiano died 
 in the prime of life. 
 
 LoRENziNO studied after Titian; but there is 
 no work of his remaining at Venice, excepting a 
 fresco in the Church of S. Giovanni Paolo in 
 
 X 
 
146 
 
 NOTICES OP THE LIFE 
 
 the Chapel of San Miehiele over the tomb of 
 Jacopo Cavalli, a general of the Republic, in which 
 are represented two large figures, standing on 
 instruments of war, and supporting the border of 
 a field pavilion, from whence the General is issu- 
 ing forth in pursuit of the beaten enemy ; above 
 are two military trophies, with this inscription : 
 
 Tarviso, et Belluno servatis, 
 Clodia, Istriaque receptis." 
 
 This painter died early in life. 
 
 Lamberto, Christoforo, and Emanuello 
 SwARTz, Germans, improved themselves very ad- 
 vantageously in the school of Titian. There is 
 a print after the last mentioned of Christ going to 
 be crucified ; and a picture of the Virgin nursing 
 the Infant Christ, which is said to be very finely 
 coloured. But Lamberto during his residence at 
 Venice was employed, it is conjectured, both by 
 Titian and Tintoret in painting landscapes ; but 
 in Tintoret's pictures there is hardly a landscape 
 to be found ; and in those of Titian, one master s 
 hand pervades the whole. The picture in S. 
 Maria at Padua, in which the Virgin, St. Jerome, 
 and other Saints are seen, is the work of Lam- 
 berto ; also a picture of Santo Candinale in the 
 church of that name. Padre Anselmo Oliva of 
 Brescia, Inquisitor of Venice, possesses a fine 
 picture of San Eustachio kneeling before a Stag 
 in a wood ; and Sig. Reinst one of Pharoah in 
 the Red Sea. 
 
AND WORKS OF TITIAN. 
 
 147 
 
 PoLiDORo Veneziano was also a scholar of 
 Titian : several of his performances exist in the 
 churches and private collections at Venice when 
 Ridolfi wrote ; and Boschini says he practised an 
 admirable mode of painting*. All the above men- 
 tioned avtists were at different times inmates of 
 Titian's house ; and it is said that on going out he 
 left the key of the room which contained his choicest 
 works in a place to be got at, when they availed 
 themselves of the opportunity of copying them, 
 leaving one of the party to watch Titian's return. 
 These copies, which Titian retouched with his own 
 hands, subsequently passed as his genuine works. 
 
 Santo Zago was another pupil of Titian's school. 
 Boschini says, he successfully adopted his master's 
 style, as may be seen in the picture of Tobit and 
 the Angel in the Church of S. Catherine, which 
 might be taken for the pencil of the master him- 
 self, if the execution were more soft. 
 
 Bonifacio also trod with great success in Ti- 
 tian's steps, as the numerous public and private 
 works at Venice sufficiently prove, particularly 
 those in the Council of Ten, which have puzzled 
 the best judges in deciding whether they were 
 done by the scholar or the master. 
 
 Alessandro Moretto Bresciano, known by 
 the name of Moroni, was a celebrated scholar of 
 Titian: several of his works adorn his native 
 town: but a picture of the Marriage of Cana, 
 
148 
 
 NOTICES OP THE LIFE 
 
 in the Refectory of the Convent of Castel Lonigo 
 in the Vicentine^ was his most capital performance. 
 He excelled so much in portraits as to be con- 
 sidered almost a rival of Titian in that line ; but 
 on comparison^ Moretto appears inferior in that 
 clearness and freshness of tints which so emi- 
 nently distinguished his master. 
 
 Alessandro Varotari, known by the name of 
 Paduanino^ although, being born only in 1552, 
 was not personally instructed in Titian s mode of 
 painting, yet his genius led him to adopt with 
 considerable success the principles of his practice, 
 and he became a close imitator of Titian in every 
 respect. He made admirable copies of the Mira- 
 cles of St. Anthony at Padua, and of the Bacchanal 
 Scenes, in the Ludovisi Palace at Rome; and 
 there is a capital work of his hand of the Mar- 
 riage of Cana in the Refectory of a Convent at 
 Vicenza. 
 
 The elder Palma was one of the ablest of 
 Titian's scholars, especially in female figures, as 
 may be seen in the picture of S. Barbara over the 
 altar in S. Maria Formosa at Venice. His portraits 
 were very fine, witness those of Catherine Cornaro 
 Queen of Cyprus, and Laura, as well as those of 
 several Venetian ladies : in his colouring he ap- 
 proaches flesh itself; and his draperies always 
 harmonised with the tints of the flesh. 
 
 The younger Palma communicated to Boschini 
 
AND WORKS OF TITIAN. 
 
 149 
 
 Titian's mode of painting, having often witnessed 
 it, and was himself in some of his works entitled 
 to considerable approbation. 
 
 Calcar, a Fleming, was also among his scho- 
 lars ; but Paris Bordone particularly in portrait, 
 approached the nearest to Titian ; conceiving that 
 his master was not so communicative of his know- 
 ledge as he had a right to expect, he resided in 
 his house but a few years. 
 
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 53 
 
ARRANGEMENT OF THE SUBJECTS IN THE 
 FOLLOWING CATALOGUE. 
 
 Page 
 
 Portraits of Titian » i. 
 
 Old Testament ii. 
 
 New Testament iv. 
 
 Holy Families v. 
 
 Life of Jesus • xiii. 
 
 The Passion of Jesus Christ xvi. 
 
 Our Saviour glorified xxii. 
 
 Separation of the Apostles xxiv. 
 
 The Virgin Mary — 
 
 Saints xxvi. 
 
 Female xxxiii. 
 
 Mythology xxxiv. 
 
 Antient History xliii. 
 
 Modern History xliv. 
 
 Sacred Allegories xlvi. 
 
 Profane Allegories .* xlviii. 
 
 Various Subjects lii. 
 
 Emperors and Empresses Iv. 
 
 Portraits of Men lix. 
 
 Unknown Ixiv. 
 
 Female Ixvi. 
 
 Studies of Heads Ixx. 
 
 Landscapes — 
 
DESCRIPTIVE CATALOGUE 
 
 OP 
 
 ENGRAVINGS AFTER THE WORKS OF TITIAN. 
 
 FROM 
 
 THE BIBLIOTHEQUE DU ROI AT PARIS, 
 1827. 
 
 PORTRAITS OF TITIAN. 
 
 Portrait of Titian, upright oval, in a frame, on which is a 
 female in the act of painting. On the margin below is written : 
 Tiziano da Cador pittore. Small size. 
 
 Portrait of Titian, small upright print. In the margin below 
 is written : Titiano Vecellio pittore, e cavaliere j to the right, 
 G. Georgi f. 
 
 Portrait of Titian, three-quarters, face turned to the right ; 
 from the historical Gallery at Landon 3 small upright, in line 
 engraving. 
 
 Portrait of Titian, three-quarters, face turned to the left, the 
 head covered with a black cap, by Augustin Carrates (Caracche), 
 1587 5 upright, middling size. 
 
 Portrait of Titian, three-quarters, face turned to the left ; 
 large upright, head uncovered, short beard and hair. In the 
 Doria Palace (by Fidanzi). 
 
 Portrait of Titian and his Mistress j his elbow leaning on 
 a casket, in which there is a skull, to the right : on the margin, 
 below, four verses and a dedication in Italian. Etched by 
 Vandyck. 
 
 The same reversed, with four Latin verses beneath. To the 
 left, Titian pinxit ) in the middle, A.Bon Enfant excu. 5 to the 
 right, Pauli fecit. Small upright print. 
 
 B 
 
[ii] 
 
 OLD TESTAMENT. 
 
 Cain and Abel. To the left, Cain striking Abel with a club^ 
 whom he had knocked down, and is pushing with his foot. 
 The picture is at Venice, in the sacristy della Salt, On the 
 margin below : Titian Vecelli Cad. invenit et pinxit j to the 
 left, V. le Fevre del. et sculp. ; to the right, J. van Campen 
 formis Venetijs. Upright, middle size. 
 
 The same composition, the same way. Below, on the left : 
 Titian inven. ; on the right, Joseph M«. Mitellus delin. et 
 sculp. 3 on the margin below, 1669. Middle size, upright. 
 
 The same composition, reversed 3 Cain is to the right. En- 
 graved by Godfrey Saiter 5 middle sized, square. 
 
 The Deluge 5 a large print oblong, engraved on wood. 
 
 Abraham kneeling, with his hands joined, before the three 
 angels, who are standing to the left. Small upright. 
 
 Hagar shewing a heavenly light to Ismael on her right. In 
 the margin below : Titian pinxit j to the right, J. Panels. 
 
 Abraham* about to sacrifice his son, the angel stopping the 
 sword 3 to the right, a ram, and to the left, the pile of wood 
 is seen. This picture is at Venice, in the sacristy of the church 
 della Salt. Below, to the left, Titian inven. j to the right, 
 Joseph M*. Mitellus delin. et sculp. 1669. Large upright. 
 
 Abraham about to sacrifice his son on the altar, is prevented 
 by an angel. To the right, is seen the head of a ram 3 to the 
 left, that of an ass. In the margin below, to the left, Le 
 Fevre, del. et sculp. 3 in the middle is seen, Titian Vecelli cad. 
 invent, et pinxit 3 to the right, J. Van Campen formis Venetij. 
 
 The same composition. The ram is to the left, and the ass 
 to the right. Below, on the margin, Tiitiaen in. Cum privi- 
 legio G. V. Haecht fe. 
 
 The same composition. Gottifredo Saiter scolpi. Large 
 upright print. 
 
 Abraham's Sacrifice. Large composition, in four wood cuts ; 
 on the first, at the top, is written on a tablet. Sacrifice of the 
 Patriarch Abraham. 
 
[ iii ] 
 
 Joseph, and Potiphar's wife holding his garment in her left 
 hand j Joseph fleeing to the right. Below, Titian inv. Oblong. 
 
 The same composition, reversed. To the left, Visscher^ 
 excu. J to the right, Titian inve. Oblong. 
 
 Passage of the red Sea. Moses, to the left, stretching out 
 his wand. Below, on the margin, to the left. Cochin fecit ; 
 to the right, engraved by Le Blond. 
 
 Passage of the red Sea. Engraved on wood in twelve 
 sheets, oblong : on one of them is the year 1549. 
 
 Moses striking the Rock. Below, to the left, BFVF (Bap- 
 tiste franco van fecit.) 
 
 Moses on the mountain, praying for victory to the Israelites. 
 He is accompanied by two men, who are supporting him 3 his 
 arms lifted up to heaven. An oblong wood cut. 
 
 Judith, half length, holding the head of Holophernes. To 
 the right, an old woman j to the left, a child. In the margin 
 on the left, below, I. Titian p. j on the right, L. Vosterman f. 
 Small upright print. 
 
 Judith, half length, a sword in her right hand, and the head 
 of Holophernes in her left. A young black holds a sack to 
 receive the head. Large upright print. 
 
 Judith sitting, with a sword in her right hand ; her left foot 
 placed on the head of Holophernes. A Soldier, half length, 
 to the left, below 5 to the right, is written 1658. In the 
 margin below, to the left, Titian pinxit 3 in the middle, Stefano 
 Scolari forma Venetia : to the right, Jac. piccino delineavit et 
 sculpsit Venetiis. Large oblong print. 
 
 David killing Goliah, whom he had overthrown. Large, ob- 
 long wood print. 
 
 Goliah overturned, and his head cut olGF. To the right, 
 David raising his hands to heaven. Below to the left, Titian 
 inven. ; to the right, Joseph M*. MeteUus del. et sculp. 1669. 
 Large oblong print. 
 
 David, with his hand raised to the skies, is running towards 
 Goliah, whom he has conquered. In the margin below, 
 Titian Vecelli cad. invent, et pinxit ; to the left, V. Lefevre 
 del. et sculp. 5 to the right, J. van Campen formis Venetijs. 
 Large, upright, wood cut. 
 
[ iv ] 
 
 The Angel conducting Tobit, who carries a fish in his left 
 hand J to the right a dog. In the margin below^ in the 
 middle, Titian Vecelli cad. invent, et pinxit ; to the left, grav€ 
 par Le Fevre j to the right, J. van Campen formis Vindys. 
 
 Tobit holding a fish in his left hand, conducted by the 
 angel, who shews him the sky. Upright print. 
 
 Tobit and the angel Raphael, who holds a box in his right 
 hand ; Tobit carrying a fish in his left. To the left, in the 
 background, is seen an old man kneeling ; below, to the left, 
 Silvestro Manaige delinea. j below, per Domenico Louisa in 
 Ven*. J to the right, Andrea Zucchi sculp, j in the middle an 
 Italian inscription. Large upright print. 
 
 Sampson, his hair having been cut oflF by Dalilah, is sur- 
 prised by the Philistines. Oblong wood cut. 
 
 Susanna surprised in the bath by the old men. To the left, 
 Baptista de Cavalerius incidebat, anno D 1566. Oblong print. 
 
 NEW TESTAMENT. 
 
 The Nativity. The Virgin holding the infant Christ, and 
 giving him to Joseph, is kneeling under a roof supported 
 by trees 5 two angels above holding a book 3 to the left an 
 ox is seen j to the right an angel shewing the Infant to the 
 shepherds, A middle sized oblong print. 
 
 Christ in the manger adored by the Shepherds. To the 
 right, below, is written on a tablet, Francisco de Nanto. A 
 wood cut } upright. 
 
 Adoration of the Shepherds j one of whom is offering a lamb 
 lying on the ground, and another an ox, and a third an ass, 
 to the Child lying in the manger 5 Joseph standing by. In 
 the margin below, to the left, Titian p. 3 to the right, G. Boel f. 
 
 Adoration of the Magi. The Virgin to the left ; St. Joseph 
 is behind her. On the margin, to the left, Titian p. ; to the 
 right, E. van Kessel f. Small upright print. 
 
 The same composition, in small. To the left, TIW. ex. 
 (Titian inv. Nicolas Nelli exc.) Small oblong print. 
 
 The same composition turned to the right, Titianus Lucas 
 Bertelli. Large oblong print. 
 
[ V] 
 
 The same composition : to the left, B. Large wood cut. 
 
 The Massacre of the Innocents. In the background, to the 
 right, the Virgin and Child are seen on an ass, led by St. Jo- 
 seph. In the middle, on a stone, you read, Martin Rotta 
 Sebenzan f. 1569. Oblong print. 
 
 HOLY FAMILIES. 
 
 The Virgin and Child. 
 
 The Virgin standing, holding the Child in her arms. Below 
 are two Latin verses. A large upright print, attributed to 
 Cornelius Cort. 
 
 The Virgin, half length, holding the Child (who is standing) 
 before her to her left ; to the right, upon the frame of a win- 
 dow, is written, Titian pinx. supposed to be engraved by 
 Hollar. A middling sized oblong print. 
 
 The same print, with the name of Joan Meyssen excud. 
 Antverpiae. 
 
 The Virgin, sitting 3 holds in her arms and on her knees 
 the Child. Below, in the margin, there is an inscription, and 
 a Latin dedication : to the left, Titian pinxit 3 to the right, 
 Cornelius Bloemaart sculp. An oval print, in a square; 
 middle sized upright. 
 
 The Virgin giving the breast to the Child. To the right, a 
 table with a basket of fruit upon it. In the margin, below, 
 two Latin verses. Titian pinxit 3 Huar excudit. Of a square 
 shape. 
 
 The Virgin, a half length 3 her hands joined over the 
 Child, who is lying down. In the margin, below, a Latin 
 inscription 3 to the left, Titian pinxit j to the right, Morin 
 sculp. Large upright print. 
 
 The Virgin, holding the infant Jesus an her knees, who 
 presses against her bosom. In the margin, below, four Latin 
 verses 5 to the left, Petrus de Tode, junior 3 to the right, 
 Titian inven. Middle sized 3 upright. 
 
 The Virgin, half reposing, has on her knees the child, Christ, 
 holding in his right hand a flower. To the left again, Titian 
 
[vi] 
 
 in. In the margin, below> a Latin inscription ; to the rights 
 Daret ex. Middle sized, upright print. 
 
 The Virgin and Child. She is sitting near a tree, suckling 
 the young Saviour. Small upright. 
 
 The Virgin and Child, with other personages. The Virgin 
 is sitting ; the Child standing on her knees. St. Anne on one 
 side, holding in her left hand a palm branch, and caressing a 
 lamb with the other, led by the young St. John on the left j 
 to the right of the print, C. Normand sc. Line engraving in 
 the Annales du Mus^e. A small oblong print. 
 
 The same composition, the same way: Du Mus^e Filhol. 
 Drawn by Girod 5 etched by Le Rouge : finished byL'Anglois, 
 jun. Small oblong piece. 
 
 The Virgin is sitting in the middle, and giving the Child to 
 Joseph, who is on the right ; on the other side St. Catharine, 
 half length : below, in the middle, Titian invent, '^'isscher, 
 ex. An°. 1594. 1, Matham sculp. In the margin, below, are 
 four Latin verses. Middle sized oblong. 
 
 The Virgin with the Rabbit. The Virgin is in the middle, 
 caressing a rabbit with her left hand. On the left, is a Saint 
 presenting to her the Child, whom she holds in her arms j to 
 the right, on the second plain, is a man sittings his hand 
 placed on the head of a black sheep. In the middle, at top, 
 Titian is written : at the bottom, des^ par S. le Roi, grav^ k 
 I'eau forte par Chataigner, term^ par Dambrun : from the 
 Mus^e Filhol. Small oblong print. 
 
 The Virgin sitting on the ground, is caressing a rabbit with 
 her right hand. To the left, a female Saint presents the 
 Child which she holds in her arms to her. From the Annales 
 du Musee. Titian pinx*; C. Normand sc.: line engraving. 
 Small oblong print. 
 
 The Virgin, with her hands joined before the Child, who is 
 lying on her knees. By the side two angels in adoration. 
 From the Annales du Musee. E. L. Ling^e sc. : line engrav- 
 ing. Small upright. 
 
 The Virgin, sitting, holding Christ standing on her knees. 
 To the right, a female Saint with a sword ; to the left, two 
 
[ vii ] 
 
 monks, one of whom is kneeling j to the right appears, 
 Titian f. j and below, Wyngaerde ex. j to the left, F j in the 
 middle, V. Middle sized oblong print. 
 
 St. Christopher, on his knees, is stretching out his arms to 
 the infant Christ, who presents him to the Virgin, sitting at 
 the foot of a tree. To the right, is a female Saint sitting on 
 the ground, her hand supported by a basket of flowers 3 to the 
 left, V. Le Fevre del. et sculp. 3 to the right, J. van Campen 
 formis Venetijs. Middle size oblong. 
 
 The infant Christ lying on the Virgin's knees, who is 
 adoring him with her hands joined. To the right, a monk, 
 half length. In the margin below, to the left, I. Titian p. j 
 to the right, L. Vosterman, junior. A small oblong. 
 
 The Holy Family. The Virgin sitting, with the Child on 
 her knees, to whom a female, kneeling, ofiFers a basket of 
 flowers. Below, to the left, on the margin, I. Titian p. 5 to 
 the right, P. Lisabetius f. Small oblong print. 
 
 The Virgin sitting, with flowers in her lap, which she offers 
 to the Child lying by her. To the left, Tobit conducted by 
 the angel. Titian Vecelli pinxit, Venetiisj Vischer sculp. 
 Middle size, oblong print. 
 
 The Virgin sitting, her hands joined in adoration of the 
 infant Christ, who is on her knees. Near her are two angels, 
 also adoring. Below, to the left, Titian pinxit 3 to the right, 
 Coypel exc. Large oval, in a square frame. 
 
 The Virgin sitting, the Child standing on her knees ; ac- 
 companied by St. John the Baptist, the Magdalen, St. Paul 
 and St. Jerome : the picture, which is in the Dresden Gallery^ 
 is a half length size. Below, to the left, Joas Bapta inter- 
 nari deli, j to the right, Jacob Folkema sculp. Amst. 1752. 
 
 Holy Family 5 half length. The Virgin is sitting, with the 
 Child lying on her lap to the left j in the centre, a young 
 Saint holding the palm of martyrdom 5 to the left, an old 
 man holding open a book : quite behind him, to the left, a 
 soldier is seen. Above is written, Titian 5 below, des^ par J. 
 Le Roy. Grave a I'eau forte par Chataigner. Ter^ par Lang- 
 lois, j"« : du Musde Filhol. Small oblong. 
 
[ viii ] 
 
 The same composition. In the margin, to the left, beloWy 
 Titian pinx* ; to the right, C. Normand sc. : in line engrav- 
 ing, for les Annales de Musee. Small oblong. 
 
 The Virgin and Child. She is sitting on a sort of altar to 
 the left, the Child standing on her tnees : near her is St. Peter 
 holding an open book : to the right and left, in front, are two 
 Venetian nobles on their knees, accompanied by the rest of the 
 Pesaro family 3 near the Virgin, on the left, are two Franciscan 
 friars, who are presenting the Pesaro family to the Virgin : on 
 the opposite side is a figure in armour, holding a standard 
 with the arms of the family. In the margin is written, Titian 
 Vecelli cad. invent, et pinxit; below, on the left, V. leFevre 
 del. et sculp. 3 to the right, J. van Campen formis Venetijs. 
 Large upright print. 
 
 The same composition : engraved by Le Fevre and Jos. 
 Wagner. Large upright. 
 
 The same composition, reversed, the Virgin being to the 
 right J below is seen, Pisaurorum nobiliorum, &c. 
 
 The Virgin with the Child on her knees, who is adored by 
 St. Andrew on the left, and St. Tiziano on the right 3 behind 
 the latter is a bishop carrying his crozier. This picture is at 
 Padua, in the Palatine Chapel. In the centre is written, 
 Titian in. j on the margin V. Le Fevre del. et sculp. 5 to the 
 right, J. van Campen formis Venetijs. Middle sized, oblong. 
 
 The same composition, reversed, St. Andrew being to the 
 right. Gottifredo Saiter scolpi. to the right. Small oblong. , 
 
 The Virgin and Child in the clouds. Below, to the left, 
 St. Sebastian standing j to the right a female Saint, with a 
 palm branch in her handj in the middle a bishop with his 
 crozier, with a book in his right hand, with three monks_ in 
 the middle on the wall. Titian faciebat j at bottom, to the 
 left, V. le Fevre del. et sculp. 5 to the right, J. van Campen 
 formis Venetijs. Large upright. 
 
 The lower portion of the same picture. A wood cut ; 
 oblong. 
 
 The lower portion of the same, reversed. To the right is 
 written, on a stone of a cylindrical shape, Titian inven. Jj^ 
 
[ix] 
 
 intagliat Mantoano a Fabio Cuons nobil Senese. Large print ; 
 oblong. 
 
 The Virgin sitting on a balustrade, holding the Child in her 
 arms, who is standing j before whom, to the left, a friar on his 
 knees, with his hands joined, looking at a man who holds a 
 book in his left hand j at his feet, and behind him, appears a 
 lion, on whose head an angel is placing a crown : by the side 
 of the Virgin another angel is shewing an iron crown 5 on the 
 other side, another holds a palm branch ; to the right, a friar 
 standing 5 behind, a bishop with his crozier. To the left is 
 written, Franciscus Donato dux. Veneti, R. Large oblong. 
 
 The Holy Family. To the right, St. John is offering fruit 
 to the infant Christ, sitting on the Virgin's lap 3 to the left, is 
 St. Elizabeth. Middle sized 5 upright. 
 
 The Holy Family. The Virgin sitting, with Christ on her 
 knees, who is inclining towards St. John, astride on a lamb. 
 To the left, is an aged man j in the background some women 
 are seen : Joseph is behind the Virgin. Below, to the left, 
 Titian inventor. Middle sized j upright. 
 
 The Holy Family. The little St. John is offering flowers to 
 the infant Christ in the Virgin's lap j round his arm is a scroll, 
 with a Latin inscription : on the frame of the window, P. Ma- 
 riette, fils ex. : on the margin below, to the left, Titian in. 
 K. Audran fee. and a Latin inscription. Middle sized 5 
 upright. 
 
 The Holy Family. The Virgin adoring the infant, who is 
 asleep on her knees, supported by an angel on the left. In 
 front, on the same side, the young St. John ; half length. On 
 the margin, beneath, are four Latin verses to the left, Titian 
 inventor ; Petrus de Jode junior fecit 5 to the right, Anthoine 
 Bon Enfant excu. Middle sized, upright print. 
 
 The Holy Family. The Virgin, surrounded by cherubs, 
 is a half length, sitting j the Infant standing on her lap. To the 
 right, St. John, half length : on his left arm a banderol, with 
 a Latin inscription. In the margin, below, a Latin dedication, 
 Cornelius Bloemaert d.d. et sculpsitj to the left, Titian 
 pinxit. Middle sized ; upright. 
 
The Holy Family. The Virgin sitting, with the Infant on 
 her lap, whose right hand is touching the head of a lamb, pre- 
 sented to him by St. John j behind, is Joseph and a female 
 Saint. In the right, below, P. Middle sized, upright print. 
 
 The Holy Family. The Virgin sitting on the ground, at the 
 foot of a tree j the infant Christ on her lap, who is playing 
 with St. John, standing ; near is a female Saint sitting, and 
 leaning on her elbow j to the left, a cradle. Middle sized, 
 wood cut. 
 
 The Holy Family. The Virgin, sitting, is supporting with 
 her left hand the infant Christ, standing up and leaning on her, 
 to whom a female Saint is presenting the little St. John ; be- 
 hind, in the middle, is Joseph. Middle sized, wood cut. 
 
 The Holy Family. The Virgin, sitting, supports the Child, 
 raised up in his cradle, with her left hand, while St. John pre- 
 sents him with a basket of fruit : the left hand of the Virgin 
 rests on an old female, who supports St. John 5 to the left are 
 some trees, against one of which a ladder is placed ; to the 
 right, is Joseph sitting, holding in his hands a stick j behind, 
 are two women coming forth from a gate. To the left, 
 below, is seen on a stone, Marco del maro in. 5 Benetto Stefani 
 excudebat ; to the right, on a stone, cum privilegio. Large 
 upright. 
 
 The Holy Family. The Virgin, sitting at the foot of a tree, 
 with the Infant on her knees, who is holding St. John, stand- 
 ing before him, by the hand, and presenting to him a female 
 Saint, sitting ; by the side of the Virgin is Joseph, seated, his 
 left hand on a stick : to the left, an old man reading in a book, 
 supported by an angel. In the margin, below, six Latin 
 verses j to the left, Titian inventor, Petrus de Jode fecit. A. 
 Bon Enfant excu. Large oblong. 
 
 The Holy Family. The Virgin, holding the Infant on her 
 knees j one of his feet is placed on a cradle j St. John pre- 
 senting him with fruit. To the right, is Joseph. (Martin 
 Rota sc.) Middling sized oblong. 
 
 The Holy Family. The Virgin, sitting, is receiving with 
 her left hand a fruit presented by St. John j the Infant is lying 
 
[ xi ] 
 
 on her knees, whom a young female is taking into her arms. 
 In the margin, below, is a Latin inscription : to the left, 
 Titian pin. j K. Audran fecit. Middling oblong. 
 
 The Holy Family. The Virgin, sitting, is gathering a 
 flower with her left hand : the infant Christ on her lap, is 
 taking into his arms a young female, who is on her knees j to 
 the left, St. John, also kneeling, his arms crossed on his 
 breast in the act of adoration j behind him a lamb. To the 
 left, Titian pinx. Mgid Rousselet sculp, et excud. cum 
 privil. Regis, 1665. In the margin, below, are four Latin 
 verses. 
 
 The young Christ in the Virgin's lap, and supported by her 
 arms is gathering up flowers j St. John is to the right, with a 
 banderol, on which is some writing 5 to the left, a friar, with 
 a book in his hand. On the drapery is written, Titian invent. 
 I. Matham sculp. Below, in the margin, two Latin verses 5 
 to the right, C. Schonaeus. Small oblong. 
 
 The Virgin, sitting j the Infant standing on her knees, sur- 
 rounded by two rows of cherubs ; to the right, St. John, with 
 a scroll on his left arm, with this inscription, Ecce Agnus Dei. 
 To the left, Titian inv. et pinxit 3 to the right, Philip Ricci 
 firmanus sculp. Romse. Middle sized ; upright. 
 
 The Virgin, half length, in the centre, supporting the Child 
 standing on a table, to whom she is giving flowers 5 St. John 
 to the right, and two other figures to the left. On the edge 
 of the table, Titian in. p. : in the border below, to the left, 
 V. Lefevre del. et sculps. Middle sized 5 oblong. 
 
 The Virgin, sitting by a monument, with the Infant on her 
 knees ; behind her, St. Elizabeth } to the right, St. John j to 
 the left, St. Catherine, and to the right a large tree. Below, 
 to the left, is written, Benetto Stefani incidebat. Middling 
 sized print ; oblong. 
 
 The Holy Family. The Virgin, half length, holding flowers 
 in her right hand 3 before her, on a table, is the Infant, who 
 is giving her a flower: to the right, Joseph, half length, 
 with a stick 3 on the left, St. John, half length 3 near him 
 an old man. Small print 3 oblong. 
 
[xii] 
 
 The Holy Family : the same composition. Below, on the 
 right, Titian in. Small print ; oblong. 
 
 The Holy Family : the same composition, reversed. In the 
 middle, below, Titian in. ; in the margin, below, to the left, 
 V. Lefevre del. et sculps. Small oblong. 
 
 The Holy Family. The Virgin, half length, sitting with a 
 book in her left hand 3 to the left, Joseph, with both hands 
 on a stick. Large upright. 
 
 The Holy Family. The Virgin, sitting, holds the infant Christ 
 on her lap, whose looks are turned towards her ; behind, to 
 the right, Joseph, with his hands joined. Below, to the right, 
 Luca Bertelli exc. : in the margin, below, an Italian inscription. 
 
 The Holy Family. The infant Christ in the arms of St. Joseph, 
 with one knee leaning on a casket, and that of the Virgin placed 
 to the left. A cross with a banderol, on which are three let- 
 ters : quite to the left appears a female saint 5 to the left, 
 Titian pinxit ; to the right, L. K a F (Lucas Kilian). Below, 
 on the margin, an inscription and a Latin dedication. Middle 
 sized; oblong. 
 
 The Holy Family : the same composition. In the middle, 
 below, Titian invent. 3 to the right, 1594, I. Matham sculp. 
 Below, in the margin, four Latin verses 3 to the right, C. Scho- 
 naeus. The same size as the last. 
 
 The Virgin, half length, sitting, holds the infant Christ on 
 her knees 3 to the left, Joseph, half length, reading in a book 3 
 behind him two persons, the one holding a palm branch, and 
 the other, who is in armour, a lance. In the margin below, 
 to the left, I. Titian p. 3 to the right, P. Lisebetius f. A small 
 print 3 oblong. 
 
 The Marriage of St. Catherine. She is kneeling to the left 3 
 an old woman in the middle holding her left hand 3 to the right, 
 a female Saint supporting the infant Christ in her arms 3 behind 
 her an old man resting on his crossed arms 3 behind St. Ca- 
 therine an angel standing, and the head of another angel 
 appears. Large wood cut 3 oblong. 
 
 Marriage of St. Catherine. The same composition and the 
 same size-oblong. 
 
[ xiii ] 
 
 The Marriage of St. Catherine : the same composition : of 
 the same size. In the middle below, on a casket, is written, 
 Titian inventor. Middle sized oblong. 
 
 The Marriage of St. Catherine : the same composition, re- 
 versed. To the left, Titian invent. : in the middle, Petr. de 
 Jode fecit. Below, in the margin, is a Latin inscription. 
 Middle sized oblong. 
 
 The Flight into Egypt. Joseph is conducting the ass, on 
 which the Virgin, holding in her arms the infant Christ, is 
 riding. To the right, is a child sleeping, stretched on the 
 ground, his feet resting on his dog : in the middle is seen, on 
 
 Repose in Egypt. The Virgin, at the foot of a tree, is 
 holding the infant Christ on her knees ; before her a stone is 
 seen, on which is written, Sebastiano dul. ; high up, on the 
 left, an angel is holding a tablet, on which there is an inscrip- 
 tion. Middle sized, upright wood cut. 
 
 Repose in Egypt. The infant Christ, sitting on the Virgin's 
 lap, is holding a bunch of grapes j near whom is Joseph reading, 
 with spectacles on, in a book in his left hand j behind, is a 
 rock : to the left, below, Titian inventor. Small upright. 
 
 Repose in Egypt. The Virgin praying before the infant 
 Christ j Joseph to the right. Below, on the margin, a Latin 
 dedication 5 to the left, Titian pinxit ; in the middle, Corneli 
 Bloemart sculpsit et d. d. Middle sized upright. 
 
 Repose in Egypt. The Virgin, sitting near a tree, is suck- 
 ling the infant Christ, who is standing 3 by her side is a gourd. 
 Small square wood cut. 
 
 Repose in Egypt. Joseph, sitting on a stone near some 
 trees, is looking towards the Virgin, who is sitting, and holds 
 the infant Christ in her arms. In the margin below, to the 
 left, Titian p. ; to the right, E. van Kessel f. A middle sized 
 print. 
 
 Repose in Egypt. To the left, the Virgin seated at the 
 foot of a tree, is suckKng the infant Christ. In the back- 
 
 THE LIFE OF JESUS CHRIST. 
 
 Large oblong print. 
 
[ xiv ] 
 
 ground a cottage, where Joseph is engaged in loading the ass ; 
 to the left, on a stone, is written, Julio Bonasone f. Middle 
 sized print. 
 
 Repose in Egypt : the same composition, reversed. In the 
 margin below, in the middle, Titian Vecelli cad, invent, et 
 pinxit J to the left, V. Lefevre del. et sculp. ; to the right, 
 I. van Campen formis Venetijs. Middle sized oblong, but 
 somewhat smaller than the preceding. 
 
 Repose in Egypt : the same composition, reversed j and of 
 the same dimensions. To the right, is written Apua : on the 
 margin, below, some oval ornaments, wherein are sixteen 
 Italian verses. Middle sized print j oblong. 
 
 Repose in Egypt. The Virgin, sitting, with the infant 
 Christ in her lap ; behind whom is St. John, leaning on him ; 
 to the left, Joseph is loading the ass. Below, in the middle, is 
 written, Luca Berteli form. Middle sized, oblong, wood cut. 
 
 Repose in Egypt : the same composition. In the margin, 
 below, a Latin inscription j to the left, Titian inventor. Of 
 the same size as the foregoing. 
 
 Repose in Egypt. The Virgin, holding the infant Christ in 
 her arms ; to the left, Joseph standing, and leaning on a stick ; 
 on his right, St. John is presenting some fruit, which a young 
 female is gathering from a tree to the left : above, are three 
 angels. Below, to the right, is written on a stone, Titiano 
 inventor 5 Julio B. F. Large, oblong, wood cut. 
 
 Repose in Egypt : the same composition, reversed . In the 
 middle, below, Titian inventor, 1569 j to the right, Martin 
 Rota. Of the same size as the preceding. 
 
 Repose in Egypt. The Virgin, sitting, is taking in her 
 hands the infant Christ, who is kneeling by her j Joseph is 
 sitting to the left j in the middle are two large trees. In the 
 margin below, to the left, Titian pinxit. Middle sized, ob- 
 long print. 
 
 The infant Christ j a study j his right hand is touching his 
 left arm, and he holds an apple in his left hand j to the right, 
 is A'^ Fournaud del. Lithographic, Lower, in the middle, the 
 child Jesus. Middling sized, upright. 
 
[XV] 
 
 The infant Christ j half length : a study. Engraved in the 
 crayon manner, after the picture in the Mus^e. Drawn by 
 Dumay; finished by Bertrand. 
 
 The infant Christ lying on his bed, with one of his fingers 
 of his right hand in his mouth, Titian inv. Joannes Linde- 
 main incideb*. Floren, 1746. Small oblong. 
 
 The Baptism of Christ. St. John, who is to the right, is 
 pouring water on the head of Our Saviour, standing in the 
 river Jordan ; two angels, half length, are looking on. In the 
 sky is the Almighty, surrounded with angels to the left, are 
 some travellers on horseback j in the middle are four Italian 
 verses. Benetto Stefani excud. On a stone, to the right, 
 Marco Angolo di to del moro V. F. Large oblong. 
 
 Christ preaching on the Lake of Nazareth. Large, oblong, 
 wood cut. 
 
 The Woman taken in Adultery : the Jews bringing her be- 
 fore Christ, surrounded by his disciples : he is writing with his 
 finger on the ground. To the left, cum privilegio 3 in the 
 
 Benetto Stefani exc. Large oblong. 
 
 The Woman taken in Adultery. In the margin below, to 
 the left, I. Titian p. j to the right, I. Troyen f. Middle sized 
 
 The Tribute Money. Christ, half length, is pointing to the 
 sky with his right hand to a Publican on his left, who is 
 shewing a piece of money, and behind whom the head of ano- 
 ther Jew is seen. Below are certain ornaments, with eight 
 Latin verses j in the middle, Titian inven. j beneath, Martino 
 Ruota Sebenzan. f. Middle sized print j oblong. 
 
 The Tribute Money. The same composition, reversed ; on 
 the left an obelisk is introduced 3 below are four Latin verses. 
 Small oblong. 
 
 The Tribute Money. Jesus Christ, half length, raising his 
 left hand, is speaking to a publican on the right, who shews 
 him a piece of money 3 behind, are two other publicans 5 to 
 the left, behind Christ, is another publican. In the margin, at 
 bottom, is a Latin inscription 5 to the left : Titian pinxit 3 to 
 the right : Corn, Galle sculp, et excudit. Small upright. 
 
 to the right, on a stone. 
 
 oblong. 
 
[ xvi ] 
 
 The same subject, reversed, with two figures only. (Titian 
 in. Rom. Sup. p. m. 1694.) Small upright. 
 
 The same subject. Christ is on the left, and points to the 
 money with his right hand. On the border of the publican's 
 robe, near the shoulder, is written : Titianus f. j on the margin 
 to the left, at bottom: L. Zucchi delin. e sculp. ; an Italian 
 inscription in the middle. Small upright, but larger than the 
 preceding print. 
 
 The same composition; Christ on the right. From the 
 Gallery at Florence ; drawn by J. B, \yicar, engraved by R. U. 
 Massard. Small upright. 
 
 Jesus Christ at the pool of Bethesda, in a row of columns, 
 accompanied by his disciples 3 he is in the act of stretching out his 
 right hand to the sick, one of whom is gathering up his bed j 
 to the left a paralytic, carried by two men ; to the right, near 
 the apostles, a woman kneeling, holding her child. (Franco.) 
 Small oblong. 
 
 The Temptation of Christ. Half length j Christ's left hand 
 on his breast ; the Devil, in the shape of a young man, to the 
 right, offers him a stone. From the Orleans Gallery j drawn 
 by J. B. Wicar, engraved by Berseneff. Small upright. 
 
 THE PASSION OF JESUS CHRIST. 
 
 Christ washing the Apostle's feet. He is kneeling, having 
 before him a basin, in which he is washing the feet of one of 
 his disciples, who is sitting on a wooden bench j two more 
 disciples to the left, and the rest to the right j in the back 
 ground a table, and a window above. At bottom, to the left : 
 Franciscus de nanto, A large upright print. 
 
 The Last Supper. Christ at table with his disciples ; to the 
 right a female, and to the left a man bringing in the dishes 3 
 a dog is coming out from under the table cloth 3 the Holy 
 Spirit appears above. Below, to the left : Titian 3 and over it : 
 Lucam Bertellum. Large upright. 
 
 Christ on the Mount of Olives. An angel in the clouds, to 
 the left, presents the pix to Christ, who is kneeling on a stone 3 
 three of the disciples are lying down in the foreground. 
 Below, in the middle, 1570. Large upright. 
 
[ xvii ] 
 
 Our Saviour on the Mount of Olives. Praying on his knees ; 
 below three of his disciples asl^p^ at the top to the right, an 
 angel carrying the pix j at bott4)m to the left : Luca Bertelli, 
 exc. J to the right on a stone : 'It'itian inventor 3 beneath : N. 
 B. F. sc. Middle sized upright print. 
 
 Christ on the Mount of Olives,- Praying on his knees ; be- 
 low, three of his disciples slQei)ing ; to the left, above, an 
 angel is seen carrying the pix j below to the left : Titiano 
 inventore. Ju. Bonaconi, f. Middle sized upright. 
 
 Soldiers seizing and binding Chrast. To the left, Peter 
 cutting off Malchus*s ear j below to * the left : in Venetia alia 
 Libraria del St, Marco. Large upright. 
 
 The Flagellation of our Saviour. He is bound to the pillar, 
 and scourged by five men with rods and whips j below, on 
 the left lies the crown of thorns. (M. Rota) Small oblong. 
 
 The Flagellation. Christ bound to the pillar, is scourged by 
 several men with rods ; to the right, on the ground, the crown 
 of thorns j to the left is written : i Martin Ruota Sebenzan, F. 
 15685 to the right : Luca Bertelli, exc. Small oblong. 
 
 Christ in the praetorial Court, i He is sitting with his hands 
 tied, with the crown of thorns on his head, several persons 
 beating him with sticks 5 to the left, a soldier kneeling, his 
 left hand placed on the shoulder of another soldier 3 at top, 
 to the left, is seen the bust of Tiberius Caesar, his name re- 
 versed written below 5 in the margin below : Titian Vecelli 
 cad. invent, et pinxit j to the left, V. Lefevre del. et sculp. ; to 
 the right, J. Van Campen formijs Venetijs. Large upright. 
 
 The same Composition reversed 5 the soldier kneeling to 
 the right. A line engraving for the Annales du Mus^e, by 
 Normand. Small upright. 
 
 The same Composition, The soldier kneeling to the right, 
 engraved by Maria Cosway. Very small upright. 
 
 The same Composition. The soldier kneeling to the 
 right : from the Mus^e Fran^ais, engraved by Ribault. Middle 
 sized upright. 
 
 The same Composition. The soldier kneeling, to the right : 
 
 c 
 
[ xviii ] 
 
 drawn and engraved by David in 1809 j in the middle is a 
 French inscription; Large upright. 
 
 The same Composition. The soldier kneeling to the right. 
 From the Mus^e Filhol, drawn by S. Le Roy^ etched in aqua- 
 fortis, by Quevedo, finished by Massard p'"*'. Small upright. 
 
 The same Composition. The soldier kneeling to the right. 
 Small upright. ' 
 
 ChriSi, crowned with ThornS. Sitting with his hands bound, 
 and several soldiers striking hini 3 to the left, a soldier on his 
 knees leaning on his shield 3 in front, a helmet '5 to the left of 
 
 Christ crowned with Thorns. The same composition re- 
 versed, without any inscription beneath the bust. Below, to 
 the left : Titian inven. et pinxit mediolani j in the margin 
 below, an Italian dedication. Large upright. 
 
 Christ shewn to the People. Pontius Pilate is standing at 
 the door of his palace, by him stands Christ led by a slave j near 
 the steps to the right, a boy is playing with a dog, and a sol- 
 dier leaning on his shield 3 on the steps are the Jews demand- 
 ing to have Jesus delivered up to them ; to the left, are seen 
 Ecclesiastics and Senators, some on horseback 3 in the middle, 
 below on the steps, is a paper, on which is written : Titian 
 eques ces pinxit j to the right side : W. Hollar, fecit. 1650 ; 
 in the margin below, a Latin inscription. Very large oblong 
 print. 
 
 Ecce Homo. Christ, half length, wearing the crown of 
 thorns, and bound by a man on his right , behind, a soldier 
 holding him by the robe. Large upright wood cut. 
 
 Ecce Homo. Christ is sitting, wearing the crown of thorns, 
 and a reed in his hand ; behind to the right, a soldier holds 
 his robe, behind whom the heads of two other soldiers are 
 seen 5 to the left of Christ is a Jew standing. Large upright. 
 
 Ecce Homo. Christ, half length, wearing the crown of 
 thorns, and his hands bound, holding a reed 3 his breast and 
 arms covered with wounds. Large upright print. 
 
 Ecce Homo. Christ, half length, with the crown of thorns 
 on his head, carrying his cross 3 to the right is seen the head 
 
 Middle sized upright. 
 
of a man ; to the left, a man half length, holding a rope, and 
 also another man's head; above, the Almighty with four 
 angels, two of which are half lengths standing. In the margin 
 below : an Italian inscription. Large upright. 
 
 Ecce Homo. Christ, half length, crowned with thorns, 
 holding a reed in his hands, which are tied. In the margin 
 below : Ecce Homo, with two verses, and a Latin dedication j 
 in the middle : d. d. Lucas Vostermans Junior, to the right : 
 Titian. Small upright. 
 
 Ecce Homo. Christ, half length, crowned with thorns, his 
 hands being bound with a rope, the end of which is held by a 
 man to the right ; to the left, a soldier who is clothing him 
 with the purple mantle. 1823. C. Lorichon, sculp, this print 
 is circular, in a square frame, with an inscription in French. 
 Middle sized. 
 
 Ecce Homo. Christ, half length, having his hands bound, 
 and holding a reed, with a mantle over his shoulders, and the 
 crown of thorns on his head. Titian pinxit. Bartsch sc. small 
 upright. 
 
 Ecce Homo. Christ, half length turned to the right, his 
 hands bound, and the crown of thorns on his head. 
 
 Ecce Homo. After Titian, in lithography. Large upright. 
 
 Ecce Homo. Christ, half length, wearing the crown of 
 thorns, his hands tied holding a reed ; in four comers of the 
 frame are the instruments of his Passion. Luca Bertelli exc. 
 Middle sized upright. 
 
 Ecce Homo. Christ, half length, crovirned with thorns, a 
 man placed to the right holds the cord which binds his hands ; 
 to the left a soldier holds his garment. Above in the margin 
 of the oval is written : Ecce Homo. Without to the left ; 
 Titian pi. Below a reed, inscribed on the leaves : cum privi- 
 legio regis Christ. Beneath a Latin dedication. Middle sized 
 oval. 
 
 Ecce Homo. Christ, half length, wearing the crown of 
 thorns, holding a reed between his two hands which are bound. 
 In the margin below : Ecce Homo. Large upright. 
 
 Our Saviour carrying his cro^s on bis left shoulder, crowned 
 with thorns. Small upright. 
 
[ XX ] 
 
 Our Saviour bearing his cross on his right shoulder, crowned 
 with thorns. Small upright. 
 
 Our Saviour on the Cross, Angels receiving the blood flow- 
 ing from his wounds in cups. To the left, on a stone is 
 written : Titiano inventore. J. Bonasone f. Middle sized up- 
 right. 
 
 Calvary. A large composition in two sheets. Christ sur- 
 rounded with soldiers, and preceded by the two Thieves carry- 
 ing their crosses, is overpowered by the weight of his own 
 cross 5 to the left are women weeping, to the right several 
 horsemen close the procession. Above is written : Monte 
 Calvario ; at bottom to the left : Romae Baptista Parmen 
 formis 1584. To the right, on a paper, an Italian dedication, 
 and the date 1573. 
 
 Christ lying dead near the Sepulchre, the Virgin, a half 
 length, in the foreground the crown of thorns. Large oblong. 
 
 Christ carried to the Sepulchre by two of his disciples, a 
 third supporting his left hand j on the left is the Virgin with 
 her hands joined, and the Magdalen. On the margin, beneath 
 to the right, in red letters : Titian. Middle sized oblong. 
 
 Christ carried to the Sepulchre by three of his Disciples, one 
 of whom has his knee resting on a stone, near which is the 
 crown of thorns j to the right, the Virgin with her hands 
 joined, supported by Mary Magdalen. At bottom to the left : 
 Titian pirixit. To the right ^gid Rousselet sculp. Large 
 oblong. 
 
 Christ carried to the Sepulchre : the same composition as 
 the foregoing. Below to the left : Titian pinxit. 3 to the 
 right iEgid Rousselet sculp. ; in the margin below, to the 
 left, is an inscriptidn in French ; to the right, the same in 
 Latin. Large oblong. 
 
 Christ carried to the Sepulchre : the same composition. 
 Titian is written at the top. Below : drawn by Bourdon, 
 etched by Chataigner, finished by Dambran. Small print ob- 
 long, from the Mus^e Filhol. 
 
 The same composition. Titian pinx. C. Normand sc. An- 
 nales du Mus^e. Small oblong, line engraving. 
 
[ xxi ] 
 
 The same composition. Engraved by Maria Cosway. Very 
 small oblong. 
 
 Christ in the Tomb. The body placed on a bier, is put into 
 the tomb by two disciples, in the middle is the Virgin, with 
 the Magdalen by her. Below, to the right : Martin Rotta Se- 
 benzan, f. See Bartsch, t. xvi. p. 251, No. 10. Small oblong. 
 
 Christ in the Tomb. Two of his disciples are lifting him up 
 to put him into a coffin, near which is seen Joseph and two 
 female Saints, the crown of thorns lying on the ground to the 
 right. To the right : Giose po. Scolai. Very large upright. 
 
 Christ laid in the Tomb. His disciples are lifting him up 
 to put him into the tomb ; to the right, the Magdalen on her 
 knees is wiping the blood from his feet with her hair 3 in the 
 foreground, a basket, and the crown of thorns. Below to the 
 left : Joa Baptista de Cavallerijs incidebat, 1566. Large 
 square print. 
 
 Christ laid in the Tomb. His disciples lifting him up to 
 place him in the tomb 5 to the right, several women crying ; 
 in front to the right, the Magdalen kissing his feet ; above are 
 
 some angels. Below in the middle. Large upright. 
 
 Christ laid in the Tomb. Three of Christ's disciples, two 
 being to the right, and one to the left, half lengths, are lifting 
 Christ up, to place him in the sepulchre, the Virgin holding 
 his right arm j by her to the left the Magdalen in tears. On 
 the margin below, to the left, is a Latin inscription : Titian 
 pinxit. Paulus Pontius sculpsit. ; to the right : Antverpiae. 
 Large upright. 
 
 Christ laid in the Tomb. The same composition ; the 
 man to the left is entirely seen j to the right, below, is a basin, 
 and on a band is written i n r i. On the margin below, the 
 same Latin inscription 3 to the left : Titian pinxit. Paul Pon- 
 tius sculpsit ; to the right : Antverpiae. Large upright print. 
 
 Christ laid in the Tomb, by two of his disciples 5 to the 
 right another appears wiping his eyes, and a third with his 
 hands clasped ; the Virgin has hold of Christ's arm j the 
 Magdalen is holding out her arms. To the left on a stone : 
 Titiano inventore. J. Bonasone, 1563. Middle sized upright. 
 
[ xxii ] 
 
 Christ in the Tomb. Supported by an angel on the coffin, 
 on which to the left lies the crown of thorns j to the right 
 the stone which is to close up the sepulchre. Large upright. 
 
 OUR SAVIOUR GLORIFIED. 
 
 The Resurrection of Christ. He is rising from the Grave 
 surrounded with rays 3 several of the soldiers are half over- 
 thrown 3 one of them in the middle, with a sword in one hand, 
 and shield in the other is in the act of falling. T Ver Cruys 
 sculp. Large oblong. 
 
 The Resurrection of Christ. Christ is rising in the midst 
 of the soldiers, who are falling from fear. To the left : ?/\^ 
 Seben® 1569. Middle sized upright. 
 
 Christ appearing to Mary Magdalen. Christ is standing and 
 holding a mattock in his right hand, while his left is putting 
 back his robe 3 before him the Magdalen on her knees desiring 
 to touch him. In the margin below is written : noli me tan- 
 gere, and an indication that it was painted by Titian, and en- 
 graved by Nicolas Tardieu. Large upright. 
 
 Christ in Glory, between St. Peter and St. Paul. Half lengths. 
 Middle sized print upright. 
 
 Christ in Glory in the midst of his Apostles. He holds St. 
 Thomas by the hand, and makes him touch with his finger the 
 wound where the spear pierced. In the margin beneath, and in 
 
 the middle is a Latin inscription VI 3 to the left : Be- 
 
 netto Stefani inci. F. Large upright. 
 
 Christ with his Apostles. In the foreground St. Paul is 
 seen to the right, and St. Peter to the left. Middle sized 
 oblong. 
 
 Christ at Emaus. Sitting at table with two of his disciples, 
 to the left, an attendant ; more to the left, a lad carrying a 
 plate J under the table to the left, a dog. On the margin 
 below, in the middle : in aedibus Labachiis 3 to the left : Titian 
 pinxit 5 to the right : f. Chauneau sculpsit, 1656. Large 
 oblong. 
 
 Christ at Emaus. The same composition. On the margin 
 below, the subject is stated in French and in Latin. (Titian.) 
 
[ xxiii ] 
 
 below in the middle : Ant : Masson sCulp. Very large up- 
 right. 
 
 Christ at Emaus. The same composition. In the margin 
 below to the left : drawn by Lambert after Titian 3 to the 
 right ; engraved by Duth^ j in the middle, a French inscrip- 
 tion. Large oblong. 
 
 Christ at Emaus. He is at table with his disciples, in the 
 act of breaking bread j to the right, an attendant standing. 
 In the margin below, to the left : J. Titian, p. 5 to the right : 
 P. Lisebetius, f. Middle sized oblong. 
 
 The same Composition. Done in line engraving, for the 
 Annales du Mus^e. To the right : by C. Normand. 
 
 The Disciples at Emaus. Christ sitting at table between 
 two of his disciples j in the background are two servants of 
 the inn, one of which holds a plate. In the middle, below, a 
 Latin inscription j to the left : Titian pinxit. j to the right : 
 f. Chauneau sculpsit. 1656. Middle sized oblong. 
 
 The Transfiguration. Christ on a mountain having Moses 
 and Elias with him j below are seen Peter, James and John, 
 others of his disciples lying on the ground, and covering their 
 eyes with their hands. Below to the right : Titian inventor. 
 Middling sized square print. 
 
 The Descent of the Holy Spirit upon the Apostles. From 
 the top of a vaulted building, the Holy Spirit is shining on 
 the Apostles j in front, to the right is St. Peter. Below to 
 the left : Titian p. j to the right : N. R. Cochin del et Sc. j on 
 the margin below j a Latin inscription. Small upright. 
 
 Christ holding a sceptre in his hand, his feet resting on the 
 globe of the world. To the left, an angel carrying a cross, 
 and below, a woman on her knees holding a crown : to the 
 right, an angel bearing a spear, and the sponge on a stick j 
 below, a female presenting the pix. On each side are several 
 inscriptions in Latin ; in the middle, another inscription ; 
 below, to the left, there are two demons j to the right, a 
 skeleton thrown down, and a woman tearing her hair; to 
 the left, a Latin inscription j to the right, another, incomplete. 
 An upright print. 
 
[ xxiv ] 
 
 Head of Our Saviour, in front, surrounded with rays of 
 glory. In the ^jnargin, below, to the left : Rocques deV. ; 
 below, a French inscription j engraved by Noel after Titian j 
 to the right : a Latin inscription, and a Medal of the bust of 
 Pius VII. surrounded by a Latin inscription. Large upright. 
 
 The Head of Our Saviour. Oval : a Study. G. Reverdin, 
 del*. to the right : E. Bovet, sculpt, after the picture of 
 Titian in the Cabinet of Solon. Large upright. 
 
 ChVist. Half length, L. Noel, del*, after Titian j to the 
 right : Lithographic. Small upright. 
 
 Christ. Half Length, turned to the left : his hands crossed 
 over his breast. Titian pinx*. E. Ling^e, sc. Annales du 
 Mus^e i line engraving. Small upright. 
 
 THE SEPARATION OF THE APOSTLES. 
 
 To the right, a moimtain, at the foot of which is a stream 
 from whence one of the Apostles is taking up water in a cup j 
 a female kneeling, is stooping towards the ground to the left, 
 is a large tree ; the other apostles with sticks in their hands, 
 
 are taking different routes; Large oblong wood cut. 
 
 •I 
 
 THE VIRGIN MARY. 
 
 The Annunciation. To the right, an angel on a cloud holds 
 in his right hand a palm branch, and with his left points to a 
 ray of light filing from the Holy Spirit on the Virgin, who is 
 on the other side kneeling at a prie-dieu, her arms being crossed 
 on her breast ; near her is a basket and a bird. Below, on 
 the margin, to the left : V. L^evre, del. et sculp, ; in the 
 middle : Titian Vecelli cad. invent, et pinxit ; to the right : 
 I. Van Campen formis Venetijs. Oblong. 
 
 The Annunciation. To the riglit, an angel standing with 
 his hands crossed on his breast 5 ^the Virgin kneeling to the 
 left ; above, the Holy Spirit, surtounded by angels. Below 
 to the right, on the plinth of a column : Cornelio Cort. fee. 
 Upright print. - 
 
 The Annunciation. To the right, the Virgin kneeling at a 
 
[ XXV ] 
 
 I 
 
 prie-dieu, her hands crossed on her breast j to the left, the 
 angel holding a palm branch in his left hand, and with the 
 right pointing to the Holy Spirit, by whose rays the Virgin is 
 surrounded j above, are angels, two of which are holding the 
 columns of Hercules, with the device : Plus ultra. Below, 
 to the right : Titiani figurarum ad Caesarem exempla ; to the 
 left : Jacobus Caraglini fe. Upright print. 
 
 The same Composition j without the inscription on the 
 columns. Below in the middle : Donati Rasicoti form. Iiarge 
 upright. 
 
 The Assumption. The Virgin kneeling on a cloud with her 
 hands joined, near her three angels, two others in the air, are 
 placing a crown on her head. In the margin below, a Latin 
 dedication 5 to the right : Le Blond excud. Middle sized 
 upright. 
 
 The Assumption. The Virgin sitting on the clouds, her 
 two hands joined ; near her to the right, some angels, one of 
 which is placing a crown on her head. In the margin beneath, 
 a Latin inscription. Middle sized upright. 
 
 The Assumption. Some of the apostles placed about the 
 empty tomb, are looking into it, while others are directing 
 their eyes to Heaven 3 on each side of the Virgin, Cherubs. 
 Annales du Musee, C. Normand sc. engraved in lines. Small 
 upright. 
 
 The Virgin. Study of a head in the manner of crayons. 
 To the right: Charles W. j below: lith.de G. Engelmann. 
 Large upright. 
 
 The Virgin in Lamentation. She is a half length with her 
 hands joined. In the margin below in the middle : Titian, and 
 a Latin dedication, to the right : Buchan Bertelli, eScc. Large 
 upright. 
 
 The Virgin in Lamentation. A counter proof. 
 
 The Virgin in Lamentation. The same coipposition. In 
 the margin below : Maria mater Dei. Large upright, 
 
 The Virgin weeping. Her hands crossed, and a sort of 
 sword in her bosom. P. Tassaert, sculp, above ; Mater dolo- 
 rosa, d'apr^s le Titicn. Middle sized upright. 
 
[ xxvi ] 
 
 7 
 
 i 
 
 Y SAINTS. 
 
 St. Japes. Half length, holding with his left hand a pil- 
 grim's staflF, his right hand lying on a book. In the margin, 
 below, to the left : I. Titian p. ; to the right : L. Vosterman 
 Junior, f. Small upright. 
 
 St. Luke. Sitting on a Bull, holding an open book in his 
 left hand. V. Lefevre del. et sculp. Middle sized square. 
 
 A young St. John. Standing, his left hand leaning on the 
 branch of a tree, the right being lifted up j to the left, a lamb 
 lying down. (Battista Fontana, sc.) Small upright. 
 
 St. John Preaching in the Wilderness. St. John standing 
 on an eminence, is preaching to the people, and a band of 
 soldiers, and pointing to the sky. Large upright. 
 
 St. John at the foot of a Tree. His hands crossed on his 
 breast, and holding a banner, on which is written : Agnus j 
 by his side is a lamb. Small upright. 
 
 St. John in the Desert, He is standing near a rock having 
 on a dress of camels hair, and holds a cross in his right hand j 
 his left is elevated, a lamb lying at his feet. In the margin 
 below, are two Latin verses j to the right : Titian depinxit, 
 Jacob Haeden Sculp. Venetiis. Small upright. 
 
 St. John in the Desert. Standing near a rock, and covered 
 w^ith a camel's skin, holding in his left hand a cross, the other 
 raised up, at his feet a lamb, in the margin at bottom : Titian 
 Vecelli cad. invent, et pinxit 3 to the left : V. Lefevre del. et 
 sculp. 5 to the right : I. Van Campen formis Venetijs. Mid- 
 dle sized upright. 
 
 St. Joh^ in the Desert. Standing near a rock, and wearing 
 the camel's skin, and holding a cross in his left hand, the right 
 being raised up j near to him is a scull, and a lamb at his feet 5 
 on a stone i^ written : Titianus inventor y below : Claudi 
 duce formis. Small upright. 
 
 St. John preaching in the desert. A wood cut oblong. 
 
 St. Christopher. The Saint half way up his legs in water, 
 supports himself with a stick, and is carrying the infant Christ 
 on his shoulder. On the margin below^ an Italian inscription ; 
 
[ xxvii ] 
 
 to the left : Giuseppe Camerata^idelin. ; to the right : Andrea 
 Zucchi sculp. Large uprig^it. s 
 
 Martyrdom of St. Lawrence, The Saint is extended on a 
 sort of grate, a man to the rig]^t is ^tending the fire, while 
 another is bringing a supply of wood. In the back ground is 
 a statue on a pedestal, with an inscription to the honour of 
 Philip IL King of Spain. On the grate is written : Titian 
 invenit Mqaes Caes. Below, in the middle, 1571 5 to the 
 right : Cornelio Cort fe. Large upright. 
 
 The same composition, with the same inscription. (R. Sade- 
 ler exc.) Small upright. 
 
 The same composition. On the grate : Titian inven. Mques 
 Cass. In the margin below, is a Latin inscription. Small 
 upright. 
 
 The same composition, reversed. On the grate : Titianus 
 invent. The same size as the preceding. 
 
 One of the same size, reversed, small upright. In line en- 
 graving for the Annales du Mus^e, by Normand. ' 
 
 The same composition. The man tending the fire, is to 
 the left. Fori the Mus€e Filhol. Engraved by Portman. 
 Middle sized upright. 
 
 St. Jerome kneeling, supported by a rock ; holding^ a stone 
 in his left hand. Below to the left, a lion lying down j to 
 the right, a scull and a book. In the margin below : Titian 
 Vecelli cad invent, et pinxit. To the left : V. Lefevre del. et 
 sculp. J to the right : 1. Van Campen formis Venetijs. The 
 picture is in the church of Santa Maria nuova at Tenice. 
 Large upright. 
 
 St. Jerome. The same composition : engraved by Gottifredo 
 Saiter. Large upright. 
 
 St. Jerome sitting on a rock, holding a scull in his left hand 5 
 to the left, a lion lying down j near there is a book and a 
 crucifix. Below, Baptista Francus Venetiis fecit. Large 
 upright. 
 
 St. Jerome kneeling, to the left, before a crucifi^t, which is 
 in the middle of the print ; a lion and lioness are lying at 
 his feet. Large oblong. 
 
[ xxviii ] 
 
 St. Jerome, turned towards the left; is sitting on a rock j 
 with his left hand he is dippiifg a peri into an inkstand at his 
 feet a lion is seen. Small-mprighl; wood cut. 
 
 St. Jerome kneeling, 1;urned towards the right, holding a 
 stone in his right hand 5 at His knees, to the right, is an open 
 book. Middle sized^mpright wood cut. 
 
 St. Jerome sitting full faced, and writing in a book, which 
 he holds on his kne^s j near him to the right, is a lion lying. 
 Small upright, etched with aqua fortis. 
 
 St. Jerome, towards the left, kneeling before a crucifix, 
 fastened to a tree,^t the foot of which is a book open, resting 
 on a scull ; behind the tree, to the right, is a lion. Large 
 oblong. To th^ left, on a stone, N. B. L. F. (Nicolas Beatis- 
 cius Lotharing, fe.) 
 
 The same composition, reversed 3 with a verse of the bible 
 in Latin, (Baptiste Franco). 
 
 St. Jeroi^e kneeling 3 turned towards the left, his hands 
 joined togfther, having before him an open book resting on a 
 rock, and near it a scull 3 to the right, a lion coming out of 
 his cave. Small circular print. 
 
 St. Jerome sitting in a small building, a book lying on a 
 rude table 3 near a lion at his feet. In the back ground, are 
 two stags. In the middle: B.M. to the right: apud Ca- 
 macium. 
 
 St. Jel?ome kneeling before a crucifix fixed in the ground, 
 with his left hand upon his breast 3 near him on the right, is 
 a scull, a Cardinal's hat, and a lion lying. Below, in the 
 middle^ on a stone : Simon Pinargem, exc. Large upright. 
 
 The same, reversed. (Corne. Cort.) Large upright. 
 
 St. Jecome sitting, before a table with legs in the form of 
 an X. In the back ground an apron laid on a book. ^ Jo the 
 left the lionlyingi ^ -Large upright. 
 
 St. Jefome kneeling on the ground, in his right hand a 
 crucifix, afid an open book before him 3 to the right, a lion 
 lying. L^rge square. 
 
 St. Jeron^e in meditation sitting, his head resting on his 
 right hand 3 in the foreground, a lion lying 3 near St. Jerome 
 
[ xxix J 
 
 is an angel shewing him the deity, commanding the general 
 resurrection. Below, are two inscriptions in Latin in scrolls 
 above to the right, is the mark of the engraver, composed 
 of the following letters C. H. R. O. 
 
 St. Jerome sitting, his elbow resting on a rock, holding 
 with his left hand a book which restb on his knees j to the 
 left, a lion coming out of his den, 1565 : (Corn. Cort.) Middle 
 sized upright. 
 
 St. Jerome standing, is striking his breast with a stone, 
 which he holds in his right hand j on his left, he has a cruci- 
 fix, and a book open ; a lion lying at his feet is raising his 
 head up towards him. A large upright wood cut. In some 
 of the impressions, the block appears to have been fractured. 
 
 St. Jerome kneeling before a rock, at the foot ofi which is 
 a book, holding a stone in his right hand ; in the background 
 are two large trees j to the left, a lion standing. Below, to 
 the left : Titian pinxt. 5 to the right : Normand sc. Small 
 oblong. 
 
 The same composition, the same way, etched in Italy. 
 Middle sized oblong. 
 
 St. Jerome. To the left, at the mouth of a cave, St. Jerome, 
 with one knee on the ground, and a book and rods before 
 him, is striking his breast with a stone j with his left hand he 
 touches a scull placed on a rock, together with a crucifix 5 to 
 the right, a lion tearing an animal 3 in the back ground, on 
 the same side, are rocks. Below to the left ; Antoni Wierinx 
 sculp. Titian inventor, j to the right : Hoeswinckel excudit. 
 Middle sized oblong. 
 
 St. Jerome kneeling on a rock, before a cross, at the foot 
 of which is a book. Above the rock, same trees j to the 
 right, the mark of Nicolas Nelli ex. Small upright. 
 
 St. Sebastian, tied to a tree, pierced with two arrows. 
 Below to the left : Titian invent. ; to the right ; Raph. Sadeler 
 excudit. In the margin, at bottom, are two Latin verses. 
 Small upright. 
 
 St. Sebastian, his hands tied behind his back, an arrow 
 sticking in his breast j he is accompanied by St. Roc 3 to the 
 
[ XXX ] 
 
 right, are two persons standing in the Venetian costume. In 
 the middle;, ^, figure holding a book in the left hand. It is 
 painted in the Sacris<;y della Salute at Venice j (Wagner Sco.) 
 Large upright. 
 
 St. Sebastian, accompanied by St. Francis, St. Dominick, 
 St. Peter, St. Nicholas, and a female saint to the right, holding 
 a palm branch. Behind these on the wall : Titian faciebat. 
 in the clouds above, the Virgin holding Christ on her knees, 
 with an angel in the air on each side. The picture is in the 
 Palace of Monte Cavallo, at Rome : engraved by Godefroy 
 Saiter. Large upright. 
 
 The same composition, reversed j the female Saint being to 
 the left : engraved. 
 
 The same composition, reversed, the female Saint to the 
 left : engraved in chiaro scuro, J. B. Jackson del. sculp, etc. 
 1742. Large upright. 
 
 St. George holding in his right hand a broken lance, is 
 attacking the dragon on the right. Large upright wood cut. 
 
 St. George, with his back towards you, is galloping his 
 horse towards a cave : a lance in his left hand. Below, to 
 the left, an empty square. In the middle : M. L. (Michael 
 L'esclude). Middle sized upright. 
 
 St. George seen in profile, on a horse with a plume of 
 feathers on his head : he is thrusting his lance into the 
 dragon's head, placed to the left : to the right, in the back 
 ground, the Queen of Lydia is seen. Middle sized oblong, 
 etched with aquafortis. 
 
 St. Jerome is kneeling to the right, his body being turned 
 towards the left ; his left hand on his breast, with his right 
 he holds a stone j to the left, a lion. Small upright. 
 
 St. Hubert kneeling, holds a horse by the bridle, behind 
 him to the left dogs are seen j to the right, on a rock, 
 a stag having a crucifix erect between bis horns. Below, to 
 
 the left ; Batz* font.* f. In the middle : exc. (Nicolas 
 
 Nelli). 
 
 i The Temptation of St. Anthony. He is kneeling in the 
 middle before a crucifix ; to the left, a woman and a lame 
 
[ xxxi ] 
 
 man are coming towards him j to the right, divers grotesque 
 figures appear and others of the same description in the sky. 
 Middle sized wood cut, oblong. 
 
 St. Anthony surrounded by several persons in Venetian 
 dresses, is putting out his left hand to a young man who has 
 cut oflF one of his feet. The picture was at Padua, in the 
 church of St. Anthony. In the margin below : Titian Vecelli 
 cad. invent, et pinxit. ; to the left : V. Lefevre del. et sculp, j 
 to the right: Van Campen formis Venetijs. Large upright. 
 
 The same composition ; engraved by Godefroy Salter. 
 Large upright. 
 
 St. Nicolas sitting in a pontifical habit, holding in his left 
 hand a book, and stretching out the right j at his feet are 
 two balls } to the left, a child holding his mitre. In the 
 margin below is seen, St. Nicolaus j to the right : Z. 46. 
 (painted at Venice in the church of St. Sebastian). Middle 
 sized upright. 
 
 Martyrdom of St. Faustin, and St. Jovita, with their hands 
 tied behind them, on a rolling chevalet, drawn by two men, 
 placed to the right. On the margin below, to the left, a 
 Latin inscription to the right, one in Italian. On the same 
 side : Venetiis apud Lucam Bertellum, Middle sized oblong. 
 
 St. Roc, standing, his left arm leaning on the trunk of a 
 tree, holding a long stick on his shoulder. Above to the left, 
 an angel j and below, on the same side, is seen a dog with 
 a piece of bread in his mouth. Tt is surrounded by a frame 
 in which are pictures representing the history of St. Roc, with 
 an inscription on each. Below, to the left, on a throne : 
 Limo Sina per la fabricha ; to the right, is a child's head j in 
 the middle, a Latin inscription. Large wood cut, upright. 
 
 St. Francis Assise receiving the stigmata 3 he is kneeling 
 with a book by him, and receiving the rays of light from a 
 winged crucifix, seen above to the right. Below, on the same 
 side, is a friar. On a stone is*seen: Joannes Baptista de 
 Cavalleriis inci. Middle sized oblong. 
 
 The same composition, without the rays. A wood cut. 
 
 Martyrdom of St. Peter Dominican. A man is seizing St. 
 
[ xxxii ] 
 
 Peter by his robe with his right hand, and with his left aiming 
 a blow at him with a sword, while his companion terrified, 
 makes his escape. On the margin below, in the middle : 
 Titian VeceUi cad. invent, et pinxit. Below, a Latin inscrip- 
 tion 5 to the left : V. Lefevre del. et sculp, j to the right : 
 I. van Campen formis Venetijs. Large upright, rounded at 
 top. 
 
 The same composition, reversed. On a tablet hanging from 
 a tree, to the right : Titian inventor, Martinus Rota sibe*" f. 
 On a stone below, to the left: Lucae Guerinoni formis. 
 Large upright. 
 
 . Martyrdom of St. Peter the Dominican ; in the margin be- 
 low : Titian Vecelli eques caes. Pio V. Pont. maxi. faciebat. 
 B^low : Lucae Bertelli formis. (Baptista Fontana sc.) Large 
 upright. 
 
 The same composition : du Mus^e Frangais : drawn by 
 Bouillon : engraved by Henri Laurent. Large upright. 
 
 Martyrdom of St. Peter Dominican. The assassin is seizing 
 St. Peter with his left hand. In the margin below, a Latin 
 inscription. Titian pinxit j to the right : N. Cochin del. et 
 sc. Small upright. 
 
 St. Peter Dominican. The assassin is seizing him with his 
 left hand. On a stone below, to the right, is written : Titian 
 inventor Jo. Baptista Fontana incidebat. Nicolai Nelli for. 
 Vene. 1569. See Bartsch t. xvi. p. 227^ n. 23. Large upright. 
 ; The same composition. The assassin seizing the Saint 
 Ivith his left hand 5 at the top : Titian. Below : des°^ par 
 Bourdon, gra^^ ^ I'eau forte par Bertaux et Filhol, term^^ par 
 5ovinet. Musee Filhol. Small upright. 
 
 The same composition : in line engraving, for les Annales 
 du Mus^e par C. Normand sculp. Small upright. 
 
 The same composition. The assassin holding the Saint 
 with his right hand. Below, to the left : Fragonard del. 3 to 
 the right : du Titieu. The picture is in the church of St. 
 John and St. Paul at Venice. Below Saint Non sc. 1774. 
 Small upright, aqua tinta. . „ - 
 
 The Martyrdom of St. Peter Dominican : the same compo- 
 
[ xxxiii ] 
 
 sition ; but the wood is to the left. Below the right : Denon 
 S. Large upright. 
 
 SAINTS. 
 
 St. Mary Magdalen, half length, her arms crossed on her 
 breast, before her a book lying open on a scull ; to the left, a 
 small vase ; (Martin Rota sc.) Large upright. 
 
 The same composition. In the middle below : Titianus. 
 
 Large upright. 
 
 The same composition, reversed : the Magdalen turned 
 towards the left. Below on a stone to the left : cum privile- 
 gio. On another stone in the middle : Cornelio Cort. fe. 
 1566, Titianus. Large upright. 
 
 The same, turned towards the left, without the book before 
 her. Beneath, eight Italian verses. Large upright. 
 
 The same, turned towards the left ; the vase also to the 
 left. On a stone on the same side is Titianus. Middle 
 sized upright. 
 
 The same, turned towards the right, covered only by her 
 hair j a vase to the left. In the margin below, is the title, 
 and a Latin inscription ; to the left • Titian inventor, to the 
 right : P. Ombart sculp, et. Middle sized upright. 
 
 The same composition. The vase to the left, without any 
 ornaments. On the margin below, in the middle, is a Latin 
 inscription j to the left : Titian pinxit. Henr. Danckers hagae 
 batavus sculp, et excud. 3 to the right : ex coUectione comi- 
 tis Pembrokise. Middle sized upright. 
 
 The same, sitting on the ground, turned towards the right, 
 near an altar, which is on the left 5 holding a crucifix in her 
 right hand j an open book, and a covered vase are by. On 
 
 the right below, RH. On the margin below, a Latin inscrip- 
 tion. Large oblong. 
 
 The Magdalen sitting on the ground, turned to the left j 
 her elbow resting on a rock, at the foot of which is a scull ; 
 to the right and left are rocks 3 below to the right, the let- 
 ters F. S. Middle sized oblong. 
 
 d 
 
[ xxxiv ] 
 
 The Magdalen. Half length, her right hand on her breast : 
 Gal. Giustiniani. Very small upright. 
 
 The Magdalen. Half length, her left hand on her bosom, 
 she is holding her hair, with which she is almost entirely 
 covered j to the right, a vase : drawn by J. B. Wicar, en- 
 graved by M". Blot, for the Florence Gallery. Small upright. 
 
 Head of the Magdalen. Surrounded with an ornament j 
 below, an Italian inscription j to the right ; Arnoldo Van 
 Westerhout, fiamS°. Large upright. 
 
 St. Mary Egyptian. St. Mary on her knees is receiving 
 the Communion from a Friar who is to the left ; in the back- 
 ground to the right is another Friar giving the Communion to 
 a dying woman 3 below, to the left : B. L. j on the margin 
 below^ four Latin verses. Small upright. 
 
 St. Margaret. Holding a crucifix in her left hand, and en- 
 deavouring to avoid the Dragon j to the left on a stone : 
 Titian in v. Large upright. 
 
 St. Margaret. Holding a crucifix in her right hand, and 
 stepping over the body of a dragon overthrown ; on the mar- 
 gin below in the middle : S*^" Margheritaj to the left : Titian 
 pinxit. 3 to the right: H. Howard fecit. Middle sized upright. 
 
 MYTHOLOGY. 
 
 Jupiter and Antiope. Jupiter, in the shape of a Satyr, 
 lifting up the veil which covers Antiope, who is sleeping at 
 the foot of a tree, from which Cupid is shooting an arrow j 
 in the margin below, to the left : Titianus delin. to the right, 
 M. Corneille sculp. Large oblong. 
 
 The same composition ) in the margin below, a French 
 inscription j engraved by Bernard Baron. 
 
 Antiope. Lying on a bed turning towards the right, her 
 head supported on her right arm ; below to the left : Tic. in. j 
 to the right : 15 p. Middle sized oblong. 
 
 Antiope. The same, supported on her right arm : etched 
 with aqua fortis. Small oblong. 
 
 Antiope, The same reversed, her head leaning on her left 
 
[ XXXV ] 
 
 arm j to the right near to a tree, two men are sitting j below 
 to the left : J. Van Campen formis Venetijs ; in the middle, 
 
 ^an in. to the right : V. le Fevre, del. et sculp. Large 
 oblong. 
 
 Antiope. Her head leaning on her left arm j in the margin 
 below to the left : Titianus pinxit. ; in the middle two Latin 
 verses j to the right : P. Soutman fecit et excud. Middle 
 sized oblong. 
 
 Antiope. Her head leaning on her left arm, a Cupid kneel- 
 ing at her feet, and another near a curtain looking at her. 
 Small oblong etched. 
 
 Danae. Lying on a bed, turning towards the left ; an old 
 woman is catching pieces of gold in a plate, which fall from 
 a hand appearing out of a cloud. Middle sized oblong. 
 
 Danae. The same way, the old woman receiving pieces 
 of gold in her apron 5 in the margin below : Danae after 
 Titian ; engraved by Louis Desplaces. Middle sized oblong. 
 
 Danae. Lying on a bed, receiving pieces of gold which are 
 falling on her j on the margin : le Titien delin. and a French 
 inscription j to the left. Richer. Middle sized oblong. 
 
 Danae. Lying on a bed, pieces of gold falling on her from 
 a cloud j to the left, a Cupid standing, a bow in his right 
 hand. Middle sized oblong. 
 
 The same composition. Titian pinx'. to the right : Lefevre, 
 sculp. Small oblong. 
 
 Danae. On a bed, holding a plate in her left hand ; to the 
 left is seen an old woman and a dog on the margin below, 
 to the left, I. Titian p. j to the right : P. Lisebetius, f. Mid- 
 dle sized oblong. 
 
 The Rape of lo. She is sitting on a bull in the midst of 
 the sea j on the shore to the right, are three figures who ap- 
 pear frightened. Middle sized oblong. 
 
 The Rape of Ganymede. Ganymede mounted on an eagle 
 with its wings extended ; on the margin below, to the left : 
 Titian pinxit. ; to the right : G. Audran sculp. Middle sized 
 octagon, 
 
 Ganymede carried away by Jupiter. The eagle is flying to 
 
[ xxxvi ] 
 
 the left 3 below on the left : by Titian, from the Colonna 
 Gallery at Rome. Small oblong. Engraved in aquatinta, by 
 S. Non. 
 
 Ganymede carried away by Jupiter. The eagle flying to the 
 right. Dom. Cunego sculpsit Romse 1770 j in the middle, a 
 Latin inscription. Small upright. 
 
 Study of a Man. Probably meant for Ganymede, lying half 
 down on an eagle, of which one foot is only seen : in the 
 margin below to the left : Titian in. ; to the right : F. R. f. 
 (Rosaspina.) Small oblong. Engraved in aquatinta. 
 
 Jupiter and Diana. Two standing figures, a wood cut. 
 Small upright 
 
 Tiresias. Jupiter holding his thunderbolt, Juno with him ; 
 to the left, Tiresias shewing that he is blind j below to the 
 right : Lucae Bertelii formis j in the margin below are eight 
 Italian verses. Small upright. 
 
 Neptune in his Car. Preceded by several Naiads mounted 
 on monsters half men and half horses, in the centre Cupid on 
 a dolphin is aiming an arrow at Neptune ; to the right ; Mar- 
 choango. See Bartsch, t. xvi. p. 207, No. 7. Middle sized 
 oblong. 
 
 Neptune in a Car. Drawn by sea-horses, a trident in his 
 left hand. Small upright oval. (Le fevre sc.) 
 
 Neptune with Amphitrite on his knees. Whom he is em- 
 bracing, a trident by them to the right j lower down is a 
 Cupid, sitting with an arrow in his left hand. Large upright. 
 (Gunst. sc.) 
 
 Vulcan's Forge. Several Cyclops engaged in forging 3 in 
 the foreground a lion 5 to the left on a stone, 1572 5 in the 
 middle, Cornelius Cort, fe. Large upright. 
 
 The Rape of Proserpine. Pluto in his car is holding Proser- 
 pine in his arms, near one of the wheels is written : S. Gio- 
 sephe Scotari in v. et. Large wood cut, upright. 
 
 Apollo and Marsyas. Apollo sitting is playing on the violin, 
 Marsyas stretched on the ground at the foot of a tree, appears 
 to be tearing his hair ; in the margin below, eight Italian 
 verses 3 in the middle, Lucae Bertelii formis. Small upright. 
 
[ xxxvii ] 
 
 Daphne. Apollo holding his bow in his right hand, is 
 about to seize Daphne, whose feet are already changed into the 
 roots of a tree, while her hands and hair have become branches ; 
 in the margin below, are four Italian verses j in the middle : 
 Lucae Bertelli formis. Small upright. 
 
 The same composition reversed. Below to the left, is a 
 blank space. Small oblong. 
 
 Daphne. Apollo seizing Daphne, whose hands have already 
 been changed into olive branches below to the left is the 
 river-god Peneus, his back reposing on his urn. Large up- 
 right. (Gunst Pi.) 
 
 Hippomenes and Atalanta. She is stooping to pick up an 
 apple, while Hippomenes continues the race, holding another 
 apple in his right hand ; to the left, beyond a barrier, are 
 several soldiers in the margin below, eight verses in Italian. 
 Small upright. 
 
 Diana. She is standing up naked, holding an arrow in her 
 right hand, and in the other her bow, in pursuit of Orion, who 
 is metamorphosed into a cloud. (Battista Fontana, sc ) Small 
 upright. 
 
 Diana and Calisto. To the left, near a fountain, Diana 
 accompanied by several nymphs is ordering them to undress 
 Calisto J Below is written : cum privilegio. Titianus, 1566. 
 (Cornelio Cort.) Large upright. 
 
 Diana and Calisto. The same composition reversed. Small 
 octagon. 
 
 The same composition. With some alterations, chiefly con- 
 sisting of the fountain being in a different shape, and instead 
 of being to the left near Diana, it is to the right, behind Calisto. 
 Engraved by T. Van Kessel. Large oblong. 
 
 Diana. Sitting to the right, near a tree and a fountain, to 
 the left Acteon, or rather, a shepherd holding two dogs in a 
 leash J in this composition the figure of Diana and the foun- 
 tain are the same as in the Diana and Calisto. Engraved by 
 C. Cort. Small upright. 
 
 Acteon devoured by his own Dogs. Diana is throwing a 
 dart at Acteon, who is to the left, his head is already changed, 
 and his dogs are falling upon him j in the margin below, to 
 
[ xxxviii ] 
 
 the left ; I. Titian p. j to the right, V. Lisebetius, f. Middle 
 sized oblong". 
 
 A Nymph lying down. Her back towards the spectator j 
 to the right, a Cupid and a Satyr carrying a basin full of grapes. 
 Small oblong, etched. 
 
 A Naked Nymph. Lying at the foot of a tree, reaching^ 
 out her right hand to a Satyr, who is leaning towards herj a 
 Cupid on another tree looking at them. Below, a vacant 
 space. Small oblong etched. 
 
 A Nymph sleeping at the foot of a Tree. To the left in 
 the background, two females sitting at the foot of a tree. The 
 picture is at Venice in the possession of B. Octave Tassis j to 
 the left : Valentino le Fevre disegno j to the right, below : 
 Gottifred Saiter scolpi. Large oblong. 
 
 A Hunter surprizing a Nymph asleep near a river. He is 
 lifting up the veil which covers her j above a Cupid discharg- 
 ing an arrow. Middle sized oblong. 
 
 Mars and Venus. Mars is sitting and embracing Venus, 
 who is standing by him, to the left a Cupid. Middle sized 
 upright, etched. 
 
 A Venus naked, standing, her left hand open, is at a little 
 distance from her body. Large upright wood cut. 
 
 Venus Anadyomene. Venus naked, standing in the sea 
 half way up her legs, arranging her hair j to the right a shell ; 
 in the margin below : Venus Anadyomene j engraved after 
 Titian, by Aug. de St. Aubin. Middle sized upright. 
 
 Venus and Cupid. Venus naked is sitting and embracing 
 Cupid on a rock ; to the right and left are some trees behind j 
 below, to the left, in a frame : Titian inv. Nicolaus Bosderinus 
 Vincentinus incidebat, 1566. Middle sized upright, a wood cut. 
 
 Venus and Cupid. Venus lying, her back seen, is caressing 
 Cupid, whom she draws to her with her left arm. Small 
 oblong. 
 
 Venus and Adonis. Venus sitting, her back being seen, 
 retains Adonis in hep arms, who is about to depart for hunting, 
 and holds several dogs in a leash j to the left, at the foot of a 
 tree, Cupid sleeping 3 above to the right, an Italian dedica- 
 tion, with the date 1559. Large upright. 
 
[ xxxix ] 
 
 The same Composition, etched. 
 
 The same composition 3 in the margin below, four Latin 
 verses in two scrolls. 
 
 The same composition, below in the middle : Martinus Rota 
 formis. Small upright. 
 
 The same composition j below to the left : Domenico 
 Zenoni olefice, f. 1574j in the margin below, eight Italian 
 verses. Small upright. 
 
 The same composition. Cupid half length, playing with a 
 dove, Adonis with two dogs only ; below to the right : Titian 
 pinxit. Raph. Sadeler Junior sculpsit, 1610 5 in the margin 
 below, four Latin verses. Small oblong. 
 
 The same composition reversed. Venus is to the right, in 
 the margin below four Latin verses ; to the right is the mono- 
 gram of the master, the name of Jesus. Large upright. 
 
 Venus and Adonis. Venus standing, embraces Adonis sit- 
 ting under a tree, and holding two dogs in a leash j near her 
 Cupid with his bow. Middle sized oblong, etched. 
 
 Venus admiring herself. Venus at half length, is sitting on 
 a bed, her right hand resting on her bosom, holding a bow in 
 her left, and looking at herself in a glass held by a Cupid 
 standing on the left. From the Gallery of the Palais Royal- 
 Engraved by Leybold. Middle sized upright. 
 
 The same composition, the same way. From the Palais 
 Royal Gallery j drawn by Borel ; engraved by Leybold. Small 
 upright. 
 
 Venus with an Owl. Venus reposing on a bed, holds a 
 flower in her left hand j behind her a Cupid, to the right near 
 the bed, a table on which is a vase with flowers ; to the left^ 
 at the bottom of the bed, a little dog barking at an owl 
 sitting on the side of a window, through which a landscape 
 is seen. From the Florentine Gallery, drawn by J. B. Wicar, 
 engraved by Massard. Middle sized oblong. 
 
 Venus naked. Half reposing on a bed, with flowers in her 
 hand 3 to- the left on the bed, a little dog sleeping 3 Le Fevre 
 sculp. Small oblong. 
 
 Cupid Sleeping. Lying on the ground, his bow in his left 
 hand, and his quiver by him. Small oblong. 
 
[xl ] 
 
 Psyche lying down by Cupid j her right arm stretched 
 out behind her ; to the right, two doves billing j in the 
 back ground, on the same side, several swans on the water. 
 Below, to the right : Nicolo Nelli exc, 1566. Large oblong. 
 
 Cupid and Psyche. Psyche seen behind, her arms over her 
 head, is sleeping on a bed 3 Cupid is arriving, above, a Cupid 
 lifts up the Curtain. Below, to the right, are two vases. 
 Below, a Cupid half lying down, supported by his quiver, and 
 holding in his hand a torch j J. Smith fecit Londini, I7O8. 
 Large upright. 
 
 Bacchus returning from the conquest of India, meets 
 Ariadne in the island of Naxos j he is descending from his 
 car, drawn by leopards ; and accompanied by females, and 
 Bacchantes. Below, to the left, an Italian dedication, with 
 the name of the engraver, Jean Andre Podesta. Large oblong. 
 See Bartsch t. xx, p. 172, no. 6. 
 
 A Bacchanal scene j to the left a Bacchante asleep, with 
 drapery on her right arm only. Below, a dedication in Ita- 
 lian, with the name of Jean Andre Podesta. See Bartsch t. 
 XX. p. 172, no. 7. 
 
 Study of a sleeping Bacchante, reversed from the preceding. 
 Small oblong, etched. 
 
 A Satyr lifting up the veil of a nymph lying down, and 
 holding a dog with her left hand. Below, four Italian verses. 
 Small upright. 
 
 A Satyr sitting and caressing a nymph, seen behind, who is 
 near him 5 to the left, a Cupid with an arrow in his hand, 
 making towards them. In the margin below, are eight Italian 
 verses. Small upright. 
 
 A Satyr caressing a nymph lying on the ground, in a licen- 
 tious posture 3 near her a cupid. Small oblong. 
 
 Andromeda. She is fastened to a rock towards the left on 
 the sea shore 3 in the middle, is a monster whom Perseus is 
 attacking sword in hand 3 in the back ground, to the right, a 
 town. Below the rock to the left : Ferrando Berteli excude- 
 bat. Large oblong. 
 
 Andromeda. The same composition : (Battista Fontana sc.) 
 Small upright. 
 
Andromeda. To the right, fastened to a rock, over which 
 is a tree on the sea shore j and in the centre of the back 
 ground, a town j to the right, below : Jo. Baptista Fontana 
 Nic. Nelli formis, 1562. Large upright. 
 
 A God and Goddess sitting and embracing each other j to 
 the right, a Cupid ; and to the left, a Satyr, each holding a 
 torch. Middle size, oblong, wood cut. 
 
 Hercules and Dejanira. She is sitting, her left hand resting 
 on the shoulder of Hercules, while his hand is placed on her 
 knees. Above, to the left, are the letters I. M. S. Small 
 upright wood cut. 
 
 Hercules and Dejanira. Hercules is sitting on her knees, 
 while her right hand is on his shoulder, and she is holding up 
 the tail of a lion with her leftj the skin of which covers 
 Hercules j in front, to the left, is a little cupid playing with a 
 club. Large upright. (Guast Sc.) 
 
 A Vestal carrying a sieve to a spring, issuing from a rock 
 to the right. On the margin below, are eight Italian verses. 
 In the middle : Lucae Bertelli formis. Small upright. 
 
 A naked woman standing combing her hair ; to the left, a 
 Satyr offering her a vase. Below, a table placed to the right : 
 ^ to the left, on a step J^. Small oblong. 
 
 Prometheus lying along on a rock 3 the vulture preying on 
 him. In the middle below : Titianus. Martinus Rota, 1570. 
 Small upright. 
 
 Prometheus : the same composition, reversed. On the 
 rock is written : Cornelio Cort. fe. Titianus 1 566. Large 
 upright. 
 
 Prometheus standing, leaning on a rock, his hands tied 
 together 3 a vulture to the left gnawing him. Below, on the 
 rock to the right : Sebastiano d' Val VI. 1558. Middle size 
 upright. See Bartsch t. xvi. p. 24*2. 
 
 Men starting into life after the deluge of Deucalion : two 
 figures, one standing, the other sitting. Below, to the left ; 
 Micarino fee. Middle size upright. 
 
 Tantalus. Sitting on a stone, and reclining backwards, sup- 
 
ports himself on his left hand j he is endeavouring with his 
 right to reach the fruit on a tree. Below, to the left, two 
 Latin verses. Large upright. 
 
 The Triumph of Spring. Spring represented by a woman 
 sitting on a throne, accompanied by the months of March, 
 April, and May ; their names being inscribed on their girdles. 
 Above, an Italian inscription. Middle size, oblong, wood cut. 
 
 The Triumph of Summer. Summer is represented by a 
 female sitting on a throne, and holding in her left hand 
 ears of wheat j accompanied by the months of June, July, 
 and August : their names inscribed on them. Above and 
 below, Italian inscriptions. In messina per Pietro Brea. 
 Middle size, oblong, wood cut. 
 
 The Triumph of Autumn. Autumn represented by a man 
 sitting on a throne, receiving a cup presented to him by one 
 of the months which accompany him j November placed to 
 the right, presents a basket of fruit ; their names inscribed on 
 them. Above, and below, are Italian inscriptions : in Messina 
 per Pietro Brea. Middle size, oblong, wood cut. 
 
 Triumph of Winter. Winter is represented by an old man 
 sitting on his throne, having a brazier before him j to the 
 left, December carrying a fagot j January wrapped up in a 
 mantle; to the left, February carrying a pig and a mask. 
 Above, an Italian inscription. Below : in Messina Pietro 
 Brea. Wood cut. Middle size, oblong. 
 
 Triumph of the Seasons. Wood cut. Middle sized, ob- 
 long J with Italian verses. Spring is standing on a car drawn 
 by two heifers, and two lambs 3 surrounded by a number of 
 allegorical figures with their respective names. The two 
 sitting in the car represent Flora and April. Summer in his 
 car, is drawn by two storks, and two fowls j the figures sit- 
 ting in the car represent Ceres, and the month of June. 
 Autumn, with the figures of Pomona and October, the car is 
 drawn by two goats. Winter, with the figures of Janus an4 
 January ; the car is drawn by two pies and two owls. 
 
 A Female sitting to the left, having a distaff beside her 3 is 
 
r xiiii ] 
 
 warming herself before a large fire, about which are five chil- 
 dren, in the background on the same side a man is seen j in 
 the margin below eight Italian verses, in the middle : Lucae 
 Bertelli formis. Small upright. 
 
 The above series with a Calendar of the year 1567 printed 
 below. 
 
 ANTIENT HISTORY. 
 
 Laocoon. He is armed with a dart running to defend his 
 sons who are thrown down by two serpents ; in the middle, 
 is an altar j to the right in front, the Trojans are flying ; 
 above, others are seen conducting the wooden horse into 
 Troy. (Battista Fontana, sc.) Large upright. 
 
 A Caricature of the Statue of Laocoon. A monkey sitting 
 on a stone with its two young ones, are devoured by two ser- 
 pents 3 to the right a tree. Large oblong wood cut. 
 
 Thetis near a rock is plunging her son Achilles into the 
 water. In the background to the left, a Naiad is leaning on 
 her urn. Small upright etching. 
 
 Cleopatra. Half length, is turning her head on one side to 
 avoid the sight of the asp, who is about to sting her ; in the 
 margin below, an Italian inscription. Small upright. 
 
 Sophonisba. Half length, with her naked arms crossed ; 
 above to the right : Sophonisba Regina, Ant. Smith, a, r, a, 
 sculpsit. Middle sized upright. 
 
 Milo of Crotona. His hands are caught in the trunk of a 
 tree, a lion seizing his left leg, is about to devour him j a 
 lioness is running towards him. Large oblong wood cut. 
 
 The Son of Tarquin with Lucretia. To the left a tripod, 
 near which is a female with a distafif, and Lucretia holding a 
 book i one of her attendants announces the arrival of CoUa- 
 tinus and the son of Tarquin, who appear to the right j on the 
 same side in front, another female sitting in conversation ; 
 below to the left : Jose Sal. (Salviati) 1557 j above is an Ita- 
 lian inscription. Small oblong wood cut. 
 
 Tarquin and Lucretia. Tarquin kneeling on the bed, with 
 
[ xliv ] 
 
 a dagger in his left hand, is taking hold of Lueretia by the 
 arm ^ in the background to the right, a child withdrawing the 
 curtain ; on a sandal to the left : Cornelio Cort. fe. 15/1 j to 
 the right : Titian inven. Large upright. 
 
 The Tiburtine Sybill standing to the right, points out to the 
 Emperor Augustus, who is kneeling by her, the Virgin and 
 Infant Christ who appear above in the sky. Below to the 
 right : Marco a. v. f. (Marco Angelo Veneti fecit.) Large ob- 
 long. 
 
 The Roman Charity. A woman half length, is oflFering the 
 breast to an aged man, who supports himself on a stick. Small 
 upright. 
 
 A Judge on his Tribunal. To the left, three men j to the 
 right, a female with her child, behind her an old man ; quite 
 to the right. Justice and Equity are going away j to the right : 
 Claudii Ducheti formis (Baptista Franco sc.) Large oblong. 
 
 Plato's Banquet. Plato is surrounded by divers men and 
 women sitting cross legged on the ground j in the middle 
 several dishes, in one of which is a cock without his feathers ; 
 also three flambeaus. Large oblong, etched probably by 
 Jacques Corneille Ver Meyen. 
 
 MODERN HISTORY. 
 
 A Troop of Venetian Cavalry are passing over a bridge in 
 pursuit of other soldiers flying to the left ; below the bridge 
 is a piece of artillery j below to the right : Titian inventor, 
 Julius Fontana Veronem ; to the left, a vacant square place* 
 Large oblong. 
 
 The same subject, with some variations in the composition. 
 (Marcetti 1728.) Middle sized square. 
 
 A Troop of Horsemen armed with lances and shields, and 
 carrying flags, are marching in order from the left to the right, 
 the leader bears a standard. Large oblong. 
 
 Charles the Fifth. Sitting in an elbow chair, conversing 
 with a Cardinal standing to the rights to the left behind, 
 are three other of his Councillors also standing. From the 
 
[xlv] 
 
 King's Cabinet. To the rights, C. sculp. (Caylus.) An upright 
 print. 
 
 A Man and a Woman with their hands tied, and mounted on 
 Asses are beaten through the City of Madrid. In the back- 
 ground to the right and left, people under tents and in galle- 
 ries ; below to the left : the gallows, in the Place at Madrid. 
 Middle sized oblong etched. 
 
 The League entered into by Pius V. Philip, and the Vene- 
 tian General against the Turks. Pius V. in his pontifical 
 habit accompanied by several allegorical figures, is stretching 
 out his hands on Philip, and the Venetian General, who are 
 bending their knees before him , around the margin a Latin 
 description. Small circular, 1571. 
 
 A Female on the ground is putting out her right hand to 
 turn off a dagger with which her Husband is about to strike 
 her. Painted at Padua in the School of St. Anthony. Below 
 to the left, Titian p. j to the right, h. Vincent d. sc : below 
 on the margin, a Latin inscription. Middle sized upright. 
 
 A Man richly dressed in the Venetian fashion of the XVth 
 century is shewing to several persons around him a glass on 
 the ground ; above, a balcony where there are several men 
 and women. Painted at Padua, in the School of St, Anthony. 
 Below to the right : h. Vincent f. ; in the margin below, a 
 Latin inscription. Small upright. 
 
 A Religieuse holding a chaplet in her hands, is dragged 
 along by a Soldier who holds part of her garments. He is ac- 
 companied by another soldier with a gun, and a child car- 
 rying a sack on its shoulder, and a dog under its arm j to the 
 left, another Religieuse at the door of a convent ; in the 
 margin below, six latin verses. Small upright. 
 
 The Cornaro Family. In the middle an old man kneeling, 
 his right hand placed on an altar to the left ; near him to the 
 right, his son is standing, his right hand on his breast, behind 
 him are three young boys ; to the left near the altar, a boy sit- 
 ting holding a dog, and also two other children. Titian pinx. 
 to the right, B. Baron del. et sculp. Londini 1732. Below, an 
 English and a French inscription. Large oblong. 
 
 An Historical Subject. Representing a noble lady whos-si 
 
[ xlvi ] 
 
 honour is avenged by the help of St. Anthony j in this compo- 
 sition are two Friars, one of whom on his knees is presenting 
 an infant to a man who is on the left, accompanied by his wife 
 and other persons j in the margin, a Latin inscription explana- 
 tory of the subject. Middle sized square. 
 
 SACRED ALLEGORIES. 
 
 The Last Judgment : known sometimes as Paradise, or the 
 Apotheosis of Charles V. The Deity and Jesus Christ are sup- 
 ported by the clouds, in the midst the Holy Spirit, around 
 them are numberless human beings. Moses is distinguished 
 by the Tables of the Law, and Noah by the Ark j to the left 
 a man seated on an eagle j below to the left, 1566 ) to the 
 right : Titian. Large upright. 
 
 The same composition. Middle sized upright. 
 
 The same composition reversed 3 in the middle : Gloria in 
 excelsis Deo 5 below to the left j Titian inve. Hiondius excude. 
 Middle sized upright. 
 
 The same composition ; in the middle : Gloria in excelsis 
 Deo. Middle sized upright. 
 
 The Last Judgment. God sitting on the world, his feet 
 resting on a skeleton, below St. Catherine, an eagle, the 
 heads of a dog and an ox. Around him a crowd of male and 
 female saints, several bearing the emblems of their martyr- 
 dom J below four angels sounding trumpets : the wicked 
 are seen in the flames of hell. Large oblong. 
 
 The Last Judgment. At the top on a cloud, the Deity 
 surrounded with a number of Angels j the Holy Spirit ap- 
 pearing above, below to to the left, the elect ; in the middle, 
 an armed man driving the damned into the flames ; several 
 inscriptions in Latin, in the four margins an Italian inscription. 
 Small upright. 
 
 Triumph of Christ. Jesus Christ sitting on the globe placed 
 in a car drawn by Bishops, and preceded by a great number of 
 persons, among whom are distinguished Adam and Eve, and 
 the Sybils carrying standards 3 the disciples of Christy Mar- 
 tyrs, Saints of both sexes are following ; several Latin inscrip- 
 
[ xlvii ] 
 
 tions, particularly on the margin above and below. Small 
 oblong, from left to right. 
 
 Triumph of Jesus Christ. The same composition in seven 
 parts, marked from A to G inclusively. Large wood cuts 
 oblong, from left to right. 
 
 Triumph of Jesus Christ, in ten parts, from left to right, 
 with a French inscription above in gothic characters, and 
 others in Roman characters. 
 
 The same composition engraved by Theodore de Bry. Small 
 oblong with several inscriptions. 
 
 An Allegorical Subject. To the left, Moses on the moun- 
 tain receives the Tables of the Law, and shews them to the 
 people J on the left is St. John surrounded by several persons, 
 above his lamb carrying the banner. Middle sized oblong. 
 
 The Works of Charity. The frontispiece is written on a 
 scroll carried by two angels, above is the virgin. The dedica- 
 tion by Mathias Bolzetta, Padua, 1647. 
 
 The Triumph of Lent. A nun sitting, holding a chaplet, 
 and having before her a scull, is carried by Penitence, Contri- 
 tion and Fasting, whose names are written at their feet j before 
 her on the right, a procession of men and women, carrying 
 fish, olives, &c. in diflferent vases, above is an Italian inscription. 
 Large oblong wood cut. 
 
 An Allegorical composition, alluding to the Faith of the Em- 
 peror Charles V. Virtue and Peace are defending Religion 
 against the attacks of Vice j below to the left : Titianus 
 inventor, Julius Fontana, fecit, in the margin four Latin verses. 
 Large upright. 
 
 Religion appearing in the air to Antonio Grimani, Doge of 
 Venice, he is kneeling to the right, accompanied by several 
 persons, a page holdmg the Ducal cap. This picture at Venice 
 is known by the name of La Fede ; to the left, St. Mark, hold- 
 ing a book. Engraved in line for les Annales du Mus^e. C. 
 Normand. Small oblong. 
 
 St. Peter and Religion 5 allegorical figures, in an oval. 
 
 A Piece, representing the Holy Spirit at the top, and the 
 Almighty below him, both surrounded with rays of light. The 
 
f xlviii ] 
 
 Almighty appears to be speaking to an old man lying on a 
 horse which is fallen down, and before whom to the right, 
 several men are walking, one of which holds a banner in his 
 left hand, and a helmet in his right to the left, a young man 
 standing, has one of his feet on a helmet, holding with his 
 right hand his dress, and with his left a lance behind his head, 
 near him is seen the hind part of a horse, below which is a 
 man thrown down : probably representing the Conversion of 
 St. Paul. Large oblong wood cut. 
 
 PROFANE ALLEGORIES. 
 
 An allegorical Composition. To the left a statue of Venus, 
 with a number of Cupids at play, and gathering fruit 5 below 
 a dedication in Italian, with the date 1636, and the letters, 
 G. A. P. (Giovan Andrea Podesta,) apud Joseph de Rubeis. 
 See Bartsch, t. xx. p. 173, No. 8. 
 
 Tityrus and Amaryllis, an allegory of Human Life. To 
 the left, three children, two of them asleep 5 to the right a 
 young man and young woman are playing on the flute. The 
 picture is at Venice belonging to Jerome Manfrin. In the mar- 
 gin in the middle : Titianus Vecellius cad. invent, etpinxit, to 
 the left, V. Le Fevre, del. et sculp. 3 to the right : I. Van 
 Campen formis Venetijs. 
 
 The same Composition reversed, behind in the middle, an 
 old man sitting with one scull in his left hand, and another 
 near him to the right ; in the margin below, an account of the 
 subject 3 by Titian, engraved by Simon Francois Ravenet. 
 Middle sized oblong. 
 
 The same Composition. The children are to the left, to 
 the right appears : Gottifredo Saiter scolpi. Middle sized 
 oblong. 
 
 The same Composition, The children to the left. Middle 
 sized oblong, etched. 
 
 The Fountain of Juventa. To the left, a terrace supported 
 by columns, below which is a bath wherein is a number of 
 men and women j to the right, a fountain, with three tier of 
 cups, &c. below in the middle, Jo. Theo. de Bry, fe. j in the 
 
[ xlix ] 
 
 margin below, six Latin verses; to the right: Guad. ludib. 
 Small oblong. 
 
 Allegory of Love. A young female with a crown on her 
 head, is tying a bandage over Cupid's eyes, who is on his 
 knees, while another Cupid is leaning on his shoulder, to the 
 left are two more females, one holding a bow, and the other a 
 quiver ; in the margin to the left, Titianus inventor ; in the 
 middle : L. Bo. Ba™*. f. Romse. Middle sized oblong etched. 
 (It was engraved also by Robert Strange, from the picture in 
 the Borghese Palace.) 
 
 The same composition ; in the margin below to the left : 
 Titian pinxit ; in the middle : Omnia vincit amor ; to the 
 right, Franciscus Vanden Wyngaerde excud. Middle sized 
 oblong. 
 
 Allegory of Love. Venus sitting is holding a vase in her 
 hands from whence a smoke issues, behind her Cupid is stand- 
 ing and leaning on her shoulder ; to the left, Ceres and two 
 other females, half length figures, engraved by Jaques Matham. 
 In the margin below is written : sine Cerere et Baccho friget 
 Venus. 
 
 The Garden of Love. Two young females, singing and 
 playing near a tree, are driving away, to the left, a poor 
 old man who is desirous of partaking of their amusement 5 
 below are eight Italian verses. (Fontana sc.) Middle sizied 
 upright. 
 
 The Triumph of Time. An old man drawn in a car by two 
 deer, is measuring with a compass in his right hand, the globe 
 placed before him ; the car is surrounded by a great number 
 of celebrated men and women, whose names are written over 
 their heads. Titian pinxit. Jo. Anto. Buti delin. Silvester 
 Pomar^de incidit. In the middle, a Latin inscription, 1748. 
 Large oblong. 
 
 The Triumph of Fame. Fame is sitting on a car drawn by 
 lions, and sounding a trumpet j at her feet is an open book 
 and Death j a number of celebrated persons with their names 
 over their heads, are marching with the car, at the head of 
 ihem is Bellona, and the figure of Painting. Titianus pinxit. 
 
 e 
 
[1] 
 
 Jo. Ant. Buti del. Silvester Pomarfede sculpsit Romae aniKT 
 Jubilaei, 1750. Below, a Latin inscription. Large oblong. 
 
 Study as a Woman sitting by a tree, holding a compass in 
 her left hand. Small upright. 
 
 Death. The figure of Death sleeping, his head resting on 
 his right arm, supported by a ball, on which the word Mobi- 
 lite is written ; near it are children, some playing on diflferent 
 instruments, others climbing a tree to the right j to the left, a 
 monkey chained 5 above four French verses in a frame. Middle 
 sized oblong, wood cut. 
 
 Allegory of Death. A child lying with its head on a scull 
 near a tree, to which a tablet is attached, inscribed : Ego 
 hodi^, tu crks j below to the left, 1529. Small oblong. 
 
 The figure of Death. Death in a complete suit of armour, 
 the left hand resting on the pummel of his sword, and holding 
 with the right a helmet on a stick j to the right, above, a 
 Latin, and an Italian inscription ; below, between two orna- 
 ments, is written : Venetiis Lucae Bertelli formis. Large 
 upright. 
 
 The figure of Death. Death half length in profile, in a blank 
 frame, above are several sculls, to the right, bones of the 
 lower limbs. (Baptista Franco sc.) Large upright. 
 
 Death spreading his Nets. Death is situated at the entrance 
 of a cave to the left, holding a night bird by a string, which is 
 sitting on a perch in the middle of the print j to the right 
 are two men and two women sitting; to the left, another 
 group of three persons ; behind. Death is pursuing three 
 females, farther oflf a ship is seen, (in Venezia, 1563.) Large 
 oblong. 
 
 A Horoscope. A woman in childbirth is assisted by three 
 others, while an Astrologist, before a table, is shewing to the 
 father the position of the moon and stars. Small upright, 
 wood cut. 
 
 Vanity, A female on a bed half lying down; by her a 
 sceptre and a crown, near her a large vase and some bags of 
 money. The picture is in the Casa Vidmani at Venice : in the 
 middle below : Titiano in. et p. ; in the margin to the left. 
 
[li] 
 
 V. Le Fevre, del. et sculp, to the right : J. Van Campen 
 formis Venetiis. Large upright j above an inscription : Mundi 
 Vanitas. 
 
 The same Composition, engraved by Gottifredo Saiter scolp. 
 Large upright. 
 
 Sleep. A naked female sleeping, with her left arm behind 
 her head j in the background to the right, a landscape ; to 
 the left, Titian pinx'. to the right, Le Fevre sculpt. Small 
 oblong. 
 
 An Allegorical Figure of Commerce. A female sitting hold- 
 ing a Caduceus in her right hand, and her left leaning on the 
 prow of a ship, in which some fruits are seen, at her feet lies a 
 basket of flowers, (Le Fevre p.) Small square print. 
 
 A Man carrying three Children, followed by a dog who is 
 jumping at them ; in the margin below, a scroll with two Ita- 
 lian verses. Small upright etching. 
 
 Two females sitting, are taking care of a child placed be- 
 tween them ; in the middle, another woman holding an olive 
 branch, near them a monument supported by columns ; in the 
 air an angel holding a palm branch and a crown. Middle sized 
 oblong etching. 
 
 An Allegory. In front, to the right, a female on horseback 
 going towards two old men, one of whom holds a book 3 in 
 the background some rocks 3 in the margin below, eight Italian 
 verses 5 in the middle : Lucse Bertelli formis. Small up- 
 right. 
 
 An Allegory. To the left is represented Fraud and Truth, 
 both talking to a child 3 to the left. Time holding two horses 
 by the bridles j below, on the leaf of a large plant, a P re- 
 versed 3 in the margin below, eight Italian verses. Small 
 upright. 
 
 A Child sitting on a wall, with a tree behind him, playing on 
 the Tambourine 5 in the margin below to the left : I. Titian p. 3 
 to the right, P. Lisebetius f. Small upright. 
 
 The same Composition 3 before the child is a sablier which 
 a serpent encircles, by the side a garland of flowers 3 below. 
 
[lii] 
 
 to the left : Titian inve. to the right, J. Matham sculp, j in the 
 margin below, are two Latin verses. Middle sized uprights 
 
 An Allegorical figure. A man sitting is holding in his right 
 hand a Lamp, and his left resting on the neck of a dog near 
 him J to the left a wall in ruins, to which the head of a ram is 
 ftttached. Middle sized square line engraving. 
 
 Allegorical Subject. Two females are holding an open book j 
 to the right an old man is seen. Circular print. (Le Febre sc.) 
 
 The Fable of the Miller, his Son and the Ass, in six prints, 
 on the first of which is the following name j J. B. de Cava- 
 leriis, Romae, 1578. 
 
 VARIOUS SUBJECTS. 
 
 Some Naked Men armed with swords, hatchets, flails and 
 pitchforks, are fighting together, several of which lie extended 
 in the foreground j on a tablet to the left, H. N. Small oblong 
 wood cut. 
 
 A troop of Horsemen armed with shields and lances, are 
 marching to the right, the leader carries a standard. Large 
 upright, etched in the style of Franco. 
 
 March of Soldiers, armed with halberds, lances, and muskets, 
 a standard carried in the middle of them j to the right, Joa. 
 Theo. de Bry. Small oblong. 
 
 March of an Army towards the right ; to the left, in the 
 middle, is a chariot, men on horseback and a camel ; behind, 
 another chariot, and a figure of Death on horseback accompa- 
 nied by two others on foot j below to the left : Joan Theodore 
 de Bry fe. j in the margin below, six Latin verses. Very small 
 ohlong. 
 
 The same Composition reversed, in four large wood cuts. 
 
 A Warrior seated near a young female ; behind his horse, 
 which stands before him, is a man. Small oblong wood cut, 
 
 A Man to the left is throwing a Javelin, near him another 
 man shooting an arrow ; there is a tree in the centre, and two 
 women to the right. 
 
[ liii ] 
 
 A Hunt. In five wood cuts marked from A. to E. 
 Middle sized oblong. In the first are seen two females on 
 horseback, in the second, a horseman with a lance, and two 
 men on foot following him ; in the third, a man with a lance 
 which he holds in the rest, and two other men, one of whom is 
 drawing his knife, also two dogs j in the fourth, two horse- 
 men, one of which is piercing a Lion with his lance, while 
 the other strikes with his sword, a lion throwing himself on a 
 horse stretched on the ground. 
 
 A march of Peasants and Gypsies in four prints, in the first 
 a cart on which a peasant sits playing on a flute j in the second 
 another cart, near which is a man with a great number of 
 wooden shoes fastened to two poles 5 in the third, certain men 
 and women peasants, some carrying hatchets j in the fourth, 
 two men on horseback, are conversing with some peasants on 
 foot. Large oblong wood cuts. 
 
 A Gipsey riding, holding a twig, and carrying her child 
 behind her, two geese are suspended from the horse's neck, a 
 tree to the left; below to the right, Hiondius fecit 1644, and 
 an inscription in Flemish. Small upright. 
 
 The same composition reversed. Small oblong wood cut. 
 
 A Concert of five persons, half length j to the left, a young 
 girl, with her hand on a man's shoulder, whose back is seen j 
 engraved by Henry Dancker. Middle sized oblong. 
 
 A Festive Meeting. An old man at table between two 
 women, who are reckoning on their fingers, behind them are 
 two others lifting up their hands in the air 3 and a third woman 
 with a table cloth, on the same side near the table, a man hold- 
 ing the forefinger of each hand Yn his cheeks, between his 
 knees is a child 5 near him to the left, is a woman who is 
 pulling an old man towards her with her left hand, to embrace 
 him, and is taking his purse out of his pocket with the other. 
 
 Below on the same side are the letters vp' 1545. (Jean Cor- 
 
 neille Vermeyen). Large oblong, very scarce. 
 
 A Repast of four persons at a round table ; to the right, a 
 man carrying a plate ; behind, on the same side, three persons 
 playing on instruments j in the margin below, to the left: 
 
[liv] 
 
 Titian inv. et del.; to the right : Dufresne sc. 1792. Middle 
 sized upright. 
 
 The return of two travellers, one of whom is embracing a 
 young woman, while his companion is in conversation with 
 another woman ; in the back ground, to the right, two cot- 
 tages 3 in front, a cask, near which is a child : etched by 
 Vitalba, after a design of Titian. 
 
 The Jolly Laughers. Five men half length, one of whom 
 crowned with vine leaves, is near a table on which there is 
 a barrel and a cup, together with a music book, and a bunch 
 of grapes. Above, to the right, a French inscription. Middle 
 sized oblong. 
 
 A female, with one foot on a rock, is gathering fruit from a 
 tree. Small upright, etched. 
 
 A female lying down shewing her back, her head being 
 turned to a shepherd sitting by her, and holding a pipe. In 
 the margin below, to the left : I. Titian p. to the right : P. 
 Lisebetius f. Small oblong. 
 
 A female sitting, viewed from behind, and holding a pipe. 
 In the middle, a shepherd near a tree is tuning a baseviol j to 
 the left, a ram, and a sheep. In the margin below, to the 
 left: V. Lefevre del. et sculp. In the middle: Titian in. p j 
 to the right : J. Van Campen formis Venetijs. Middle sized 
 print, oblong. 
 
 A naked child is standing, its right arm leaning on the 
 trunk of a tree j with the left, holding up a small branch. 
 Small upright wood cut. 
 
 The same composition, reversed. A very small wood cut. 
 
 To the left, is a female sitting, her back seen, and holding 
 a flute 3 to the right, a shepherd with a baseviol. Behind 
 him is a large tree, and some bushes, near which some sheep 
 are lying. In the margin below, to the left : V. Lefevre del. 
 et sculp. In the middle : Titianus in. p. j to the right : J. 
 van Campen formis Venetijs. Small square. 
 
 A mule richly caparisoned, behind which is a man lifting up 
 his right hand to his hat, the other resting on the saddle j to 
 the left, a small spaniel. Middle sized oblong. 
 
[Ivl 
 
 Silk Gathering. To the left, near a window, a woman is 
 holding a large basket of cocoons. In the middle, a woman 
 sitting before a basin, is dividing them j near her, a man 
 pouring out liquor to another carrying pails on his shoulders j 
 to the right, a young girl sitting on a chair, and holding a 
 a spindle ; to the left, a woman carrying two pails on her 
 shoulders. Tiziano inven e del. Acacciati incid. Large ob- 
 long, in aquatinta. 
 
 Three comic scenes between Pantaloon, Zani, and another 
 comic actor j beneath each, four French verses. Middle sized 
 oblong. 
 
 A Skeleton in profile, the right hand resting on a scull 
 placed on a pedestal : Le Titian del. Poletnich fecit. 
 
 A Skeleton in front, its right arm lying on a coche, the left 
 hand stretched out. Titian delin. Poletnich. Small upright. 
 
 A Skeleton in profile, its hands crossed, and the head leaning 
 downwards . Titian del. Poletnich fecit. Small upright. 
 
 The same, with the muscles ; seen in front. Titian del. 
 Poletnich sculp. Small upright. 
 
 A man flayed, his back seen : Titian del Poletnich sculp. 
 Small upright. 
 
 A Bear. Above, to the left, is seen the No. XII. Below, 
 on the same side : Tiziano j to the right : F. Rosaspina scol. 
 Middle sized oblong. 
 
 A lion seizing a wild boar, who is fleeing from him. On 
 high, to the left, No. XI. Tiziano to the right : F. Rosaspina. 
 scol. Small oblong. 
 
 EMPERORS AND EMPRESSES. 
 In a series of twenty-six prints, by Sadeler. 
 
 Julius Caesar. A crown on his head, wearing a cuirass 
 ornamented with figures of animals, and a truncheon in his 
 right hand. In the margin, above 3 C. Julius Caesar. In that 
 below. No. 1, eight Latin verses j to the left, ^gidius Sadeler 
 S. C. M. sculp. In the middle, Titian inventor j to the right : 
 Marcus Sadeler excud. Middle sized upright. 
 
 Oct. Augustus. Half length, holding a truncheon in his 
 right hand, his left supported by the globe. In the margin, 
 
[Ivi] 
 
 above : D. Oct. Augustus. In that below, II. with eight 
 Latin verses } to the left : iEgidius Sadeler S. C. M. sculp. 
 In the middle : Titian inventor j to the right : Marcus Sadeler 
 excudit. Middle sized upright. 
 
 Tiberius. Half length, his back turned, carrying his trun- 
 cheon on his right shoulder. In the margin, above: Tiberius 
 Caesar ; in that below. III. with eight Latin verses 5 to the 
 left, ^gidius Sadeler S. C. M. sculp. In the middle, Titian 
 inventor ; to the right : Marcus Sadeler excud. Middle sized 
 upright. 
 
 Caligula. Half length, wearing a cuirass, his left hand 
 resting on a truncheon. In the margin above : C. Caesar Ca- 
 ligula J in that below, IV. with eight Latin verses j to the left : 
 ^gidius Sadeler S. C. M. sculp, j to the right : Marcus 
 Sadeler exc. Middle sized upright. 
 
 Claudius. Half length, wearing a cuirass, with a crown of 
 laurel on his head his right hand leaning on a truncheon. 
 In the margin, above : D. Claudius Caesar • in that below : V. 
 with ten Italian verses , to the left, ^!^gidius Sadeler S. C. M. 
 sculp. In the middle : Titian inventor ; to the left : Marcus 
 Sadeler excud. Middle sized upright. 
 
 Nero. Half length, wearing a cuirass, holding in his right 
 hand a truncheon, and his robe in tlie left. In the margin 
 above : Nero Claudius Caesar j in that below, VI. with eight 
 Latin verses j to the left : ^gidius Sadeler S. C. M. sculp. In 
 the middle : Titian inventor ; to the right : Marcus Sadeler 
 exc. Middle sized upright. 
 
 Sergius Galba. Half length, wearing a cuirass, and a 
 crown on his head j his left hand resting on a truncheon. In 
 the margin, above : Sergius Galba ; in that below : VII. with 
 eight Latin verses ; to the left : iEgidius Sadeler S. C. M. 
 sculp. In the middle : Titian inventor 3 to the right : Marcus 
 Sadeler exc. Middle sized upright. 
 
 Sylvius Otho, in profile, his two hands on a truncheon. In 
 the margin, above : M. Sylvius Otho 5 in that below : VIII. 
 with eight Latin verses j to the left : iEgidius Sadeler S. CM. 
 sculp. In the middle : Titian inventor ; to the right : Marcus 
 Sadeler excudit. Middle sized upright. 
 
[ Ivii ] 
 
 Vitellius, holding his truncheon elevated in his right hand, 
 and supporting his robe with the left. In the margin, above : 
 Aulius Vitellius j in that below : IX. eight Latin verses j to 
 the left : iEgidius Sadeler S. C. M. sculp. In the middle : 
 Titian inventory to the right : Marcus Sadeler excud. 
 Middle sized upright. 
 
 Vespasian, half length, his left arm supported, and holding 
 with his right hand his truncheon, the end of which rests on 
 his left hand. In the margin, above : D. Vespasianus Augus- 
 tus : in that below, eight Latin verses j to the left : ^gidius 
 Sadeler S. C. M. sculp. ; in the middle : Titian inventor j to 
 the right : Marcus Sadeler excudit. Middle sized upright. 
 
 Titus, half length, the back seen, a crown of laurels on his 
 head, his left hand resting on a truncheon. In the margin, 
 above : D. Titus Vespasianus j in that below : XI. with eight 
 Latin verses ; to the left : ^gidius Sadeler S. C. M. sculp, j 
 in the middle : Titian inventor j to the right : Marcus Sadeler 
 excud. Middle sized upright. 
 
 Domitian, half length, a crown of laurel on his head, and 
 holding a truncheon in his right hand, his left resting on his 
 sword. In the margin above : Flavius Domitianus j in that 
 below : XII. eight Latin verses j to the left : ^gidius Sadeler 
 S. C. M. sculp. J in the middle : Titian inventor ; to the left : 
 Marcus Sadeler exc. Middle sized upright. 
 
 Portraits of the twelve Caesars, engraved after Titian, by 
 K. J. Catheline, of Paris, etc. Small series, in 8°. 
 
 Six of the Emperors, two in each print. Chez Berthel, in 
 
 1st. Tiberius and J. Caesar. 
 2d. Titus and Otho. 
 3d. Galba and Claudius. 
 
 Pompeia, wife of Julius Caesar, half length, having her 
 bosom uncovered, and her left arm hanging down. In the 
 margin above : Pompeia Julii Caes. uxor 3 in that below : I. 
 with eight Latin verses j to the left : uEgidius Sadeler S. C. M. 
 sculp. J to the right : Marcus Sadeler excudit. Middle sized 
 upright. 
 
[ Iviii ] 
 
 Livia, wife of Augustus, half length, holding her robe with 
 her right hand, the other arm hanging down. In the margin 
 above: Livia Drusilla D. Oct. Augusti uxorj in that below : 
 
 II. with eight Latin verses j to the left : ^gidius Sadeler 
 S. C. M. sculp. J to the right : Marcus Sadeler excudit. Middle 
 sized upright. 
 
 Agrippina, half length, her left elbow leaning on a tablet. 
 In the margin above : Agrippina Tiberii uxor ; in that below : 
 
 III. with eight Latin verses ; to the left : ^gidius Sadeler 
 S. C. M. sculp. J to the right : Marcus Sadeler excudit. 
 Middle sized oblong. 
 
 Caesonia, wife of Caligula, half length, her right hand resting 
 on a table. In the margin above : Caesonia Caesar. Caligulae 
 uxor ; in that below : IV. with ten Latin verses ; to the left : 
 ^gidius Sadeler sculpsit j to the right : Marcus Sadeler ex- 
 cudit. Middle sized upright. 
 
 ^lia, wife of Claudius, half length 5 her right hand ex- 
 tended, and the left placed on her breast. In the margin 
 above : ^lia Petina Claudii uxor j in that below : V. eight 
 Latin verses 3 to the left : ^gidius Sadeler S. C. M. sculp, ; 
 to the right : Marcus Sadeler excud. Middle sized upright. 
 
 Messalina, half length ; she appears to be pointing at some- 
 thing with her right hand j her left arm is falling down. In 
 the margin above : Statilia Messalina Claudii Neron. uxor j 
 in that below : VI, with eight Latin verses j to the left : 
 iEgidius Sadeler S. C. M. sculp. ; to the right : Marcus Sadeler 
 excudit. Middle sized upright. 
 
 Lepida, wife to Galba, her right hand on her breast, her 
 left holding her robe. In the margin above : Lepida Sergii 
 Galbae uxor j in that below : VII. with eight Latin verses ; to 
 the left : jEgidius Sadeler S. C. M. sculp. 5 to the right : 
 Marcus Sadeler excud. Middle sized upright. 
 
 Terentia, mother to Otho, half length ; her arms crossed. 
 In the margin above : Albia Terentia Othonis Mater ; in that 
 below : II. with eight Latin verses j to the left : JEgidius 
 Sadeler S. CM. sculp, j to the right ; Marcus Sadeler excudit. 
 Middle sized upright. 
 
[ ] 
 
 Petronia, first wife to Vtellius, half length, her right arm 
 resting on a tablet. In the margin above : Petronia Vitellii 
 prima uxor ; in that below : IX. with eight Latin verses : to 
 the left : ^gidius Sadeler S. C. M. sculp. ; to the right : 
 Marcus Sadeler excud. Middle sized upright. 
 
 Flavia, wife to Vespasian, half length j she is arranging her 
 robe with the right hand, and with her left is pointing out 
 something. In the margin above : Flavia Domicilla Vespasiani 
 uxor J in that below : X, with eight Latin verses j to the left : 
 JEgldius Sadeler S. CM. sculp, j to the right : Marcus Sadeler 
 excudit. Middle sized oblong. 
 
 Fulvia, wife to Titus, half length, her right arm leaning on 
 a tablet. In the margin above : Martia Fulvia Titi Vespasiani 
 uxor 5 in that below : XI. with eight Latin verses j to the left : 
 iEgidius Sadeler S. C. M. sculp. 3 to the right: Marcus 
 Sadeler excud. Middle sized upright. 
 
 Domitia, wife to Domitian, half length 3 with her right hand 
 she is lifting up her robe to her shoulder. In the margin above : 
 Domitia Longina Domitiani uxor ; in that below : XII. with 
 eight Latin verses j to the left : ^gidius Sadeler S. C. M. 
 sculp. J to the right : Marcus Sadeler excudit. Middle sized 
 upright. 
 
 M. Sylvius Otho. Half length, wearing a cuirass, his head 
 naked, and he is carrying in his hands a truncheon. In the 
 margin below : M. Sylvius Otho, R. a Voerste sculptor. 
 Middle sized upright. 
 
 PORTRAITS OF MEN. 
 
 Charles V. half length, three-quarters face, turned to the 
 right 5 wearing a cuirass, and his sword drawn. Above, is a 
 scroll : Carolus Imperator Quintus. Large, upright, wood cut. 
 
 Charles V. half length, wearing a cuirass, his head un- 
 covered, in an oval ; in the margin of which a Latin inscrip- 
 tion. In the margin below : two Latin verses. Above : 
 Titian pinxit. Middle sized upright. 
 
 Charles V. half length, three-quarters face 3 wearing his 
 imperial robes. Above, is written : Carolus Imperator Quin- 
 tus. Large, upright, wood cut. 
 
[Ix] 
 
 Charles V. a bust, three-quarters, face turned to the left, 
 this portrait is in a frame or portico made up of allegorical 
 figures, with several inscriptions ; to the right, on a stone 
 below : inventum sculptumque ab ^Enea vicoparmense M D L. 
 Large upright. 
 
 The same composition, the head turned to the right j to the 
 left, on a stone : inventum sculptumque ab Mnta, vico par- 
 mense MDL. Large, upright, wood cut. 
 
 The same composition, reversed the head looking to the 
 right. Below, to the left, on a stone : ND. la casa Lotarin- 
 gus f. an T. Salamanca excudebat. Large upright. 
 
 The bust of Charles V., in an oval, round which is writ- 
 ten : Carolus V. Aug, Imp. Caes. Below, in a frame, a Latin 
 inscription, Antuerp, excud. Joan Liefrinc. Middle sized 
 upright. 
 
 Charles V. half length, turned to the right, wearing a 
 cuirass j and a crown on his head ; his sword in the left hand, 
 and a truncheon in the right. In the margin below : a Latin 
 inscription to the left : Titian pinxit j to the right : P. de 
 Jode sculpsit. Small upright. 
 
 Charles V. half length, turned to the left , his right hand 
 resting on his left arm. Above, to the left, are the arms of 
 Austria j to the right, are the pillars of Hercules, with the 
 device : plus ultra. Below, a Latin inscription. Small upright. 
 
 The Bust of Charles V. in an oval ; above, the pillars of 
 Hercules, with the device : plus ultra : it is surrounded by two 
 eagles, and garlands of flowers and fruits. Below, a Latin 
 inscription ; to the left : Titian pinxit, V. P. Soutman effigiavit 
 et excud. ; to the right : I. Suiderhoef sculpsit. Large upright. 
 
 Charles V. half length, wearing a cuirass, and a drawn 
 sword in his right hand, his left resting on his hip above to 
 the right, a helmet. In the margin below, in the middle, is a 
 Latin inscription j to the left : E. Titiani prototypo P. P. Ru- 
 bens excud. Large upright. 
 
 Portrait of Charles V. half length, three-quarter, turned 
 to the right 5 to the left : Titian pinxit 5 to the right : Hess 
 fecit aquSl forti. In the middle : Carl, der funste. Small 
 upright. 
 
I Ixi ] 
 
 Francis the First, half length, and profile, turned to the 
 left, holding the pummel of his sword in his left hand. In 
 the margin below : Portrait de Francois I. d'apr^s le Titien, 
 grav^ par Gilles Edme Petit. Middle sized upright. 
 
 The same portrait, turned to the right. Above : Titian. 
 Below : dessin^ par S. le Roy, grav^ par Bontrois. Small 
 upright. Du Mus^e Filhol. 
 
 The same portrait of Francis the First, turned j to the 
 right : La Croix delin*. et sculpt. Small upright. 
 
 Portrait of Francis I. drawn by Chartin, after Titian ; en- 
 graved by Lambert. Large upright. 
 
 Portrait of Francis I. looking to the right) drawn by 
 Lemaire, engraved by J. Bte. Massard. Middle sized upright. 
 
 Portrait of Francis I. in profile, turned ; to the right : 
 Titian pinxit, Le Roux sculpsit. Middle sized upright. 
 
 Ferdinand I. half length, turned to the right, wearing a 
 cuirass, and holding a sword in his left hand. In the margin 
 below : a Latin inscription j to the left : Titian pinxit to the 
 right : P. de Jode excudit. Small upright. 
 
 Rodolph II. half length, in complete armour, his left hand 
 resting on the pummel of his sword, and the right holds his 
 truncheon behind him is seen his helmet lying on a table. 
 In the margin below : a Latin inscription ; to the right : 
 Marti nus Rota f. 
 
 Portrait of Philip II. three-quarters, looking to the right, 
 his head uncovered j in an octagon frame. Above is written : 
 Sans dessus dessous j to the left : J. Morinsaul j to the right : 
 Titian pinx. Middle sized upright. 
 
 A similar portrait of Philip II. j in an oval. Gaillard sculp, 
 de la suite d'Odieuvre, Below, in the middle, a French in- 
 scription. Small upright. 
 
 Ferdinand d'Alvaro Duke of Alba, half length, turned to the 
 right J his right hand resting on a table. In the margin be- 
 low : a Latin inscription. Small upright. 
 
 Charles Duke of Bourbon, half length, the left hand resting 
 on his helmet, lying before him, and which he points at with 
 his right hand. Below> a Latin inscription, in which the 
 
letters are inverted. In the margin, a Latin inscription : de- 
 picta a Titiano, sculpta a Vorstermanno ; to the right : cum 
 privil. reg. exc. Middle sized upright. 
 
 The Constable of Bourbon, three-quarters, turned to the 
 right : Historic Gallery of Landon. Small upright, in line 
 engraving. 
 
 Philibert de Scialon, Prince of Orange, in complete armour, 
 holding a truncheon with his right hand. In the margin 
 below in the middle, in a scroll., an Italian inscription : to 
 the right and left, eight Italian verses. Middle sized upright. 
 
 Daniel Barbaro, half length, turned to the right, and hold- 
 ing a book in his right hand. In the margin below: an 
 Italian inscription ; to the left : Titian pinxit, W. Hollar 
 fecit 1650 ; to the right : F. Vanden Wyngarde excudit. 
 Middle sized upright. 
 
 Bindo Altovitii, half length, front face, his left hand lying 
 on a book. Below : MDXXIII. In the margin below : an 
 Italian inscription ; to the right : F. Vanden Wyngarde ex- 
 cudit. Middle sized upright. 
 
 The Marquis of Guasto, with his Mistress, a composition of 
 four figures, half length ; she is sitting to the left, holding in 
 her hands a globe j the Marquis in armour, has his left hand 
 resting upon her ; to the right : a Cupid carrying a bundle of 
 arrows ; behind him is another woman, with her hand on her 
 breast. In the margin below, to the right : Titian pinxit, 
 M. Natalis sculpsit. Middle sized upright. 
 
 The same composition, the same way, for the Musee Filhol : 
 engraved by Oortman. Small upright. 
 
 Portrait of Andrea Doria, three-quarters, looking to the 
 left ; after a picture of Titian, in the Doria Pamphile Palace. 
 Paolo Fidanza delin. et inc. Large upright. 
 
 Portrait of Ignatius Loyola, three-quarters, turned to the 
 right ; in an oval. In the margin below : an inscription in 
 French ; to the left : Vignerson delineavit, after Titian. 
 Middle sized upright. 
 
 St. Louis of Gonzaga, half length, a profile, turned to the 
 right j the head illumined by rays of light } he holds two 
 
[ Ixiii ] 
 
 arrows in his right hand. In the margin below, to the left i 
 I. Titian p. j to the right : J. Troyon f. Middle sized up- 
 right. 
 
 Portrait of Alexander VI. study of a head from a picture 
 of Titian : (engraved by Fidanza.) Large upright. 
 
 Portrait of the Cardinal de Medicis, half length, holding a 
 battle-ax in his right hand, his left being on his sword. Above : 
 Titian. Below : drawn by Chasselas : engraved by Chataigner. 
 In the middle: the Cardinal de Medicis. Small upright. 
 From the Musee Filhol. 
 
 The same, portrait from the Gallery at Florence : drawn by 
 Wicar, engraved by P. Audoin. Small upright. 
 
 The same, portrait of the Cardinal de Medicis, Titian pinx', 
 Bosq. sc. Small upright. 
 
 Antonio Pallaricius Cardinal, half length, sitting in an 
 elbow chair, and resting his right hand on one of the arms, 
 his left holding a book which lies on his knees. In the mar- 
 gin below : a Latin inscription ; to the left : Titian pinx. j to 
 the right : Arnold de Jode sculp. Small upright. 
 
 Portrait of Becadelli, in a bishop's habit j he is sitting in an 
 arm chair, resting his right arm on the elbow, and holding a 
 paper. From the Florence Gallery : drawn by Wicar 3 to the 
 right : engraved by J. C. Ulmer. Middle sized upright. 
 
 Giovanne Bocaccio, three-quarters, turned to the right j 
 holding a book closed in his left hand : engraved by C. Van 
 Dalen. Large upright. 
 
 Giovanne Bocaccio, half length, nearly a full face, holding 
 in his right hand an open book, which lies on a table before 
 him. In the margin below, to the left : Titian pinxit, Petri 
 de Jode fecit : In the middle : Joannes Bocacius j to the right : 
 
 Portrait of Bocaccio, half length, turned to the right. 
 Historical Gallery of Landon. Small upright, line engraving. 
 
 Ariosto, half length, turned to the left, his right arm on 
 his breast. Below, to the right : Titianus V. In the margin 
 below, are eight Italian verses j to the right : reg. Persinius 
 sculp*. Below : a dedication in Latin. Middle sized upright. 
 
 on enfant excud. Small upright. 
 
[ Ixiv ] 
 
 Portrait of Ariosto, three-quarters, turned to the left. His- 
 torical Gallery of Landon, Small upright, in line engraving. 
 
 Portrait of Ariosto, in profile, turned to the right ) an oval, 
 in a frame. Below: Ludovico Ariosto, Titian pinx. Car. 
 Eisen del. Fiquet sculp. Small upright. 
 
 Portrait of Aretine, in profile, turned to the right, his head 
 leaning on his left arm j before him a flower. In the margin 
 below : an Italian inscription 5 to the left : Titian pinxit. In 
 the middle : W, Hollar fecit 1649 5 to the right : Franciscus 
 Van den Wyngarde excudit. Middle sized upright. 
 
 Aretine, half length, three-quarters face, his right hand 
 resting on his hip 5 his right handling a chain which is round 
 his neck. In the margin below : Titian pinxit j Petri de Jode 
 
 fecit J in the middle : Petrus Aretinus j to the right : on 
 enfant excud. Small upright. 
 
 Portrait of Martin Luther, study of a head, in the Doria 
 Pamphili Palace. Large upright. 
 
 Portrait of Calvin, study of a head : (engraved by Fidanza.) 
 Middle sized upright. 
 
 Portrait of Philip Melancthon, study of a head, in Doria 
 Pamphili Palace: (engraved by Fidanza.) Middle sized up- 
 right. 
 
 PORTRAITS UNKNOWN. 
 
 Portrait, in profile, turned to the right, wearing a helmet 
 with rich ornaments and precious stones. Above, to the 
 right : part of a Banderol is seen. Large upright wood cut. 
 
 Portrait of a man, half length, his right hand on the pummel 
 of his sword. In the margin below, to the left : I. Titian p. ; 
 to the right : L. Vosterman Junior f. Middle sized upright. 
 
 Portrait of a man, half length, his right hand resting on the 
 pedestal of a column ; in his left, a book. In the margin 
 below, to the left , I. Titian p. : to the right : L. Vosterman, 
 Junior f. Middle sized upright. 
 
 Portrait of a man, half length, with a cloak 5 his two hands 
 in his girdle. In the margin below, to the left : I. Titian p. ; 
 to the right : L. Vosterman Junior f. Middle sized upright. 
 
[Ixv] 
 
 Portrait of a man, half length, turned to the left, he is 
 sitting in an easy chair, his hands resting on the arms ; and 
 holding his gloves in the right hand. In the margin below, 
 to the left : I. Titian p. 5 to the right : L. Vosterman Junior 
 f. Middle sized upright. 
 
 Portrait of a man, half length, in a robe trimmed with 
 fur, the border of which he holds in his hands. In the 
 margin below, to the left : I. Titian p. j to the right : L. 
 Vosterman Junior f. Middle sized upright. 
 
 Portrait of a man, half length, turned towards the left, his 
 kft hand in his girdle 5 near him to the left, is a little negro 
 holding flowers, (said to be the portrait of Salvaresius.) In 
 the margin below, to the left : I. Titian p. ; to the right : 
 L. Vosterman Junior f. Middle sized upright. 
 
 Portrait of a man, half length, with strait hair, his right 
 hand somewhat elevated. In the margin below, to the left : 
 I. Titian p. 5 to the right : J. Troyen f. Small upright. 
 
 The Bust of a man, his head covered with a flat cap, having 
 the curls of his beard united below the chin. In the margin 
 below : Titian pinxit, Henr. Dancker Hagiensis sculp. Small 
 upright. 
 
 Portrait of a man, half length, holding the torso of a statue. 
 In the margin below, to the left : I. Titian p. j to the right : 
 L. Vosterman Jun. f. Small upright. 
 
 Portrait of a man, half length, his right hand holding the 
 border of his robe which is trimmed with fur. In the margin 
 below, to the left : I. Titian p. 5 to the right : J. Troyen f. 
 Small upright. 
 
 Portrait of a man, half length, his right arm leaning on a 
 table, and his left hand on his breast. In the margin below, 
 to the left : I. Titian p. ; to the right : L. Vosterman Junior f. 
 Middle sized upright. 
 
 Portrait of a man, half length, turned to the left, holding a 
 written paper in his left hand. In the margin below, to the 
 left : I. Titian p. j to the right : J. Troyen f. Small upright. 
 
 Portrait of a man, half length, being a bust, turned to the 
 right. In the margin below, to the left : I. Titian p. j to 
 the right : V. Hoy d. Small upright. 
 
 f 
 
[ Ixvi ] 
 
 Portrait of a man, half length, nearly in profile, turned to, the 
 left. In the margin below, to the left : I. Titian p. j to the 
 right : J. Vosterman f. Small upright. 
 
 The Messenger. A young man, half length, with a cap 
 and feathers on his head, holding a dish full of fruit 5 to the 
 left, a pillar. In the margin below, to the left : du Faget j 
 to the right : Titian 5 beneath : le Messager. Small upright. 
 
 A man, half length, holding a Bird of Prey ; a dog's head to 
 the left : W. Skelton sculpsit in the middle, an inscription in 
 English, MDCCCXI. Small upright. 
 
 A man, half length, leaning on his left arm, and holding a 
 glove in his left hand. A nobleman of Cyprus. The picture is 
 in the Musee Fran^oise. Small upright. 
 
 Portrait of a man, full face, with short hair, and a frizled 
 beard. Above, to the left : Marie EUenrieder fe^ 1815. 
 Small upright. 
 
 Portrait of a man, half length, turned to the left 5 dressed 
 in a robe trimmed with fur 5 his right hand in his girdle j the 
 left resting on a table. In the margin below, to the left : I. 
 Titian p. 3 to the right: L. Vosterman Junior f. Small up- 
 right. 
 
 Portrait of a man, half length, having one finger of his left 
 hand in his girdle, and the right hand resting on his hip. Very 
 small upright, engraved by Maria Cosway. 
 
 Portrait of a man, half length, his right hand placed on his 
 sword, and his left arm resting on a pedestal. From the 
 Musee Filhol : drawn by Seb. le Roy ; to the right : engraved 
 by Bontrois, Small upright. 
 
 Portrait of a Sovereign. A study, belonging to the Coun- 
 sellor Bianconi. Middle sized upright : (engraved by Fidanza.) 
 
 FEMALE PORTRAITS. 
 
 Portrait of Isabella, wife to Charles V. half length, turned 
 to the left -J she is sitting with her right hand resting on a 
 table, and flowers in her other hand. In the margin below, 
 an inscription in Latin. (D de Jode.) 
 
 Isabella d'Este, wife to Francis of Gonzaga, half length. 
 
[ Ixvii ] 
 
 sitting in an easy chair, her right hand resting on one of the 
 arms. In the margin below, a Latin inscription j to the left : 
 E. Titiani prototypo p. p. Rubens exc. Large upright. 
 
 The same portrait. In the margin below, to the left ; 
 Titian p. ; to the right : V. Hoy de V. Stieen f. Small up- 
 right. 
 
 The Mistress of the Marquis de Guasto, sitting to the left, 
 in profile ; behind, is a man standing holding up a cup j to 
 the right, a Cupid, and a female figure. Below, are two Latin 
 verses 5 to the left: Titianus pinxit j to the right: Hend. 
 Dancken Hayen. Batavus sculp, et excud. Middle sized oblong. 
 
 Titian's Mistress arranging her hair which she holds in her 
 left hand, and looking at herself in a glass, held by Titian, 
 who is by her. In the margin below, a Latin dedication 5 to 
 the left : Titian pinxit j to the right : DDD Henricus Danc- 
 kert F. sculptor et excud. Middle sized upright. 
 
 Titian's Mistress arranging her hair, the same design. 
 Forster delineavit et excudit ; imprim^ par Ramboy. Large 
 upright. 
 
 The same composition ; Titian to the left. From the Mus^e 
 Filhol : drawn by Bourdon 5 engraved by V^"". Dague. Small 
 upright. 
 
 The same composition 5 Titian is to the left j Forster del*, 
 et sc. Large upright. 
 
 The same composition 5 Titian is to the left. From the 
 Annales du Musee, C. Normand sc. Small upright, in line 
 engraving. 
 
 Bust of Titian's Mistress, the same way ; in Lithography, 
 by Henri Grevedon, 1813. Below: Titian's Mistress, etc. 
 Middle sized upright. 
 
 A Bust of Titian's Mistress, the same way } she is arranging 
 her hair with her left hand. Small upright, dotted. 
 
 Titian's Mistress, half length, looking rather to the left, 
 with a hat and feathers on her head, and holding part of her 
 dress on her left shoulder with her right hand. The picture 
 is in the Gallery of the Hermitage. In the margin below, to 
 
[ Ixviii ] 
 
 the left : peint par Titien Vicelli 5 to the right : drawn and 
 engraved by S. Cardelli j below, a French inscription. Small 
 upright. 
 
 Portrait of Titian's Mistress, the hair raised on a small 
 cushion. Large upright : (engraved by Fidanza.) 
 
 Portrait of Titian's Daughter, in the character of Flora, 
 holding flowers in her left hand. In the margin below, four 
 verses, and a dedication in Latin ; engraved by Joachim San- 
 drart, Amsterdam. 
 
 Portrait of Titian's Daughter, in the character of Flora, 
 with flowers in her right hand. In the margin below, are 
 two Latin verses : engraved by Jacques Picini, Titian pinxit. 
 
 Jeanne Vesella, Paintress, Titian's eldest daughter. Above, 
 to the right : Titian pinxit 3 and below : W. Hollar fecitj 
 1650. 
 
 Portrait of the Daughter of Roberto Strozzi ; a young 
 female standing, her left hand placed on a little dog upon a 
 table, on which Titian f. appears : in the back ground to the 
 right, a window, through which a landscape is seen j to the 
 left, the year MDXLI. j to the right : Dom. Cunego sculp. 
 Romse, I770. Middle sized upright. 
 
 Portrait of Lucretia Borgia 3 a veil on her head which falls 
 over her shoulders, and having a necklace of pearls j a study, 
 in the P. Doria Palace. Large upright : (engraved by Fidanza.) 
 
 Portrait of Catherine Bore, Luther's wife, with a cap and 
 feathers 3 a study : (engraved by Fidanza.) Large upright. 
 
 Portrait of Vannozia wearing a turban, her hair falling on 
 her shoulders} a study: (engraved by Fidanza.) Middle 
 sized upright. 
 
 Portrait of a woman, half length, her left hand resting on 
 the shoulder of a young black, who is looking up to her, and 
 holds her gloves in his right hand. In the margin below, a 
 Latin dedication : engraved by Giles Sadeler. Middle sized 
 upright. 
 
 Portrait of a woman, half length, who is about to plunge a 
 dagger which she holds in her left hand, into her bosom. In 
 
[ Ixix ] 
 
 the margin below, to the left : I. Titian p. ; to the right : J. 
 Troyen f. Middle sized upright. 
 
 Portrait of a young woman, half length, she is carrying on 
 her right hand a squirrel, which she holds by a string. In 
 the margin below, to the left : I. Titian p. ; to the right : L. 
 Vosterman Junior f. Middle sized upright. 
 
 Portrait of a woman, half length, in the Character of Diana j 
 her right hand lying on a little dog. In the margin below, to 
 the left : I. Titian p. ; to the right : L. Vosterman Junior f. 
 Middle sized upright. 
 
 Portrait of a woman, half length, holding a fan made of 
 feathers in her left hand. In the margin below, to the left : 
 Titian p. ; to the right : J. Troyen f. Middle sized upright. 
 
 Portrait of a woman, half length, her right hand on her 
 neck, which is uncovered she is drawing up her robe before 
 with her left hand. In the margin below, four Latin verses ; 
 to the left : Titian pinxit 3 to the right : Franciscus Vanden 
 Wyngaerde excudit. Middle sized upright. 
 
 Portrait of a young woman, half length, nearly a front face, 
 her right hand resting on a table, and holding the end of her 
 girdle in her left. In the margin below, to the left : I.Titian 
 p. 5 to the right : L. Vosterman Junior f. Middle sized up- 
 right. 
 
 Portrait of a woman, half length, turned to the right, the 
 body in profile, holding a cap in her right hand. Below, to 
 the right, is written : Titianus pinxit j to the left : the letters 
 A. C. engraved in Mezzotinto. Middle sized upright. 
 
 Three Portraits, half length j the two women are looking at 
 one another in the back ground j between them a man wear- 
 ing a cap. Above, to the left : W. Waillant fecit : engraved 
 in mezzotinto. Middle sized square. 
 
 Portrait of a woman, half length, in a shift, hanging half 
 way down ; she is holding up her robe with her right hand, 
 and has flowers in her left. In the margin below, there are 
 four verses, and a dedication in Latin 3 to the left : Joachimus 
 Sandrart incid. et excud. Amsterd. 3 to the right : E. Titiani 
 prototypo in aedibus Alph, Lopez. Small upright. 
 
[Ixx] 
 
 Portrait of a woman, half length, sitting, and partly naked, 
 she is looking at herself in a glass, held by a Cupid, standing 
 to the left. In the margin below, to the left : I. Titian p. j 
 to the right : L. Vosterman Junior f. Middle sized upright. 
 
 STUDIES OF HEADS. 
 
 The Head of our Saviour, after the picture of the Woman 
 taken in Adultery, by Titian 3 P. Planat deW lith. Large 
 upright. 
 
 The Magdalen, with a glory round her head, a study, after 
 Titian. Small upright 3 dotted engraving. 
 
 St. Catherine, study of a head, engraved in dotting, Dumay 
 delinV 5 engraved by Piedecocq. In the middle is written: 
 St. Catherine d'aprbs le tableau du Titien. Large upright. 
 
 St. Catherine, study of a head ; engraved like crayons, 
 drawn by Eugene Bourgeois : engraved by Noel Bertrand. 
 Large upright. 
 
 Head of a young girl, from the picture of the Woman taken 
 in Adultery, by Titian ; P. Planat del. } to the right : lith. 
 Large upright. 
 
 Study of the head of the penitent Adultress, in the same 
 picture 3 P. Planat. del. to the right : lith. Large upright. 
 
 Head of an old man, covered with a veil. From the picture 
 of the Adulteress^ by Titian. P. Planat. del. Large upright. 
 
 LANDSCAPES. 
 
 A Landscape, in the middle of which is a small stream, with 
 a wooden bridge over it 3 and further in the back ground, 
 some buildings and mills 3 in front, to the right, a flock of 
 sheep, with two shepherds standing 3 to the left, a cart drawn 
 by two oxen. In the middle, on a stone, is seen : D. C. 
 Middle sized oblong. 
 
 The same Landscape, being another impression. Below, to 
 the left : apud Camocium. Middle sized oblong. 
 
 A Landscape 3 to the left, is a steep rock, on which is a 
 tower and other buildings j in front, on the same side, some 
 
[ Ixxi ] 
 
 trees, under which are females armed with arrows. In the 
 middle, a piece of water 5 to the right, a mill and a bridge. 
 Middle sized upright. 
 
 Landscape, with a river crossing from right to left 5 in 
 front, to the right, are two old willows. In the middle, a man 
 firing at some ducks to the right at the edge of the water. 
 Below, to the right : S. Duperac f. Middle sized oblong. 
 
 View of a town with a steeple j in the foreground a wooden 
 bridge over a small stream to the right, two large trees ; 
 mountains in the distance. Below, to the right, on a stone : 
 Baptista Fontana, 1573. Middle sized oblong. 
 
 A Landscape, with some large trees in the fore ground ; to 
 the left, a well, near which Christ is sitting, and talking with 
 the woman of Samaria. Below, to the right, on a stone : 
 Baptista Fontana, 1572. Middle sized oblong. 
 
 A Mountainous Landscape. A steep rock to the left, with 
 some bushes ; to the right, in front, is the trunk of a tree. 
 Middle sized oblong. 
 
 The same composition, reversed. In the margin below, to 
 the left : Titianus inventor 3 to the right : Franciscus Vanden 
 Wyngaerde fecit et excudit. Middle sized oblong. 
 
 A Landscape, with a steep rock ending in two points ; to 
 the left, a very low house. In the margin below, to the left : 
 Titianus inventor 3 to the right: Franciscus Vanden Wyn- 
 gaerde fecit et excudit. Middle sized oblong. 
 
 A Landscape, with a large tree in front, at the foot of 
 which is seated a shepherd watching his flock ; to the left, a 
 plantation of large trees 5 a considerable river running to the 
 right from the back ground. Below, in the middle : B M. 
 Middle sized oblong. 
 
 Landscape, with a large steep rock, in the projection of 
 which several wooden houses, and two mills are situated ; in 
 the distance, to the right, more houses are seen. In the 
 margin below, to the left : Ticianus inv. 5 below : Domenico 
 Bariera fe. 5 to the right : Gio. Giacomo Rossi formi roma 
 alia pace. Middle sized oblong. 
 
 A Landscape, with a river coming from the background to 
 
[ Ixxii ] 
 
 the left, extends itself towards the middle of the piece, and 
 forms an island with several houses on it. In the middle upon 
 the foreground stands a large tree ; to the right, a traveller 
 with a stick on his shoulder. Middle sized oblong. 
 
 A Landscape, with a river in the centre, and a town in the 
 back ground 5 at the top of a mountain, to the right, a field 
 with a clump of trees, and some cattle j to the left, the trunks 
 of two large trees are seen 5 on the edge, to the right, is 
 written : S. du p. f. (Duperac.) Middle sized oblong. 
 
 Landscape, with a cascade between two rocks ; a house on 
 that to the left; on the other, several buildings. Small 
 oblong. 
 
 A Landscape, in which there is a stag to the right ; to the 
 left, a cottage and several trees. Small oblong. 
 
 A Landscape ; to the right a Bacchante dancing with 
 Satyrs. Small oblong. 
 
 Landscape; to the right, a woman and a satyr sitting. 
 Small oblong. 
 
 A Landscape, in the middle, on the foreground, a monu- 
 ment in the shape of a dome, in which is seen a statue ; to the 
 right, a tree. In the margin below, to the left : Titian invenit. 
 in the middle : L. Van Uden fecit ; to the right : Franc. 
 Vanden Wyngaerde exc. Small oblong. 
 
 The same composition, reversed. 
 
 A Landscape, in the middle of which is a large building on 
 fire, and partly in ruins ; in the foreground, to the left, a 
 shepherd with his flock, and to the right, a river. Small 
 oblong. 
 
 A Landscape ; in the foreground, in the centre, a very lean 
 horse is seen ; to the right, several men running away towards 
 the back ground. Small oblong. 
 
 A Landscape; to the right, in front, a large tree, near 
 which is a drove of oxen 3 to the left, several trees ; in the 
 middle, a river with two boats on it. Small oblong. 
 
 A Landscape, with two figures in the foreground, being 
 Mercury and Argus sleeping. Below, to the left : S. du Perac f. 
 Small oblong. 
 
[ Ixxiii ] 
 
 A Landscape j in the centre, several l?uildings, with a bridge 
 over a river j on the bank, in the fore ground, two women. 
 Small oblong. 
 
 A Landscape, in which to the left is Apollo watching a flock 
 of sheep. Small oblong. Below, to the right : N. N. exc. 
 
 A Landscape ; in the middle, Diana sitting at the foot of a 
 tree, on which her bow and quiver are suspended ; two dogs 
 in a leash to the left. Below, to the right : N. N. exc. Small 
 oblong. 
 
 A Landscape to the left, near a tree, two Satyrs, one is 
 sitting holding a cup, the other standing and squeezing grapes 
 into a cup j a goat is seen in the centre. Below, in the 
 middle : N. N. exc. Small oblong. 
 
 A Landscape 3 to the right, a naked female lying down 
 asleep 5 near her, a stag ; in the middle, Cupid shooting with 
 an arrow at a stork flying away with a serpent. Below, to 
 the left : N. N. exc. Small oblong. 
 
 A Landscape 5 to the right, a group of trees j in the middle 
 below, a shepherd driving his flock 5 to the left, below : I. f. 
 Middle sized oblong. 
 
 A Landscape^ divided by trees 5 in the foreground, to the 
 right, a man with a dog. Middle sized oblong. 
 
 A Landscape 5 to the left, near a tree, a shepherd standing 
 playing on the bagpipes 5 his flock seen in the middle 5 in 
 the distance, on a rising ground, a cottager 3 to the right, a 
 river. Middle sized oblong. 
 
 A Landscape 3 to the left, are two nymphs, the one sitting 
 on the bank of the water, the other standing in the middle, is 
 holding a fish she has just caught 3 to the right, a roe-buck 
 browsing on a tree. In the middle, below^ on a stone : ex 
 Titiani exemplare, &c. Middle sized oblong. 
 
 A Landscape 3 a man sitting to the right at the foot of a 
 tree 5 to the left, a shepherd driving his flock of goats 3 in the 
 centre, some houses are seen. Middle sized oblong. 
 
 A Landscape 3 to the left, a large avenue of trees 3 in the 
 middle, near a tree, a bear sitting. Middle sized oblong. 
 
 A Landscape 5 in the fore ground, a child is driving before 
 
[ Ixxiv ] 
 
 him a bull with the branch of a tree. Small oblong, wood 
 cut, in chiaro-scuro. 
 
 A Landscape in the foreground, a boy on horseback 
 carrying a hare hanging from a pole 5 to the left, on a stone, 
 1566. Small oblong wood cut in chiaro-scuro. 
 
 A Landscape ; in the centre, several buildings near a river 
 to the right ; in the foreground, the trunk of a large tree. 
 Below, in the middle : apresso Gio. Franc. Camocio. Middle 
 sized oblong. 
 
 A Landscape ; in the middle, a large tree by the brink of a 
 river ; on the other side, a town rising like an ampitheatre on 
 a mountain j to the left, below^ a mark composed of the 
 
 A Landscape j in the middle of which is seen the mouth of 
 a river with an island, and buildings j in the distance, are 
 some small vessels 5 to the right, in the foreground, several 
 trunks of trees, near which is a female Satyr suckling her 
 young. In the middle, below : apud Camocium. Middle sized 
 oblong. 
 
 A Landscape 3 to the left, a ruin, and a large tree ; to the 
 right, persons engaged in shooting with bows. Below, on the 
 left : apresso il Camocio. Middle sized oblong, 
 
 A Landscape ; in the middle several large trees j to the 
 right, a rock, from which a rivulet issues, in which a man is 
 dragging a net. Below, to the right, in a scroll ; S. P. F. 5 to 
 the left : apud Camocium. Middle sized oblong. 
 
 A Landscape, in which to the right are two obelisks and a 
 ruin -J in the centre, a large tree. Below, to the right, in a 
 scroll : S. P. F. Middle sized oblong. 
 
 A Landscape 3 with several large trees, under which a com- 
 pany of men and women are amusing themselves with music. 
 Middle sized oblong. 
 
 A Landscape ; with ruins to the right, and a river to the 
 left 3 in the middle, two trees, near which is a river god ; to 
 the left, below : apud Camocium. Middle sized oblong. 
 
 A Mountainous Landscape ; in the centre is a river running 
 under a bridge which occupies the foreground, on which the 
 
 Middle sized oblong. 
 
flight of the Holy Family into Egypt is seen. Middle sized 
 oblong. 
 
 A Landscape, with a small river, whose banks are planted 
 with willows 3 to the left, a wooden hut, with a pole suspended 
 to draw water. Middle sized oblong. 
 
 A Landscape, with an old ruined tree ; a shepherd lying 
 down, and two goats by him 5 to the left, a river. Below, in 
 the middle : Marco Sadeler excudit. Middle sized oblong. 
 
 A Landscape, with a large cottage in the centre j to the 
 left, a peasant leaning against a willow tree, in conversation 
 with a woman standing by him, another man is engaged in 
 milking a cow. Middle sized oblong. 
 
 A very rocky Landscape j in the middle, towards the left, a 
 large tree ; to the right, a tomb. In the margin below, to 
 the right : Gio. Jacomo Rossi formis roma alia pace. Middle 
 sized oblong. 
 
 A Landscape, with the sun setting to the right, and the 
 moon in a crescent ; to the left, a large tree ; in the centre, a 
 man lying on the ground 5 in the second distance, a square 
 tower, and some ruins on steep rocks. In the margin below, 
 to the left : Luca Bertelli exc. Middle sized oblong. 
 
 A Landscape ; in the middle of the foreground, a man and 
 woman walking towards the distance, where a road with some 
 houses on each side is seen 5 to the right, a shepherd driving 
 his flock. Below, to the left : S. du Perac f. Middle sized 
 oblong. 
 
 A Landscape, with the Rape of Europa 5 in the middle, a 
 large river crossing from left to right 5 in the back ground, a 
 square tower, with a wooden bridge 5 to the left, a stone 
 bridge with two arches ; to the right, on the foreground, are 
 two women sitting on the bank of the river looking at Europa ; 
 to the left is written : V. Lefevre del. sculp. 5 to the right : 
 Tan in. Middle sized oblong. 
 
 A Landscape, with a group of large trees to the right, and 
 another to the left j in the back ground, a river with a stone 
 bridge of five arches, (Boloquerc.) Middle sized oblong. 
 
[ Ixxvi ] 
 
 A Landscape 5 in the centre of which, on the foreground, 
 is a large tree standing on the bank of a river ; to the left, 
 some houses 3 to the right, a house and a square tower. 
 Middle sized wood cut, oblong. 
 
 A Landscape, in which are four cows, one of whom a 
 woman is milking 5 near her a man is pouring milk into a 
 pail 3 in the back ground, to the left, a rock. Middle sized 
 oblong. 
 
 A Landscape 5 in the fore ground, several cattle ; to the 
 right, near a large tree, a woman milking a cow j in the 
 middle, a child is giving drink to a goat, and looking at a 
 sheep J to the left, are several animals j in the back ground, 
 towards the left, a horse. Large oblong wood cut. 
 
 A Landscape, the same composition,, reversed j the cow is 
 to the left. Middle sized oblong. 
 
 A Landscape, the same composition 5 the cow is to the left. 
 Small oblong. 
 
 A Landscape, in which a shepherd asleep is sitting on a 
 rock to the right ; in the middle, a flock of sheep, a pig, and 
 a goat. Below, in the middle, on a stone : ex divino Titiani 
 exemplare exemplum. Middle sized oblong. 
 
 The same composition, the same way j on the stone : ex 
 divino Titiano exemplare exemplum. Below, to the right : 
 V. Lefevre del. et sculp. The same size as the last. 
 
 A Landscape, with a large tree by the side of a road where 
 two men are walking towards the distance 5 a bridge in the 
 middle, leading to a rock, on which stands a tower, near to it 
 a water fall j to the right, in that part of the river, is a little 
 rock with a bird sitting on it. Middle sized oblong. 
 
 A Landscape, having to the right, a large tree ; below, is 
 a sportsman kneeling on the bank of a river, and shooting 
 ducks 3 to the left, is a ruin ; in the middle, a bridge of two 
 arches, separated by a little island. Middle sized oblong. 
 
 A Landscape 5 in the middle, are seen several buildings, and 
 a bridge of two arches over a river running from the left ; 
 on the other, in the back ground, a field with four large trees. 
 
[ Ixxvii ] 
 
 Below, to the left, is written : Titiano I. j to the right : V, 
 Lefevre del. et sculp. Middle sized oblong. 
 
 A Landscape, to the left, a large tree, a shepherd lying 
 down 5 in the middle, a she goat 3 to the right, some sheep. 
 
 Below, to the right : 5^ an. in. ; to the right : V. Lefevre 
 del. et sculp. Middle sized oblong. 
 
 A Landscape, with a tower in the centre of the back ground 3 
 to the right, in front, the Nativity ; near the stable, an ox is 
 seen j in the middle, two women washing linen in a river. 
 Below, to the left : Titianus inventor 3 L. V. Uden fe. Fran'. 
 Vanden Wyngaerde exc. See Bartsch t. v. p. 49, no. 54. 
 Middle sized oblong. 
 
 A Landscape ; to the left, is seen an Inn, with the story of 
 the good Samaritan 3 to the right, a field with four trees, 
 near to one of which is placed an image of the Virgin. Below, 
 to the right : Titianus inventor 3 L. V. Uden fe. Fran^. Vanden 
 Wyngaerde exc. See Bartsch t. v. p. 49, no. 55. Middle 
 sized oblong. 
 
 A Landscape, with several monuments in ruins, and a 
 bridge of one arch crossing a river which occupies the right 
 side of the composition 3 on the other side is seen the Repose 
 in Egypt 5 on the same side is written : Psatt ditto del moro. 
 Middle sized oblong. 
 
 The same composition, reversed. Below, to the right : 
 Fernando Berteli excudebat. The same size as the preceding, 
 
 A Landscape 3 to the right, is a monument in ruins sur- 
 rounded with trees 3 in the middle, another similar 3 to the 
 left, in the foreground, a bridge with one arch, over which 
 a woman and three men are passing 3 in the background, on 
 the same side, a large town with several pointed towers. 
 Middle sized oblong. 
 
 A Landscape j a shepherd in the foreground driving his 
 sheep before him 5 to the right, a dog barking 3 to the left, 
 in the back ground, a gate-way in ruins. Middle sized 
 oblong. 
 
 A Landscape, to the left of which is seen the trunk of a 
 large tree 3 in the middle of the back ground, are several 
 
[ Ixxviii ] 
 
 mountains^ with houses below them. Below, to the left : 
 
 in. ; in the middle : V. Lefevre del. et sculp. ; to the right : 
 
 J. Van Campen formis Venetijs. Middle sized oblong. 
 
 The same composition, reversed. A wood cut. Middle 
 sized oblong. 
 
 A Landscape, with a man sitting on a fallen tree, fishing j 
 to the left, several large trees, the tops of whose branches are 
 not seen; to the right, a Venetian gondola j in the back 
 ground, a very lofty mountain, with large buildings on it. 
 In front, to the right 3 DB. Middle sized oblong. 
 
 Landscape, with a large street, in the middle of which a 
 great tree, with an orchestra built with leaves, round which 
 men and women are dancing. Middle sized oblong. 
 
 Landscape, with the story of Lazarus ; the rich man is seen 
 at table in an open building with several arches ; near the 
 arch towards the middle, is Lazarus leaning on a stick, while 
 three dogs are barking at him ; to the left, in the background, 
 some houses and mills, also a bridge ; in the margin below, a 
 Latin inscription 3 to the right : Luca Berteli formis. Middle 
 sized oblong. 
 
 Landscape, in the middle of which is a large arcade 5 to the 
 right, an open building, where the death of the rich man is 
 seen, and the devil taking possession of his soul 3 in the fore- 
 ground, to the right : Luca Berteli formis. 
 
 Landscape. St. John in the Island of Patmos 3 he is on 
 his knees to the left, praying before the Virgin j the infant 
 Christ appearing in the sky to the right j in the middle, a rock 
 standing in the sea with a hole through it Wood cut, 
 middle sized oblong. 
 
 Landscape ; a man naked sitting near a woman, whom he 
 is caressing, at the foot of two trees, on one of which a Satyr 
 is leaning j to the left, two men, half length, in the water, 
 preparing their nets ; to the right, a monument in ruins. 
 Middle sized oblong. 
 
 A series of twenty-four Landscapes, with two Latin verses 
 below, and a number to the right. 
 
 No. I. In the middle, a river with two bark^ in front, the 
 
[ Ixxix ] 
 
 trunk of a tree with divers branches, overturned j to the 
 right, on a rising ground, three men on horseback j to the 
 left, on the other side of the river, a large house. Middle 
 sized oblong. 
 
 No. 2. To the left, an old man sitting by the side of a tomb 
 on vv^hich he rests his left hand j to the right, a large tree j in 
 the middle, are two travellers. 
 
 No. 3. The Eremites of the Thebaid ; in the middle, under 
 a thatched roof, and near a large rock, a man is sitting at a 
 table, on which is a book j to the right, near the entrance of 
 a rock, are two more men ; on the same side, near a tree, 
 St. Jerome standing and resting on a stick j a lion being near 
 him. 
 
 No. 4. To the right, some trees on a rock ; in the middle, 
 is a steeple embosomed in trees ; to the left, several houses. 
 
 No. 5. To the right, a cottage, with a well and several 
 cattle J in the middle, a bridge ; to the left ; some houses. 
 
 No. 6. In the middle, on the foreground, a man carrying 
 a basket, and a woman behind him, further on a bridge, to 
 the right, two shepherds and their flock j to the left, in the 
 back ground, some houses, and an ampitheatre. 
 
 No. 7. To the left, by a well, a drove of pigs hurrying 
 towards their trough j in the background, some houses, and 
 mountains ; on which to the left, a mill is seen. 
 
 No. 8. In the middle, in the foreground, a small bridge, 
 over which two hermits are passing, and near it are the 
 trunks of two trees 5 to the left, in the background, an amphi- 
 theatre, and some houses. 
 
 No. 9. To the right, a shepherd lying down on the ground, 
 and near him some goats 5 in the background, on the same 
 side, a copse 5 in front, a large tree, of which the trunk only 
 is seen 3 to the left, behind, some houses. 
 
 No. 10. In the middle, a shepherd sitting, and a naked 
 female by him stretched on the ground, and looking behind 
 her ; to the right, some sheep j to the left, certain houses, and 
 a wooden bridge 5 in the back ground are mountains. 
 
 No. 11. To the left, a water-fall j to the right, a man carry- 
 
[ Ixxx ] 
 
 ing panniers, is passing over a plank which serves for a 
 bridge j in the back ground, five large trees. 
 
 No. 12. In the middle, are two sportsmen with their dogs j 
 near, a steep rock covered with trees. 
 
 No. 13. To the right, a steep rock ; in the centre of the 
 back ground, some houses 5 to the left, a large river, with 
 two vessels sailing on it. 
 
 No. 14. On the foreground, to the right, are three men, 
 and five cows, one of whom is lying down 5 in the middle, a 
 tuft of trees. 
 
 No. 15. A Landscape 5 in the centre of which is a flock of 
 sheep, and two shepherds, who are alarmed at a wolf carrying 
 off a sheep to the right of the print, and whom two dogs are 
 pursuing) in the background, is a large river, with several 
 vessels sailing on it. 
 
 No. 16. In the foreground, a cart drawn by two oxen, two 
 men on horseback going on before it ; to the left, in the fore- 
 ground, a tuft of trees j in the background, some houses, and 
 a square tower. 
 
 No. 17. To the right, near three trees, an old man is 
 attacked by two men, one armed with a sword, the other with 
 a lance 5 in the background, on the same side, the sun is seen 
 setting J to the left, a town, in which a heavy shower of rain 
 is falling. 
 
 No. 18. To the right, a shepherd is sitting, holding his 
 crook in his two hands, and looking at his dog 5 near him 
 are three goats ; some houses are seen on an eminence, and a 
 square tower in the centre. 
 
 No. 19. On the foreground, in the centre, a woman sitting 
 on the ground engaged in spinning ; near her, some goats 3 to 
 the right, a large tree ; to the left, two men, one of whom is 
 leading a horse with a woman on it ; in the background, a 
 river and a mill, some houses, and a square tower. 
 
 No. 20. To the right, a marsh with trees, in the midst of 
 which a sportsman with a bow is seen in a boat j to the left, a 
 little bridge, over which a fisherman carrying his nets is 
 passing. 
 
[ Ixxxi ] 
 
 No. 21. In the centre, a man asleep on the ground; in the 
 back ground, some cottages, surrounded by trees. 
 
 No. 22. In the back ground a town, with a square tower 
 terminating in a Dome 5 towards the left, a bridge of three 
 arches 3 in front, to the left, are two men leading an ass. 
 
 No. 23. In the centre, a small river, near which is a tuft of 
 trees ; in the background, to the right, houses, and some cattle 
 to the left. 
 
 No. 24. An Arm of the Sea, surrounded by rocks j some 
 soldiers on horseback, marching towards the left. These 24 
 prints are all middle sized oblong. 
 
 The same composition, the same way, and same size as 
 No. 2 of the preceding series. In the margin belov/, are two 
 Latin verses j to the right is written : Titianus : it is probably 
 engraved by Bolswert. 
 
 A Landscape ; in the centre of which on the foreground, is 
 a group of four trees ; to the left, a sportsman leading two 
 dogs, to the right, a cart on a road. Below, to the left : S. du 
 Perac f. Middle sized oblong. 
 
 A Landscape ; in the middle^ there is a bridge of two arches 
 leading to a river ; below, a man fishing with a line 3 on the 
 other side of the river, to the left, a cottage surrounded with 
 trees 3 below, to the right : S. Du Perac f. Middle sized 
 oblong. 
 
 A Landscape, with a mountain in the foreground 3 to the 
 right, St. George standing with his lance looking at the 
 dragon lying on his back, whom he has just slain. Middle 
 sized oblong. 
 
 A Landscape, with some ruins in the background 3 in the 
 centre, a flock of sheep, with three men, one of whom is 
 sitting, and another leaning on his stick. Middle sized oblong. 
 
 The Repose in Egypt, in a Landscape. Joseph and the 
 Virgin Mary are sitting on the ground 3 near them the infant 
 Christ 3 the ass is seen at the foot of a tree. Middle sized 
 oblong. 
 
 A Landscape 5 to the right, a rock covered with trees 3 at 
 the foot of it, a sportsman with his dogs. Small upright. 
 
 S 
 
[ Ixxxii ] 
 
 A Landscape ; on the foreground, to the right, a man and 
 woman are sitting, having near them a basket of fruit 3 in the 
 background, to the left, some houses j in the middle, a bridge, 
 which travellers are crossing. Wood cut, large oblong. 
 
 A Landscape, in which on the foreground, to the right, are 
 two large trees, and to the left, three men, two of whom are 
 sitting on the bank of a river, while the third is standing. 
 Large oblong. 
 
 A Landscape ; to the right, a group of several large trees 3 
 in the middle, on the second distance, three men, two of 
 whom are sitting on the ground, and the other standing up. 
 Large oblong. 
 
 A Landscape ; in which to the right, are two large trees 3 
 and in the centre, two trunks of trees, upon the bank of a 
 river, which is on the left 3 four men are fishing in a boat. 
 Large oblong. 
 
 A Landscape 3 in the middle of which is a group of trees, one 
 of which is much larger than the others 3 to the left, are four 
 men playing at dice on a square stone. Large oblong. 
 
 A Landscape 3 on the right, a building on a mountain 3 in 
 front, on this side, are two men standing in antique dresses 3 
 to the left, two trees, one of which is overthrown. In the 
 margin, to the left : Titian pinxit. Large oblong. 
 
 A Landscape, wherein to the left, there is a large sheet of 
 water, with a bridge of several arches, two of which are of 
 wood 3 to the right, the trunk of a tree, near it a man is 
 sitting. In the margin, to the left : Titianus pinxit. Large 
 oblong. 
 
 A Landscape 3 in the middle, a box for holding pastilles, 
 where two women and a man are engaged in putting in what 
 has been collected 3 to the right, a building for the purpose of 
 a chemical laboratory 3 to the left, some men and loaded asses. 
 Large oblong. 
 
 A Landscape, where there is to the right, a large tree, of 
 which part only is seen 3 to the left, on the second distance, 
 are two trees 3 in the centre, a large cottage ; in the back- 
 ground, a lofty mountain. In the margin below, to the left: 
 
[ Ixxxiii ] 
 
 Titian delin. 39 B. 5 to the right: Mass^ sculp. Large 
 upright. 
 
 A Landscape, in which a large rock with a hole through it, 
 occupies the whole of the left ; in the foreground^, two men 
 on horseback crossing over a small bridge. In the margin 
 below, to the left : Titian delin. 39 A. 3 to the right : Pene 
 sculp. Large upright. 
 
 Study of a large tree, having a twisted body 5 below, are 
 two goats feeding on leaves, and two birds perched to the left. 
 Wood cut, in clair obscur. Large upright. 
 
 A Landscape, with the view of a tower in the background j 
 in the middle, a bridge 3 and a woman washing linen on the 
 bank of a river 3 to the left, a large tree. Middle sized 
 oblong. 
 
 A Landscape, with a rising ground to the right, and a 
 water-mill 3 in front, two large trees, whose roots uncovered 
 are by the side of a river 3 in front, three men, one of which 
 is holding a pilgrim's staff 3 in the background, a town. Middle 
 sized oblong. 
 
 A Landscape 3 to the left, is a road leading to a bridge with 
 one arch, which occupies the right 3 in the centre, a large 
 tree. Middle sized oblong. 
 
 A Landscape, in which to the left are two trees, and a 
 bridge of three arches over a river that runs from the back 
 ground towards the right 3 in the middle, a boat with four 
 persons at the side of the river. Middle sized oblong. 
 
 A Landscape 3 to the right of which are three large trees, 
 and a shepherd with a flock of goats and sheep ; in the centre, 
 a hollow way, and a traveller 3 to the left, some cattle. 
 Middle sized oblong. 
 
 A Landscape, with trees in the middle 3 and a house at 
 the foot of a hill, which rises towards the right 3 to the left, 
 on the foreground, a wooden gate is seen. Middle sized 
 oblong. 
 
 A Landscape, with the trunk of a tree on the right, and a 
 large tree to the left 3 in the middle, a shepherd standing 
 
[ Ixxxiv ] 
 
 near his flock, and looking at the sun to the left j below, in 
 the middle : Titian pinxit. Small oblong. 
 
 A Landscape, with some houses on a rising ground to the 
 left ; to the right, in front, three travellers going along near 
 a large tree. Middle sized oblong. 
 
 The Baptism of Christ, in a Landscape in the middle, St, 
 John holding his cross, is pouring water on the head of Christ, 
 who is half way up his legs in the river Jordan , on the other 
 bank, to the left, are some houses 3 below, to the left, a square 
 stone. Middle sized oblong. 
 
 A Landscape, with a river coming from the background to 
 the left 5 with several vessels, and on the bank, a town j in 
 front, is a single arched bridge, with a traveller passing over 
 it. Middle sized oblong. 
 
 A Landscape, in which to the left, is a shepherd playing on 
 his flute, and followed by his flock } in the middle, is a loaded 
 ass J to the right, a river with two boats under sail. Middle 
 sized oblong. 
 
 A Landscape ; being the same composition, the same way, 
 and size j below, to the left : V. Lefevre del. et sculp. 3 in 
 
 the middle : ^Jan in 3 to the right : J. Van Campen formis 
 Venetijs. Large oblong. 
 
 The same composition, reversed. Small oblong. 
 
 A Landscape 5 St. Jerome kneeling with his hands joined, 
 and stretched out towards a cross, placed near a large rock, 
 which occupies the right of the print 3 in the centre, a lion 
 and lioness 3 to the left, a large tree, by the side of which 
 another lion is seen. Large oblong. 
 
 The same composition, reversed. Small oblong. 
 
 A Landscape 3 to the left appears a little hillock, from 
 whence a man with a stick on his shoulder, followed by a 
 woman carrying a basket are descending 3 to the right, a cart 
 dragged by oxen, and followed by one man on an ass, and 
 another on horseback. Middle sized oblong. 
 
 A Landscape 3 to ihe right, a man lying on the ground, 
 holding a stick in his left hand, and his right extended, is 
 
[ Ixxxv ] 
 
 looking towards two large trees 5 in the back ground^ on the 
 same side, a river and houses : to the left, a large piece of 
 water, with some boats on it. Large oblong. 
 
 A Landscape, with the Temptation : our Saviour Jesus 
 Christ is on the right, to whom the Devil under the figure of 
 an old man leaning on a stick, is offering a loaf of bread ; in 
 the background, on the top of a mountain, the Devil appears 
 flying away 5 in the middle, are some large trees 5 to the left, 
 a river, and a town in the distance j below, to the left : 
 1567. Large oblong. 
 
 A Landscape 3 to the left, two large pines ; in the centre, 
 three other trees, under which two men are sitting ) to the 
 right, a gportsman with his dog ; in the background, a herd of 
 stags and hinds 3 below, to the right : S. du Perac fecit. Large 
 oblong. 
 
 A Landscape j in which to the left are two trees partially 
 twisted near the middle, two men are conversing together 3 
 in the second distance, a bridge with three arches^ and some 
 huts by, also a river. Middle sized oblong. 
 
 A Landscape ; view of a Park with several large trees, and a 
 small river j several stags and roebucks appear lying down or 
 standing. Large oblong, etched with aquafortis. 
 
 A Landscape 3 to the left, two large trees, the bodies of 
 which are only visible 3 to the right, two travellers on horse^ 
 back are proceeding towards a village on one side 3 in the 
 background, a town on the sea-side 3 below, to the left : S. 
 Du Perac f. Middle sized oblong. 
 
 A Landscape 3 on the foreground, to the left, a road between 
 two steep rocks, near, a large river 3 in the centre of the 
 foreground, two leopards, and to the right, two swans are 
 seen 3 below, in the centre, 1543. Large oblong. 
 
 A Landscape 3 to the right of which is a large tree, and a 
 small river coming from the left 3 with a large river in the 
 background to the right 5 below, to the left: DB. Large 
 oblong. 
 
 A Landscape, with a herd of cattle in the foreground 3 in the 
 centre, a female oiFering drink in a pail to two cows, whom 
 
[ Ixxxvi ] 
 
 a man is milking in the background, to the right, several 
 persons in a boat. Large oblong. 
 
 A Landscape j in front, a countryman driving two horses in 
 a plough 3 in the second distance, to the right, near a cottage, 
 several persons assembled, among whom is A woman sitting 
 with a spindle and a child by her. Large upright wood cut. 
 
 A Landscape, in the background of which is a town with a 
 a water-mill j in front, to the right, four children and a dog, 
 near a stone, on which is the letter D. Large oblong, wood 
 cut. 
 
 A Landscape > there are some large twisted trees to the left, 
 from whence a man is coming, having a mattock on his 
 shoulder, accompanied by a dog 5 to the right, a man driving 
 two oxen ; in the middle, a circular temple with columns, 
 and a dome. Large upright wood cut. 
 
 A Landscape j to the left, a naked woman reclining, behind 
 her a vase, from whence smoke is issuing 3 in the middle, at 
 her feet, lies a winged dragon watching her j to the left, a 
 scull 3 in the background, a town and a tower 3 in the air, a 
 warrior mounted on a hippogrifif j below, to the left : 1563 5 
 to the right : Titian. Large oblong. 
 
 The same composition, the same way. In the margin 
 below, to the left : Titian delin. 12 C. 3 to the right. Masse 
 sculp. 
 
 A Landscape, with a cottage and two trees 3 on that in the 
 middle, a swarm of bees is about to settle 3 and there are 
 several women striking plates to hive them 3 to the right, a 
 rock and a tree 3 in the background, on the same side, on 
 a height, a house on fire. In the margin below, to the left : 
 Titian delin 12 E. 3 to the right: M.Corneille sculp. Large 
 oblong. 
 
 A Landscape 3 to the left, a rock with trees, from whence a 
 road descends towards the middle of the print, where are seen 
 two shepherds and their dogs. In the margin below, to the 
 left : Titian delin. 13 A. 3 to the right : Masse sculp. Large 
 oblong. 
 
 A Landscape 3 in which appears to the left, a rock with a 
 
[ Ixxxvii ] 
 
 bush on it j in the middle, a road, and to the right, a woman 
 sitting near a man who standing leans on his stick j some 
 houses in the distance. In the margin below, to the left : 
 Titian delin. 13 B. j to the right ; Masse sculp. Large 
 oblong. 
 
 A Landscape j to the left, a shepherd sleeping near a large 
 tree ; in the middle, several goats and sheep 3 in the distance, 
 some houses, and to the right, a bridge. In the margin 
 below, to the left : Titian delin. 12 B. 5 to the right : Masse 
 sculp. Large oblong. 
 
 A Landscape ; in the centre, a house surrounded with trees 
 on an eminence. In the margin below, to the left : Titian 
 delin. 32 C. 5 to the right : Mass^ sculp. Large oblong. 
 
 A Landscape 5 on the foreground, in the centre, a large tree, 
 near which is a river with a small wooden bridge over it j to the 
 right, two men in conversation j in the background are houses 
 and water-mills. In the margin below, to the left : Titian 
 delin, 14 C. ; to the right : Masse sculp. Large oblong. 
 
 A Landscape 3 in which, inthe second distance, between two 
 rivers, some houses are seen on an elevated piece of ground j 
 to the right, a bridge of two arches j at the edge of the 
 water two women occupied in washing linen, and a third 
 carrying two pails on her shoulders. In the margin below, to 
 the left : Titian delin. 13 C. ; to the right ; Masse sculp. 
 Large oblong. 
 
 A Landscape; on the foreground of which is seen to the 
 right, a large tree near a piece of water j to the left, in the 
 second distance, three cows, and two men behind them j 
 further, in the background, some houses, behind which a con- 
 siderable volume of smoke appears. In the margin below, to 
 the left : Titian delin. 14 D. 5 to the right : Masse sculp. 
 Large upright. 
 
 A Landscape j to the right, two large trees upon a small rising 
 ground, from whence issues a brook 3 a cow is drinking ; to 
 the left, a shepherd and his flock 3 further, on the same side, 
 some houses. In the margin to the left, Titian delin. 13 D. ; 
 to the right : Masse sculp. Large upright. 
 
[ Ixxxviii ] 
 
 A Landscape, in which the sun is setting behind a very 
 steep mountain j to the left, cattle and their keepers are re- 
 posing; on the foreground, to the right, three travellers^ 
 including an old man and a child. In the margin below, to 
 the left : Titian delin. 13 E. j to the right : Masse sculp. 
 Large oblong. 
 
 View of a Village, in which four large trees are seen j in the 
 middle, on a road leading to it, a shepherd and his flock. In 
 the margin below, to the left : Titianus del. 13 E. 5 to the 
 right : Masse sculp. Large oblong. 
 
 A Landscape 5 in which, to the right, is a grotto, where 
 St. Jerom is kneeling before a crucifix. Large oblong. 
 
 A Landscape, with large trees in front ; to the left, a nymph 
 and several satyrs 5 one of whom is climbing a tree. Large 
 oblong. 
 
 The same composition, reversed : the satyrs being to the 
 right. In the margin below, to the left : Titian delin. 12. D. j 
 to the right : Pene sculp. 
 
 A Landscape ) in which, to the left, are seen a rock, with two 
 trunks of trees and some bushes. In the background, to the 
 right, a large town, situated on the bank of a river ; in the 
 foreground, to the right, a boy carrying a net on his shoulder. 
 In the margin below, to the left : Titian delin. 14. F. 5 to the 
 right : Masse sculp. Large oblong. 
 
 A Landscape ; to the left a water-fall near a rock ; in front 
 two cows lying, and two men standing up. In the margin be- 
 low, to the left: Titianus del. 5 to the right; Pene sculp. 
 Large oblong. 
 
 A Landscape ; to the right, but nearly in the centre, a large 
 tree, of which the top is not seen j in the middle a river 
 flowing from the right, runs between two rocks joined by a 
 small bridge, with a man leaning on the cross bar. In the 
 margin below, to the left : Titian delin. 14 E. 5 to the right : 
 Pene sculp. Large oblong. 
 
 A Landscape 5 to the left, some trees on an eminence, which 
 reach to the middle of the print, and from whence issues a 
 rivulet 3 in the middle a shepherd, with sheep and cows. In 
 
[ Ixxxix ] 
 
 the margin below, to the left : Titian delin. 15 F, j to the 
 right : Pene sculp. Large oblong. 
 
 A Landscape j to the right three trees on a rock, behind 
 which is seen a river passing successively under three bridges, 
 the nearest being of wood, and leads to some houses, behind 
 which a mountain, having some buildings and steeples upon its 
 summit, appears. In the margin below, to the left : Titian 
 delin. 15 A. j to the right : Pene sculp. Large oblong. 
 
 A Landscape 3 to the left of which are large trees on an 
 eminence j a shepherd sitting with his flock j in the middle a 
 loaded ass, and a man following : to the right a river, with 
 several persons on the bank. In the margin below, to the 
 left : Titian delin. 15 D. j to the right : Pene sculp. Large 
 oblong. 
 
 A Landscape j to the left, a temple in ruins 5 below, a river 
 coming from the centre, with a rock above 5 to the right, a cart 
 drawn by oxen, behind which is a man on horseback. In the 
 margin below, to the left : Titian delin. 15 F. j to the right : 
 Pene sculp. Large oblong. 
 
 A Landscape j to the right, in the foreground, several cot- 
 tages together j by one of them are two women sitting, and a 
 man standing up ; in the middle of the second distance large 
 buildings. In the margin below, to the left, Titian delin. 
 15. C. J to the right : Pene sculp. Large oblong. 
 
 A Landscape j in the centre some houses, with two large 
 trees before them. In the margin below, to the left : Titian 
 delin. 15 B. ; to the right : Pene sculp. Large oblong. 
 
 A Landscape 3 in which, to the right, are several large trees ; 
 in the middle, a man sitting, his back to the spectator ,• to the 
 left, a man leading a horse by the bridle. Large oblong. 
 
 The same composition, the same way. Below, to the left : 
 V. Lefevre del. et sculp, j to the right : I. Van Campen formis 
 Ventijs. 
 
 The same composition, reversed: the horse being to the 
 right. Middle sized oblong. 
 
 A Landscape 3 to the left, a child sitting, playing with a sheep 3 
 in the background, to the right, a tower with a steeple 3 in the 
 
[ xc] 
 
 middle a tuft of trees j to the right, a church with a steeple. 
 Below, to the left : I. Van Campen formis Venetijs j near the 
 
 middle ^an inv.; in the middle; V. Lefevre del. et sculp. 
 In the margin below : Titian Vecelli cad. invent, et pinx. 
 Large oblong. 
 
 A Landscape ; in the middle of which is a river flowing under 
 two bridges successively 3 one of them of stone, with two 
 arches 3 to the right, a large steep rock, of a fanciful shape j 
 to the left, a large tree. Large oblong. 
 
 A Landscape; in the middle an open cart-shed; to the 
 left, two women, one of whom is feeding chickens 5 to the 
 right, some mowers. (Titian.) Large oblong. 
 
 A Landscape, with four hunters in the centre, two of whom 
 are armed with lances 3 in front are two dogs ; and to the 
 left a flock of goats and sheep, with two shepherds in conver- 
 sation. (Titian.) Large oblong. 
 
 A Landscape; in the foreground, to the right, a young 
 shepherd holding his crook, to whom a man wrapped up in a 
 cloak is addressing himself ; to the left, two women are 
 feeding some pigs. Large oblong. 
 
 A Landscape : view of the sea at sun-set. To the right, a 
 group of four persons with a dog ; and four fishermen dragging 
 their nets ; in the background several large boats under sail. 
 Large oblong. 
 
 A Landscape, representing a hawking scene ; in the centre, 
 two persons on horseback, holding falcons on their wrists; 
 they are attended by two servants and several dogs. Large 
 oblong. 
 
 A Landscape : to the left, a thicket ; in the middle, a road 
 leading to a building, where two women are in conversation. 
 Large oblong. 
 
 The Temptation of our Saviour, whom the Devil carries ta 
 the summit of the temple at Jerusalem. In the margin below, 
 to the left : Titian invenit ; in the middle : L. Van Uden fecit ; 
 to the right : Franc. Vanden Wyngaerde exc. Small oblong. 
 See Bartsch, t. v. p. 47. b 52. 
 
 A Landscape, wherein one man on horseback, and another 
 
[ xci ] 
 
 on foot, are going over a bridge in the middle of the print 5 to 
 the left a house. In the margin below, to the left : Titian inv. 5 
 in the middle : Cab. du Roy, V. j to the right : C. (Caylus) 
 sculp. 
 
 Study of a Landscape : in the centre, bushes growing on 
 a rock j to the right, in the background, some houses are 
 seen. Du Cabinet du Roy j engraved by Le Corate de Caylus. 
 Small oblong. 
 
 A Landscape : to the right, a traveller, who is catching in 
 a dish the water from a spring ; in the background, some 
 wooden houses. In the middle. Cab. du Roy j to the right : 
 C. (Caylus) sculp. Middle sized oblong. 
 
 A Landscape, in which St. Jerom is leaning on a rock, 
 whereon is a cross ; in the middle, a river and some rocks 
 beyond. Middle sized oblong. 
 
 A Landscape j on the left, is the Virgin sitting on an ass, 
 led by Joseph j towards the middle a tuft of large trees. 
 Titian in. : Cab, du Roy. C. (Caylus) sculp. Middle sized 
 oblong. 
 
 A Landscape 3 in the middle a large boat, from whence 
 the Virgin on landing is received by S*^ Marie VEgyptienne ; to 
 the left, in the second distance, near a rock, the same Saint is 
 seen on her knees ^ a tower in the centre on the turn of a 
 river. Middle sized oblong j engraved by Mar. Cat. Prestel, 
 1777. 
 
 A Landscape, with harvestmen ; to the left, near to a road, 
 three men and a woman are taking their repast around a 
 stone } in the middle a cart laden with straw, and drawn by 
 two oxen j to the right, the reapers are seen. Engraved by 
 Marie Catherine Prestel, 1777' Middle sized oblong. 
 
 A Landscape, where there are two naked nymphs sitting on 
 the bank of a river with their feet in the water j to the left, 
 another nymph on the opposite bank, accompanied by a Cupid 
 carrying a basket of flowers on his head. Accaciati incid. 
 Middle sized oblong. 
 
 A Landscape, wherein a man is seen walking towards a 
 
[ xcii ] 
 
 bridge j on the second distance, the same side, a tree, a bridge;, 
 and houses j in the middle other houses, with mountains be- 
 hind them ; to the right, in the background, some trees and 
 mountains j at top, to the left : 186 j to the right : 116 3 be- 
 low, to the left : Titian in. ; to the right ; Cab. du Roy. Still 
 more to the right, ex. sculp. Middle sized oblong. 
 
 A Landscape, in which is a naked female lying on the 
 ground, her back turned to the spectator j in the middle, two 
 large trees ; to the left, a satyr carrying off a woman j above, 
 to the left : 168 3 to the right : IfS 3 below, to the left : Titian 
 in. 5 in the middle: Cab. du Royj to the right: ex. sculp» 
 Small oblong. 
 
 A Landscape, in which the Virgin is represented sitting and 
 holding the infant Christ on her knees ; near her a saint, with 
 a book under his right arm, and extending his left hand 
 towards an old man, who is carrying incense j near whom, to 
 the left, is a female saint holding a palm branch in her left 
 hand, and another saint with a cross. In the margin above, 
 to the left : I72 3 to the right ; 103 j below, to the left : 
 Titian in. j in the middle : Cabinet du Roy 5 to the right : ex 
 sculp. Small oblong. 
 
 A Landscape, with a man and woman under a tree, to the 
 right 3 to the left, a bush j behind a row of houses, reaching 
 towards the right j above, to the left : 187 j to the ri^ht : 
 102 } below, to the left : Titian in. 3 in the middle ; Cab. du 
 Roy 3 to the right : ex. sculp. Small oblong. 
 
 A Landscape : to the right, is a goat 3 to the left, a hillock 3 
 some houses on an eminence in the centre 3 to the right, some 
 trees and a cottage 3 above, to the left : 1 90 3 to the right : 
 107 3 below, to the left : Titian in. ; in the middle : Cab. du 
 Roy 3 to the right : ex sculp. Small oblong. 
 
 A Landscape : to the right, a man standing, whose back is 
 seen 5 he is holding out his hand to an old man and a boy, 
 half lengths 3 to the left, a herd of cows, some naked shep- 
 herds and shepherdesses, are seen lying on the ground 3 in the 
 second distance, houses and water mills 3 to the right, trees j 
 
[ xciii ] 
 
 in the centre are mountains ; above, to the left : 178 5 below, 
 to the left : Titian in. ; in the middle : Cab. du Roy j to the 
 right : ex. sculp. Large oblong. 
 
 A Landscape 3 in which a woman, to the right, is milking a 
 cow, two trees behind her ; in the middle, three goats, one of 
 which a boy is feeding out of a trough ; near to him, to the 
 left, a sheep; further to the left, another sheep and some 
 cows 3 in the background, to the left, a plain ; in the middle, 
 and to the right, houses, and a mountainous country 3 at top, 
 to the left, 179 ; below, to the left : Titian in. 3 in the middle : 
 Cabinet du Roy. 
 
 A Landscape 3 having, to the left, a shepherd playing on the 
 flute, with his dog by him, and followed by his flock, in the 
 midst of which is a loaded ass 3 two shepherds are following 
 from an eminence, on which are some trees 3 in the middle 
 a sheep drinking near a rock, to the right 3 on the same side, 
 in the background, a river, with two vessels sailing. In the 
 margin above, to the left : 180 5 below, to the left : Titian in. 3 
 in the middle : Cabinet du Roy 3 to the right : ex. sculp. 
 Large oblong. 
 
 A Landscape 3 in which, to the right, is seen a woman sit- 
 ting near a rock, and before her a man leaning with both 
 hands on a stick 3 likewise goats 3 in the middle are some 
 shrubs 3 to the left, more shrubs on a rock, near the bank 
 of a river, which runs towards the background 3 in the centre 
 are some houses and mountains.. In the margin above, to 
 the left : 177 3 in that below, to the left : Titian in. 3 in the 
 middle : Cab. du Roy 3 to the right : ex. sculp. Middle sized 
 oblong. 
 
 A Landscape. Almost in the centre, to the left, a rock, 
 near which is a woman carrying a child, and a shepherd carry- 
 ing another 3 near him a third child is seen 3 to the left, a 
 shepherd and shepherdess, sitting side by side, with some 
 sheep 3 in the second distance, in the centre, certain houses 3 
 in the background, mountains from right to left. 
 
 A Landscape 3 in which, above, the Deity and Jesus Christ 
 sitting, the Holy Spirit seen in the middle 5 on both sides and 
 
[ xciv I 
 
 below, a number of angels and men in a circle. In the margin 
 above, to the left : I74 j below, to the left : invent^ par 
 Titien j in the middle : Cabinet du Roy j to the right : grav^ 
 par Ex. Large upright. 
 
 A Landscape on the left, a shepherd lying down behind a 
 tree, a goat eating the branches j a ram in the middle putting 
 his foot on her j to the right other goats j in the middle of 
 the background, some houses and a bridge, to the right. In 
 the margin above, to the left : 181 5 below, to the left : Titian 
 in. 5 in the middle: Cab, du Roy 5 to the right: ex. sculp. 
 Middle sized oblong. 
 
 London : Printed by W. Nicol, 
 Cleveland-rgvf, St. James's. 
 
GETTY CENTER LIBRARY 
 
 3 3125 00656 0847