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Titian

Tiziano Vecellio (Titian also used the forms Titiano, Tizian, Tician, Ticiano, Titianus and Ticianus in his signatures) came from Pieve di Cadore in the Dolomites, where his father was superintendent of the castle and supervisor of mines. His date of birth has long been controversial: there is documentary evidence to support a series of dates from 1473, but most recent opinion favours one close to 1490. According to Dolce (1557), he was sent to Venice at the age of nine with his brother Francesco to study painting, and was trained successively by the Zuccati (who were painters and mosaicists), Gentile Bellini, Giovanni Bellini and Giorgione. In 1508 he worked with Giorgione on the frescoes (only detached fragments of which survive) on the façade of the Fondaco dei Tedeschi, and he seems to have finished some of Giorgione’s pictures (such as the Dresden Venus) after Giorgione’s early death in 1510. Some pictures (such as the Fête Champêtre in the Louvre, the Concert in the Pitti and the Christ and the Adulteress in Glasgow) that were traditionally attributed to Giorgione are now given to the young Titian or still disputed between Giorgione and Titian.

By 1514 Titian had his own workshop at San Samuele. In 1516 he succeeded Giovanni Bellini as Painter to the Republic, and the completion in May 1518 of the revolutionary Assumption for the high altar of the Frari confirmed his reputation as the leading painter in Venice. He retained this position for the rest of his very long career, undertaking not only major commissions in Venice but increasingly working for courtly patrons elsewhere (who paid better). From 1516 he started working for Alfonso d’Este, Duke of Ferrara, and from 1523 for Federico Gonzaga, Marquis (later Duke) of Mantua. From 1527 his career was promoted by the notorious writer Pietro Aretino (1492-1556), whose published letters contain over two hundred references to him and are a rich source of information on his life and works. In 1533 he became Court Painter to Charles V, who created him Court Palatine and Knight of the Golden Spur. He also worked for Francesco Maria della Rovere in the 1530s, and for Pope Paul III and other members of the Farnese family in the 1540s, visiting Rome in 1545-46 and staying at the Imperial court at Augsburg in 1548 and 1550-51. Charles V’s successor, Philip II of Spain, became his principal patron from the mid-1550s. In pensions alone, he could count on an annual income of seven hundred crowns (four hundred from Spain and three hundred from the Signori of Venice).

As he got older, his technique became much looser, almost anticipating Impressionism in its disregard for contours and its representation of form as patterns of colour and light, and the mood of his pictures became more tragic and violent. Contemporaries describe his use of ‘large brushes almost like brooms’ and his working of the paint with his fingers. There has been much debate over whether – and to what extent – such extremely freely painted, almost monochromatic very late works as the Death of Actaeon in London, the Munich Mocking of Christ and the Flaying of Marsyas in Kromeríz may be unfinished. There was criticism of the ageing painter’s failing powers (the art dealer Niccolò Stroppio maliciously claimed that ‘he no longer sees what he is doing and his hand trembles so much that he cannot finish anything’). But the demand for his pictures remained high, and Philip of Spain in particular continued to support him with important commissions.

Titian died of the plague on 27 August 1576 and was buried in the Frari (where his supposed tomb is now marked by a massive neo-classical monument erected in 1852). There are probably more pictures attributed to him than any other sixteenth-century artist. He frequently repeated his own compositions, often after a long interval of time, and Ridolfi reported that he was in the habit of touching up studio copies of his originals, which he passed off as his own work. These replicas are rarely exact reproductions, but usually add or eliminate certain figures or objects. In quality, some stand comparison with the originals, while others fall far short. Titian’s well-organised studio at Biri Grande, on the northern edge of the city, included his favourite son Orazio (1525-76), a third cousin Cesare Vecellio (1521-1601), a second cousin Marco Vecellio (1545-1611), and the faithful Girolamo Dente (c.1510-70), who served Titian for over forty years and whose skill at copying is mentioned by Vasari. Unlike the workshops of his Venetian contemporaries Tintoretto, Veronese and Bassano, which were kept going for many years by the artists’ heirs, Titian’s studio closed quite soon after his death. Orazio died of the plague just four days after his father, the studio was ransacked, and the building and remaining contents were sold off in 1581 by the oldest, scapegrace son Pomponio.


Ajaccio (Corsica). Musée Fesch.
Portrait of a Young Man. Canvas, 88 x 73.
Related in general composition to the famous Portrait of a Man with a Glove in the Louvre. Like the Man with the Glove, it was among the hundred or so pictures sold by the German banker Everhard Jabach to Louis XIV, in whose collection it was listed (by Le Brun in 1683) merely as ‘in the manner of Giorgione’. The picture has tended to be overlooked because of its poor (and rather dirty) condition. The attribution to Titian has sometimes been doubted (eg. by Wethey, who tentatively proposed Cariani in his 1971 monograph), but is accepted unreservedly in Pedrocco’s 2001 Complete Paintings. On loan from the Louvre since 1956.

Alnwick Castle (Northumberland).
Portrait of Georges d’Armagnac and His Secretary. Canvas, 104 x 114.
Georges d’Armagnac, Bishop of Rodez, was French ambassador to Venice from 1536 to 1539, when this portrait was presumably painted. His secretary was Guillaume Philandrier (a pupil of the architect Serlio). The picture – one of the first by Titian to come to England – was acquired in France by the Duke of Buckingham in 1624. It was apparently appropriated by the Earl of Northumberland after Buckingham’s pictures were confiscated during the Civil War, and it has remained at Alnwick since 1671.

Ancona. Pinacoteca.
Gozzi Altarpiece. Canvas, 322 x 215.
The earliest picture by Titian bearing his signature and a date (1520). It was commissioned by Alvise Gozzi, a merchant from Ragusa (Dubrovnik), for his funerary chapel in the church of San Francesco ad Alto (now deconsecrated) at Ancona. The kneeling donor is shown a vision of the Virgin by a saint identified either as Louis, his name saint, or Blaise, the patron saint of Ragusa. St Francis stands on the left. In the background is a view of the Piazzetta di San Marco as seen from across the lagoon. The altarpiece remained in San Francesco until 1864, when it was moved to San Domenico. It was transferred to the Pinacoteca in 1928. It is thought that the picture was originally rectangular and was given its present arched top in 1703.

Ancona. San Domenico.
Crucifixion. Canvas, 375 x 197.
‘For the high altar of San Domenico in Ancona [Titian] painted an altarpiece with Christ on the cross, and at the foot the beautifully executed figures of Our Lady, St John and St Dominic; this work was in his later style, painted with patches of colour’ (Vasari). Placed above the high altar of the sanctuary on 22 July 1558. The altar was then under the patronage of the Cornovi della Vecchia, a rich merchant family who, a few years later, commissioned an Annunciation by Titian for their family shrine in San Salvatore in Venice. From 1884 to 1925 the picture was in the Pinacoteca of Ancona. In 1972, when San Domenico was damaged by an earthquake, the picture was again moved to the Pinacoteca, but it has since been returned to the church.

Antwerp. Musée des Beaux-Arts.
Jacopo Pesaro presented to St Peter by Alexander VI. Canvas, 145 x 183.
Signed on the tablet, with the Italian inscription: ‘Portrait of one of the House of Pesaro in Venice who was made general of the Holy Church’. The sea battle in the background alludes to the victory won by Jacopo Pesaro, Bishop of Paphos in Cyprus and commander of the papal fleet, against the Turks at Santa Maura (the Greek island of Levkás) in 1502. The reliefs on St Peter's throne appear to depict Venus, who is said to have been born in the sea foam off the coast of Paphos. A steel helmet, souvenir of the sea battle, is placed on the tiles in the centre foreground. Titian portrayed Jacopo Pesaro again in the monumental Pesaro Madonna of 1519-26 in the Frari. There has been considerable disagreement over dating the Antwerp picture. Once regarded as the earliest surviving Titian, dating from the early 1500s, more recent opinion usually places it about 1506-11, although some critics believe that it was painted in two distinct phases and not finished until 1515-20. The picture was still in Venice in 1623, as there is a drawing of it in Van Dyck’s sketchbook. It is recorded in 1639 in Charles I’s collection at Whitehall Palace; it was later in Spain (the convent of S. Pascuale, Madrid); and was given to the museum by King William of Holland in 1823.

Ascoli Piceno. Palazzo Comunale.
Saint Francis receiving the Stigmata. Canvas, 295 x 178.
Signed, lower left. Very damaged. Originally on the altar of the chapel of Desiderio Guidone or Guidi (the kneeling donor) in the church of San Francesco in Ascoli. The chapel was consecrated in 1561. Transferred to the museum in about 1861.

Baltimore. Museum of Art.
Portrait of a Man (Niccolò Orsini (?)). Canvas, 88 x 71.
An aristocrat, with dark hair and beard, is shown half-length and almost in profile. He wears a black jerkin lined with white fur over a doublet of red silk and holds a book in his right hand. The inscription in gold letters, giving Titian’s name and the date 1561, is a later addition. Probably the portrait of the ‘Duke Orsini’ recorded in 1745 in the Orsini Palace, Rome. Acquired by Jacob Epstein of Baltimore in 1925, and bequeathed by him to the museum in 1951.

Bergamo. Accademia Carrara.
Madonna and Child. Wood, 39 x 48.
The Virgin, seated before a low wall in a pastoral evening landscape, looks tenderly down at her plump infant, who playfully tugs at her hair. This beautiful (but somewhat damaged) little panel was a treasured possession of Count Guglielmo Lochis, who bequeathed it to the Accademia in 1859 as a work of Titian. Later opinion often ascribed it to a follower of Titian (such as Sante Zago or Titian's brother Francesco Vecellio) or to a follower of Giorgione. But the tendency since the 1950s is to attribute it to Titian himself as one of his earliest surviving paintings (about 1507-10). It is similar in composition and style to the 'Bache Madonna' in New York, which is also now generally accepted as a very early Titian, while the head of the Virgin is very like that of the adulteress in the Glasgow Christ and the Adulteress.       
Orpheus and Eurydice. Wood, 39 x 53.
In the left foreground, Eurydice dies of a snakebite; in the right distance, Orpheus attempts to bring her back from Hades but, by looking back at her, loses her forever. This delightful (but damaged) panel, also from the Lochis collection, probably formed part of a domestic storage chest or cassone. It used to be regarded as the work of Giorgione or an imitator. Roberto Longhi’s attribution to Titian in 1927 as an early work (before 1510) has had partial support. 

Berlin. Gemäldegalerie.
Portrait of Clarissa Strozzi. Canvas, 115 x 98.
The two-year old Clarissa, wearing a cream silk dress and precious jewellery, feeds a bread-ring to her dog, which sits on a table decorated with sculpted putti. Painted in 1542 (the date is on the tablet, upper left) when her parents, Roberto Strozzi and Maddalena dei Medici, were living in exile in Venice. Roberto had been expelled from Florence six years earlier for his involvement in a plot to pass state secrets to the French ambassador and Turkish Sultan. Bought from the Strozzi Palace, Florence, in 1878.
Self-Portrait. Canvas, 96 x 75.
One of only two certain self-portraits of Titian; the other, considerably later, is in Madrid. Slightly unfinished in parts, particularly the hands and sleeve. The heavy gold chain is probably the one given to Titian by Charles V in 1533. Dating is controversial: this is sometimes identified as the Self-Portrait of Titian acquired by Paolo Giovio for his collection of portraits of famous persons by May 1549 and sometimes as the Self-Portrait seen by Vasari in Titian’s house in 1566 (which he said had been painted four years earlier). Recorded in the Casa Barbarigo in San Raffaele, Venice, in 1814, and acquired by the Berlin Museum with the Solly collection in 1821.
Girl (‘Lavinia’) with a Bowl of Fruit. Canvas, 102 x 82.
Possibly the Pomona by Titian acquired by Jacopo Strada, agent of Maximilian II, in 1568, or the Lavinia with a Basket of Fruit (Titian’s daughter, wrongly called Cornelia by Ridolfi) seen in the house of Niccolò Crasso in the mid-seventeenth century. Usually dated around 1550-55. There is a similar picture in the Prado depicting Salome with the head of the Baptist. Acquired by Abbot Celotti in Florence in 1832.
Venus and an Organist. Canvas, 115 x 210.
One of several pictures showing a reclining nude with a young man sitting by her playing an organ or lute (there are two in the Prado and others in Cambridge and New York). The organist in the Berlin picture is said to resemble Philip of Spain. The picture may date from about 1550. It was probably in the collection of Prince Pio of Savoy in the eighteenth century, and was purchased by the Berlin Museum in 1918.
Portrait of a Man. Canvas, 94 x 72.
Nothing is known of the history of this portrait before 1821, when it was acquired with the Solly collection. It later hung in the Royal Palace at Berlin. It was attributed to Tintoretto until 1886, when Titian’s signature was discovered at the bottom of the canvas. It may date from the mid-1520s.

Besançon. Musée des Beaux-Arts.
Portrait of a Gentleman. Canvas, 60 x 46.
Bequeathed to the museum in 1894 by the painter and illustrator Jean Gigoux. Somewhat worn and restored. Long neglected, but now attributed to Titian as an early portrait. The sitter was once improbably called Alfonso d'Este or Francis I. He has been identified recently (by the curators of the exhibition Pietro Bembo e l'invenzione del rinascimento held at Padua in 2013) with the famous humanist poet and literary theorist Pietro Bembo. Vasari says that Titian painted a portrait of Bembo before the writer first moved to Rome (1513). The features (particularly the aquiline nose) bear an undeniable resemblance to those in Titian's much later portrait of Bembo at Washington.     

Besançon. Musée du Temps.
Portrait of Nicolas Perrenot de Granvelle. Canvas, 106 x 90.
Nicolas Perrenot de Granvelle (1485-1550) was the powerful Chancellor of Charles V and President of the Diet. Titian painted his portrait at Augsburg in 1548, along with those of his wife Nicole Bonvalot (lost) and son Antoine (identified with a portrait now at Kansas City). The portrait remained with the Granvelle family until 1694, when it passed to the Benedictine abbey at Besançon. It was confiscated from the abbey by the French State during the Revolution. In spite of the picture’s pedigree, the attribution has been doubted. The execution has sometimes been ascribed, partly or wholly, to Lambert Sustris, a Flemish painter who accompanied Titian to Augsburg.

Bologna. Pinacoteca Nazionale.
Crucifixion. Canvas, 137 x 149.
A fragment from a much larger composition, which may have been around four metres high. Identified in 1930-31 (by Suida in Dedalo) as part of the ‘large canvas in which Christ is on the cross with the thieves and, below them, the soldiers’ seen by Vasari in Titian’s studio in 1566. The picture had been commissioned by the Flemish merchant Giovanni d’Anna and his brother Daniele in 1559 for their family altar in the church of San Salvatore, where it would have stood opposite Titian’s Annunciation. The identification has not been universally accepted, and the fragment has also been ascribed to Palma Giovane and Tintoretto. Given to the museum in 1882 by the Zambeccari family, who had had it since the eighteenth century.

Boston. Gardner Museum.
Rape of Europa. Canvas, 185 x 205.
The myth of Europa was rendered by many Greek and Latin writers (including Homer, Moschus and Achilles Tatius), but the most obvious literary source for Titian's great painting is Ovid's Metamorphoses (Book II). Jupiter, fearing the jealousy of his wife Juno, took the form of a beautiful white bull to seduce the Phoenician princess Europa, who was playing with her companions on the seashore. Having been adorned by her with flowers, the bull lured Europa to climb onto its back. The terrified maiden was carried off to Crete, where Jupiter consummated his passion. The Rape of Europa is one of a series of seven erotic mythological pictures (called ‘le poesie’ by Titian) painted for Philip II in Titian’s later years. It is first mentioned in a letter of 19 June 1559 and was despatched to Spain in 1562. Along with the Diana and Actaeon and Diana and Callisto (now owned jointly by the Edinburgh and London National Galleries), the Europa was presented by Philip V to the French ambassador, the Duc de Grammont, in 1704. It was sold in London with the Orléans collection, and entered the collection of the Earl of Darnley at Cobham Hall. It was bought by Mrs Gardner (through Berenson) from Colnaghi’s in 1896 for £20,500. Rubens, who is said to have described it as ‘the first picture in the world’, painted a superb copy in about 1628, which is now in the Prado. One of the best preserved of Titian’s late canvases – the colour still extraordinarily rich and vibrant. The magnificent seascape anticipates Turner.

Boston. Museum of Fine Arts.
Saint Catherine of Alexandria at Prayer. Canvas, 119 x 100.
The legendary saint – identified by the sword, broken wheel and palm – kneels in rapture before a crucifix placed on a sarcophagus. Catherine of Alexandria is not normally depicted in such a devotional pose, and there might be allusion to either St Catherine of Siena (who is sometimes represented kneeling before a crucifix) or St Catherine de' Ricci (a Dominican nun from Prato who experienced visions of Christ's Passion). Probably the picture mentioned in a letter of 10 December 1568 from Titian to Cardinal Alessandro Farnese. It had been sent a few months earlier to Cardinal Alessandrino (Michele di Bonelli), an influential member of the Roman Curia, and Titian complained that he had not yet been paid. Signed (lower left), but usually ascribed partly or largely to Titian’s workshop. It seems to have hung for a time in the monastery of the Escorial, near Madrid. After passing through several aristocratic English collections in the nineteenth century, it was acquired in 1913 by the German banker Leopold Koppel. Bought by the museum from Koppel's son in 1948 for $75,000.
Portrait of a Man holding a Book. Canvas, 98 x 77.
The bearded, still youngish man wears a plumed hat and is more flamboyantly dressed than is usual in a Titian male portrait. He was once supposed (on the basis of an old inscription on the back of the canvas) to be ‘Giovan Paolo Baglione, Signore di Perugia’. But Baglione died in 1520, while the style of the portrait is much later (around 1540?). In spite of the signature (lower left, beneath the book), the attribution has occasionally been doubted. Formerly in the collections of the Duke of Sperlinga and of the Count of Francavilla in Palermo; acquired in Paris in 1907 by Frederick B. Platt of Brooklyn; and bought by the Boston Museum for $70,000 in 1943.

Brescia. Santi Nazaro e Celso.
Polyptych. Wood.
The central compartment (278 x 122) shows the Resurrection (the figure of Christ seemingly derived from the famous marble Laocoön discovered in 1506); the upper panels on the left and right (79 x 65) show the Annunciation; the lower left panel (170 x 65) depicts the church’s patron saints, Nazarus and Celsus, with the kneeling donor; and the lower right panel shows St Sebastian (whose pose derives from Michelangelo’s Rebellious Slave now in the Louvre) and, in the background, St Roch and the Angel. The altarpiece was ordered in 1518-19 by the Brescian nobleman Altobello Averoldo, who was provost of the church and papal legate to Venice. It is signed and dated 1522 on the upturned column in the St Sebastian panel. Titian was paid 200 ducats. The Ferrarese ambassador Jacopo Tebaldi attempted to buy the St Sebastian panel in 1520 for his master Alfonso d’Este for 60 ducats, but Alfonso decided not to risk offending Averoldo. According to old guidebooks, the altarpiece was protected by painted shutters depicting the church's titular saints, Nazarus and Celsus. The shutters (traditionally ascribed to Moretto but possibly by the minor Brescian painter Paolo da Caylina) were probably separated from the altarpiece when the original altar and frame were destroyed around 1820. 

Brocklesby Park (Lincolnshire).
Supper at Emmaus. Wood, 169 x 211.
Often now identified with the ‘very fine Christ seated at a table with Cleophas and Luke’ described, hanging above a door in the Salotta d’Oro of the Doge’s Palace, by Vasari, who says that it was painted for a ‘gentleman of the Contarini family, who presented it to the Signoria’. The right-hand pilgrim could then be a portrait of Alessandro Contarini (a naval captain against the Turks), and the servant’s livery and the crossed-swords on Christ’s left shoulder could allude to Contarini patronage. The picture probably dates from the early 1530s. Later in the Chiesetta (the Doge’s Palace’s little church), it was taken to France after the fall of the Venetian Republic and acquired by the British diplomat Sir Richard Worsley, from whom it passed by descent to the present Earl of Yarborough. In spite of Titian’s signature (below the dog), the picture was not generally recognised as Titian’s original until a restoration in 1952. Joannides (2001) does not accept it as the original, and regards it as a copy, painted largely by an assistant, of another version (with the same dimensions and in which four of the five figures are virtually identical) in the Louvre. In 2005 the Earl of Yarborough’s picture was placed on loan with the Walker Art Gallery, Liverpool.

Cambridge. Fitzwilliam Museum.
Tarquin and Lucretia. Canvas, 189 x 145.
The subject, found in both Ovid and Livy, of Tarquin threatening to kill Lucretia to force her to submit to his desires was probably suggested to Titian by northern prints (including two, dating from 1539 and 1553, by the German Heinrich Aldegrever and one, dating from the 1540s, by the Fontainebleau ‘Master LD’). The picture is almost certainly the ‘Roman Lucretia violated by Tarquin’, which Titian says he had sent to Spain in a letter of 1 August 1571 to Philip II. It is unusually highly finished and brilliantly coloured for such a late work, and Titian himself describes it as ‘an invention involving greater labour and artifice than anything, perhaps, that I have produced for many years.’ It was taken from the Spanish royal collection by Joseph Bonaparte on his flight from the Spanish throne in 1813. Given to the Fitzwilliam Museum by Charles Fairfax Murray in 1918. There is a variant (perhaps a workshop replica or Spanish copy) in Bordeaux purchased by Lord Arundel in Venice in 1613, and a third, much smaller unfinished version (possibly by an assistant or imitator) in Vienna.
Venus with a Lute Player. Canvas, 151 x 197.
The earliest record of this picture is in the 1621 inventory of the Imperial collection at Prague. After the fall of the city in 1648, it passed into Swedish hands, and was in the collections of Queen Christina in Rome and the Duc d’Orléans in France. It was bought by Viscount Fitzwilliam at the Orléans sale of 1798-99 in London. The picture had always been accepted as a work of Titian until Crowe and Cavalcaselle dismissed it as the work of an imitator. It was later considered a workshop replica of a painting at Holkham Hall, Norfolk (now in the Metropolitan Museum, New York). However, pentimenti revealed by X-rays have been cited as evidence that it is actually the Cambridge picture that is the earlier of the two.

Cambridge (Massachusetts). Harvard Art Museum.
Unidentified Scene (Mother and Soldier in Landscape). 
Wood, 46 x 44.
A mother is seated under a tree with her young child. A soldier, wearing a steel breastplate, faulds and greaves and holding a halberd, stands to the right. There are no early records of this little panel, which might have been part of a series of mythological or allegorical scenes decorating a piece of furniture or some wood panelling. The composition recalls Giorgione's famous Tempest, and it was to Giorgione that the painting was traditionally ascribed. An attribution to Titian, as a very early work, was proposed by Berenson (1932 Lists) but later abandoned. It was revived, after the painting was cleaned and restored, by Hilliard Goldfarb in an article in the July 1984 Burlington Magazine and confidently endorsed by Paul Joannides in his 2001 monograph on Titian's early works. The main alternative attribution has been to the young Sebastiano del Piombo. The painting was in the Marquess of Northampton's collection until 1981, when it was sold (through Christie's) to a New York dealer. Purchased in 2007 by the Harvard Art Museum, which has catalogued the picture as 'attributed to Titian'.   

Castello di Roganzuolo (near Conegliano). Church (San Fior).
Triptych. Canvas.
The Madonna and Child (240 x 80) in the centre; St Paul and St Peter (each 190 x 57) at the sides. The altarpiece was installed in the church in August 1549. Titian owned a small house in the village, and the payments, which started in 1543 and were still running in 1557, were mostly in kind (wine, wheat, building supplies and manual labour). As a provincial commission, the execution was probably by assistants from Titian’s designs. Badly damaged during the First World War: the Madonna and Child and the St Peter are now largely the work of a restorer and the St Paul is heavily retouched.

Chicago. Art Institute. On extended loan from the Barker Welfare Foundation.
Danaë. 
Canvas, 121 x 170.
Danaë, imprisoned in a brazen tower, was seduced by Jupiter disguised as a shower of gold (Ovid's Metamorphoses, Book VI). One of several versions. The original, painted for Alessandro Farnese in 1544-46, is at Naples. It includes a Cupid at the end of the bed, while other versions include an old maidservant catching the golden shower in her apron (Madrid, St Petersburg and London (Apsley House)) or in a metal dish (Vienna). The Chicago version includes neither Cupid nor maidservant, but shows a stormy landscape on the right. The figure of Danaë is the same in all the versions and was probably derived from the original by the use of tracing. The Chicago painting, classed as the work of 'a follower or workshop of Titian' by Wethey (1975), is labelled 'Titian and workshop' by the Chicago Institute. It was acquired by Howard Spaulding of Chicago in 1927 from a London dealer. Spaulding's widow (later Mrs Charles Hickox) bequeathed it in 1970 to the Barker Welfare Foundation (which she had established herself in 1934). On loan to the Chicago Institute since 1973. 

Cincinnati. Art Museum
Portrait of Philip II. Canvas, 109 x 95.
This sketch could have been painted from life in Milan in December 1548 or at Augsburg in 1550-51. The crown may be a later addition, made when Philip married Mary Tudor in 1554 or when he became ruler of Spain in 1556. The picture presumably remained in Titian’s house at his death, and passed into the Barbarigo collection at Venice and the Barbarigo-Giustiniani collection at Padua. It was acquired by Thomas J. Emery of Cincinnati in 1914 and given by him to the museum in 1927.

Copenhagen. Statens Museum for Kunst.
Portrait of a Man in a Black Beret. Canvas, 81 x 67.
An early portrait, variously dated between 1510 and 1518. Rapp (1987) identified the sitter as the elderly Giovanni Bellini on the basis of a resemblance to an inscribed medal of the great painter by Vittore Giambello and a related drawing attributed to Vittore Belliniano. An alternative suggestion is that the elderly man, who appears to be wearing the habit of a lay brother, could be a member of the confraternity of St Anthony (for whom Titian painted his Paduan frescoes of 1511). Sold (as a Titian) in Vienna in 1828 by the miniaturist Giovanni Domenico Bossi to Count Gustaff Trolle-Bonde. At the Copenhagen Museum since 1922.
Portrait of a Bearded Man. Canvas, 114 x 94.
This imposing three-quarter length portrait of an unknown middle-aged man, richly dressed in a fur-trimmed robe and gesturing with his right hand as though addressing an audience, probably dates from the 1550s. Acquired in 1926 from the Diemann Gallery, Berlin.

Detroit. Institute of Art.
Judith. Canvas, 113 x 95.
Titian’s only known picture of this subject. Painted with the free technique and broken colour of his extreme old age. Usually regarded as fully autograph, though the hand of an assistant (Girolamo Dente?) is suspected by Nicholas Penny (see his 2008 catalogue of the National Gallery’s sixteenth-century Venetian paintings). It belonged in 1786 to Marchese Andrea Gerini of Florence, and in 1829 to John Rodwell of London. Given to the Institute by Easel Ford in 1935.
Portrait of Andrea de’ Franceschi. Canvas, 82 x 64.
Andrea de’ Franceschi (1472-1551), Chancellor of the Venetian Republic, appears in Titian’s Presentation of the Virgin in the Temple, painted in 1534-38 for the Scuola della Carità (now the Accademia). The Detroit portrait may have been painted shortly after his appointment as Chancellor in 1529, and is possibly that mentioned by Ridolfi (1648) in the Widmann collection in Venice. It belonged to Frederick II of Prussia until 1806, when it was taken by the French and entered the Viardot collection in Paris. Bequeathed to the Institute of Arts by Edgar B. Whitcombe in 1953. Another version at Washington (cut down to bust-length and possibly by Titian’s workshop) has an inscription apparently giving the sitter’s age as sixty.
Portrait of a Man holding a Flute. Canvas, 98 x 86.
Signed on the table on the left. This intimate, dark-toned portrait may date from the late 1550s or early 1560s. From Baron von Stumm’s collection in Berlin (where it was ascribed to Andrea Schiavone); acquired by the Detroit Institute in 1927.

Dijon. Musée des Beaux-Arts.
Madonna and Child with St Agnes and St John. Canvas, 111 x 149.
This was among the pictures acquired by Louis XIV of France from the celebrated German collector Everhard Jabach. Until 1946 the picture hung in the Louvre. The figure of St Agnes is repeated in Palma Vecchio’s Sacra Conversazione in the Accademia, Venice, which is thought to have been completed by Titian after Palma’s death in 1528. Sometimes ascribed to Titian’s studio.

Dresden. Gemäldegalerie.
Madonna with Four Saints. Wood, 138 x 191.
The Madonna supports the Child, standing on her knee, between the Baptist (left) and St Paul, Mary Magdalene and St Jerome (right). A fairly early work, usually dated around 1515-20. Acquired in 1747 from the Casa Grimani ai Servi in Venice.
The Tribute Money. Wood, 75 x 56.
The subject, rare in Italian art, is found in all three Synoptic Gospels. Pharisees, trying to trick Christ, asked him: 'Is it lawful to give tribute to Caesar, or not?' Christ replied: 'Bring me a penny', and asked 'Whose is this image and superscription?' They replied Caesar's, and 'Jesus answering said unto them, Render to Caesar the things that are Caesar's, and to God the things that are God's.' (Mark: 12, 14-17). Signed on the Pharisee's collar. From the Este collection at Modena, and almost certainly the painting seen by Vasari in Alfonso d’Este’s chamber at Ferrara: ‘On the door of a cupboard Titian painted an image of Christ, from the waist upwards, to whom one of the common Jews is showing the coin of Caesar.’ The cupboard is thought to have contained Alfonso's collection of antique Roman coins and medals. Vasari described the head of Christ as 'stupendous and miraculous', and claimed that all artists who saw it considered it the most perfect painting that Titian had ever produced. The picture is comparatively early: Titian was in contact with Alfonso from 1516.
Man with a Palm (Antonio Palma or Alvise dalla Scala?). Canvas, 138 x 116.
While the signature (on the left, below the window) may not be original, the date (1561) might well be correct. The object on the window sill appears to be a paint box (and not, as once supposed, an apothecary's medicine box). The palm branch, usually associated with martyrs, could conceivably allude to the sitter's name or his patron saint. The identification of the sitter as the painter Antonio Palma, nephew of Palma Vecchio and father of Palma Giovane, dates back to a note by Herbert Cook in the 1904-5 Burlington Magazine. Another theory is that the portrait could represent a merchant in painters' pigments (vendecolore), and Titian's paint dealer Alvise dalla Scala has been proposed recently as a likely candidate. (See the article by Tristan Weddigen and Gregor Weber in the 2010 exhibition catalogue Tizian: Die Dame in Weiss.) The portrait was acquired in about 1753 from the Casa Marcello in Venice.
Lavinia as Bride.’ Canvas, 102 x 86.
The theory that the young women with a fan is Titian’s daughter Lavinia, and that the picture commemorates her marriage in 1556 to Cornelio Sarcinelli of Serravalle, is often now doubted. Another theory is that she is Titian’s younger illegitimate daughter Emilia, who married in 1568. Titian seems to have used her as a model in other pictures, such as the Girl with the Bowl of Fruit (Berlin) and the Salome (Madrid). Acquired in 1746 from the Este collection at Modena, where it was listed (1657) as Titian’s Mistress. Titian seems to have painted another version, now lost, for Philip of Spain. There is a copy by Rubens in Vienna. Cleaned in 2007.
Lavinia as Matron.’ Canvas, 103 x 87.
The inscription LAVINIA TIT. V. F. AB EO F. (‘Lavinia daughter of Titian painted by him’) is not original. If the subject is Lavinia, who was probably born after 1530, the portrait was presumably painted in the 1560s when she would have been in her thirties. She had six children and died some time after January 1574, perhaps a victim of the plague. Acquired in 1746 from the Este collection in Modena.
Madonna with a Family as Donors. Canvas, 118 x 161.
Ascribed to Titian in inventories of the Este collection at Modena. Considered a workshop production by most modern critics, although Berenson (1957) thought that the Madonna was painted by Titian himself (after 1555).

Dublin. National Gallery of Ireland.
Ecce Homo’. Canvas, 72 x 55.
Bought at Christie’s in 1885 as a work of Titian, but attributed to a Spanish imitator, Matteo Cerezo, in the Gallery’s 1914 catalogue. After the picture was cleaned in 1955, John Gore revived the attribution to Titian, proposing a date of about 1560. Titian painted many other versions of the half-length Ecce Homo, including pictures now lost for Pope Paul III (1545-46), Pietro Aretino (1547), Cardinal Perrenot de Granvelle (1549) and the Duke of Urbino (mid-1560s). There are other surviving examples in the Prado (painted on slate for Charles V in 1548) and in the Bruckenthal Museum in Romania (probably about 1560).
Portrait of Baldassare Castiglione. Canvas, 124 x 97.
Darkened and in poor condition. The inscription (upper right), with Castiglione’s name, may not be reliable, and it is possible that the portrait represents someone else. If Castiglione is the sitter, the portrait was probably painted in May/June 1523, when he accompanied Isabella d’Este to Venice and visited Titian’s studio. The portrait was ascribed to Giulio Romano in the 1689 inventory of Queen Christina’s collection, to Tintoretto in the 1713 inventory of the Odescalchi collection, and to Titian in the 1721 inventory of the Orléans collection. The Titian attribution has been supported by most recent critics. Bequeathed to the gallery by Sir Hugh Lane in 1918.

Edinburgh. National Gallery of Scotland.
Venus Anadyomene. Canvas, 76 x 58.
The goddess, identified by the seashell floating at her side, wrings water out of her hair after rising from the sea. It has been suggested that Titian’s source was a Roman statue; also that he was inspired by Pliny’s account of the Venus Anadyomene of Apelles. Gronau (1904) dated it 1517, on the supposition that it is the Bagno mentioned in a letter of that year from Titian to Alfonso d’Este. But some other critics have considered it rather later (about 1523-30). Listed in about 1662 in Queen Christina’s collection in the Palazzo Riario in Rome; in the Orléans collection from 1721; and acquired by the Duke of Bridgewater in London in 1798. Bought by the National Gallery of Scotland from the Trustees of the Duke of Sutherland in 2003 for £11.6 million.
Holy Family. Canvas (transferred from panel), 63 x 93.
Transferred from panel in the eighteenth century, and rather damaged and retouched. The earliest reference is by Dubois de Saint Gelais who, in 1727 when it was in the Orléans collection, catalogued it under the name of Palma Vecchio. It still had this attribution when it was bought by the 3rd Duke of Bridgwater at the Orléans sale in 1798. It was first attributed to Titian by Morelli (1892), who dated it about 1510-12. This view has been accepted by most subsequent critics. Like the other pictures from the Duke of Sutherland’s collection, it was formerly at Bridgewater House in London and has been on loan to the National Gallery of Scotland since 1946.
Three Ages of Man. Canvas, 90 x 151.
An early work, placed by Vasari after Titian’s first visit to Ferrara: ‘After he had returned to Venice, for the father-in-law of Giovanni da Castel Bolognese Titian did a painting in oils on canvas of a naked shepherd and a country girl who is offering some pipes for him to play, with an extremely beautiful landscape. The picture, today, is to be found in Faenza, in Giovanni’s house.’ Giovanni’s father-in-law, Titian’s patron, was Miliano Targone (or Targhetta), a goldsmith described by Benvenuto Cellini as ‘the finest jeweller in the world.’ The picture’s current title is first recorded in 1675 and may be a seventeenth-century invention. The sleeping babies, roused by the playful Cupid, on the right may allude to the young lovers’ infancy, while the two skulls contemplated by the old man in the landscape may allude grimly to their death. It has recently been suggested (by Paul Joannides in Apollo in 1991) that the picture represents the awakening love of Daphnis and Chloe, the central episode in the late Greek pastoral romance by Longus. Titian appears to have used the same model for the naked shepherd as for the Baptist in the Baptism of Christ at Rome (Capitolina) and the same model for the blonde girl as for the St Catherine in the Sacra Conversazione at Mamiano (Fondazione Magnani Rocca). The picture was formerly in the collections of Queen Christina (who bought it at Augsburg for 1,000 Reichsthales in 1655) and the Duc d’Orléans; bought by the Duke of Bridgewater in 1798.
Diana surprised by Actaeon. Canvas, 185 x 202.
Diana, bathing in the sacred fountain in the wood of Boeotia, is startled by Actaeon’s unexpected arrival. She later turned him into a stag and he was torn to pieces by his own hounds (a scene portrayed by Titian’s painting in the National Gallery, London). Sent to Philip II in 1559 along with its pendant, Diana and Callisto, and an Entombment (the painting in the Prado). With the Rape of Europa (Boston), the two paintings were presented to Prince Charles by Philip IV and packed for transport to England. But on the collapse of the royal marriage negotiations, they were kept back, and later on Philip presented them to the Marquis of Grammont. They were acquired by the Duke of Bridgwater for £2,500 each when the Orléans collection was sold in London. Bought jointly by the National Gallery, London, and the National Gallery of Scotland for £50 million and £45 million in 2009 and 2012. In future, the two paintings will be displayed together, on a rotating basis, at Edinburgh and London.
Diana discovering Callisto. Canvas, 187 x 205.
Another of the mythologies (poesie), with subjects taken from Ovid, painted for Philip of Spain. The nymph Callisto, who unknown to herself had been made pregnant by Jupiter, is discovered and chastised by Diana. Transformed into a bear and set upon by dogs, she was saved by Jupiter and transported to the heavens. The two Diana poesie, painted in 1556-59, have always been numbered among Titian's late masterpieces. When the campaign was underway in 2008 to save them for the nation, Lucian Freud described them as 'quite simply the most beautiful paintings in the world'. The Diana and Callisto is more thinly painted than the Diana and Actaeon and the paint surface appears more worn. A later version, probably executed with much studio assistance, is at Vienna. A copy by Rubens, painted around 1628, is now in the Earl of Derby's collection at Knowsley, Lancashire.

Florence. Uffizi.
Flora. Canvas, 79 x 63.
Not a portrait or even necessarily a mythological subject, but an idealised (and magnificently sensual) painting of a beautiful woman. The title Flora goes back to a seventeenth-century engraving by Joachim Sandrart, made when the picture belonged to the Spanish ambassador in Amsterdam, Don Alfonso Lopez. Lopez later sold it to Archduke Leopold Wilhelm of Austria, Governor of the Netherlands. It came to Florence in 1793 when an exchange of pictures took place between the Uffizi and the Imperial Gallery at Vienna. It probably dates from 1515-20.
Venus of Urbino’. Canvas, 119 x 165.
The model for ‘Venus’ (there is, in fact, nothing to identify her as a goddess) seems to be the same as that used for La Bella in the Pitti Palace, the Girl in a Fur in Vienna and the Girl with a Plumed Hat in St Petersburg. She lies casually on a couch, a little dog curled up at her feet and a posy of roses in her hand. In the background, a maidservant and lady-in-waiting search for a gown in a cassone. The earliest of Titian’s long series of reclining nudes, Venuses and Danaës. With the exception of the right arm (which Titian has let fall instead of placing it behind the goddess’s head), the pose is virtually identical to that of Giorgione’s Sleeping Venus at Dresden (which was completed by Titian according to the near contemporary Marcantonio Michiel). It has sometimes been interpreted as symbolising marital love (the roses and the pot of myrtle on the window sill alluding to love, the dog fidelity and the cassone marriage) and sometimes simply as an erotic genre scene. The first owner was Guidobaldo della Rovere (then Duke of Camerino), but it is uncertain whether he commissioned the picture or decided to buy it on a visit to Venice in January-February 1538, having seen it in Titian’s studio when sitting for his portrait. In a letter of 9 March 1538 he urged his servant (Girolamo Fantini) in Venice not to return to Urbino without the ‘nude woman’. If it was commissioned to commemorate a marriage, it would have to have been that between Guidobaldo and the ten-year old Giulia Varano on 12 October 1534. The painting came to Florence in 1631 with the collection left by the last Duke of Urbino to Vittoria della Rovere, who married Grand Duke Ferdinando II de’ Medici.
Venus and Cupid. Canvas, 139 x 195.
Considerably later than the Venus of Urbino, and probably painted partly by Titian’s workshop. It came to Florence in 1619 as a gift from Paolo Giordano Orsini to Cosimo II de’ Medici.
Francesco Maria della Rovere. Canvas, 114 x 100.
Francesco Maria I della Rovere succeeded his uncle Guidobaldo I da Montefeltro as Duke of Urbino in 1508 at the age of eighteen and, in a distinguished military career, commanded the armies of Florence, the Papacy and Venice. His assassination in 1538 (poison was poured into his ears) was probably Shakespeare’s source for the Murder of the Gonzago, the inset play in Hamlet. The portrait, painted between April and October 1536, shows the Duke three-quarter length wearing a splendid suit of black parade armour (which he sent to Venice so that Titian could represent it accurately) and holding his Venetian baton of command. His dragon-crowned helmet and batons of command of Florence and the Papacy are on the shelf behind. A preliminary pen-and-ink drawing in the Uffizi shows the Duke full-length, but there is no technical evidence that the portrait has been cut down.
Eleonora Gonzaga della Rovere. Canvas, 114 x 102.
Eleonora Gonzaga was the daughter of Francesco I Gonzaga and Isabella d’Este. She married Francesco Maria della Rovere in 1509 at the age of sixteen. Titian must have begun the portrait when she visited Venice between September 1536 and April 1537. The finished portrait and its pendant of Francesco Maria (also in the Uffizi) were praised by Pietro Aretino in a sonnet included in a letter of 7 November 1537. Brought to Florence in 1631 on the occasion of the engagement of Vittoria della Rovere to Ferdinando II de’ Medici. The lapdog dozing on the table on the left also appears in the Venus of Urbino.
Portrait of Ludovico Beccadelli. Canvas, 117 x 97.
Ludovico Beccadelli (1501-72) was tutor to Ranuccio Farnese and Ferdinando de’ Medici. He was also, as the inscription on the letter states, Bishop of Ravello, Papal Nunico to Venice and Archbishop of Ragusa. The inscription also gives the date of the picture: July 1552. Acquired by Cardinal Leopoldo de’ Medici in 1653.
Madonna and Child with St John and St Anthony Abbot. Wood, 67 x 95.
First recorded in the collection of Archduke Leopold Wilhelm; it came to the Uffizi in 1793 in the exchange of pictures with the Vienna Gallery. The signature (on the garment of the infant St John) has been doubted, but the attribution has almost never been, in spite of the picture’s poor condition. It may date from the early 1530s. After many years in storage, it was restored in 2002.
A Knight of Malta. Canvas, 80 x 64.
An early masterpiece (about 1510-15). The number ‘XXXV’ (revealed by recent cleaning) on one of the rosary beads probably refers to the unknown sitter’s age. The portrait bore an attribution to Titian when it was bought in Venice for the high price of 300 piastre (pieces of eight) by Paolo del Sera, who sold it on to Leopoldo de’ Medici in 1654. However, an old inscription on the back gives Giorgione’s name. In 1677 the portrait hung in the Tribuna of the Uffizi as a work of Titian, but by 1709 it had been reattributed to Giorgione. Some critics (including Berenson) continued with the Giorgione attribution well into the twentieth century, but the attribution to the young Titian now seems to be universal. Obscuring layers of varnish were removed in a restoration of 1998.
Portrait of Pope Sixtus IV. Wood, 110 x 87.
Sixtus IV, the first Della Rovere Pope, died in 1484 and this posthumous profile portrait was probably painted using a medal as a model. It was commissioned in the 1540s by Guidobaldo II della Rovere, who also asked Titian to paint a copy of Raphael's Pope Julius II, and was seen by Vasari in the guardaroba of the Palace at Urbino. It came to Florence in 1631 with the inheritance of Vittoria della Rovere, and was transferred to the Uffizi from the Pitti Palace in 1897. The portrait seems hardly up to Titian's highest standards, and it has often been ascribed to his workshop or to a follower. However, allowance should perhaps be made for the difficulty of producing a satisfactory posthumous portrait. After many years in storage, it was restored in 2002.    

Florence. Pitti.
The Concert. Canvas, 108 x 123.
A young man (incorrectly described by Ridolfi as an Augustinian monk) sits at a harpsichord. Behind him on the left is a youth in a plumed hat, and on the other side is an elderly monk holding a viola da gamba. Acquired by Cardinal Leopoldo de’ Medici from Paolo del Sera in 1654 as a work of Giorgione, an attribution corroborated by other seventeenth-century sources (Ridolfi and Boschini). Morelli in 1891 was the first to suggest that the picture might be an early work by Titian. Other names, Sebastiano del Piombo and Domenico Campagnola, were subsequently proposed, but the attribution to Titian, as a work of around 1511-12, is now almost universal. The picture was restored to its original size in 1976, when a 25 cm strip of canvas was removed from the top.
Mary Magdalene. Wood, 84 x 69.
Signed on the ointment jar. Possibly the Penitent Magdalen which, we know from a letter of 1531, was commissioned by Federico II Gonzaga as a present for Vittoria Colonna (who had a special devotion for Mary Magdalene through her interest in reforming prostitutes). But more probably the ‘half-length figure of Mary Magdalene with her hair all loose’ seen by Vasari in Francesco Maria della Rovere’s dressing room in the palace at Urbino. The picture, which probably dates from the early or mid-1530s, came to Florence with the Della Rovere collection in 1631. Painted on panel with a smooth high finish. An unfortunate crack runs through the face. A much later picture by Titian of the Magdalen, clothed but with the same pose, exists in versions at the Hermitage, the Capodimonte and elsewhere.
‘La Bella’. Canvas, 89 x 75.
Probably the picture of the ‘Lady in the Blue Dress’ mentioned by Duke Francesco Maria I della Rovere in a letter of 2 May 1536. Theories that it is the portrait of Isabella d’Este known to have been painted between 1534 and 1536 or a portrait of Eleonora Gonzaga have been abandoned. It is possible that the picture is not a portrait of a real woman at all but rather an idealised image of feminine beauty. What appears to be the same woman (or type of Titian’s invention) is portrayed naked as the Venus of Urbino in the Uffizi and semi-naked as the Woman in a Fur Coat in Vienna and the Woman in a Plumed Hat at St Petersburg. (She is identified in Sheila Hale's 2012 biography, Titian: His Life, with the courtesan Angela del Moro, called 'Zaffetta', who is known to have dined with the painter.) The picture came to Florence in 1631 as part of the Della Rovere inheritance from Urbino. Cleaning in 2011 has restored the luminosity of the flesh tones and the brilliance of the blue dress (painted in precious ultramarine). 
Portrait of Ippolito de’ Medici. Canvas, 138 x 106.
Ippolito de’ Medici (1511-35) was the bastard son of Giuliano, Duke of Nemours. He had seemed destined to succeed his father as ruler of Florence but was supplanted by his ruthless cousin Alessandro. He died (either of malaria or poison) at the age of only twenty-four. According to Vasari, this portrait was painted at Bologna in 1533, but other evidence suggests that Ippolito sat for Titian during a two-week visit to Venice in October 1532. The twenty-one year old Ippolito poses in the Hungarian costume he had worn as leader of the four thousand harquebusiers who had defended Vienna against the Turks. Dressed in a red velvet tunic and plumed hat, he grasps a scimitar in one hand and a mace in the other. Another, smaller, portrait mentioned by Vasari of Ippolito fully armed is now lost.
Portrait of a Man (the ‘Young Englishman’). Canvas, 111 x 93.
The sitter wears a gold chain and holds the aristocratic attribute of a glove. His identity remains a mystery. In 1698, when the portrait is first recorded in the Medici inventories, he was called Pietro Aretino. Later, for reasons unknown, he was called Howard, Duke of Norfolk. Subsequent attempts to identify him as a lawyer Ippolito Riminaldi (on the basis of a resemblance to a portrait in the Galleria San Luca in Rome), Guidobaldo II della Rovere (of whom Titian is known to have painted two portraits), Ottaviano Farnese (grandson of Paul III, who appears in the triple portrait at Naples) and the sculptor Leone Leoni (on the basis of a comparison with an inscribed medal) have not gained acceptance.
Portrait of Philip II. Canvas, 185 x 103.
This is presumably the portrait of Philip II that Vasari says Titian sent to Cosimo I and was hung in the Duke’s guardaroba (dressing room). It probably dates from about 1553-54 and was executed partly or wholly by Titian’s studio. It is practically identical to another version in Naples, except that Philip stands in front of a colonnade, whereas the Naples version has a plain dark background. The companion portrait of Charles V mentioned by Vasari is lost.
Portrait of Tommaso Mosti. Canvas, 85 x 67.
An old (though not contemporary) inscription on the back of the picture identifies the sitter, gives his age as twenty-five, and gives a date of 1526 (or 1520). Mosti, from Modena, was a member of Alfonso d’Este’s court at Ferrara. He became rector of the church of San Leonardo in 1524 and was later archpriest of Ferrara Cathedral. It has sometimes been doubted whether it is actually he that is represented, as the young man is not dressed as a priest but in a luxurious fur-lined doublet; and it has been suggested that the sitter could be one of Tommaso’s brothers (Vincenzo or Agostino). The portrait was once so heavily repainted that the attribution was doubted. Its quality was revealed by cleaning in 1909. One of the many Venetian pictures bought by Cardinal Leopoldo de’ Medici from Paolo del Sera.
Full-length Portrait of a Gentleman (‘Diego de Mendoza’). Canvas, 178 x 114.
The identification of this picture with the portrait of Charles V’s ambassador Diego Hurtaldo de Mendoza, which Vasari says was painted in 1541 and established the fashion for full-length portraits, is doubtful. Apparently, Mendoza was a large, powerful man. The picture is first recorded in an inventory of 1637 as a portrait of Donato Minerbetti by Titian.
Portrait of Pietro Aretino. Canvas, 97 x 78.
The portrait was painted in 1545, and was a gift from Aretino to Cosimo I. This is documented by Vasari (who compares the painting favourably with another portrait of Aretino painted by Titian for Francesco Marcolini) and by Aretino himself in a letter accompanying the gift. In his letter, Aretino jokes that ‘the satins, velvets, and brocades would perhaps have been better done if Titian had received a few more scudi for working them out’. He was doubtless concerned that Titian’s broad brushstrokes would not be appreciated by those used to the higher finish and scintillating polish of Bronzino’s portraiture. There is a slightly later portrait of Aretino by Titian in the Frick Museum, New York. Aretino, an unrivalled self-publicist, also commissioned portraits from Sebastiano del Piombo, Tintoretto, Francesco Salviati,Vasari and Moretto da Brescia. All these portraits are either ruined (Sebastiano's) or lost. A fine engraved portrait by Marcantonio Raimondi dates from Aretino's early years in Rome. Some half-dozen portrait medals of Aretino (one by Alessandro Vittoria) also survive.   
Portrait of Julius II after Raphael. Canvas, 99 x 82.
Usually believed to be Titian’s copy, seen by Vasari in the Duke of Urbino’s guardaroba, of Raphael’s portrait of 1511-12. The copy was probably painted in Rome in 1545-46 when Raphael’s original (now in the National Gallery, London) was hanging in the church of Santa Maria del Popolo. The portrait entered the Medici collections with the Della Rovere pictures in 1631. The copy is so faithful to Raphael's style that at one time some art historians believed it to be Raphael's original.
The Redeemer. Wood, 78 x 55.
This bust-length profile figure of Christ against a sunset landscape was painted for Francesco Maria della Rovere. In July 1532 the Duke, through the architect Sebastiano Serlio, sent Titian a prototype on which to base his picture. The finished painting was delivered (together with a picture of Hannibal) by March 1534. It came to Florence in 1631 with the legacy of Vittoria della Rovere.
Madonna della Misericordia’. Canvas, 154 x 144.
Odered from the very elderly Titian by Guidobaldo della Rovere in a letter of 5 May 1573. It was intended for the altar of a little chapel. The worshippers beneath the cloak allegedly include Titian and his family. Though most critics have found the execution too weak for Titian himself, the artist must have provided the design. Another of the Della Rovere pictures that came to Florence from Urbino in 1631.
Portrait of Giulia Varano. Wood, 112 x 85.
Once supposed to be a portrait of Catherine de’ Medici by Tintoretto, this picture, which has an Urbino provenance, was identified by Georg Gronau in his 1904 monograph on Titian as the portrait known from letters of 1545-47 to have been painted by Titian of Giulia Varano, the young Duchess of Urbino. It seems that her husband Guidobaldo II della Rovere talked Titian into painting her in her absence. She assisted by sending the artist some sleeves (November 1546) and then a red damask dress (February 1547). The Duchess died suddenly (February 1548) at the age of only twenty-three, and there is no record of the portrait ever having been delivered. Though praised by Gronau, its discoverer, as one of Titian’s best female portraits, most critics have considered the Pitti portrait to be a workshop product or (as in the 2003 gallery catalogue) a copy.
Nativity. Wood, 93 x 112.
Ruined. Possibly the Nativity commissioned by Francesco Maria I della Rovere in summer 1532, along with a Bust of Christ (now at the Pitti Palace) and a Hannibal (lost). The Nativity was to be a gift for Francesco Maria's wife, Eleonora Gonzaga, who was expected a child; but it was not delivered until late 1533. There are several old copies still in the Marches (including one in the church of Sant'Agostino at Mondolfo). There is also a ruined version at Christ Church, Oxford.    

Frankfurt. Städelsches Kunstinstitut.
Portrait of a Young Man with Red Hat. Canvas, 20 x 16.
Cut down (the portrait was possibly bust-length originally). The date 1516 is included in an inscription on the back of the canvas. The portrait entered the museum in 1881 from the collection of the restorer and painter Erasmus von Engert, and was first attributed to Titian in the 1900 catalogue. It is often compared with the Man with a Red Cap in the Frick Collection.

Glasgow. Kelvingrove Art Gallery.
Christ and the Adulteress. Canvas, 139 x 182.
The subject is from the New Testament (John: 8, 3-7). Christ is seated outside the temple, where he had been teaching. The Pharisees have brought before him a woman caught committing adultery – an offense punishable by death. Asked for his judgement, Christ directs his reply to the self-righteous accusers, saying: 'Let him who is without sin among you be the first to throw a stone at her'. Christ alone wears biblical robes, while the other figures are dressed in the fashions of the day. The canvas has been cut down by some 50 cm on the right. A small fragment (47 x 41) of the missing strip, showing the portrait-like head of a man, has survived and was bought by the museum at Sotheby’s in 1971. The complete composition is recorded in a high-quality, full-scale early copy, once ascribed to Giovanni Cariani, in the Accademia Carrara at Bergamo. First certainly recorded in 1689 in Queen Christina’s collection at Rome; later in the Orléans collection in Paris; and among the paintings bequeathed to Glasgow’s municipal museum by its founder, the wealthy coach-builder Archibald McLellan, in 1854. The traditional attribution to Giorgione was unquestioned until the late nineteenth century. Attributions to Cariani and to Sebastiano del Pimbo then found some favour for a time. An attribution to the young Titian was not made until 1927 (by Roberto Longhi). It now enjoys majority support. A few critics, including Charles Hope (1980) and Paul Joannides (2001), have not accepted an attribution to either Giorgione or Titian. A third candidate (first suggested by Zampetti in the 1950s) is the very shadowy Domenico Mancini, who is known only as the author of an altarpiece, signed and dated 1511, at Lendinara.

Harewood House (near Leeds).
Portrait of Francis I. Canvas, 101 x 83.
Another version of the profile portrait in the Louvre. Thinly painted, and probably either a preliminary study or a studio sketch replica. Acquired in 1917 by Viscount Lascelles from Agnew’s, which had acquired it in Munich from the heirs of the painter Franz von Lenbach. The impressive Renaissance revival frame was made in Florence around 1925 by Ferruccio Vennoni.

Indianapolis. Heron Art Institute.
Portrait of a Man. Canvas, 60 x 46.
Auctioned as a work of Titian in London in 1930, this portrait was acquired in 1938 by Mr Booth Tarkington of Indianapolis, who presented it to the Heron Institute. It was badly damaged by water in an accident at the museum. Early (1512-16). Tietze noted a resemblance between the sitter and portraits of Ludovico Ariosto (including the woodcut used as the frontispiece for Orlando Furioso), and suggested that the portrait was the one of the poet seen by Ridolfi (1648) in the house of the painter Nicolò Renier. It has been cut down at the bottom; the hands would have been included.

Kansas City. William Rockhill Nelson Gallery.
Portrait of Antoine Perrenot, Cardinal Granvelle. Canvas, 112 x 88.
The sitter’s identity is confirmed by comparison with Antonio Moro’s portrait of him at Vienna. Antoine Perrenot, Cardinal Granvelle (1517-86), was the son of Nicolas Perrenot, Chancellor of Charles V. He served as ambassador to the emperor during negotiations for the marriage of Prince Philip with Queen Mary of England. The portrait (which is somewhat restored) was probably painted by Titian (and/or his workshop) in1548, when he also painted portraits of Antoine’s father (now in Besançon) and mother Nicole Bonvalet (lost). The ‘signature’ on the paper beside the clock is suspect. The portrait is not certainly recorded before 1847, when it was sold by Claudius Tassel of Paris. Acquired by the Kansas City museum in 1930.

Kassel. Gemäldegalerie.
Portrait of a Soldier (so-called ‘Duke of Atri’). Canvas, 230 x 153.
The man stands with a swagger, ostentatiously dressed in a red garment decorated in gold and a plumed hat, and holding a hunting spear. To his left, a cupid supports a crimson dragon-crested helmet and, to the right, a hound rubs against his master’s legs. The identification of this picture as the portrait of the Duke of Atri mentioned in two letters, dated August and December 1552, by Pietro Aretino is very tentative. Giovanni Acquaviva d’Aragon (1510-69), the self-styled Duke of Atri, was a Neapolitan nobleman living in exile at the French court. A more recent suggestion is that the subject is Ferrante Gonzaga, who succeeded Alfonso d’Avalos as Governor of Milan in 1545 and was eulogised as the ‘new Mars’ by Aretino in a sonnet of 1549. Once in the collection of the Duc de Tallard, the picture was acquired in Paris by Wilhelm VIII of Hesse-Kassel in 1756.

Kingston Lacy (Dorset). The Bankes Collection.
Portrait of Nicolò Zen. Canvas, 123 x 96.
The sitter was once thought to be Francesco Savorgnan. His true identity was recently established from a labelled copy of this portrait. Nicolò Zen or Zeno or Zono (1515-65) was a Venetian patrician, patron of Palladio, editor of Vitruvius and holder of many high state offices. The portrait is now thought to date from about 1560. It was acquired by Henry Bankes from the Marescalchi collection in Bologna in about 1820, possibly on the advice of Lord Byron.

Kromeríz. Archbishop’s Palace.
The Flaying of Marsyas. Canvas, 212 x 207.
In Ovid’s Metamorphoses, the satyr Marsyas lost to the god Apollo in a musical contest and was condemned to be flayed alive. Apollo could be either the musician on the left or the kneeling executor, crowned with laurel, on the right (or both). The head of the elderly Midas, on the right, is sometimes taken to be a self-portrait. The composition seems to have been based on a preparatory drawing (now in the Louvre) for a fresco by Giulio Romano in the Palazzo del Te at Mantua. The fragmentary signature on the rock in the right foreground suggests that the picture can be regarded as finished, in spite of the very sketchy brushwork. Probably bought in Italy by Lady Arundel in about 1620, and acquired at a lottery by the Bishop of Olmutz in 1673 for the archiepiscopal palace at Kremsier (Kromeríz). Though consistently attributed to Titian in old inventories, the picture was forgotten until 1909, when it was cited as a Titian by Frimmel. It is now regarded as an important very late work (after 1570), and has become more widely known since its inclusion in many major international loan exhibitions.

London. National Gallery.
Holy Family and Shepherd. Canvas, 99 x 137.
The subject seems to be the Adoration of the Shepherds, to whom an angel announces Christ's birth in the right distance. However, the treatment is unusual in showing only one shepherd kneeling in the foreground. The attribution was sometimes doubted in the past (Paris Bordone being the most favoured alternative) because of weaknesses in the drawing (the Madonna seems too small and St Joseph’s head seems too big). But lapses of draughtsmanship are not uncommon with the young Titian, and the picture is now generally accepted as an authentic very early work (about 1510?). Until the end of the eighteenth century it was in the Palazzo Borghese in Rome, where it had been recorded (as a Titian) in 1693. It was brought to England by William Young Ottley (an English scholar and amateur artist who had acquired works from several patrician Roman collections during the Napoleonic invasion of Italy); auctioned in London in 1801; and bequeathed to the National Gallery in 1831 with the collection of the Reverend Holwell Carr.
Portrait of a Man with a Quilted Sleeeve (‘Ariosto’). Canvas, 81 x 66.
The intials ‘T V’ appear on the (much restored) parapet. This superb portrait is one of Titian’s earliest: it was almost certainly painted by 1512 (the date of a portrait in the Hermitage that appears to have been inspired by it) and has sometimes been dated as early as 1508. It was engraved as a portrait of the poet Ludovico Ariosto in 1639, when it was owned by the Amsterdam art dealer and jeweller Alphonso Lopez, and it is probably the ‘Ariosto Poeta’ recorded in a 1644 inventory of pictures that had belonged to Van Dyck in England. It was still regarded as a portrait of Ariosto in the nineteenth century, but the sitter bears little resemblance to authentic likenesses of the poet (eg. Titian’s woodcut design for the 1532 edition of Orlando Furioso). In 1895, Jean Paul Richter suggested that the portrait could be one, mentioned by Vasari and painted when Titian was ‘no more than eighteen’, of a ‘gentleman of the house of Barbarigo’ in which ‘the flesh seemed true and natural, the hairs so precisely drawn that you could count them, as you could the stitches in the doublet of silvery satin’. Richter’s theory, with its implied very early dating of the painting, had some initial success. It was later abandoned, but has been recently revived. In an article in the January 2012 Burlington Magazine, Antonio Mazzotta suggested that the sitter could be a Gerolamo Barbarigo, grandson of Doge Marco and nephew of Doge Agostino, who is shown as a donor in the predella of an altarpiece of 1524 by Andrea Previtali (Bergamo Cathedral). An alternative theory (suggested by Cecil Gould in the 1975 National Gallery catalogue) is that the painting is a self-portrait. While there are no authenticated likenesses of the young Titian, the sitter does have the protruding chin and underbite conspicuous in portraits of the artist as an old man. By 1824, the painting had entered the collection of the Earl of Darnley at Cobham Hall in Kent. It was bought by the National Gallery for £30,000 in 1904 through the mediation of the Scottish art dealer and collector Sir George Donaldson. (The price was remarkable for such a small painting and far exceeded the highest sum previously paid for a Titian – £20,500 by Isabella Stewart Gardner for the Rape of Europa.) At this time, some art historians (including Roger Fry) favoured an attribution to Giorgione. The sitter’s pose, with the right arm resting on a parapet, was adopted by Rembrandt for his ‘Self-portrait Aged 34’, which is also in the National Gallery.
La Schiavona’. Canvas, 118 x 97.
The raised part of the parapet was evidently added later; the reddish-brown dress clearly shows through the grey of the marble. The portrait relief on it bears a distinct resemblance to the sitter herself in profile, though it could conceivably commemorate a member of her family (her dead mother?). A very early portrait; the same woman may well be depicted in profile as the mother in the Padua fresco of the Miracle of the New Born Child (1511). Described as La Schiavona (the ‘Slav Woman’) by Titian as early as 1640, when in the possession of the Martinengo family at Brescia. It was acquired in 1914 by Herbert Cook (who, in spite of Titian’s initials on the parapet, tried to identify it as a portrait of Caterina Cornaro by Giorgione); presented by his son, Sir Francis Cook, in 1942.
Noli Me Tangere’. Canvas, 109 x 91.
An early work (about 1511-15). The landscape is particularly Giorgionesque. The same group of buildings recurs in the Borghese Sacred and Profane Love and the Dresden Venus (the latter started by Giorgione and finished by Titian). X-rays reveal radical changes in the composition (there was originally a hill with buildings in the landscape on the left), which was evidently worked out directly on the canvas without the use of preliminary drawings. As in other early paintings by Titian, the landscape has acquired a brownish tone through the oxidisation of the copper resinates in the green pigment. The sky, which was badly worn, was extensively restored in 1957. Probably the Magdalen and Christ in the Garden mentioned by Ridolfi (1648) in the possession of Cristoforo and Francesco Muselli at Verona. Later in the Orléans collection. Bequeathed by the poet Samuel Rogers in 1856.
Bacchus and Ariadne. Canvas, 175 x 190.
Painted in 1522-23, and one of three Bacchanals commissioned from Titian for the studio of Alfonso d’Este (Camerino d’Alabastro) in the Castello at Ferrara. The other two are now in the Prado. Giovanni Bellini’s Feast of the Gods (dated 1514) at Washington was also painted for Duke Alfonso’s studio; Titian altered the background (probably in 1524 or 1529) to make it fit in better with the landscapes of his own three pictures. The four pictures were reunited in 2003, for the first time since their dispersal in 1621, in an exhibition at the National Gallery. The subject matter of the Bacchus and Ariadne appears to draw on a number of classical writers (Catullus, Ovid and Philostratus) and may have been determined in detail by Alfonso himself. Ariadne, abandoned by Theseus on the island of Naxos, is surprised by Bacchus’s entourage of satyrs and baccantes; he leaps from his chariot, drawn by two cheetahs, and promises her marriage and a constellation of stars. The picture remained at Ferrara until 1598, when it was appropriated by Cardinal Pietro Aldobrandini and taken to Rome. It was acquired from the Villa Aldobrandini by Alexander Day in about 1797 and brought to England. Purchased by the National Gallery in 1826. The extraordinary intensity of the blue sky may be due to the loss, through cleaning, of a subduing overlay of final glazes.
Madonna and Child with St John and a Female Saint. Canvas, 101 x 142.
The kneeling woman holding the Child is usually assumed to be St Catherine, but she has none of the saint’s usual attributes. A signature and date (1533) have disappeared with cleaning, but may not have been genuine. Possibly ‘the picture of Our Lady in a landscape with the Christ Child and infant St John and a female saint … from the hand of Titian’ seen by Marcantonio Michiel in the house of Andrea Odoni in Venice in 1532. Probably one of the pictures presented to Philip IV of Spain by the Duke de Medina on his return from Italy. It disappeared from the Escorial during the Napoleonic invasion. Bought by the National Gallery with the Beaucousin collection in 1860. There are variants, probably made in Titian’s studio from the same cartoon, in the Pitti Palace, Florence, and the Kimbell Art Museum, Fort Worth. A slightly smaller picture in the British Royal Collection repeats the Madonna, but the Child is different, both St John and the female saint are omitted, and Tobias and the Angel replace the shepherds in the background.
The Vendramin Family. Canvas, 206 x 301.
Titian’s largest group portrait. It was once thought to be a portrait of the Cornaro family; the correct identification was unearthed by Gronau in 1925. Andrea Vendramin with his seven sons and brother Gabriele venerate the miracle-working reliquary of the True Cross – the rescue of which by an ancestor, another Andrea Vendramin, is illustrated by Gentile Bellini’s picture in the Accademia, Venice. The silver-gilt and rock crystal reliquary, brought to Venice from the Holy Land by Philippe de Mezières in 1369, still belongs to the Scuola di San Giovanni Evangelista. The painting must have been started by 1547, since both Andrea and his son Lunardo died in that year. Nicholas Penny, in his 2008 gallery catalogue, thinks that it was begun in the early 1540s but not completed until the 1550s. He ascribes the heads of the three boys on the left to an assistant (possibly Orazio Vecellio or Girolamo Dente). The picture is recorded in an inventory of Gabriele Vendramin in 1569 and was still in Venice in 1636. By 1641 it had entered the collection of Van Dyck in London, whose ‘Titian room’ allegedly contained some twenty portraits by the artist. After Van Dyck’s death, it passed from Sir Richard Price (who had married his widow) to Sir John Wittewronge in discharge of a debt, and thence in 1645 to Algernon Percy, Earl of Northumberland. Purchased by the National Gallery in 1929 for £122,000 from the Duke of Northumberland, pre-empting a sale to Duveen. The sky is particularly worn and pentimenti are visible to the naked eye (eg. an earlier version of the head of the young man on the left is seen behind his shoulder).
The Tribute Money. Canvas, 109 x 102.
The attribution has often been questioned in the past (Cavalcaselle proposed Palma Giovane, the 1929 National Gallery catalogue Paris Bordone, and Tietze and Berenson Titian’s workshop). However the signature (on the pilaster) is genuine, and the picture is almost certainly the Tribute Money sent by Titian to Philip II in October 1568 and presented to the Escorial in 1574. It was one of six paintings, plundered from the Escorial, that were given by Joseph Bonaparte in 1809 to one of his generals, Marechal Soult. It was bought for £2,604 by the National Gallery when Soult’s collection was sold in Paris in 1852.
An Allegory of Prudence. Canvas, 76 x 69.
The Latin inscription at the top means: ‘the present does well to profit by the past when planning future action.’ The three heads used to be identified as Alfonso d’Este, Julius II and Charles V. They are now often believed to represent Titian himself, in old age, his son Orazio, and (on the right) a young cousin, Marco. The corresponding animal heads are thought to represent the past (the wolf), the present (the lion) and the future (the dog). Generally regarded as a late work (the age of Marco, born 1545, points to a date after 1560); Penny (2008) thought that, stylistically, it could date from either the 1550s or 1560s. The quality is rather uneven and parts (such as the animal heads and possibly the profiles) may be by an assistant. First recorded in the Crozat collection, Paris, in 1740. Sold for 660 livres in 1756 at the Paris sale of the Duc de Tallard’s collection, and later owned by Lucian Bonaparte, the Earl of Aberdeen and Alfred de Rothschild. Presented by David Koetser, 1966.
The Death of Actaeon. Canvas, 179 x 198.
Actaeon, transformed into a stag, is torn to death by his hounds for accidentally spying on Diana. One of the last of the series of poesie painted by the elderly Titian for Philip II. Others in the series are: Danaë and Venus and Adonis (Prado); Diana discovering Callisto and Diana surprised by Actaeon (Edinburgh/ London); the Rape of Europa (Boston); and Perseus and Andromeda (Wallace Collection). Titian’s intention to paint a picture of this subject is mentioned in a letter to Philip II of 19 June 1559, but the work on it was probably done mainly from the mid-1560s. The picture was never sent to Spain, and it has been much debated whether this sketchily executed, almost monochromatic picture was ever completely finished. It has been suggested that the figure of Diana was worked on by assistants (perhaps to make the canvas more saleable after Titian’s death). It was one of many important pictures acquired in Venice for the Duke of Hamilton in the late 1630s from Bartolomeo della Nave and then purchased, after the Duke’s execution in 1649, by Archduke Leopold Wilhelm. By 1662/3 it had passed, probably as a gift, into Queen Christina’s collection at the Palazzo Riario in Rome. Later with Prince Odescalchi (Rome), the Duc d’Orléans (Paris), and Earl Brownlow and the Earl of Harewood (England). Purchased in 1972, after an export licence applied for by the Getty Museum had been refused.
Madonna and Child. Canvas, 76 x 63.
A work of Titian’s very old age (about 1565-70). The same composition is reversed in Titian’s altarpiece for his family chapel at Pieve di Cadore. Conceivably the Madonna seen by the Marchese di Ayamonte when he visited Titian’s studio with the Spanish ambassador in July 1573 and which was sent to Ayamonte in November. First certainly recorded only in 1847, when it was one of sixty paintings bought by the future Earl of Dudley from Count Bisenzo for 36,000 scudi. Bought at the Dudley sale in 1892 by Ludwig Mond, who displayed it on an easel in his library. Bequeathed in 1924.
Venus and Adonis. Canvas, 177 x 187.
One of many replicas of the original of 1553-54 in the Prado. Previously considered a work of Titian himself. Re-attributed to his studio since cleaning in 1973 – though Penny (2008) thinks that it may have been painted over a brush drawing by Titian and that Titian may have finished a few parts himself (including Adonis’s head and Venus’s hair). Recorded in 1783 in the Palazzo Colonna, Rome. Purchased with the Angerstein collection in 1824.
Portrait of Girolamo Fracastoro. Canvas, 84 x 74.
He is heavily bearded, wears a coat with a large lynx-fur collar and rests his right arm on a parapet in a pose rather like that of the so-called Ariosto (also in the National Gallery). His name is given on a label stuck to the canvas, and comparisons with portrait medals and woodcut portraits of Fracastoro make the identification plausible. Girolamo Fracastoro (1476/8-1553) was a distinguished Veronese physician, who published an important treatise (De Contagione (1546)) on the transmission of infection. Vasari says that Titian painted his portrait, and the National Gallery picture is almost certainly the 'portrait of the celebrated Fracastoro' recorded in 1824-52 in the collection of Conte Teodoro Lechi of Brescia. It entered the National Gallery with the Mond collection in 1924 with an attribution to Francesco Torbido (who also painted Fracastoro's portrait according to Vasari). The portrait was later catalogued as 'after Titian' and ignored for many years. However, the attribution to Titian has been recently revived, and the picture, previously obscured by old varnish and retouching, has been cleaned. (See the article by Jill Dunkerton, Jennifer Fletcher and Paul Joannides in the January 2013 Burlington Magazine). Cleaning showed the flesh paint to be very thin and worn and exposed many paint losses around the edges. The portrait might date from the late 1520s. 
The Music Lesson (A Concert). Canvas, 99 x 120.
A man in a voluminous purple robe beats time with his index finger as he follows the notes in a music book held up by a boy singer. A young woman leans on his shoulder, and young men in plumed hats play a bass viol and recorder. The picture is in poor condition: the faces are particularly badly worn, presumably as a result of old attempts at cleaning. It is recorded as a work of Titian in inventories of the Gonzaga collection at Mantua (1627) and Charles I's collection at Whitehall (1630), and  was still attributed to TItian in 1824, when it was purchased with the Angerstein collection for the new National Gallery. However, Crowe and Cavalcaselle (1877) thought it 'far below Titian's powers', and the National Gallery subsequently downgraded it to 'school' or 'imitator' of Titian. The picture was then almost completely forgotten until a reappraisal, following the removal of thick layers of varnish in a recent restoration, was published by Jill Dunkerton in the October 2013 Burlington Magazine. The old attribution to Titian was revived and a dating around the mid-1530s proposed. Other experts have yet to publish opinions on the reattribution, but the condition of the picture must make judgement unusually difficult.
Boy with a Bird. Canvas, 35 x 49.
The boy has no wings but is otherwise nearly identical to the Cupid embracing a dove that appears in the background of some later versions of Titian's Venus and Adonis (including those in New York and Washington). The small canvas was previously thought to be a seventeenth-century pastiche. However, technical analysis (reported in an article by Paul Joannides and Jill Dunkerton in a 2007 issue of the National Gallery's Technical Bulletin) suggests that the picture was done in Titian's workshop, as it was painted over a pastoral scene (Landscape with a Milkmaid) designed by Titian and reproduced as a woodcut in the late 1520s. The National Gallery, accordingly, has reattributed it to 'Titian or Titian workshop'. Bequeathed to the nation in 1876 with the collection of the wealthy haberdasher and Liberal politician Wynne Ellis.   
Diana surprised by Actaeon; Diana discovering Callisto. 
See the entries for the National Gallery of Scotland, Edinburgh, where the two paintings were formerly on loan from the Duke of Sutherland's collection. Following their acquisition for the nation in 2009 and 2012, they are to be exhibited together, on a rotating basis, for six years in London and four years in Edinburgh.        

London. British Museum.
Submersion of Pharaoh's Army in the Red Sea.
 Woodcut, 121 x 221.
Moses (thrusting out his rod) and the Israelites watch from a safe headland on the right, as Pharaoh's host flounders in the rising waters. The city on the horizon presumably represents Egypt, but resembles Venice under stormy skies. This spectacular wood engraving, one of the largest ever made, is printed from twelve blocks on twelve separate sheets of paper to form a wall decoration some four feet high and seven feet wide. It is mentioned in February 1515 in a petition by the Bergamask printer Bernardino Benalio to the Venetian Senate. However, no original print has survived, and the woodcut is known only in a later edition, printed in 1549 by Domenico dalle Greche, who appears to have acquired the blocks after Benalio's death, and added the cartouche with his own name and the date. The identity of the craftsman who engraved the blocks for Titian is unknown. The superb quality of the print, with its bold and fluent line, strongly suggests that Titian participated closely in the production process, probably drawing directly on the blocks himself.
The Old Testament subject is perhaps being used as a metaphor for Venice's own survival in the face of overwhelming odds. When Titian was designing the print, the city was threatened by the League of Cambrai, whose German mercenaries invading from the north are perhaps being likened to the Egyptians.
Many museums have fragments of the woodcut, but complete impressions are rare. The British Museum has one, as do the Fine Arts Museum at Budapest, the Cleveland Art Museum and the Fogg Museum at Harvard, while the Art Institute of Chicago has an unassembled complete set of the twelve prints.  A fine complete impression was sold in January 2013 (Rockefeller Plaza, New York) for $854,500.       

London. Wallace Collection.
Perseus and Andromeda. Canvas, 183 x 199.
The subject is from Ovid's Metamorphoses (Book IV). The hero Perseus swoops down to rescue Andromeda, who is chained naked to a rock as a sacrifice to the sea monster. One of the sources for Titian’s composition may have been the bas-relief on the base of Cellini’s Perseus, the model for which Titian could have seen on his only visit to Florence in 1546. X-rays reveal that Titian made radical changes to the composition; the Andromeda was initially placed on the right. The picture was mentioned in a letter from Titian to Philip II in 1554 congratulating Philip on his marriage to Mary Tudor, and appears to have been sent to Flanders in 1556. It was later owned by Van Dyck, whose executors sold it, along with the Vendramin Family (now in the National Gallery), to the Earl of Northumberland. Later in the Orléans collection at Paris, it returned to London at the end of the eighteenth century and was bought by the Marquis of Hertford for £362 in 1815. It was subsequently neglected. Variously described as School of Titian, Veronese and Domenichino, it spent many years stored in a lumber room and then hung in Sir Richard Wallace's bathroom at Hertford House. It was rediscovered in bad condition in 1898 by Claude Phillips, first keeper of the Wallace Collection, who published it as a work of Titian in the first edition of the museum's catalogue in 1900. Restoration in 1980-81 removed old discoloured varnish and many layers of repaint. The original paint surface is very abraded and there are numerous losses.  

London. Royal Collection.
Portrait of a Man (Jacopo Sannazzaro?). Canvas, 86 x 73.
A Dutch gift to Charles II in 1660. Ascribed to Titian or Giorgione in old inventories, and said to represent Boccaccio and later Alessandro de’Medici. An old copy identifies the sitter as the Neapolitan poet Jacopo Sannazzaro (1458-1530), author of Arcadia. Sannazzaro would have been in his fifties at least when the portrait was painted. The man represented appears much younger, but he does bear some resemblance to portrait medals of the poet and it is not inconceivable that Titian based his portrait on an earlier picture. Somewhat rubbed and damaged, but generally now accepted as an early Titian (1514-18?). The portrait currently hangs in the Picture Gallery at Buckingham Palace.
The Lovers’ (Cornelia Fainting?). Canvas, 75 x 66.
The young woman appears to have swooned in the arms of the young man, who feels her heart. Another man, behind on the right, looks on. Quaintly called A Sick Lady, Her Husband and a Physician in the nineteenth-century, it is uncertain whether the picture depicts a contemporary love scene or illustrates an episode from classical literature. A roughly contemporary print by Zoan Andrea, showing a couple in a similar composition, is simply called The Lovers. Another version of the painting, in the Casa Buonarotti at Florence, was once known as the Death of Lucretia and has been identified with a Titian mentioned by Ridolfi (1648) of ‘Cornelia fainting in the arms of Pompey’. In the past, both versions have been regarded as copies of a lost early Titian of about 1510-15. The numerous pentimenti (eg. the woman was originally dressed more modestly) and spontaneous underdrawing revealed by X-rays suggest that the Royal Collection version could be Titian’s original, though attribution is made difficult by the picture’s poor condition. The upper half is particularly damaged and restored. In Charles I’s collection; sold by the Commonwealth but recovered at the Restoration. The picture currently hangs in the 'KIng's Closet' at Windsor Castle.
Virgin and Child in a Landscape. Wood, 85 x 120.
One of at least three variants, probably made in Titian’s studio, of the Madonna and Child with St John and a Female Saint of 1532/3(?) in the National Gallery, London. The Virgin was probably traced from the same cartoon. But the pose of the Child, stretching to take a red rose, is quite different. The freely painted figures of Tobias and the Angel in the right background resemble those in Titian’s picture from the Venetian church of San Marziale (now in Madonna dell’Orto). Possibly painted for the Venetian Dalla Torre family, whose coat-of-arms originally appeared in the centre foreground (now overpainted with another shield). Dutch gift to Charles II. Newly cleaned, it was exhibited as ‘Titian and workshop, c.1535-40’ at the Art in Italy show at the Queen’s Gallery in 2007.
Shepherd Boy with a Pipe. Canvas, 63 x 49.
This severely damaged painting is traditionally ascribed to Giorgione. While it is still generally agreed that the conception is Giorgione’s, an attribution to the young Titian was suggested by John Shearman in his 1983 catalogue of the early Italian paintings in the Royal Collection. It has attracted recent support, and it was as an early Titian that the picture was included in the 2007 Art in Italy exhibition. The head is largely old restoration. The white shirt is better preserved. From Charles I’s collection. The picture currently hangs in the 'King's Closet' at Windsor Castle.
Lucretia. Canvas, 109 x 64.
She is shown full-length, naked except for a strip of crimson drapery held over her head, about to stab herself with the dagger in her right hand. Recorded in the 1627 inventory of the Gonzaga collection as ‘a nude Roman Lucretia by Titian’. Acquired by Charles I, sold after his execution, but reacquired by Charles II. In poor condition, and the Titian attribution has often been doubted. An attribution to the painter's younger brother Francesco Vecellio has been suggested (and has now been tentatively adopted by the Royal Collection Trust). The picture currently hangs in the 'Middle Closet' at Hampton Court Palace.

London. Apsley House.
Danaë. 
Canvas, 115 x 194.
The legend of the seduction of Danaë by Jupiter, who disguised himself as a shower of gold, is told in Ovid's Metamorphoses. Titian's first version of this subject was painted for Cardinal Alessandro Farnese in 1544-46 and is now at Naples. In 1551-4, a new version was painted for Philip II. Until recently, it had been universally assumed that this is the Danaë in the Prado. However, it has been argued by Paul Joannides (first in Paragone Arte (2004)) that the Prado Danaë is too freely painted to be a work of the early 1550s and that the version painted for Philip II is the one at Apsley House. The Apsley House picture was previously almost unknown and is very damaged. It was among the works of art looted from the Spanish royal collection by Joseph Bonaparte and discovered by Wellington's soldiers in his baggage train after the Battle of Vitoria (1813). Originally almost square, it has been cut down at the top, removing the figure of Jupiter with his eagle. The right side of the composition, showing the old nurse catching the golden shower in her apron, is largely ruined, but the reclining nude figure of Danaë herself is better preserved. Extensive repaint was removed when the picture was restored for an exhibition held at the Prado in 2014-15. The suggestion that it is the Danaë painted for Philip of Spain – or 'indeed is in any significant degree by Titian himself' – has been challenged by Charles Hope (October 2015 Burlington Magazine). 
Portrait of a Lady (so-called 'Titian's MIstress'). Canvas, 98 x 71.
The young woman, wearing a fur-lined vermillion robe over a loose white shift, exposes her left breast. This erotic portrait is similar in type to the Girl with a Plumed Hat at St Petersburg and the Girl in a Fur Coat at Vienna. It was one of a set of eight female portraits recorded with attributions to Titian in the Spanish royal collection, and was among the two hundred or so paintings captured by the Duke of Wellington from the baggage train of the fleeing Joseph Bonaparte after the Battle of Vitoria. Badly damaged (partly as a result of having been folded into an oval shape in the eighteenth century). In spite of its provenance, it was formerly attributed to a follower of Titian. However, a genuine signature was discovered during restoration in 2012, and the picture is now thought to have been produced in Titian's workshop in the 1550s. X-rays reveal that the portrait was painted over an earlier painting of the Toilet of Venus.
The Duke of Wellington also owned another of Titian's eight female portraits from the Spanish royal collection. The Young Woman holding Rose Garlands is now in the collection of the present Duke. It, too, has been recently restored and found to be signed. All three Titians belonging to the Duke of Wellington were included in a special exhibition, Titian at Apsley House, held in July-October 2015.   

London. Dulwich Picture Gallery.
Venus and Adonis. 
Canvas, 182 x 189.
One of many later versions of the picture painted for Philip II in 1554 and now in the Prado. It was acquired in the 1790s by the picture dealer Noël Desenfans, whose collection was to form the nucleus of the Dulwich Gallery. Originally attributed to Titian, it was later downgraded to a late seventeenth-century copy. After many years in storage, obscured by discoloured varnish, it was restored in 2009-12 and found to be of higher quality than previously suspected. It has been returned to display as a work of Titian's studio.    

Longleat (Warminster, Wiltshire). Marquis of Bath’s Collection.
Rest on Flight into Egypt. Canvas (laid onto panel), 39 x 62.
Universally attributed to Titian as one of his earliest and smallest Holy Families (about 1508-12). It is rare among Titian's early small works in being painted on canvas rather than panel. The canvas was subsequently glued onto panel and the painted surface extended by some 5 cm. at the top and 2 cm. at the bottom. (The added strips of paint have discoloured.) Bought by the 4th Marquis of Bath at auction at Christie’s in 1878. Stolen in January 1995 and found, largely unscathed, in August 2002 in a plastic laundry bag at a London bus stop. Another, much larger version (91 x 160) was formerly in the Contini-Bonacossi collection (sold in 1995 and now in a private collection in Italy). There is a copy by the English miniaturist Peter Oliver (signed and dated 1628) in the Victoria and Albert Museum.     

Los Angeles. Getty Museum.
Portrait of Alfonso d’Avalos. Canvas, 110 x 80.
The Italo-Spanish soldier-intellectual Alfonso d’Avalos (1502-46) was Marquis of Vasto (a town in Abruzzo) and inherited a second title, Marquis of Pescara, in 1525 from his cousin Ferrante Francesco d’Avalos (the husband of Vittoria Colonna). As a military commander for Charles V, he fought in the famous victory against the French at Pavia (1525), was taken prisoner by the Genoese during the Siege of Naples (1528), and led expeditions to Hungary (1532), Tunis (1535) and Provence (1536). He was appointed Governor of Milan (1538), but proved a bad administrator, arrogant and corrupt, and was recalled to Madrid (1545). He is shown, half-length, in magnificent gilded armour, wearing the collar of the Order of the Golden Fleece bestowed on him in 1532. A page boy hands him his helmet. The portrait is exceptionally well preserved. It has usually been identified with the one mentioned by Vasari as painted by Titian in Bologna in early 1533, following d’Avalos’s return from his Hungarian campaign against the Turks. Formerly in the Parisian collections of Count Potocki, the Countess de Bahague and Marquis de Ganay, it was bought by the insurance company AXA in 1990 for 65 million francs and placed on loan with the Louvre. Acquired by the Getty Museum in November 2003 for $70 million (the second highest price paid for an Old Master painting). A later portrait by Titian, painted in 1540-41 and now in the Prado, shows d’Avalos addressing a company of soldiers.
Venus and Adonis. Canvas, 160 x 196.
One of many replicas from Titian’s workshop of the famous painting in the Prado. The brushwork is more varied and fluent than in many of the replicas, suggesting than Titian himself might have had some hand in finishing the picture. Probably one of two versions recorded in 1662 in Queen Christina’s collection at the Palazzo Riario in Rome. Formerly in the Normanton collection at Somerly, it was auctioned for $13.5 million at Christie’s in December 1991 and acquired by the Getty Museum shortly afterwards.
Penitent Magdalen. Canvas, 106 x 93.
One of at least seven versions painted by Titian and his workhop. The original, which Vasari says was sold to the Venetian nobleman Silvio Badoer, is untraced and the replica of it sent to Philip of Spain in 1561 is lost. The finest extant version remained in Titian’s studio at his death and passed to the Hermitage with the Barbarigo collection. There are other signed versions in Naples (probably the one presented to Cardinal Alessandro Farnese in 1567) and Stuttgart (once owned by the sculptor Antonio Canova). The unsigned Getty version is of high quality but considerably restored (especially the landscape). It differs from the others in a significant detail: the Magdalen’s Bible rests on a cloth-covered support rather than on a skull. Acquired by Sir Richard Worsley in Venice at the end of the eighteenth century; inherited by the Earls of Yarlborough at Brocklesby Park; sold to Colnaghi for 4000 gns in 1929; bought by Paul Getty in 1955.

Los Angeles. County Museum of Art.
Portrait of Giacomo Dolfin. 
Canvas, 105 x 91.
The middle-aged patrician, luxuriantly bearded and almost completely bald, wears the crimson robes of a Venetian senator. He holds out a letter, as though showing it or handing it to the viewer. The painting, which probably dates from the early 1530s, has been identified with the 'portrait by Titian of a gentleman of the Delfini family' seen by Vasari in the house of the sculptor Danese Cattaneo. Doubt has sometimes been cast on its authenticity. The Los Angeles museum bought it in 1981, after the art historian Terisio Pignatti had concluded that 'it was unquestionably by the hand of Titian'.

Los Angeles. Hammer Museum of Art.
Portrait of a Young Man in Armour. 
Canvas, 85 x 68.
The man, probably in his early or mid-twenties, wears a splendid suit of black armour, with rolled gold edges, and holds a baton or war hammer. Signed TICIANUS beneath the sitter's right hand. There are no early references to the portrait, which is first recorded in 1854 in the collection of the Earl of Lonsdale at Lowther Castle in Westmorland in the English Lake District. The style of armour would accord with a date around 1530. At this period, Titian was much engaged by the Mantuan court, and it has been suggested that the sitter could be Ferrante Gonzaga, Federico's younger brother, born in 1507. While no likeness of Ferrante as a young man is known, the sitter's features are not irreconcilable with those of the middle-aged Ferrante (as recorded, for example, in Leone Leoni's portrait medal and the same sculptor's full-length statue at Guastalla). The portrait was in a London private collection before it was acquired by the American industrialist Armand Hammer. The museum created to house Hammer's collection opened to the public in 1990.
          
Madrid. Prado.
Madonna and Child with St Anthony and St Roch. Canvas, 92 x 133.
St Anthony of Padua is identified by his grey Franciscan habit and the lily and book lying at his feet. St Roch, dressed as a pilgrim, lifts the hem of his shirt to show the plague ulcer on his thigh. This small altarpiece belongs to the group of pictures, which includes the Fête Champêtre (Louvre) and Christ and the Adulteress (Glasgow), still disputed between Giorgione and the young Titian. Possibly the ‘large picture on canvas, with Our Lady, St Anthony of Padua and St Roch, with life-size figures, by the hand of Titian’ bought in Amsterdam for the Spanish king from the estate of the Countess of Arundel. First positively recorded in Velázquez’s 1657 inventory of pictures in the sacristy of the Escorial under the name of ‘Bordonon’ (variously interpreted as Pordonene, Paris Bordone or ‘Zorzon’ (Giorgione)). The attribution to the young Titian was made in 1908 by Schmit. It is now the common view, although a distinguished minority (including Morelli and Berenson) argued for Giorgione. Given the cult of St Anthony in Padua, it has been suggested that the picture could have been painted during Titian’s stay there in 1511. However, it has recently been dated even earlier (about 1508). The design of the Madonna is closely related to that in an altarpiece, signed and dated 1511, by Domenico Mancini in the cathedral at Lendinara (south of Venice). This is usually explained as a derivation on Mancini’s part rather than by the possibility that the very obscure Mancini could have been the author of both pictures. Cleaned in 2005.
Madonna with St George and St Catherine. Wood, 86 x 130.
An early work (about 1520), ascribed to Giorgione in the nineteenth century. The saints – already identified as George and Catherine in the seventeenth century but later thought to be Ulfo and Dorothy or Bridget – recall the types of Palma Vecchio. The same beautiful model may have sat for St Catherine and for the so-called Violante in Vienna, which has been attributed both to Titian and Palma. The picture is first documented in 1593, when it was sent by Philip II to the Escorial. It was transferred to the Prado in 1839. There is a workshop copy at Hampton Court.
Worship of Venus. Canvas, 172 x 175.
Like the Bacchus and Ariadne in London and the Andrians also in the Prado, this picture was painted for the studio (Camerino d’Alabastro) of Alfonso d’Este in the Castello at Ferrara. The subject is taken from Philostratus the Elder’s Imagines: ‘the cupids bring first fruits of apples, and gathering around they pray to Aphrodite that their orchards may prosper.’ The picture was initially commissioned from Fra Bartolommeo; after his death the commission passed to Titian in 1518 and the picture was probably completed by January 1520. After the extinction of the Este line in 1598, the pictures from Alfonso’s studio were appropriated by Cardinal Pietro Aldobrandini and sent to Rome. In 1637 Niccolò Ludovisi, Prince of Piombino, presented the Worship of Venus and the Andrians to Philip IV of Spain.
Bacchanal (‘The Andrians’). Canvas, 175 x 193.
Signed on the handkerchief tucked into the bosom of the woman in red. The musical score in front of her has been identified as a drinking song by Adriaen Willaert, one of Duke Alfonso’s favourite composers. The subject of this picture, like that of the Worship of Venus, is based on a description by Philostratus, dating from the third century AD, of a painting claimed to have been seen in a villa near Naples. Bacchus, arriving at Andros by sea, caused a river of wine to gush from the earth, and the picture shows the drunken revels of the islanders. Ariadne lies asleep with wine. The old man sprawled on a bed of vines in the right distance is the river-god responsible for the river of wine. The big-bellied man on the left is probably Silenus. Theseus’s departing ship is visible on the horizon. The picture was initially commissioned from Raphael, who had submitted only a drawing before his death in 1520. Opinion is divided on whether the Andrians is the second of Titian’s trio of Bacchanals (painted in about 1520) or the third (painted in the mid or even late 1520s, after the London Bacchus and Ariadne).
Federico Gonzaga. Wood, 125 x 99.
Signed on the belt. The sitter, with curly dark hair and beard, splendidly dressed in a royal-blue doublet fretted with gold, was once thought to be Alfonso d’Este; the correct identification was made by Gronau (1904). Federico II Gonzaga (1500-40), son of Francesco II and Isabella d’Este, succeeded his father as Marquis in 1519 and was created the first Duke of Mantua in 1530. This magnificent portrait dates from after 1523, when Titian made his first visit to Mantua, and may be the portrait mentioned in a letter written by Federico on 16 April 1529. Titian painted more than thirty pictures for the Duke, mostly between 1528 and 1540, but only a handful survive. Acquired by Philip IV at the auction of the Marqués de Leganés, who probably acquired it from the Gonzaga.
Charles V and a Hound. Canvas, 192 x 111.
Usually assumed to have been painted at Bologna between December 1532 and February 1533. It is Titian’s earliest full-length portrait and his earliest surviving portrait of Charles V. (Some three years earlier, probably in Bologna in early 1530, he had painted the Emperor three-quarter length and wearing armour; the original of this portrait is lost, but there is a faithful copy by Rubens in a private collection.) It seems to be a free copy of a slightly earlier portrait by the Emperor’s Austrian court painter Jakob Seisenegger, which also shows the Emperor full-length in the same costume and pose, though Titian tactfully toned down the Emperor’s lantern jaw and broadened and elongated his body. Seisenegger’s portrait is dated 1532 and is now in Vienna. Titian’s portrait was sent to England in 1623 as a gift for Charles I, but was reacquired by the Spanish court eight years later.
The Allocution of Alfonso d’Avalos, Marchese del Vasto. Canvas, 232 x 165.
The picture probably represents d’Avalos rallying his troops during the Hungarian campaign of 1532 against the Turks. The boy at his side, holding his helmet, is his son Francesco Ferrante. According to Aretino (who appears among the crowd), the boy’s costume is derived from figures on Roman triumphal arches. We know from Aretino’s letters to d’Avalos that the picture was painted in 1540-41. D’Avalos was Governor of Milan at this time and an important patron of both Titian and Aretino. (Titian petitioned him for a benefice for his son Pomponio and the artist’s Imperial pension was paid from the Milanese treasury.) On 22 December 1540 Aretino sent d’Avalos a ‘small painting’ (now lost) to ‘keep him amused while the larger canvas was being finished’. The completed painting was delivered in August 1541. It was bought by Philip IV of Spain at the sale of Charles I’s pictures at Somerset House in 1650. Badly damaged, probably in the Escorial fire of 1671 or the Alcázar fire of 1734. An earlier portrait of d’Avalos by Titian, probably painted at Bologna in 1533, is now in the Getty Museum at Los Angeles.
Portrait of Daniele Barbaro. Canvas, 81 x 69.
An autograph or studio replica of the portrait painted in about 1545 for Paolo Giovio, Bishop of Como, and now in Ottawa. The Prado version may be the one engraved by Hollar in 1650, when it was in the collection of J. van Uffel of Antwerp. In the Alcázar by 1666, and probably damaged by the fire there in 1734.
Charles V on Horseback. Canvas, 332 x 279.
This huge portrait, the largest that Titian ever painted, was probably originally intended to hang in the Habsburg palace of Coudenberg in Brussels. It is the first royal equestrian portrait, and it established a model that Rubens (whose Philip IV hung alongside Titian’s Charles V in the Hall of Mirrors in the Alcázar), Van Dyck and Velázquez were to follow in the seventeenth century. It was painted between April and September 1548 when Titian (accompanied by at least three assistants, including his son Orazio and nephew Cesare Vecellio) attended the Emperor at the Congress of Augsburg. The Emperor is shown in the armour he wore at the Battle of Mühlberg, fought the previous year. The suit of armour is still preserved in the Real Armeria at Madrid. When the picture was still drying in the sun in the garden of the Fugger Palace, it blew over and the canvas was gashed on a stake. Damage to the body of the horse was repaired by the German artist Christoph Amberger. The painting was damaged again in the Alcázar fire of 1734, and the horse’s legs and the base of the picture are repainted.
The Empress Isabella. Canvas, 117 x 98.
Isabella, daughter of King Manuel of Portugal, married Charles V, her first cousin, in 1526. She died young in 1539. This posthumous portrait, derived from a mediocre prototype (trivial penello) according to Aretino, was probably painted in 1548 at Augsburg where, in an eight-month stay, Titian and his assistants painted some twenty portraits (mostly destroyed) of the Hapsburg family and their court. Perhaps because of the difficulties of producing a satisfactory posthumous portrait or perhaps because the Emperor wanted his late wife to appear remote from the world, the portrait is uncharacteristically lifeless. An atmospheric evening landscape of trees, hills and mountains is viewed through the open window on the right. Charles V was evidently very attached to the portrait, as it was among the pictures he took with him to the remote Hieronymite monastery of Yuste in 1556 after his abdication. Titian painted other portraits of the dead Empress. The earliest, painted in 1544 or 1545, showing her as a young woman in black with flowers in her lap, was destroyed by the fire at the Pardo Palace in 1604. A double portrait, showing Isabella and Charles V sitting side by side at a table, is also lost, but is known from a copy by Rubens. 
Venus with an Organist and a Dog (no. 420). Canvas, 136 x 220.
One of at least five Venus and a Musician paintings by Titian and his workshop. This may be the one mentioned by Ridolfi (1648) as painted for the lawyer Francesco Assonica. It may be a portrait, and the frisky dog and the ass and turkey in the garden have been interpreted as marriage symbols. It may date from about 1550. Purchased for Philip IV at the sale of Charles I’s collection for £165.
Venus with an Organist and with Cupid (no. 421). Canvas, 148 x 217.
In this version, the inclusion of Cupid identifies the woman with Venus. Her features are more idealised and the ‘wedding symbols’ are missing. Often thought to be earlier than the previous picture, and identified with the Venus on a Bed with an Organ Player painted at Augsburg in August 1548 for Charles V’s minister Nicolas Perrenot de Granvelle. Alternatively viewed – Miguel Falomir (2003) – as a later variant (about 1555).
Ecce Homo’. Slate, 65 x 56.
Probably the Christ taken by Titian to Charles V at Augsburg in 1548. It was one of the small group of devotional pictures taken by Charles V to his monastic retreat at Yuste, which were appropriated after his death by Philip II and sent to the Escorial. The paint was badly blistered in the Alcázar fire of 1734. Titian gave gifts of replicas of this picture to Perrenot de Granvelle and to Pietro Aretino.
Mater Dolorosa’ (with Clasped Hands). Wood, 68 x 61.
Painted in 1553-54 as a companion piece to the Ecce Homo. Taken by Charles V to the monastery at Yuste and sent to the Escorial after his death in 1571. Transferred to the Prado in 1839. Restoration in 1999 has revealed the richness of the colour.
Mater Dolorosa’ (with Raised Hands). Marble, 68 x 53.
A second version, on marble. Titian was asked to use a drawing sent to him by Charles V as a model. (The drawing may have been by a Flemish artist, such as Rogier van der Weyden.) Like the first Mater Dolorosa, the marble version was taken to Yuste in 1556. By 1574 it had been combined with the Ecce Homo on slate to form a diptych in the Escorial. Both were transferred to the Alcázar by 1600 and to the Prado in 1821.
Tityus (253 x 217); Sisyphus (237 x 216).
The two pictures are from a series of four depicting the torments of characters from classical mythology damned for rebelling against the gods. The giant Tityus was punished for his attempted rape of Leto by being stretched on the ground while vultures or snakes ate his heart or liver. (The picture was previously thought to represent Prometheus, who was punished for stealing fire from the heavens by being nailed to a cliff and having an eagle peck out his liver.) Sisyphus was punished for an impious act by being condemned to spend eternity in a futile attempt to push a boulder to the top of a hill. The Four Damned Men were commissioned at Augsburg in 1548 by Queen Marie of Hungary, Charles V’s sister and Regent of the Netherlands. The Tityus, the Sisyphus, and another canvas representing Tantalus were delivered to the Queen’s summer palace at Blinche in the Netherlands in 1549. A fourth canvas representing Ixion followed in 1553. The four paintings hung over the windows of the main hall. They were taken to Spain after the Blinche Palace was sacked by the French troops in 1554. The Tantalus and Ixion are lost, presumed destroyed in the Alcázar fire of 1734. The two surviving canvases were once in such bad condition that older Spanish writers, followed by Crowe and Cavalcaselle, thought they were copies by Sánchez Coello. After the two paintings were cleaned in 2003, Miguel Falomir (in J. Woods-Marsden (ed.), Titian: Maternity, Likeness, Istoria (2007)) drew attention to the differences in their handling. He came to the conclusion that the Sisyphus is Queen Marie's original, but that the Tityus – which is more freely painted – is an autograph replica painted in the 1560s for the Duke of Infantado.
Philip II in Armour. Canvas, 193 x 111.
Painted when the future King of Spain was in his early twenties – either at the end of 1548, when Titian travelled to Milan to meet him, or on Titian’s second trip to Augsburg between November 1550 and May 1551. On 16 May 1551 Philip sent the picture to his aunt, Marie of Hungary, with a letter complaining: ‘It is easy to see the haste with which it has been made and if there were time it could have been done over again.’ On 19 November the Queen forwarded the portrait to Mary Tudor, Philip’s future wife, in London (with instructions to hang it in a suitable light and view it from a distance). After the marriage in 1554 the picture returned to Queen Marie, who took it with her to Spain two years later. The gold-inlaid suit of parade armour worn by Philip still exists, almost complete, in the Real Armeria at Madrid. X-ray analysis has revealed that the picture was painted over a discarded full-length portrait of Charles V in armour.
Saint Margaret. Canvas, 242 x 182.
The saint, clutching a small wooden cross, stands astride the enormous dead dragon; in the distance is a city in flames. On the evidence of an inscription on a print (reproducing the composition in reverse) published by Luca Bertelli in 1560, the picture was painted for Marie of Hungary, sister of Charles V. Previously very dark, the picture was cleaned in 1998. There is another, probably earlier, version in the Escorial.
Christ (head and shoulders). Canvas, 68 x 62.
A fragment of a picture of Noli me Tangere, which was damaged (either in transit to Spain or by the fire of 1671 in the Escorial) and cut down. The picture was painted for Marie of Hungary, and was seen in Titian’s studio by the Spanish ambassador, Francesco de Vargas, in 1553. The fragment was discovered in a storeroom of the Escorial under a storage jar, and brought to the Prado in 1839. The original composition is recorded by a copy by Alonso Sánchez Coello (also in the Prado).
Salome. Canvas, 87 x 80.
A variant of the picture in Berlin – in which the girl, once said to represent Titian’s daughter Lavinia, holds up a dish of fruit rather than the head of the Baptist on a charger. Traditionally dated about 1555. Acquired by Philip IV in 1665 at the auction of the estate of the Marqués de Leganés.
Portrait of a Knight with a Clock. Canvas, 122 x 101.
The white cross on the unknown sitter’s breast is probably not, as once thought, that of a Knight of Malta. Table clocks also appear in other Titian portraits (eg. the Eleonora Gonzaga in the Uffizi and the Cardinal Madruzzo in São Paulo); they may be symbols of the transience of time or merely status symbols. Usually dated about 1550. Presented to Philip IV by Prince Niccolò Ludovisi in 1637.
Danaë. Canvas, 128 x 178.
A revised version – in Titian’s later, looser style – of the picture painted in 1544-46 for Cardinal Alessandro Farnese and now at Naples. The Cupid in the earlier version is replaced by a haggish maidservant who catches the shower of gold coins in her apron. The date of the Prado version is uncertain. A Danaë was painted for Philip II in the early 1550s. (It was dispatched to Spain by summer 1554 but might have been painted a few years earlier.) Until recently, it was universally assumed that this is the Prado version. However, it has been argued recently that the Prado picture is too loosely painted to be a work of the early 1550s and that it dates from the mid-1560s. The Danaë painted for Philip II has been identified instead with a version that was looted from the Spanish royal collection by Joseph Bonaparte and is now at Apsley House, London, while the Prado picture has been identified with a version acquired by Velázquez on his first trip to Italy in 1629-31 and sold to Philip IV of Spain. (See the catalogue, co-authored by Paul Joannides and Miguel Falomir, of the exhibition Danaë and Venus and Adonis held at the Prado in 2014-15.) The old assumption that the Madrid Danaë is the one painted for Philip II has been vigorously defended by Charles Hope (October 2015 Burlington Magazine). There is a replica of the Madrid version in St Petersburg and a signed variant, in which the servant holds a metal dish, in Vienna. 
Venus and Adonis. Canvas, 186 x 207.
The first of the poesie painted for Philip II, after the Danaë. The subject is from Ovid. While Cupid sleeps, his bow and arrows hanging on the tree, Adonis takes leave of Venus for the hunt where he is killed by a boar. In the sky at the top right, a nude female appears in a chariot, presumably indicating dawn. The figure of Venus seems to have been inspired by a famous Roman marble relief representing Pysche discovering Cupid, known in the Renaissance as the Bed of Polyclitus. Though larger and different in shape, the Venus and Adonis was conceived as a pair with the Danaë. In his accompanying letter, Titian explained that, having shown Danaë from the front, he wanted to vary the viewpoint by representing Venus from the back. Already underway in 1553, the picture was sent in September 1554 to London, where the Prince married Mary Tudor. It still shows traces of the damage of which Philip complained the following year when the picture arrived in London. A long horizontal crease runs right across the canvas where it was folded. Yellowed varnish was removed in a restoration in 2014. Over thirty other versions are known, including replicas attributed to Titian and/or his studio in the Getty Museum (Los Angeles), the National Gallery (London) and Barberini Palace (Rome), and smaller oblong variants, reflecting Titian’s late style, at Washington and New York.
The Trinity. (‘La Gloria’). Canvas, 346 x 240.
The subject was determined by Charles V, who stipulated that he should be portrayed as just risen from the grave, adoring the Trinity, with the deceased Empress Isabella, Queen Marie of Hungary and Prince Philip. Beneath the royal group, Titian has introduced portraits of himself and Pietro Aretino. Beneath the Trinity, to the left, are the Virgin and Baptist, and in the foreground Old Testament characters, including Ezekiel on the eagle, Moses with the Tablets of the Law, Noah with his ark and David with his harp. The female figure in green with her back to the viewer was once thought to be Mary Magdalene but could be a sibyl. A letter to Charles V records that the finished picture, which was probably commissioned at Augsburg in the winter of 1550-51, was sent to the Emperor at Flanders on 10 September 1554. It is another of the small group of devotional pictures taken by Charles V to his monastic retreat at Yuste, and he is said to have died contemplating it. He requested in his will that it should remain at Yuste, but it was transferred to the Escorial after his death. Cornelius Cort made a print of the picture (dated 1566) under Titian’s supervision.
The Entombment (no. 440). Canvas, 137 x 175.
This emotionally-charged, vigorously-executed picture is over thirty years later than Titian’s treatment of this subject in the Louvre, and very different from it in composition, mood and technique. It was ordered in January 1559 to replace a picture lost in transit two years earlier somewhere between Venice and Flanders, and sent to Philip II in September that year (together with the more carefully finished Diana and Actaeon and Diana and Callisto now in Edinburgh). The elderly Nicodemus is possibly a self-portrait. The sculpted reliefs on the sarcophagus show the Sacrifice of Isaac and Cain killing Abel – Old Testament prophesies of Christ’s sacrifice. In the chapel at Aranjuez at the time of Philip’s death, and later in the Escorial, where it was placed over the Epistle altar where Charles V was buried. Cleaning in 1999 has revealed the richness of the colour.
The Entombment (no. 441). Canvas, 130 x 168.
The so-called ‘second version’. Differences from the earlier painting include the figure of the grieving young man (St John?) introduced on the left, the headdress of Nicodemus, the striking spots on the robes of Joseph of Arimathea, and the omission of the reliefs on the tomb. Possibly identifiable with the ‘painting … in which, in the presence of the Virgin and other Maries, the dead Christ is placed in the tomb’ seen by Vasari in Titian’s studio in 1566. It was given to Antonio Pérez, Philip II’s secretary, by the Venetian authorities, and was acquired by the king in 1585. Cleaning in 1999 revealed fire damage and an unevenness in execution suggestive of substantial studio intervention (especially in the figures on the right).
Christ carrying the Cross (half length). Canvas, 67 x 77.
The head of Simon of Cyrene is clearly drawn from life and may be a portrait. (Ridolfi (1648) records a tradition that he is Francesco Zuccato.) Late (about 1565-70). Signed in red letters on the cross. One of the best preserved of Titian’s pictures in the Prado. There is another version, unsigned but also of high quality, at St Petersburg. First recorded in 1666 in the Alcázar at Madrid.
Christ carrying the Cross (full length). Canvas, 98 x 116.
Christ falls to his knees under the weight of the cross and is helped by Simon of Cyrene. Signed on the rock, lower left (the meaning of the initials ‘JB’ above the signature remains a mystery). Sent to the Escorial as a work of Titian in 1574, and transferred to the Prado in 1845. Critical opinion of the picture has been sharply divided: it has sometimes been considered a workshop product or even a Spanish copy and sometimes a genuine late masterpiece.
Self-Portrait. Canvas, 86 x 65.
As in his family altarpiece at Pieve di Cadore, the elderly Titian has portrayed himself in profile, dressed simply in black and wearing a black cap. He holds a brush in his right hand. The double gold chain is the insignia of the knighthood conferred upon him by Charles V in 1533. Thinly painted, the rough canvas showing through the dark reddish-brown background. Possibly the Self-Portrait seen by Vasari in Titian’s house in 1566 which he said had been finished four years earlier, but some critics have suggested an even later date. Acquired by Philip IV when a sale was held of Rubens’ collection in his mansion at Antwerp after his death.
Fall of Man. Canvas, 240 x 186.
Undocumented, but evidently a late work (late 1550s or 1560s). It belonged to Antonio Pérez, Philip II’s secretary, but it is not known how or when he acquired it. Restored after the fire of 1734. Rubens copied the picture on his visit to Madrid in 1628.
Agony in the Garden. Canvas, 176 x 136.
A ‘Christ praying in the Garden’ was started by Titian by July 1559 and was sent to Philip II in April 1562 with the Rape of Europa (now in Boston). It is uncertain whether this is the picture in the Prado or another version (with sleeping apostles rather than the two large soldiers in the foreground) in the Escorial. Both versions are in very poor condition. The Prado picture has usually been accepted as a damaged late work of Titian and his workshop, but has occasionally been ascribed to a Spanish imitator.
Religion succoured by Spain. Canvas, 168 x 168.
This picture was originally intended as an allegorical work for Alfonso I d’Este representing the Triumph of Virtue over Vice. Because of Alfonso’s death in 1534, it was left unfinished in Titian’s studio, where it was seen by Vasari in 1566. Forty years after he had started it, Titian transformed the picture into an allegory of Spain coming to the rescue of Religion. The figure of Minerva was converted into one of Spain, holding a shield emblazoned with the arms of Philip II, and Neptune was converted into a turbaned man pulled by sea horses, alluding to the victory over the Turks at Lépanto (1571). A second version in the Doria-Pamphilj Gallery at Rome is usually attributed to Titian’s workshop.
Allegory of Victory at Lépanto. Canvas, 325 x 274.
Philip II offers his child Don Ferdinando (born December 1571) to Victory, a descending angel with a palm. A captive Turk symbolises the defeat of the Moslem fleet at Lépanto. Apparently, the Spanish artist Sánchez Coello, under directions from the king, prepared the sketch that served as the basis for the composition. The picture was being worked on in 1573 and was shipped to Spain in September 1575. Extensive workshop collaboration is likely. The canvas was considerably enlarged to match the Charles V on Horseback in 1620, when the two pictures were hung at opposite ends of the Alcázar’s Hall of Mirrors. It was damaged by fire in 1734 and is much repainted.

Madrid. Escorial.
New Museum.
Saint Jerome in Penitence. Canvas, 184 x 177.
Part of the last consignment of paintings sent by Titian to Philip II in September 1575. Apart from a brief period in the Prado between 1843 and 1860, it has been in the Escorial since 1584, when it was placed on an altar in the Chapter House. The figure of the saint is related to, though not identical with, that in Titian’s Santa Maria Nuova altarpiece of the 1550s (now in the Brera). The choice of a daylight rather than a dawn or dusk setting is unusual for such a late work. It has been suggested that it is an earlier painting reworked, but there is no hard evidence for this.
Last Supper. Canvas, 207 x 464.
Damaged and heavily retouched. Commissioned by Philip II for the Escorial in 1557 and finished in October 1564. The monks, finding that the picture did not fit the wall of the refectory for which it was intended, cut it down, reducing the height of the canvas by almost one half and removing most of the architectural background. The original composition is preserved in a modello or contemporary copy in the Brera. The St Peter has been seen as a self-portrait.
Adoration of the Kings. Canvas, 139 x 219.
Shipped to Philip II in 1560, and sent to the Escorial in 1574, where it hung over an altar in the Old Church until 1963. Probably damaged by the fire of 1671, in very poor condition and coarsely restored. There is an autograph replica in Milan (Ambrosiana) and copies in Cleveland (Ohio) and the Prado.
Saint Margaret. Canvas, 210 x 170.
The saint, holding a tiny crucifix, emerges from the jaws of the huge dragon that had swallowed her. Probably the ‘portrait of St Margaret’ referred to in a letter to Philip II of 11 October 1552 as having been recently sent to Spain. In poor condition; it was restored in 1949 after years of neglect in the upper cloister. There is another, probably later, version in the Prado. The composition is based on a Raphael – then in a Venetian collection and now at Vienna. 
Agony in the Garden. Canvas, 185 x 172.
Correggio’s Agony in the Garden (now at Apsley House, London) appears to have influenced Titian. Very damaged. There is another version, also in a poor state, with two large soldiers in the foreground, in the Prado. One – it is uncertain which – was started in 1559, shipped to Philip II in 1562 and sent by the king to the Escorial in 1574. The Prado version is perhaps the better known but is judged by Tietze and, more recently, Charles Hope to be the work of a Spanish imitator.
Saint John the Baptist. Canvas, 191 x 115.
Given to the monastery by Philip II in 1577. A variant, in TItian's late style, of the famous Saint John the Baptist from Santa Maria Maggiore (now in the Accademia, Venice). Previously in a poor state, it was often ignored or ascribed to a follower. But following cleaning in 1999, it has been claimed as an autograph work of the late 1560s.      
Old Church.
Martyrdom of St Lawrence. Canvas, 440 x 320.
The largest work of Titian’s old age, based on his earlier painting in the Gesuiti, Venice. Painted between August 1564, when Philip II wrote to the Spanish ambassador in Venice requesting him to order a picture of this subject for the Escorial, and December 1567, when the picture was shipped to Spain. It was intended for the high altar of the New Church in the monastery, which was dedicated to St Lawrence, but it was destined never to hang there. When it arrived, the New Church had not even been begun and the picture was placed in the Old Church. When the New Church was finally completed in 1579, an elaborate Spanish-style retable (with statues by Leone and Pompeo Leoni and paintings by Tibaldi and Zuccaro) was chosen for the high altar in preference to Titian’s picture, which was left in the Old Church. Much damaged. Difficult to visit.
Sacristy.
Christ on the Cross. Canvas, 214 x 109.
Also difficult to see. Possibly the ‘most devout work’ sent to Flanders in 1556 with the Perseus and Andromeda (Wallace Collection), though some critics have dated it later. It was among the pictures sent by Philip II to the Escorial in 1574.

Madrid. Thyssen-Bornemisza Collection.
Portrait of Doge Francesco Venier. Canvas, 113 x 99.
The elderly Doge makes a frail but dignified figure in his golden ceremonial robes. Through the open window on the left is a night scene with a sailing boat and a fire on the lagoon. Francesco Venier (born 1489) held office between 1554 and 1556. Titian painted his ‘official’ portrait (destroyed by fire in 1577) for the Sala del Maggior Consiglio of the Doge’s Palace at the beginning of 1555, and the Thyssen portrait presumably dates from around the same time. He was the last Doge to be portrayed by Titian. Bought by Baron Heinrich Thyssen-Bornemisza in 1930 from Prince Trivulzio of Milan.
Portrait of Antonio Anselmi. Canvas, 70 x 64.
An old, but not original, inscription on the back gives the sitter’s name, his age, 38, and the date, 1550. Antonio Anselmi (c.1512-68) was a Bolognese scholar and poet and, from 1537 to 1547, secretary to Pietro Bembo. The picture seems to be unfinished (there is an empty space where the sitter rests his left arm). Formerly in the Von Dirksen collection, Berlin; acquired in 1929.
St Jerome in the Wilderness. Canvas, 137 x 97.
A very late replica, usually dated 1570-75, of the altarpiece painted in the 1550s for the church of Santa Maria Nuova in Venice and now in the Brera. Probably the St Jerome recorded in 1780 in the Palazzo Balbi, Genoa, and sold in London in 1810. Bought in 1934 from S. E. W. Browne of London.
Madonna and Child. Wood, 38 x 31.
Signed in gold letters on the footstool. Much retouched. If authentic, it would probably be the smallest of all Titian’s paintings. The attribution to Titian – upheld by Crowe and Cavalcaselle, but rejected by most of the older writers – was revived by Suida (1956), who proposed a date of about 1525-30. Hendy dated it much later (after 1540) and Wethey much earlier (about 1515). Heinemann (1980) thought it was executed by Orazio Vecellio and Pedrocco omitted it from his Complete Paintings (2001). Once in the Sarra Palace at Ferrara, it was bought in Rome by Francis Cowper in 1874, and was formerly in the Cowper collection at Panshanger, Hertfordshire. In 2004 the Madonna and Child and the Antonio Anselmi were placed on loan with the newly refurbished Museu Nacional d’Art in Barcelona.

Madrid. Fondo Cultural Villar-Mir.
Madonna and Child with St Luke and St Catherine. Canvas, 128 x 170.
Late (about 1560). The Virgin and Child may have been painted by Titian himself and other parts (including the green curtain and figure of St Luke) by an assistant. Bought by Sir Richard Worsley, ‘British Resident’ at Venice from 1793 to 1797, from the ‘heirs of Dondi d’Orologio of Padua’ for 200 sequins. Worsley’s Venetian pictures were plundered by a French privateer from the ship transporting them to England and sold at Malaga in 1801. A selection of them, including the Titian, were bought by Lucien Bonaparte, who was in Spain as ambassador to the Bourbon court. Sold in London in 1814, and later acquired by Sir John Rae Reid, a Tory politician and future Govenor of the Bank of England. Auctioned at Christie’s in 1954 with pictures from the Panshanger collection, and acquired in 1956 by the Swiss-based German businessman and collector Heinz Kisters. Sold by Kister’s widow, Gerlinda, at Sotheby’s, New York, in 2011 for $16.9 million.

Mamiano (near Parma). Fondazione Magnani-Rocca.
Madonna, Saints and Donor. Canvas, 138 x 185.
A fine and exceptionally well-preserved picture from Titian’s early period (about 1511-15). The two saints are Catherine (sitting, with her broken wheel and sword that martyred her, on a fragment of antique masonry) and Dominic (who presents the kneeling donor to the Virgin and Child). The donor, leaning forward in rapt adoration, may have been from the Balbi family, in whose palazzo at Genoa the picture remained until 1952. It was then sold because of the division of the estate between three heirs, and acquired by Professor Luigi Magnani.

Mantua. Palazzo Ducale. Cabinet of the Caesars.
Eleven Roman Emperors. Painted Reproductions.

Titian's series of eleven half-length portraits of Roman Emperors was commissioned for the Gabinetti dei Cesari in summer 1536 and completed by January 1540. The Emperors were installed in an elaborate decorative scheme devised by Giulio Romano. They hung in stucco frames between niches containing bronze statuettes of the Emperors, and below each was a panel painting illustrating a scene from the Emperor's life. (Some of these panel paintings, executed in Giulio Romano's workshop, are preserved in the British Royal Collection and elsewhere.) The Emperors remained in situ until 1627-28, when they were sold with the rest of the Gonzaga collection to Charles I, who hung them at St James Palace. They went to Spain during the Commonwealth and were destroyed by the 1734 fire at the Alcázar. Their compositions are recorded in many old copies. Perhaps the finest of these are pen-and-ink drawings (now at Düsseldorf) made around 1568 by Ippolito Andreasi for the Mantuan collector and dealer Jacopo Strada.     

Mantua. Collezioni Comunali (Casa di Mantegna).
Portrait of Giulio Romano. Canvas, 102 x 87.
Giulio Romano (c.1499-1546) was Raphael’s principal assistant and later Federico Gonzaga’s court painter and architect. He displays the plan of a circular building (the rotunda in Mantua Cathedral?). The portrait was probably painted in the mid to late 1530s, when Titian was working extensively for the Gonzaga and made regular visits to the court at Mantua. Acquired by Charles I with the Gonzaga collection. Sold by the Commonwealth, it entered the collection of Lord Kinnaird in the late eighteenth century and remained with the family until 1946. Later owned by Ferdinand Marcos, President of the Philippines, it was auctioned with the former dictator’s collection at Christie’s in 1991, and entered the Mantuan public collections via the Zurich dealer David Koetser.

Medole (near Brescia). Duomo.
Christ appearing to His Mother. Canvas, 276 x 198.
Probably painted in 1554, when Titian asked the Duke of Mantua to transfer the canonry of Medole from his son Pomponio to one of his nephews. The unusual subject seems to have been derived from the apocryphal Gospel of Nicodemus, which describes the cross being set up in hell and Adam and Eve and the Old Testament patriarchs being led forth. The execution appears to be largely by Titian’s workshop. Restored in 1968-69, after being cut from its frame and stolen.

Melbourne. National Gallery of Victoria.
Bust of a Franciscan Friar. Canvas, 85 x 75.
Bought by the gallery in 1924 from Agnew’s, which had acquired it from the Italian restorer Prof. Publio Podio. The attribution, published by von Hedeln in the 1924 Burlington Magazine, was rejected by Wethey (1971) but has been accepted by most other critics. Usually dated around 1550. An interesting suggestion (published in 2007 by Jaynie Anderson) is that the sitter might be Fra Curado, the Franciscan confessor of Titian and Pietro Aretino, who was imprisoned in 1549 on a charge of Lutheranism. 

Milan. Brera.
St Jerome in Penitence. Canvas, 255 x 125.
The head and paws of the sleeping lion are just visible in the bottom right-hand corner. The skull and hourglass on the rock on the left are symbols of penitence. The ivy climbing up the rock on the right symbolises eternal life. An altarpiece from the small parish church of Santa Maria Nuova in Venice, where it hung over the first altar on the left. The church was rebuilt in the 1550s, and recently discovered documents indicate that the picture was painted in 1557-59. It was commissioned by a merchant from Cologne called Rigo Helman, who in 1556 was granted the right to erect an altar in the church. Helman was the brother-in-law of Giovanni d'Anna, who had commissioned the great Ecce Homo now in Vienna. The patron's name appears as 'Elman R' in the inscription on the book propped up on the rock on the left. The church was closed during the French occupation at the beginning of the nineteenth century, when the picture was taken to the Brera. There are other versions, dating from the very end of Titian’s career, at Madrid (Escorial and Thyssen-Bornemisza Collection). The arched top is a later addition.
Portrait of Antonio Porcia. Canvas, 115 x 93.
The sitter is depicted half-length beside a window looking out over a landscape. The same compositional format was used by Titian for the Portrait of Eleonora Gonzaga of 1537 in the Uffizi, and Antonio Porcia's portrait probably dates from a similar time. It is signed beneath the hand resting on the ledge. Antonio Porcia was from an old aristocratic family in the Friuli, and the portrait remained in the family castle (very near Pordenone) until around 1830, when it was taken to Milan by Prince Alfonso di Porcia. Given to the Brera in 1891 by Duchess Eugenia Litta Visconti Arese, the last of the Porcia line. It was restored the same year by the renown Milanese painter-restorer Luigi Cavenaghi.
The Last Supper. Canvas, 170 x 216.
Sometimes thought to be either a modello for, a contemporary copy of, the Last Supper commissioned in 1557 by Philip II and finished in 1564. (When the painting was sent to the Escorial in 1574, it was found to be too big for the position prepared for it in the refectory, and the top was drastically cut down.) Another possibility is that it is a small workshop version of an earlier Last Supper painted by Titian for the refectory of Santi Giovanni e Paolo in Venice. (That Last Supper was destroyed by fire in 1571 and replaced by Veronese's Christ in the House of Levy.) The canvas was given to the Archbishop of Milan in 1650, and entered the Brera in 1896.

Milan Ambrosiana.
Portrait of an Old Man in Armour (Gregorio Vecellio?). Canvas, 65 x 58.
Described in the bequest of Cardinal Federico Borromeo’s pictures to the Ambrosiana in 1618 as a portrait of Titian’s father as a soldier. A small piece of evidence in support of this intriguing identification is a statement in the funeral oration of Francesco Vecellio, Titian’s brother, that Titian painted his father in a leather cuirass. The portrait is usually dated about 1535.
Adoration of the Kings. Canvas, 118 x 222.
One of four versions; the others are in the Escorial and Prado (Madrid) and at Cleveland (Ohio). An Adoration of the Kings was commissioned in about 1556-57 by Cardinal Ippolito d’Este as a present for Henry II, but it was never sent to the French king, who was fatally wounded in a jousting accident in 1559. This original version is probably the picture (now much damaged) at the Escorial. The Ambrosiana version is probably an autograph replica. It was sent to Rome in 1564 and placed in a chapel in Cardinal Ippolito’s palazzo. It was bought by San Carlo Borromeo (who bequeathed it to the Ospedale Maggiore in Milan on his death in 1584) and presented to the Ambrosiana in 1618 by Cardinal Federico Borromeo, Archbishop of Milan. The original frame is decorated with bows and arrows, the emblems of Diane de Poitiers, Henry II’s mistress. 

Milan. Castello Sforzesco.
Portrait of Seigneur d’Aramon. Canvas, 74 x 74.
Seigneur d’Aramon, identified by the inscription along the top, was a French diplomat. He visited Venice several times in the 1540s, when this portrait was probably painted. The arrows he holds in his right hand may have some heraldic meaning. Signed lower left. Bequeathed to the museum in 1928 with the collection of Prince Trivulzio of Milan.

Minneapolis. Institute of Arts.
Temptation of Christ. Wood, 91 x 73.
Satan, disguised as a youth, challenges Christ to change a stone into bread. Probably painted in the early 1540s. Cut down at the bottom and much restored. It was bought by a Mr H. T. Hope at the Orléans sale in London in 1798-99, and remained in the Hope family until 1917. Acquired by the Minneapolis Institute in 1925.

Munich. Alte Pinakothek.
Vanity. Canvas, 97 x 81.
X –ray analysis suggests that the beautiful woman was originally holding up her hair with her left hand. The mirror, which reflects jewels and gold coins as symbols of worldly possession, was apparently a later (seventeenth-century?) addition – transforming a portrait into a moral statement. The picture was formerly ascribed to Palma Vecchio (in the Elector of Bavaria’s collection in 1618), Salviati (at Schleissheim in 1748), Pordenone (Crowe and Cavalcaselle) and Giorgione (up to 1884 in the Alte Pinakothek). The attribution to Titian was made by Morelli (1880). Relatively early (about 1515-20).
Portrait of a Gentleman. Canvas, 89 x 74.
An early portrait, usually dated about 1515-20. From the Electoral Gallery at Dusseldorf, where it was mistakenly believed to be a portrait of Pietro Aretino. At the Alte Pinakothek since 1836.
Portrait of Charles V. Canvas, 205 x 121.
The Emperor, dressed in black, looking tired and older than his 48 years, is seated on a balcony in a crimson velvet chair. One of a series of portraits painted when Titian stayed at the imperial court at Augsburg for nine months in 1548. The same figure was repeated in a lost double portrait with the Empress Isabella, now known only through a copy by Rubens. In 1650 the portrait is said to have belonged to the Fugger family at Augsburg; by 1758 it had entered the collection of the Electors of Bavaria at Schloss Schleissheim. Some critics have seen the hand of an assistant (particularly in the landscape and in the cloth of honour behind the emperor), but the canvas is not in good condition.
Madonna and Child. Canvas, 174 x 133.
Probably the picture of ‘Our Lady with the Child in her Arms’ which was sent to Philip II in 1562 along with the Agony in the Garden and the Rape of Europa. Formerly in the sacristy of the Escorial, it was removed by General François H. S. Sebastiani during the Napoleonic occupation of Spain and purchased from him privately in Paris in 1815 for Ludwig I.
Mocking of Christ. Canvas, 280 x 181.
A very late work (about 1570?), which repeats the general composition of the earlier painting in the Louvre. Presumably intended as an altarpiece, it is uncertain whether it was ever completely finished. (It has no signature and is not known to have left Titian’s studio.) According to Ridolfi (1648), it was acquired by Jacopo Tintoretto from Titian’s son Pomponio, and was sold by Jacopo’s son Domenico to a northern merchant. It was in Munich by 1748. It was taken to Paris after the French troops entered the city in 1800, but was recovered after the fall of Napoleon.

Naples. Capodimonte.
Danaë. Canvas, 120 x 172.
The subject is from Ovid’s Metamorphoses. Danaë, imprisoned by her father in a brazen tower, is seduced by Jupiter disguised as a shower of gold. At the end of the bed, Cupid (posed like Lysippus’s Cupid Bending His Bow) looks up at Jupiter’s cloud in astonishment and fear. Painted in 1544-46 for Cardinal Alessandro Farnese, grandson of the Pope. Danaë is a portrait of the cardinal’s Roman mistress Angela – a drawing of whom was supplied to Titian by Giulio Clovio. Vasari saw the picture unfinished when, with Michelangelo, he visited Titian in the Belvedere at Rome. Michelangelo is said to have remarked that Titian’s ‘colour and manner much pleased him, but it was a pity that in Venice painters did not learn to draw well from the beginning.’ The picture was looted by the Germans during World War II and discovered, covered in mould, in 1945 in the Austrian salt mine at Bad Aussee. Like other Titians in the gallery, it was cleaned in 2005. Besides numerous copies, there are later variants in London (Apsley House), Madrid, St Petersburg and Vienna. In the variants, Cupid is replaced by a maidservant catching the golden shower in her apron (London, Madrid and St Petersburg) or in a metal dish (Vienna).
Pope Paul III (bareheaded). Canvas, 114 x 89.
Titian’s first portrait of the Pope, painted at Bologna in April-May 1543, when the Pope was seventy-four. It follows the formula for papal portraits (three-quarter length and seated in an armchair) established by Raphael’s Julius II thirty years before. Whereas Julius II held a mappa (or napkin), Paul III’s right hand rests on a bursa – a purse used to distribute coins at the pope’s coronation. Titian received no payment for the portrait, apart from two scudi and twenty soldi for the transport of the painting to Rome. In a letter to Benedetto Varchi, Vasari says the portrait was so life-like it caused people to doff their hats. 
Pope Paul III with his Grandsons. Canvas, 210 x 174.
Paul III, an old man of seventy-eight, sits in the centre of the picture speaking to Ottavio, who bends down in genuflection, cap in hand. Cardinal Alessandro stands in the background. Painted in 1546 in Rome, where Vasari saw it. It is unfinished; the Pope’s head, in particular, is only sketched in and his right hand is missing. It has been suggested that the Pope’s senile appearance and the obsequious attitudes of the grandsons offended the sitters. Alternatively, Titian’s success in securing a benefice for his eldest son Pomponio, who had become a priest, may have meant he had no further incentive to stay in Rome, or he could have left the picture unfinished as an inducement for the Farnese to invite him back. The composition was probably influenced, in a rather general way, by Raphael’s Pope Leo X with Two Cardinals, which Titian would have known through Andrea del Sarto’s copy at Mantua (also now in the Capodimonte). The unfinished painting seems to have remained in storage somewhere in the Palazzo Farnese until 1653, when it was given a frame and a silk cover. 
Pope Paul III (with cap). Canvas, 108 x 80.
Probably painted in Rome in 1545-46, and almost a replica of the portrait painted in Bologna in 1543. So damaged that little remains of the original painted surface. There are other versions (probably from Titian’s studio) at St Petersburg and Vienna.
Portrait of Philip II. Canvas, 188 x 101.
Probably a little later than the full-length portrait in Madrid of Philip II in Armour (about 1550). An assistant was probably responsible for the meticulously painted costume. There is another version, with an architectural setting, in the Pitti Palace, Florence.
Portrait of Alessandro Farnese. Canvas, 99 x 79.
Alessandro Farnese (1520-89), cardinal of San Lorenzo and Damaso, was the grandson of Pope Paul III. A great patron of the Jesuits, he was responsible for the building and decoration of the Gesù and the Jesuit College in Rome. The portrait was probably painted either at Bologna in 1543 or at Rome in 1545-46. The attribution, often doubted in the past, has been confirmed by the recent cleaning. The removal of overpaint has revealed the yellow-green curtain on the left.
Portrait of Pierluigi Farnese. Canvas, 106 x 85.
Pierluigi, wearing black armour, is shown against a rose-coloured banner held by a young soldier. The picture is in very poor condition. It was probably painted in Piacenza in 1546 when Titian was returning to Venice from Rome. Pierluigi, Duke of Parma and Piacenza, was the son of Pope Paul III and acted as his agent in creating the Farnese empire. He was murdered at his castle in Piacenza in 1547.
Mary Magdalene. Canvas, 128 x 103.
On 1 December 1561, Titian wrote to Philip II announcing the despatch of a painting of Mary Magdalene. According to Vasari, Silvio Badoer, a Venetian nobleman, saw the original in the painter’s studio and bought it for a hundred crowns, so that Titian had to paint another. The version sent to Spain is now lost, while the version that remained in Venice has not been identified with certainty. The painting in Naples, which is signed, was probably given to Alessandro Farnese in 1567. There is a superior version in the Hermitage, as well as other replicas in the Getty Museum and elsewhere.
Portrait of Pietro Bembo. Canvas, 116 x 98.
Probably painted during Titian’s visit to Rome in October 1545-March 1546, when the elderly Bembo (who had only a year or so to live) was also in the city. Very damaged and repainted. Titian might have delegated the portrait to his son Orazio, who was his assistant in Rome.  
Portrait of a Girl. Canvas, 84 x 75.
Probably painted in Rome in 1545-46. Attempts have been made to identify the fair-haired teenager as a member of the Farnese Papal circle, such as Clelia the illegitimate daughter of Alessandro Farnese, or Cardinal Alessandro's young mistress Angela. She has also (predictably) been called Lavinia, Titian’s own daughter. The portrait was among the pictures looted by the Germans during the Second World War and discovered in 1945 in an Austrian salt mine. In poor condition.

Naples. San Domenico Maggiore.
Annunciation. Canvas, 280 x 210.
The composition is related to that of an Annunciation painted by Titian in 1537 for Santa Maria degli Angeli in Murano (now lost but recorded in an engraving by Caraglio). Though mentioned as a work of Titian in 1624, it was described in the eighteenth century as a copy by Luca Giordano and largely ignored until 1925, when it was rediscovered by Roberto Longhi. Probably painted in about 1557, when the altar, dedicated to the Virgin, was consecrated. In very poor condition (restored in 2006). The picture has recently been displayed in the Capodimonte. There is a copy by Luca Giordano in the church of San Gines in Madrid.

New Haven. Yale University Art Gallery.
Circumcision. Wood, 37 x 79.
The composition is related to that of Giovanni Bellini’s Circumcision of about 1500 (of which there are many versions – the best in the National Gallery, London). Despite its ruined condition, this small panel is usually considered a very early work of Titian (about 1508-10). Acquired by Yale in 1871 with the Jarves collection as a work of Giorgione, and later ascribed to Cariani. The attribution to Titian was made by Berenson in his 1932 Lists, after the picture had been cleaned (it was previously almost totally repainted). The original purpose of the panel is uncertain. Joannides (2001) argues that it came from a predella, and conjectures that it stood under a picture, sometimes ascribed to the young Titian, of the Risen Christ (formerly in the collection of Achillito Chiesa at Milan, bequeathed to the Florentine Galleries in 1969 with the Contini-Bonacossi collection, and now exhibited in the Uffizi).

New York. Metropolitan Museum.
Madonna and Child. Wood, 46 x 56.
The Virgin sits on a marble parapet, almost in profile against a dark background, with a tree and evening landscape on the right. This small but richly coloured panel had a varied critical history. For Crowe and Cavalcaselle it was an early work of Titian, but for Claude Phillips it was the work of ‘an anonymous Venetian of the second order’ and for Berenson (1899) an early work of Domenico Caprioli. Berenson later changed his mind, reattributing the picture in 1928 to Titian as a very early work, painted shortly before the Paduan frescoes of 1511. This is now the general view. Acquired in Italy at the end of the seventeenth century by the Earl of Exeter. Bought by the London merchant-banker Robert Benson in 1895 and by the New York banker Jules Bache in 1929. Bequeathed in 1949. Harshly cleaned in the past, it has lost some of its delicacy of finish. The ornate cassetta frame, carved with garlands of oak leaves and acorns, is not original but was made in 1928 by Duveen's Italian framemaker, Ferruccio Vannoni.   
Venus with a Lute Player. Canvas, 157 x 205.
Probably a partly autograph late work, dating from the late 1550s or early 1560s. The rich landscape, where satyrs and nymphs dance to Pan pipes, is of high quality, but some parts (including the heads of Venus and Cupid and the curtain behind Venus) appear to be either the work of an assistant or of a later artist who worked on the picture after Titian’s death. The picture may be slightly unfinished (the viol in the foreground and parts of the landscape being only blocked-in with thin underpaint). There is another, possibly slightly earlier, version in the Fitzwilliam Museum, Cambridge. According to inventories of the pictures at Holkham Hall, Norfolk, where the New York version remained until 1936, it was bought in Rome in the eighteenth century from the collection of Prince Pio of Savoy.
Venus and Adonis. Canvas, 107 x 133.
A smaller, later version, probably dating from the 1560s, of the picture in the Prado. It is by Titian himself according to some critics, by his workshop according to others. We know that Orazio Vecellio, the painter’s son, made small replicas of the Venus and Adonis. The Cupid with the dove does not appear in the Prado picture but does appear in another smaller, later version in Washington. Once in the Palazzo Mariscotti at Rome, and later in the Earl of Darnley’s collection at Cobham Hall. Bequeathed to the museum by Jules Bache in 1949. It benefited considerably from cleaning in 1976.
Portrait of a Man. Canvas, 50 x 45.
The long-haired, full-bearded young man gazes thoughtfully to the left, while removing his right glove. Cut down on all sides (the right arm may originally have rested on a parapet) and damaged by over-cleaning, the underpainting showing through, especially on the face. Attributed to Giorgione in the nineteenth century, when it belonged to the poet Walter Savage Landor at his villa in Florence. Although Berenson thought it was a work of the young Titian (‘or else only a copy after such a work, the copy by Polidoro Lanzani’) when it was shown in the famous Venetian Exhibition at the New Gallery in 1894-95, he later changed his mind, and it was as a Giorgione that it was sold by Duveen Brothers in 1912 to Benjamin Altman, who bequeathed his collection to the Metropolitan Museum the following year. Berenson kept the Giorgione attribution right through to his final Lists of 1957, but opinion had already shifted in favour of Titian. Datings have ranged from 1508-10 to about 1515.
Portrait of Filippo Archinto. Canvas, 118 x 94.
Filippo Archinto (1495/1500-58) was a prominent Milanese prelate and diplomat, who is known for promoting the cause of the early Jesuits. The portrait was probably painted in the mid-1550s, when he was papal nuncio in Venice. There is another version at Philadelphia in which the figure is half concealed behind a mysterious transparent curtain. Both versions were still in the possession of the Archinto family in Milan until 1863, when they were sold in Paris with attributions to Titian (the Philadelphia version) and Leandro Bassano (the Met version). The Met version, reattributed to Titian by Bernard Berenson, was sold in 1913 by Duveen for $250,000 to Benjamin Altman, who bequeathed his collection to the museum in the same year. The old ascription to Leandro Bassano was revived in 1967 by Richard Betts (Art Bulletin), but most opinion has favoured an attribution to Titian (and/or his workshop). There has been no agreement on which of the two versions is likely to be have been painted first.
Portrait of Doge Andrea Gritti. Canvas, 102 x 81.
This portrait was among the pictures inherited by Titian's son Pomponio Vecellio and sold in 1581 to Cristoforo Barbarigo. Still with Barbarigo's descendants until the late nineteenth century, it was bequeathed to the Metropolitan Museum in 1931 with the collection of Michael Friedsam. The portrait is scarcely of Titian's autograph standard. It could, conceivably, have been left unfinished and then worked on by another hand after Titian's death. The Metropolitan Museum calls it a studio work. Some half-dozen other versions are known. (One, arguably superior, was auctioned at Sotheby's in December 2016.) Another portrait of Doge Gritti by Titian, different in composition, is in the National Gallery of Art, Washington.          

New York. Frick Collection.
Portrait of Pietro Aretino. Canvas, 102 x 87.
Pietro Aretino – dramatist, poet, satirist, pamphleteer, gossip, art critic and pornographer – is known today chiefly for his letters (published in six books between 1537 and 1557). Dubbed (by Ariosto) the 'scourge of princes', he acquired wealth and influence by flattering and blackmailing the rich and powerful. After some years in Rome, where he published obscene sonnets and anti-papal satires, he settled permanently in Venice in 1527 and immediately struck up a friendship with Titian. This friendship – both warm and mutually useful – remained unbroken over the nearly thirty years that passed before Aretino's death. Titian's extraordinary success in attracting important patrons was due in no small measure to Aretino, who vigorously promoted the painter's work, sought commissions for him and even acted as his secretary in composing formal letters. Titian painted Aretino on at least four occasions. The Frick portrait is perhaps the one painted in only three days for the printer Francesco Marcolino, which Vasari says was not as fine as the portrait given by Aretino himself to Cosimo de’ Medici and now in the Pitti Palace. The Frick portrait has been dated after 1548 on the grounds that in that year Aretino stopped dyeing his beard. Recorded in 1692 in the Palazzo Chigi at Rome, where it remained until 1904. Acquired by Frick in 1905 at Colnaghi’s.
Man in a Red Cap. Canvas, 79 x 68.
The pensively melancholy young man wears a splendid black fur-lined cloak and a red hat, which gives the picture its name, and holds the gold and silver hilt of his sword in his gloved left hand. An early portrait, once attributed to Giorgione. It is usually dated about 1516 on the basis of a resemblance to a portrait in Frankfurt which is inscribed with this date on the back. It was probably in Florence in the seventeenth century, since Carlo Dolce made a drawing of it. Bought by Frick in 1915 from the collection of Sir Hugh Lane.

New York. Public Library.
Triumph of Faith. Woodcut, 39 x 264.
Titian has treated the subject, which may have been suggested by Savonarola's Triumph of the Cross (published in Florence in 1497), in a similar fashion to representations of Roman Triumphs (such as Mantegna's famous Triumph of Caesar). A great procession is led by Adam and Eve, who are followed by Old Testament Patriarchs (Noah with the ark, Moses with the tablets and Abraham brandishing his knife), Prophets, Sibyls with banners, the Innocents, and St Dismas (the good thief) carrying the cross. Christ, in the middle of the procession, is enthroned on a chariot drawn by the  symbols of the Evangelists (eagle, lion, ox and angel) and pushed forward by the Doctors of the Church. Behind the chariot is a throng of Apostles, martyrs (Sebastian, Lawrence and Stephen prominent among them) and saints (including St George in shining armour and the giant St Christopher carrying the Christ Child on his shoulders). St Francis and St Anthony of Padua bring up the rear. 
The huge, frieze-like print was extremely popular, and six separate versions of it were produced in the sixteenth century. Vasari says that it was engraved in 1508, but most recent art historians have found such an early date implausible. The earliest dated edition was published in Venice in 1517 by the prolific printer Gregorio de' Gregoriis. It was printed from five blocks. Another early, but undated, version is signed by the cutter Luca Antonio degli Uberti. It is printed from nine blocks and is distinctly cruder in execution than the 1517 version. There were two Flemish editions (one printed in 1543 in Ghent and one a few years later in Antwerp) and two later Italian editions (one by Andrea Andreani and the other anonymous). The New York Public Library has the complete 1517 print, the British Museum has the Andreani version and the Bibliothèque Nationale, Paris, has the Antwerp one. Many other museums and libraries have sheets from one or more of the six editions.        

Omaha (Nebraska). Joslyn Art Museum.
Man with a Falcon (Giorgio Cornaro?). Canvas, 109 x 97.
The burly young man, shown half-length and almost in profile against a dark brown background, strokes the breast of the splendid peregrine falcon chained to his gloved left hand. The head of his hunting spaniel is seen in the bottom left corner. Signed on the left, just above the dog's head. An inscription formerly on the back (lost when the canvas was relined) identified the sitter as Giorgio Cornaro, the brother of Caterina Cornaro, Queen of Cyprus. However, that Giorgio Cornaro (who was born in 1447 and died in 1527) would have been either very old or dead when the portrait was painted. It has been plausibly suggested that the sitter is another Giorgio Cornaro – Queen Caterina's great-nephew, Giorgio Cornaro the Younger (1517-71). This Giorgio Cornaro, who was born in Crete but emigrated to Venice in 1535, is best remembered for building the Palladian Villa Cornaro at Piombino Dese. The portrait has been traced back to an inventory of the Cornaro family drawn up in 1593. It was sold in Paris with the Prince of Carignano’s collection in 1743. For most of the nineteenth century, it was in the collection of the Earls of Carlisle at Castle Howard in Yorkshire. It subsequently passed through the hands of a New York collector (E. L. Milliken), a Berlin collector (Edward Simon) and two prominent art dealers (Joseph Duveen and Daniel Wildenstein). Bought in New York by the Joslyn Museum in 1942. The portrait, previously much darkened by old varnish, was restored in 2008.

Ottawa. National Gallery of Canada.
Portrait of Daniele Barbaro. Canvas, 86 x 71.
Daniele Barbaro (1514-70), the celebrated humanist, is famous chiefly for his commentaries on Aristotle and his translation of Vitruvius. Titian’s portrait was praised in a letter, dated 25 February 1545, from Aretino to Paolo Giovio, Bishop of Como, who collected portraits of famous people. It remained in the Giovio collection at Como until 1905. There is another version, almost identical, in Madrid. The Ottawa picture was previously in a very darkened state (dirty, water-damaged and badly restored), and there was some question as to whether it or the Madrid version is Titian's original. However, its authenticity was confirmed by cleaning in 2009-12 and the discovery (by X-rays) of significant pentimenti. Paolo Veronese's famous portrait of Barbaro (Rijksmuseum, Amsterdam) was painted some twenty years after Titian's. 

Oxford. Ashmolean Museum.
Portrait of Giacomo Doria. Canvas, 116 x 98.
The sitter’s name is written by his left shoulder. Giacomo Doria was a member of the noble Genoese banking, merchant and naval family. He lived in Venice in the 1530s, when this portrait was probably painted. Bought by Sir Julius Wernher in about 1902 from a Neapolitan collection, and acquired by the museum when the Wernher collection was sold at Christie’s in 2000.
Triumph of Love. Canvas, 88 in dia.
Cupid, about to shoot an arrow, balances on the back of a crouching lion. The canvas, originally rectangular, is thought to be a rare surviving example of a timpano – the painted cover for a portrait. The portrait in question has been identified with one listed in an old inventory of ‘a lady dressed in black with her right hand to her chest’. The Triumph of Love is first recorded, without attribution, in 1602 in the Ca’ Vendramin at Santa Fosca in Venice. After passing through the Orsetti and Bernardi collections, it was acquired at the end of the eighteenth century by the British merchant and diplomat John Udney. In 1874 it was bought at Christie’s for 110 guineas by William Graham, a Glasgow politician best known as a patron of the Pre-Raphaelites Rossetti and Burne-Jones. It remained with Graham’s descendants until 2008, when it was accepted (at a valuation of £430,000) by the Exchequer in lieu of tax. Cleaning, which removed discoloured varnish and extensive repaint, revealed that the painting is less damaged than had been feared. The best-preserved part is the Cupid. A dating around the mid-1540s has been proposed. (See the article by Catherine Whistler and Jill Dunkerton in the August 2009 Burlington Magazine.)

Oxford. Christ Church.
Adoration of the Shepherds. 
Wood, 94 x 112.
This badly abraded picture is not normally on show, but it was exhibited at Christ Church briefly in late 2015/early 2016. It is one of two versions: the other, also damaged, is at the Pitti Palace. The Oxford version once belonged to Charles I. It left the Royal Collection with the Commonwealth Sale, and was bequeathed to Christ Church in 1765 by General John Guise. The extent of the damage is such that it is no longer possible to say with any confidence whether the picture is an autograph Titian, a workshop replica or old copy. The composition, which probably dates from the 1530s, was reproduced in a contemporary print by the German wood engraver Giovanni Britto. 

Padua. Museo Civico.
Two Mythological Scenes. 
Wood, 35 x 106.
The two long narrow paintings are often assumed to be cassone panels, but are perhaps more likely to have decorated some wood panelling or formed sections of the frieze of a room. One panel represents the Birth of Adonis (Ovid's Metamorphoses, Book X). Myrrha seduced her father Cinyrus and gave birth to Apollo after being transformed into a myrrh tree. (The woman sitting alone on the right might be Venus, who fell in love with Adonis when he had grown to a handsome youth.) The other panel is often called the Wood of Polydorus, but perhaps represents the Story of Erysichthon (Metamorphoses, Book VIII). Erysichthon scorned the gods by felling a sacred oak tree, decapitating an attendant who tried to stop him. He was afflicted at once with an insatiable hunger, and eventually gnawed his own flesh and died. (The women on the left – one naked and the other sitting against a tree – conceivably represent Limos, spirit of hunger, and Mestra, Erysichthon's daughter, whom he sold into slavery.) The panels were bequeathed to the museum in 1864 with the collection of Emo Capodilista. The original attribution to Giorgione was largely abandoned in the early twentieth century in favour of one to Cariani. The attribution to Titian, as very early works, is more recent. It was made in 1942 (by Antonio Morassi in his Italian momograph on Giorgione) and endorsed by Italian art historians (including Roberto Longhi and Rodolfo Pallucchini). American and British historians have mostly rejected the attribution. Joannides (2001), a notable exception, supports the Titian attribution 'with confidence' and with a dating of 'probably 1509'.    

Padua. Scuola del Santo.
Miracles of St Anthony. Frescoes.
The three frescoes here by Titian are his earliest securely documented surviving works. They represent: St Anthony granting speech to a newborn child, enabling it to testify in favour of its mother who had been unjustly accused by her husband (320 x 315); the saint healing a youth who had cut off his own foot (327 x 220); and the saint restoring to life a wife who had been killed by her jealous husband (327 x 183). They were painted between 1 December 1510 (when Titian’s name first appears in the account book of the Scuola) and 2 December 1511 (the date on the last receipt of payment of four gold ducats). The three scenes were executed in just twenty-three giornate (days of work). Titian’s frescoes are part of a series of sixteen showing miracles of St Anthony. Several other artists were involved, including Domenico Campagnola, Bartolomeo Montagna and Francesco Vecellio.
The sinopia of a fourth scene has also been attributed to Titian. It was discovered in 1969 on the wall above the door under a fresco painted by another artist (Francesco Vecellio?). It has been detached and is displayed in the Museo Antoniano.

Paris. Louvre.
Fête Champêtre’. Canvas, 110 x 138.
It is uncertain whether this famous picture illustrates a scene from classical mythology, is an allegory of some sort, or is simply a pastoral scene, without any precise meaning but evoking a mood. From the mid-seventeenth century, when it was first recorded in the collection of the German banker Everhard Jabach, to the early nineteenth century, it was regarded as a typical work of Giorgione. The traditional attribution was first doubted by Waagen (who suggested Palma Vecchio) and Crowe and Cavalcaselle (‘an imitator of Sebastiano del Piombo’). Titian’s name seems to have been first suggested by Lafenestre in 1886. The question of attribution has never been resolved. Some critics still believe that it is by Giorgione, and others (eg Wethey) that it was started by Giorgione and finished by Titian. It does not appear, as sometimes stated, to have been in the collections of the Gonzaga at Mantua or of Charles I of England. It was possibly purchased in Venice by Lady Arundel in 1622 and bought by Jabach at the sale of the Arundel collection at Utrecht in 1662. It was certainly among the hundred or so pictures sold by Jabach to Louis XIV. It was the source of Manet’s famous Déjeuner sur L’Herbe. The picture appears to be in good condition, but the layers of old varnish have discoloured and the colours would originally have appeared brighter and sharper.
Woman with a Mirror. Canvas, 96 x 76.
The beautiful young woman, at her toilette, braids her hair with her right hand and touches a perfume jar with her left. A man, shadowy in the background, supports a large convex oval mirror with his left hand and holds up another, small mirror with his right. The picture (which was known as Titian’s Mistress after the Life when it was in Charles I’s collection and was later erroneously identified as the ‘stupendous’ portrait of Alfonso d’Este’s consort Laura Dianti mentioned by Vasari) probably symbolises the vanities of life. Early (around 1513-15). Acquired by Charles I in 1627 with the Gonzaga collection; when the King’s collection was sold in 1649 it was acquired by Jabach, who was forced to sell his collection to Louis XIV in 1671. It appears to have been one of the earliest of Titian’s compositions from which workshop replicas were made (examples at Barcelona, Prague and Washington).
Man with a Glove. Canvas, 100 x 89.
This remarkable portrait of an aristocratic youth probably dates from the early 1520s. It is possibly the Giovenetto by Titian listed in the 1627 inventory of the Gonzaga collection; valued at £40 in the Commonwealth sale of 1651, it passed into Louis XIV’s collection via Jabach. In spite of the signature on the marble block, the attribution was once doubted, and the painting languished, damaged and repainted, in storage for many years. In the early twentieth century, there were unsuccessful attempts to identify the sitter as Gerolamo Adorno, Charles V’s ambassador to Venice, and as Giambattista Malatesta, the Duke of Mantua’s representative. More recently, Charles Hope (1980) suggested that the portrait could represent Ferrante Gonzaga (Marquis Federico’s younger brother) in 1523 at the age of sixteen, following his return from a year at the Spanish court.
Portrait of a Man in Black. Canvas, 118 x 96.
The dark, bearded man, dressed entirely in black, has his right hand on his hip and rests his left hand on the wallet hanging from his belt. The portrait has the same provenance as the Man with a Glove and was probably painted around the same time (early 1520s). It, rather than the Man with a Glove, could conceivably be the Portrait of Gerolamo Adorno (a Genoese nobleman who served as an imperial envoy in Venice and died in 1523), which was sent to Federico Gonzaga, together with one of Pietro Aretino.
The Entombment. Canvas, 148 x 212.
A source for the composition (as for Raphael’s Borghese Entombment) may have been a relief on a Roman sarcophagus of Meleager carried from the Calydonian Boar Hunt. Titian painted several Entombments, including one of 1559 for Philip II (Prado). The Louvre picture is much earlier (about 1516-26). It has a Mantuan provenance, and is usually assumed to have been painted for Federico Gonzaga or his mother Isabella d’Este. It came to England when Charles I bought the Gonzaga collection from Vincenzo II in 1627. After Charles’s execution, it was sold for £120 to Jabach, whose collection was acquired by Louis XIV. It has been enlarged by a total of 20 cm at the top and bottom.
Madonna of the Rabbit’. Canvas, 70 x 84.
Signed on St Catherine’s wheel. Sometimes identified as the painting of ‘Our Lady with St Catherine’ which, we know from a letter from Giacomo Malatesta to Federico Gonzaga, Titian was working on in February 1530. The shepherd stroking his dog resembles Federico; X-rays reveal that in the original composition Mary was looking towards him, perhaps as a donor. One of Titian’s most carefully finished pictures – the foreground detail (grass, flowers and basket of fruit), the pearls in St Catherine’s hair and gold threads in her silk scarf are meticulously described. Probably given to Cardinal Richelieu by Vincenzo Gonzaga in about 1624-25 and acquired by Louis XIV in 1665.
Allegory. Canvas, 121 x 107.
There is a tradition, dating back to the seventeenth century, that the picture represents the famous commander Alfonso d’Avalos, Marquis of Vasto, his wife Marie of Aragon and their family. The subject was later interpreted as ‘Titian and His Mistress’ and as ‘Alfonso d’Este and Laura Dianti’. More recently, Panofsky and others have seen the picture, not as a portrait, but as an allegory of marriage – in which the union of the man (dressed in the armour of Mars) and the woman (who is dressed as Venus and looks into her crystal ball to divine the future) is witnessed by Love, Hymen and Fertility. The picture, which probably dates from the early 1530s, was bought by Prince Charles at auction during his visit to Spain in 1623. It was acquired by Louis XIV from Jabach. The popularity of the picture in the sixteenth century is attested by the very large number of old copies.
Christ at Emmaus. Canvas, 169 x 244.
Signed bottom left, near the cat’s head. Vasari saw a ‘Christ seated at a table with Cleophas and Luke’ above a door in the Salotta d’Oro in the Doge’s Palace, and says it was painted for a gentleman of the Contarini family, who presented it to the Signoria. The Louvre picture is a replica done for the Maffei family at Verona. (X-ray analysis has revealed the family crest on the tablecloth.) Count Nicola Maffei often acted as Federico Gonzaga's representative in his dealings with Charles V, and the imperial eagle sketched on the wall probably refers to Maffei's loyalty to the emperor. The painting was bought by Charles I with the other Gonzaga pictures, and was valued at £600 in the sale of the royal collection. It was acquired by Louis XIV from Jabach. Another version in the Earl of Yarborough’s collection at Brocklesby Park is now often identified as the original from the Doge’s Palace.
Portrait of Francis I. Canvas, 109 x 89.
Commissioned in about 1538 by Pietro Aretino as a present for Francis I. Titian never saw the king, whose likeness he copied from a medal by Benvenuto Cellini. Another version in a private collection at Lausanne is probably the one mentioned by Vasari in the guardaroba of the Duke of Urbino. A third version at Harewood House, in which the king is hatless, was acquired by the Barbarigo family directly from Titian’s studio, and may have served as a preliminary sketch for the Louvre portrait.
Venus of Pardo’. Canvas, 196 x 385.
The subject is obscure. As early as 1582 a Spanish writer described it as ‘Jupiter transformed into a satyr contemplating the beauty of Antiope’; but the interpretation is no longer widely accepted. Titian himself, in a letter of 1574 requesting payments from Philip II long overdue, refers to the picture simply as ‘the nude in a landscape with a satyr’. It was sent to Philip II in 1567 but may have been largely painted much earlier (about 1535-40?). It once hung over a door in the Pardo Palace in Madrid, and was given by Philip IV to Prince Charles of England when he visited Spain in 1623. It was sold for £600 in the Commonwealth sale of 1649, and was acquired by Louis XIV in 1661 from Cardinal Mazarin. The picture has been cut down substantially on the left and is much damaged. It was stored for years in the basement of the Louvre before finally being restored in the early 2000s. 
Mocking of Christ. Wood, 303 x 180.
The scene of brutal violence is set outside the prison where Christ was taken. Over the archway is a bust of Tiberius, who was the Roman Emperor of the day. Christ is tormented by guards, who use staves to twist the crown of thorns into his wounded head. The guards on the right kneel in mock reverence. Titian seems to have based the writhing, and unusually muscular, figure of Christ on the Laöcoon. The picture was commissioned by the Confraternity of the Holy Crown (Santa Corona) as the altarpiece for their chapel in the church of Santa Maria delle Grazie at Milan. The chapel (the fourth in the right-hand aisle) preserved a precious relic of a thorn from Christ’s crown of thorns. Titian’s altarpiece was part of an extensive scheme of decoration, which included frescoes (still intact) by Guadenzio Ferrari. It was once considered a late work, but is now known (from records of payments totalling 200 ducats) to have been executed between February 1540 and January 1542. It was painted in Venice, transported by boat up the river Po to Cremona and than taken overland via Pavia. Plundered by the French in 1797 during the Napoleonic suppression of churches and convents. Another version at Munich is much later (probably after 1570).
Saint Jerome. Canvas, 80 x 102.
This moonlit landscape, with the saint in penitence before a crucifix, is probably the St Jerome known from a letter from Federico Gonzaga to Vittoria Colonna to have been painted for the Duke of Mantua early in 1531. It appears to have been intended for the private apartments of Federico’s wife, Margherita Paleologo. It was in the collections of Charles I (it hung in the king’s dressing-room) and Louis XIV (who acquired it from the La Feuille collection in Paris).
Madonna and Saints. Canvas, 108 x 132.
The saints are Stephen (with the martyr’s palm), Ambrose or more probably Jerome (with the book) and possibly Maurice (in armour). A copy by Van Dyck, done when the picture was in the Aldobrandini collection in Rome, contains the additional head of St Joseph on the left. The picture is comparatively early (early 1520s). It was given by Prince Camillo Pamphilj to Louis XIV in 1665, and was damaged by water on the journey from Italy to France. An almost identical picture at Vienna has often been considered a workshop replica. However, recent X-ray analysis (revealing extensive pentimenti in the Vienna version but none in the Louvre one) suggests that it is the Vienna picture that is the original.

Paris. Louve. Cabinet des Dessins.
The Battle of Spoleto. 
Paper, 38 x 45.
This squared compositional drawing, rapidly executed in chalk and wash on blue paper, may give the best idea of Titian's famous lost canvas for the Sala del Maggior Consiglio in the Doge's Palace. The canvas depicted the sack of Spoleto by the Holy Roman Emperor Frederick Barbarossa in 1155 (and not, as had been often supposed, the Venetian victory over an Imperial army at Cadore in 1508). As early as 1513, Titian had successfully petitioned the Council of Ten for the commission to replace a ruined fourteenth-century painting on the same subject by Guariento. For nearly twenty-five years, work on the Battle was repeatedly delayed. Then, finally, in June 1537, the Council threatened to take back the monies already paid to Titian, who immediately set to work and completed the canvas by August 1538. Along with the Battle of Constantine by Raphael's workshop in the Vatican, Titian's painting was perhaps the most celebrated battle piece in Italy. It was destroyed in the fire of 1577. Surviving copies include a small painted version in the Uffizi (which gives only part of the composition), a drawing by Rubens at Antwerp, an anonymous print at Vienna, and a well-known etching of 1569 by Giulio Fontana (which does not appear to have been very faithful to the original). 

Pasadena. Norton Simon Museum.
Bust of a Woman. Canvas (transferred from panel), 31 x 24.
The seductive woman, who grips the edge of her striped shawl with her left hand, is often assumed to be a courtesan. But the picture may not be a portrait but rather the fragment of a large narrative composition. It is unrecorded before the nineteenth century, when it was in the collection of Prince Lichnowsky at Kuchelna (Czechoslovakia). It later belonged to Lord Melchett in Romsey, Hampshire, and was acquired by Norton Simon (through Duveen) in 1964. Ever since the 1930s critics have been divided on whether it should be attributed to the young Titian or to Giorgione. As Titian in Pedrocco’s 2001 Complete Paintings and Joannides’s 2001 study of the artist’s earlier works; as Giorgione in the museum catalogue.

Petworth (Sussex). Petworth House.
Gentleman in a Plumed Hat. Canvas, 71 x 64.
The object held on the left now resembles a block of marble but is probably a book. Probably acquired by George Wyndham, Third Earl of Egremont (1751-1837). The attribution to Titian, as a very early portrait of about 1510, was made only in 1956 (by Morassi) but is now widely accepted.

Philadelphia. Museum of Art (J. G. Johnson Collection).
Archbishop Filippo Archinto. Canvas, 115 x 89.
Filippo Archinto (1495/1500-1558), a cleric who had pursued a diplomatic career in the service of Spain and the Papacy, was nominated as Archbishop of Milan in 1556, but his nomination aroused bitter controversy and he was unable to occupy the see. He was banished from Milan and died in exile in Bergamo. The mysterious transparent curtain, drawn over the right side of the figure, might refer to the troubles that kept Archinto from the archbishop's chair. The portrait was sold by the Archinto family of Milan in 1863, and was acquired by J. G. Johnson in 1909.  Another version, without the curtain, was also in the possession of the Archinto family, with an attribution to Leandro Bassano. This other version was bequeathed by Benjamin Altman in 1913 to the Metropolitan Museum, New York, and is also now attributed to Titian. There has been no agreement on which version is likely to be the original and which the replica.

Pieve di Cadore. San Vito.
Madonna with SS. Titian and Andrew. Canvas, 100 x 40.
This small altarpiece, which is mentioned by Vasari at Cadore, Titian’s birthplace, hangs in the Vecellio family chapel. According to tradition, the kneeling St Andrew is a portrait of Francesco Vecellio, the artist’s brother, and St Titian is a portrait of Marco, his young cousin. Titian, himself, as donor, is dressed entirely in black. A work of Titian’s extreme old age (but before 1566, as it is mentioned by Vasari). Severely abraded and extensively retouched. During an attempted theft in the early eighteenth century, it was cut down the centre. It was stolen again in 1971, and cut out of its stretcher, but recovered almost immediately.

Prague. Castle Gallery.
Woman with a Mirror. 
Canvas, 83 x 79.
Another version, probably from Titian's workshop, of the painting in the Louvre. It is a little smaller than the original and in poorer condition. A maidservant replaces the male lover. First recorded at Prague Castle in 1781.

Raleigh (North Carolina). Museum of Art.
Virgin and St Joseph Adoring the Child. 
Wood, 19 x 16.
This little panel has been accepted as an early Titian by some art historians (including Joannides (2001)). The striking golden yellow of St Joseph's cloak is found in some other small panels attributed to the young artist (eg. the Rest on the Flight into Egypt at Longleat). The panel is too loosely executed to have been a finished work intended for sale. It might have been a preparatory study (modello) for a larger picture or, perhaps more likely, a studio record (ricordo) of a picture already completed. A larger version (49 x 40) in the Hermitage, St Petersburg, is attributed to an unidentified follower or associate of Titian. The composition is also repeated in an engraving dated 1515 and signed 'F.N.'. The Raleigh panel, formerly in a French private collection, was acquired by the Kress Foundation in 1952 and allocated to the North Carolina museum in 1960. The Renaissance-style tabernacle frame is of recent manufacture.  

Rome. Galleria Borghese.
Sacred and Profane Love’. Canvas, 118 x 279.
Described by Ridolfi (1648) simply as ‘two ladies at a fountain in which a putto looks at himself’. The title Profane Love and Sacred Love appears first in a Borghese inventory of 1693. At different times the picture has been called Beauty Adorned and Unadorned, Heavenly and Earthly Love, Venus and Medea, and Venus and Polia (from Francesco Colonna’s strange dream romance Hypnerotomachia). The woman on the right, naked except for the strip of linen across her lap and the magnificent red silk cloak hanging lightly over her arm, is clearly Venus and the putto stirring the waters of the fountain is Cupid; the other woman, who has identical features, is sumptuously dressed in a lilac silk bridal dress and crowned with myrtle (sacred to Venus). The naked Venus holds up a lighted oil lamp and the clothed woman cradles a closed jar. The picture was probably commissioned to commemorate the marriage in 1514 of Nicolò Aurelio, Secretary of the Council of Ten, to Laura Bagarotto of Padua. Aurelio’s coat-of-arms appears on the shield of the sarcophagus and Bagarotto’s is said to appear on the rim of the silver bowl. Laura was the daughter of Bertuccio Bagarotto, who just five years earlier had been hanged for treason between the two columns of the Piazzetta. Probably one of the pictures bought by Scipione Borghese in 1608 from Cardinal Paolo Sfondrato. In 1903, Colnaghi signed a contract with Prince Borghese to buy the picture, but the Italian government stepped in at the last moment to stop the sale. The canvas was cleaned and relined in 1995.
Education of Cupid’. Canvas, 118 x 185.
Two nymphs (or Graces) bring a bow and arrows to Cupid, who is being blindfolded by Venus; a second Cupid looks furtively over her shoulder. The picture has been given many different titles, including: Venus blindfolding Cupid (1613); Three Graces with Cupid and Shepherdesses (Ridolfi, 1648); Venus and Two Nymphs (1650); the Education of Cupid (Philips, 1898); the Preparation of Cupid (Suida, 1933); and Vesta disarming Love (Friedländer, 1967). A late work, usually dated about 1565 and exceptionally well preserved. Probably acquired by Scipione Borghese in 1608 from Cardinal Paolo Sfondrato. It was among the Borghese pictures taken to Turin and Paris after the marriage of Camillo Borghese to Pauline Bonaparte, but was returned to Rome in 1813.
Saint Dominic. Canvas, 92 x 78.
Signed lower left. Listed in 1693 and 1700 inventories simply as a portrait of a Dominican friar, the subject has been variously identified over the years as Saint Dominic, Saint Vincent Ferrer and Titian’s Confessor. Late (mid or late 1560s). Probably another of the pictures acquired from Cardinal Sfondrato in 1608.
Scourging of Christ. Canvas, 86 x 58.
Christ, half-length at the column, his chest and arm criss-crossed with cuts from the scourge, lifts his eyes towards heaven. This intense devotional picture is recorded as a work of Titian in the 1592 inventory of the collection of Lucrezia d'Este at Ferrara. Modern commentators have tended to judge it either as a partly autograph late work, completed with studio assistance, or as a work painted under Titian's direction or influence by an assistant or close follower.

Rome. Vatican Pinacoteca.
Madonna of the Frari. Canvas (transferred from panel), 388 x 270.
Beneath the Madonna in glory are six saints: Sebastian, Francis, Anthony of Padua, Peter, Nicholas, and Catherine of Alexandria. The altarpiece was originally in the Cappella di San Niccolò in the cloister of the Frari church (San Niccolò della Lattuga) in Venice. It was sold in 1770 to Udini, the British consul, and then purchased by Pope Clement XIV, who transferred it to the Quirinal Palace in Rome. The arched top of the picture with the dove was cut off so that its shape would match that of Raphael’s Transfiguration, which it was hung beside. When it was transferred from panel to canvas in 1960-64, an earlier version was discovered under the paint surface. Damaged and much restored. It was probably painted in the early 1520s (though some critics have dated it as late as the 1530s or even early 1540s). The altar over which it originally hung was dedicated in 1522.
Portrait of Doge Nicolò Marcello. Canvas, 103 x 90.
Nicolò Marcello was Doge in 1473-74. The profile portrait, which may date from the early 1540s, was probably based on a medal or a lost official portrait by Giovanni Bellini. Acquired by Pope Leo XII in the 1820s from the Aldobrandini collection in Bologna.

Rome. Capitoline Museum.
Baptism of Christ. Wood, 116 x 91.
Marcantonio Michiel ascribed this picture to Titian when he saw it in 1531 in the house of the Spanish merchant Zuanne (Giovanni) Ram (the donor portrayed, rather incongruously, bottom right in profile). A very early work (about 1508-12). Purchased in Venice in about 1660 for Cardinal Carlo Pio, Bishop of Ferrara, and sold by Prince Gilberto Pio di Savoia to Pope Benedict XIV in 1750.

Rome. Galleria Nazionale (Palazzo Barberini).
Venus and Adonis. Canvas, 184 x 187.
One of many versions of the painting in the Prado; there are some differences of costume – most obviously, Adonis wears a plumed hat. Cleaning has revealed the high quality of this version, which is exhibited as by ‘Titian and pupils’. It entered the gallery in 1892 from the Torlonia collection (it was probably not, as often claimed, in the Orléans collection).

Rome. Galleria Doria-Pamphilj.
Salome. Canvas, 90 x 72.
An early work (about 1515), once ascribed to Giorgione and attributed to Pordenone by Crowe and Cavalcaselle. The attribution to Titian was made by Morelli (1890). It has been suggested that the head of the Baptist may be a self-portrait, and also that the same model was used for Salome as for Giorgione’s Venus (finished by Titian) at Dresden. Possibly the ‘Judith’ by Titian that was owned by Alfonso d’Este in 1533 and the ‘Herodias’ recorded in the collection of Lucretia d’Este in 1592.

Rome. Galleria Spada.
Portrait of a Musician. Canvas, 99 x 82.
The sitter, who appears to be holding a large stringed instrument (bass viol?), looks up from the musical score he has been studying, his long hair falling over his shoulders. The portrait is clearly unfinished. It appears to have been first seriously noticed by Crowe and Cavalcaselle (1877) who, noting the initials ‘CA’ on the table, identified it as the portrait of Battista Ceciliano mentioned by Vasari as painted by Orazio Vecellio when he accompanied his father to Rome in 1545-46. The idea that it might be an early work of Titian himself dates only from the early 1930s. Wethey (in his 1971 volume on Titian’s portraits) described it dismissively as a ‘highly mediocre picture in a wretched state of preservation’, but the attribution has been accepted by most recent critics, with a dating around 1515.

Rotterdam. Boymans-Von Beuningen Museum.
Boy with Dogs. Canvas, 99 x 117.
This puzzling picture, said to refer to a story in which a young prince saves dogs from a fire, is probably a fragment. The dog on the right is almost identical to the one in Titian’s so-called Portrait of the Duke of Atri in Kassel. Usually dated about 1570. Formerly in the Serbelloni collection, Milan; acquired by the museum in 1958.

Saint Louis. Art Museum.
Ecce Homo’. Canvas, 109 x 93.
A very late work (about 1570?), which adds Pontius Pilate (in ermine-lined gown and diademed turban) and a smirking boy (holding the rope that ties Christ’s wrists) to earlier versions of the subject, such as that of 1548 in the Prado. Parts (such as the torch in the top left corner) are extremely sketchy, while others (particularly Pilate’s sumptuous costume) are highly finished. There are many other versions, including one, probably by Titian’s workshop, in the Prado. Acquired in 1936 from the Heinneman collection.

St Petersburg. Hermitage.
Flight into Egypt. Canvas, 204 x 325.
This huge picture is described by Vasari as one of Titian’s earliest works, painted just after the Fondaco dei Tedeschi frescoes. In Vasari’s day it was in the palazzo of Andrea Loredan, situated on the Grand Canal at San Marcuola, but it is not known if this was its original location. (The palazzo, built by Mauro Coducci, was finished by 1509, and the painting could date from a year or two earlier.) It was still in the palazzo (now known as the Vendramin-Calergi) in 1648, when it was described by Ridolfi. In 1768 it was acquired by Catherine the Great for the Winter Palace in St Petersburg from Count Heinrich Brühl of Dresden, First Minister of Augustus III of Saxony. Though attributed to Titian, it was placed in store at the end of the eighteenth century and later hung in the imperial palaces at Tauride and Gatchina. It was almost totally forgotten until 1915, when Baron Ernest Liphart, keeper of the Hermitage, published a reproduction of it in an article on the Italian paintings at Gatchina. Liphart initially proposed an attribution to Paris Bordone. By 1920 he had changed his mind, restoring Titian’s name and identifying the painting with the Flight into Egypt described by Vasari; but it was many years before the attribution was fully accepted. (For example, Berenson ascribed the picture to Paris Bordone in his 1932 and 1957 Lists, and Wethey dismissed it in few words as the work of a follower of Giovanni Bellini in his monumental 1969 monograph.) If uncertain in drawing, like other very early works of Titian, the picture is remarkable for its landscape background – a sweeping panorama of hills, woods and lakes. The Joseph seems to have been painted from the same model as the St Peter in Titian’s very early Jacopo Pesaro Presented to St Peter by Pope Alexander VI at Antwerp. Restoration in 2000-11 carefully removed old varnish and centuries of repainting. X-rays reveal that Titian originally sketched, in the very centre of the picture, a wholly different composition, consisting of three figures and possibly representing an Adoration.
Magdalen. Canvas, 119 x 98.
The St Petersburg Magdalen has the same pose as the much earlier Magdalen in Florence, but she is clothed rather than naked. The first version of this subject may now be lost. According to Vasari, it was painted for Philip II but Silvio Badoer, a Venetian nobleman, saw it on the painter’s easel and bought it for a hundred scudi. Titian painted a replica for the king, which was despatched to Spain in 1561 but is also now lost. (After being looted from the Escorial during the Napoleonic Wars, it was taken to England and perished in a fire at Bath House in 1873; there is a copy by Luca Giordano still in the Escorial.) In addition to the St Petersburg version, which is usually considered the finest, there are replicas attributed to Titian or his workshop at Naples (probably painted for Cardinal Alessandro Farnese in 1567), Los Angeles (Getty Museum) and Stuttgart. The St Petersburg Magdalen was still in Titian’s studio in the Calle dei Biri at his death, and was among the many paintings sold with the house and all its contents by his son and heir Pomponio to the nobleman Cristoforo Barbarigo in October 1581. The entire Barbarigo collection was bought by Tsar Nicholas I in 1850.
Christ carrying the Cross. Canvas, 90 x 77.
A late work (about 1565). There is another version, signed and almost identical, in the Prado. Enlarged on all sides (it was originally about the same size as the Prado version). X-rays reveal a discarded painting of Christ Blessing on the re-used canvas. Acquired in 1850 with the Barbarigo collection.
Salvator Mundi’. Canvas, 96 x 80.
In a traditional (ultimately Byzantine) pose, Christ is shown half-length, blessing and holding a crystal globe. Once neglected (eg. omitted from Tietze’s 1950 monograph and Berenson’s Lists), but now generally recognised as a genuine very late work (about 1565-70). From the Barbarigo collection.
Saint Sebastian. Canvas, 212 x 116.
Another very late work, left in Titian’s studio at his death. Possibly commissioned by a Venetian patron as protection against the terrible plague of 1575-76, which is estimated to have killed almost a third of the population of the city and claimed Titian himself as a victim. Probably unfinished: the cuirass at Sebastian’s feet is especially sketchy. One of the group of paintings (which, in addition to the Magdalen, Christ carrying the Cross and Christ Blessing, includes an Ecce Homo and a Madonna and Child with the Magdalen which are usually attributed to Titian’s workshop) bought by Tsar Nicholas I from the Barbarigo family in 1850.
Girl with a Plumed Hat. Canvas, 96 x 75.
X-rays suggest that the jaunty hat is actually a later addition. Apart from the hat and other differences in costume, the picture is very similar to the Girl in a Fur at Vienna. Sometimes considered a copy by Titian’s workshop or a follower, but generally acknowledged to be a work of high quality. Acquired in 1772 with the Crozat collection.
Danaë. Canvas, 120 x 187.
A replica – of good but not fully autograph quality – of the Danaë in the Prado, which is itself a later variant of the Danaë in Naples. The picture’s first owner was probably the Venetian nobleman Silvio Badoer, who also owned a Mary Magdalene by Titian. Considered the pearl of the Crozat collection, it was valued at 12,000 livres by the dealer Claude Lallemant.
Madonna and Child with the Magdalen. Canvas, 98 x 82.
The youthful Magdalen offers the Christ Child her jar of ointment. Neglected by many critics and ascribed to Titian’s studio by others, this may be an at least partly autograph work of the 1550s. From the Barbarigo collection.
Portrait of Catarino Zen. Canvas, 100 x 78.
The picture is much damaged and repainted, but the inscription along the top, which gives the name of the sitter and his age, and Titian’s signature on the left appear to be original. Catarino Zen (c.1453-1539) was a Venetian senator, ambassador to Turkey and great traveller. Adding the sitter’s stated age of 63 to his approximate date of birth gives a date of around 1516 for the portrait. Acquired (as a work Titian’s school) in 1920.

San Francisco. De Young Memorial Museum.
Portrait of a Friend of Titian. Canvas, 88 x 70.
On the letter is written: Di Titiano Vecellio singolare amico. As he is holding the letter in his left hand, the sitter has been tentatively identified as Francesco Sinistro, ‘a great friend of Titian’ whose portrait is mentioned by Vasari. The same man appears with Titian and Andrea dei Franceschi in a triple portrait (ascribed to Titian’s workshop) in the British Royal Collection. The San Francisco portrait may date from the late 1540s. By 1854 it was in the London collection of the Marquis of Landsdowne. Acquired by Frank Sabin in 1930 and by Samuel H. Kress in 1954.

São Paulo. Museu de Art.
Portrait of Cristoforo Madruzzo. Canvas, 210 x 109.
Cristoforo Madruzzo (1511-77) became Bishop of Trent in 1539 and was elected a cardinal in 1543. The date 1552 appears on the clock and on the inscription on the paper. Vasari mentions the picture as one of Titian’s comparatively rare full-length portraits. It was originally in the Castello de Buonconsiglio (the Bishop’s Palace) at Trent. It was exported secretly to Paris, where it was acquired in 1906 by James Stillman of New York. Later in the Rockerfeller collection, it was bought by the São Paulo Museum in 1950.

Serravalle (Vittorio Veneto). Duomo.
Madonna appearing to SS. Peter and Andrew. Canvas, 456 x 270.
Titian owned a house in Serravalle, which is on the road between Venice and Cadore. This huge picture still stands over the high altar of the church (rebuilt in 1776) for which it was painted. It was ordered in 1542 by the Venetian podestà of Serravalle. The contract was signed on 13 November and Titian was to receive 250 ducats. The altarpiece was not finished until 1547 (and payments were completed only in February 1553). Titian’s workshop doubtless played a part in the execution (particularly of the two saints).

Temple Newsam (near Leeds). Earl of Halifax’s Collection.
Portrait of a Young Man. Canvas, 100 x 84.
A superb early portrait (1515-20?). The young man holds a large cap with a jewelled badge in his right hand. On the left side is a sculptured relief (now darkened and difficult to see in reproductions) of a scrolled tablet with the letter C, a mask and vine leaves. First recorded in the possession of the Ingram family, Temple Newsam, in 1808, and later in the collection of Edward Wood at Leeds. It was on loan to the National Gallery, London, from 1992 until 2005, when it was put on the market. An offer from the National Gallery, reportedly worth £55 million (after-tax), was turned down.

Trapani (Sicily). Museo Nazionale Pépoli.
St Francis receiving the Stigmata. Canvas, 281 x 195.
There are no early references to this large, rather damaged canvas, which was transferred to the museum in about 1928. Once ascribed to the minor artist Vincenzo da Pavia, it was attributed to Titian by Roberto Longhi in 1946. Datings have ranged from the early 1930s (Pedrocco) to the late 1540s (Wethey).

Treviso. Museo Civico.
Portrait of Sperone Speroni. Canvas, 113 x 92.
The inscription, upper right, gives the sitter’s age: forty-four. The portrait has been identified with that mentioned in the will of the Paduan humanist Sperone Speroni, who was Professor of Logic at the university from 1528 and is best known for his dramatic dialogues involving contemporary personages. The will, drafted in 1569, states that Titian had painted Speroni’s portrait twenty-five years earlier, ie. in 1544 when Speroni was forty-four. The portrait has sometimes been ascribed to Titian’s workshop. It was acquired by the museum from the Manieri collection in 1954. Restored for the 2007 exhibition Tiziano L’Ultimo Atto at Belluno and Pieve di Cadore.

Treviso. Duomo. Malchiostro Chapel.
Annunciation. Wood, 210 x 176.
The composition is strikingly asymmetric. Contrary to tradition, the Virgin is placed on the left, kneeling frontally in the foreground, while Gabriel is on the right, rushing in from behind. The picture remains in its original location and in its original marble frame carved by Lorenzo Bregno. The building work on the Malchiostro Chapel was completed in October 1519 and the walls and cupola were frescoed by Pordenone. The altarpiece is not documented, but must have been painted by January 1523, when the decoration was complete. It is generally accepted as a work of Titian, though some critics have argued that the clumsy angel must have been painted by an assistant (Paris Bordone?). The portrait of the donor (Canon Broccardo Malchiostro), lurking behind the pillar in the background, was vandalised in 1526 ('attacked and disfigured with pitch and other dirt by some sons of iniquity') and has been repainted.

Urbino. Galleria Nazionale.
Resurrection; Last Supper. Canvas, 163 x 104.
Painted for the Compagnia del Corpus Domini at Urbino as two sides of a processional banner. Payments are recorded between the winter of 1542 and February 1544. The two sides were divided as early as 1545, and displayed in separate frames on either side of the Compagnia’s altar in Pian di Mercato. Later moved to the church of San Francesco, and transferred to the Belle Arti in 1866. Before the canvases were restored in 1973, the execution (particularly of the Resurrection) was often ascribed largely to assistants.

Venice. Accademia.
Presentation of the Virgin in the Temple. Canvas, 335 x 775.
This huge canvas – the largest of Titian’s pictures – was painted between 1534 and 1538 for the Scuola di Santa Maria della Carità, which owned the building that now houses the Accademia. In 1895 the picture was returned to the wall for which it was painted in the Sala dell’Albergo of the former confraternity. The canvas makes allowance for two doors in the wall: the right-hand door is original, but the left-hand one was added in 1572, cutting out the lower part of several figures in the foreground. The general composition, with the child Virgin ascending a flight of stone steps, repeats that of earlier Venetian pictures of this subject by Cima (now at Dresden) and Carpaccio (at Milan). The spectators include portraits of members of the Scuola in their black and red togas and black caps (Ridolfi notes the Chancellor of the Republic Andrea dei Franceschi ‘in ducal garb’ and Senator Lazzaro Crasso).
Saint John the Baptist. Canvas, 201 x 134.
The head of the saint recalls that of Donatello’s polychrome statue in the Frari, while his striking heroic pose may have been suggested by antique sculpture. Signed on the stone on which the saint rests his left foot. Painted for Vincenzo di Giacomo Polani’s chapel (to the right of the chancel) in Santa Maria Maggiore in Venice. It was removed to the Accademia after the church was secularised in 1808. It is difficult to date. Vasari places it quite early in his Life of Titian – before the Death of St Peter Martyr, the lost masterpiece completed in 1530. Crowe and Cavalcaselle dated it as late as the mid-1550s, while recent opinions have ranged from the early 1530s to the mid-1540s. There is another version, in Titian's late style, at the Escorial. (Yet a third version was brought to light recently in the church of Nuestra Señora del Carmen at Cantoria in southern Spain. Gravely damaged, it was restored at the Prado in 2007-12. Previously thought to be an old Spanish copy, it has now been attributed (by MIguel Falomir, chief curator at the Prado) to Titian as a work of the mid-1550s. The three versions of the Saint John the Baptist were brought together for a mini-exhibition held at the Prado from November 2012 to February 2013.)      
Pietà. Canvas, 352 x 349.
This picture was painted by Titian for his own tomb in the Cappella del Crocifisso at the Frari. It was not quite finished at his death and was completed by Palma Giovane, who added the inscription: ‘What Titian has left unfinished, Palma has completed with reverence, and dedicated the work to God’. Titian himself is possibly represented as the penitent St Jerome kneeling on the right. In the bottom right-hand corner a small votive tablet is painted showing Titian and his son Orazio praying to the Virgin. Palma’s hand has often been seen in the torch-bearing angel and sometimes in the right-hand statue of St Helen, but he does not appear to have done much to the central section of the picture, which was probably completely finished by Titian. The picture is painted on no less than seven pieces of canvas, and it is possible that the central Pietà started life as a different composition. Because of some disagreement with the monks of the Frari, the picture never hung there. It remained with Palma Giovane until his death in 1628, after which it was placed in the church of Sant’Angelo (closed in 1810).
Madonna and Child. Canvas, 124 x 96.
The fire, upper left, is thought to represent the burning bush – a symbol of Mary's perpetual virginity. Recorded, with an attribution to Titian, in 1616 in the collection of the Marchese Mazenta of Milan. Bequeathed to the Accademia by Leonardo Albertini in 1981. A fairly late work (early 1560s?). X-rays have revealed that the picture was painted over an upside down female figure, possibly a Magdalen in prayer or St Catherine of Alexandria.
Symbols of the Evangelists; Masks and Cherubs.
There are four long canvases with symbols of the Four Evangelists (45/47 x 198/240) and fifteen small canvases with grotesque masks and cherubs heads. They formed part of the decoration of the Sala dell’Albergo of the Scuola di Giovanni Evangelista, which was painted by Titian and his workshop in the 1540s. The ceiling was dismantled in 1806 and the canvases transferred to the Accademia in 1812. The central canvas of St John on Patmos is now in Washington.
Tobias and the Angel. Wood, 170 x 146.
This small and damaged altarpiece is sometimes associated with the Angel Raphael with Tobias and a Dog said by Vasari to have been painted for the church of San Marziale in 1507. If this identification were correct, the picture would be the earliest by Titian that can be precisely dated. However the picture came not from San Marziale (which has a comparatively late altarpiece by Titian of this subject) but from the convent church of Santa Caterina. It has been argued that Vasari confused the two Venetian churches. Other critics have considered the picture a copy of a lost youthful Titian. The buildings on the left reappear in the very early Baptism of Christ (Capitoline Museum, Rome). The coat-of-arms is that of the Bembo family. (It is known that Pietro Bembo's nieces were educated at the convent of Santa Caterina.) Transferred to the Accademia in 1925 when Santa Caterina was closed.

Venice. Palazzo Ducale.
Saint Christopher. Fresco, 300 x 179.
In the background, a sketchy view of Venice from the lagoon. The only fresco by Titian that is still in situ in Venice. It is situated in the Sala dei Filosofi, at the foot of the staircase leading from the Doge’s private apartments to the Senate Hall. It was commissioned by Doge Andrea Gritti, probably soon after his nomination on 20 May 1523. It was painted in just three giornate (days of work). Cleaned in 1986.
Madonna and Child with Two Angels. Fresco, 160 x 350.
This damaged fresco was originally situated in a lunette at the foot of a staircase in the Doge’s Palace (Sala dei Senatori). It was flanked by a lunette of the Resurrection by Francesco Vecellio which has also been preserved. Like the Saint Christopher, it was probably painted in about 1523. Titian worked on it for only two giornate. Detached and transferred to canvas in 1899.
Doge Grimani before Faith. Canvas, 365 x 560.
This huge canvas is situated to the right of the entrance of the Sala delle Quattro Porte. It was ordered by the Republic in 1555, but was apparently seen unfinished by Vasari in Titian’s studio in 1566. It is the only one of the votive pictures commissioned from Titian as State Painter to have escaped the fires of 1574 and 1577. It was probably finished by his workshop (Marco or Cesare Vecellio?) after his death. Titian’s own hand has been seen mainly in the figure group to the right. At the bottom is a view of the Piazza from the water.

Venice. Libreria Vecchia.
Wisdom. Canvas, 169 x 169.
Hexagonal canvas, set in a sumptuous frame by Cristoforo Rosa, on the ceiling of the ante-room to the Libreria Sansoviniana. The young woman – interpreted by Ridolfi (1648) as a personification of History but by Moschini (1815) as Wisdom – sits on a cloud, holding a scroll and contemplating her reflection in a mirror supported by a cherub. Probably painted shortly after September 1559, when Titian was asked to value the ceiling decorations painted by Rosa.

Venice. Ca d’Oro. Galleria Franchetti.
Frescoes from the façade of the Fondaco dei Tedeschi: Seven fragments.
The Fondaco dei Tedeschi (now the central Post Office) was the headquarters of the German merchants in Venice – with offices, warehouses and living accommodation. It was rebuilt by May 1508, after a fire in 1505, and the frescoes on the façades were completed by 11 December 1508, when they were valued by Vittore Carpaccio, Lazzaro Bastiani and Vittore di Matteo at 150 ducats. Only Giorgione’s name appears on the documents, but Dolce (1557) and Vasari state that Titian was his collaborator. Dolce says that he was not yet twenty years old at the time. According to Vasari, he painted the frescoes on the less important Mercerie façade on the south side, overlooking a narrow street, while Giorgione painted those on the façade over the Grand Canal. A mysterious ‘Morto da Feltre’ was responsible for the grotesque decoration. Most of what remained of the frescoes was destroyed in 1884. The few surviving fragments were discovered under white plaster, detached, and transferred to canvas in 1967. The Judith (212 x 345), identified by Vasari as Germania, was located over a doorway. We know from an engraving, made by Jacopo Piccini in 1658, that it originally showed the Old Testament heroine with her foot on the severed head of Holofernes, while a German soldier on the left conceals a dagger treacherously behind his back. The Putti and Fantastic Beasts (212 x 300) was part of a monochromatic frieze painted above it.

Venice. Scuola di San Rocco.
Annunciation. Canvas, 160 x 266.
Bequeathed to the Scuola in 1555 by a lawyer named Amelio da Cortona who belonged to the Brotherhood of San Rocco. It has been dated between the mid-1530s and mid-1540s. Until 1915, it hung on the wall of the grand staircase, faced by Tintoretto’s Visitation. It now stands on an easel near to the altar of the Chapter House.
Christ bearing Cross. Canvas, 68 x 88.
Thinly painted, worn and retouched. Until 1955 in the church of San Rocco, adjacent to the Scuola, where it was greatly venerated as a votive image. (Vasari says it ‘received in alms more in crowns than Titian and Giorgione ever earned in all their lives.’) Early sources provide conflicting evidence on authorship. Vasari ascribed the picture to Giorgione in his 1550 and 1568 Lives, but also ascribed it to Titian in the 1568 edition, adding that ‘many have thought it to be the work of Giorgione’. Sansovino (1581), Ridolfi (1648) and Boschini (1664) all gave it to Titian, while Van Dyck sketched it as a Giorgione during his visit to Venice in the early 1620s. Modern critical opinion is still divided on the matter.
Dead Christ. Canvas, 55 x 81.
Also from the church of San Rocco. Faded and restored. Sometimes considered a very early work of Titian in the mode of Giorgione. Alternatively attributed to Giorgione or Giorgione’s school.

Venice. Fondazione Cini. 
Saint George. Wood, 125 x 66.  
A ruined fragment (approximately one third of an altarpiece). Attributed to Giorgione in the nineteenth century, when it was in English collections. Later ascribed to Palma Vecchio, it was one of a good number of paintings reassigned to the young Titian in the 1920s and 1930s by Roberto Longhi, who proposed a dating as early as about 1511. In 1950, Hans Tietze (Titian: Paintings and Drawings) identified the panel as a fragment of an altarpiece commissioned by the Venetian Senate as a gift for the French general Odet de Foix, Vicomte de Lautrec. The altarpiece represented three saints: Theodore, Michael and George. It was delivered on 14 June 1517. The fragment was previously overpainted. Cleaning has revealed an original paint surface that is severely abraded.

Venice. Basilica of San Marco. Sacristy.
Designs for Mosaics.

The charming Renaissance sacristy is situated in the apse of the basilica, just to the left of the high altar. The mosaics were executed in 1524-30 by Francesco Zuccato (son of Titian's first master Sebastiano Zuccato), Alberto Zio and Marco Luciano. The mosaic on the west wall shows the Virgin and Child between St George and St TheodoreChrist and the Four Evangelists and Old Testament Prophets are represented on the vaulted ceiling; and the Twelve Apostles and St Paul and St Mark are depicted in the two lunettes. Titian's workshop provided designs. One of the finest of the mosaics is that of the Prophet Ezekiel, which is signed by Zuccato and was probably designed by Titian himself.     

Venice. Frari.
Assumption. Wood, 690 x 360.
This great altarpiece – the largest that had been painted in Venice – was commissioned by Fra Germano da Caiole, prior of the Frari convent, in 1516 (the date inscribed on the massive stone frame). Unveiled over the high altar, where it still hangs in the lofty Gothic apse, on the eve of the Feast of St Bernardino, 19 May 1518. The Assumption established Titian’s reputation as the leading Venetian artist. However its conception was so revolutionary that it was not well received at first by the Frari monks, and Titian had great difficulty in collecting his fee. According to Dolce and Ridolfi, Fra Germano, failing to understand the dramatic perspective, complained that the Apostles were too large. The monks were only persuaded of the picture’s worth when the Austrian ambassador offered large sums of money to buy it for the Emperor. It was transferred in 1817 to the Accademia (where it was restored by the painter Lattanzio Querena, who reconstructed the figure of St Peter), but was returned to the Frari in 1919. The marble frame was probably sculpted by Lorenzo Bregno. For its age and size, the picture is in generally good condition. Restored in 1972 and cleaned again in 2012.
Pesaro Madonna. Canvas, 478 x 267.
Commissioned on 24 April 1519 by Jacopo Pesaro – the Dominican Bishop of Paphos and papal legate for whom Titian had earlier painted the Jacopo Pesaro being presented by Pope Alexander VI to St Peter (now in Antwerp). Placed with great ceremony on the Altar of the Immaculate Conception on 8 December 1526. The composition is strikingly original, and had a great influence on subsequent Venetian altarpieces. The Madonna is seated not in the centre but upon a high throne well to the right. At her feet sits St Peter, who looks down on the kneeling donor. Behind the kneeling bishop stands a knight in black armour (sometimes identified as St George, St Theodore or St Maurice), holding a standard bearing the Pesaro and Borgia arms, and bringing two Turkish captives in chains. On the right, St Francis (with outstretched arms) and St Anthony of Padua commend five kneeling male members of the Pesaro family to the Madonna (Francesco Pesaro in the red robes of a senator and Jacopo’s two brothers and two nephews). Titian was paid, in numerous instalments, the surprisingly low price of 102 gold ducats (perhaps because of the prestige value of a work in such a prominent location). Previously restored in 1978. Another full restoration was underway from autumn 2014 to address a problem of flaking and remove surface dust and grime.

Venice. Gesuiti.
Martyrdom of St Lawrence. Canvas, 493 x 277.
Commissioned before November 1548 by Lorenzo Massolo to decorate his tomb in the church of Santa Maria dei Crociferi, but recorded as still unfinished when Massolo died in January 1557. Titian had recently returned from his eight-month stay in Rome when the commission was made, and he provides a convincing Roman setting for the martyrdom, with the Corinthian-columned building on the right and the pagan idol that the saint had refused to worship on an ornamented pedestal on the left. In 1564, the Massolo family having become extinct, the friars offered to sell the picture to Philip II of Spain for 200 scudi. In the event, Titian painted another version, which was completed in 1567 and is now in the Escorial. After the church was rebuilt in ornate Baroque style by the Jesuits in 1715-30, Lorenzo Pezzaro took Titian’s picture for his own chapel (first on the left). Taken to France in 1797 and badly restored. The huge night scene is hard to see without electric light. Joshua Reynolds, who saw it in 1752 on his tour of Italy, wrote ‘it is so dark a picture that, at first casting my eyes on it, I thought there was a black curtain before it’. Restored in 2012. A man's head, swathed in a turban and possibly a self-portrait, was revealed in the bottom left corner.  

Venice. Madonna dell’Orto.
Tobias and the Angel. Canvas, 193 x 130.
Moved here recently from the nearby church of San Marziale (or San Marciliano). Vasari gives an impossibly early date of 1507 to the picture (or he confused it with the Tobias and the Angel from Santa Caterina, now in Accademia). It seems to have been painted around 1540.

Venice. San Giovanni Elemosinario (San Giovanni in Rialto).
Saint John the Almsgiver. Canvas, 264 x 156.
The saint (a seventh-century patriarch of Alexandria legendary for his generosity) is interrupted while reading, and turns to give a crippled beggar some coins. The picture was painted for the high altar of the church. On the strength of an inscription on the altar and Vasari’s Life, which places it shortly after Titian’s visit to Bologna of 1532-33, it was once believed to have been painted in about 1533. But it is now often dated later – mid or late 1540s – on stylistic grounds. Originally arched, it was made rectangular in about 1633 to fit a new high altar. Old repainting and yellow varnish were removed in a restoration of 1989-90.

Venice. SS. Giovanni e Paolo.
Death of St Peter Martyr (Copy).
Canvas, 515 x 308. 
St Peter, a Dominican grand inquisitor, was martyred in 1252 on his way from Como to Milan. He is shown thrown to the ground and about to be stabbed by his assassin, Carino of Balsamo. Two winged cherubs hover overhead, one brandishing the palm of martyrdom. The saint's companion, Brother Domenico, flees in terror to the left. Titian's picture was commissioned around 1526 by the Scuola di San Pietro Martire for the Scuola's altar in the church (2nd in the left aisle). It was completed by the martyr's feast day, 29 April, 1530. The fee was a surprisingly low 100 ducats (which Titian had the greatest difficulty collecting). The picture was immediately famous (Dolce and Vasari both called it Titian's greatest work), and it remained one of the most admired of all works of European art until its destruction in 1867. It was burnt (together with an altarpiece by Giovanni Bellini) in the Cappella del Rosario, where it was stored while its altar was being repaired. The original marble frame now contains a copy of the seventeenth or eighteenth century. Titian's colours were probably brighter than suggested by the copy (both because the original may already have darkened by the time the copy was made and because the copy itself may have darkened). There are many other copies of the lost work, including a drawing (once thought to be by Titian himself) in the British Museum, several engravings (the earliest by Martino Rota) and a seventeenth-century painted copy in the Fitzwilliam Museum, Cambridge.     

Venice. San Lio.
Saint James of Compostella. Canvas, 231 x 137.
Recorded in the church (first altar on the left of the nave) since the seventeenth century. The patron has recently been identified as Venturino di Varisco, a merchant from Bergamo, who in his will of June 1559 expressed a wish to be buried in the church ‘in the tomb I have made with the altarpiece of St James’. The picture may not have been painted until some years later (the altar was still incomplete in 1566). In the late eighteenth century, it was adapted to fit a new altar: its shape was changed (it may originally have had a straight top) and it was repainted. At the beginning of the twentieth century, it was ‘neglected and almost unrecognisable for dust and smoke’ (Gronau). In a restoration of 1981, an attempt was made to recover the original composition.

Venice. Santa Maria della Salute.
St Mark and the Plague Saints. Canvas, 275 x 170.
This small altarpiece is a key early work, painted according to Vasari around the time of the Paduan frescoes of 1511. It was presumably commissioned as a thank-offering for the end of the1510-11 plague (which claimed Giorgione as one of its victims). Sebastian and Roch (on the right) are the saints usually evoked for protection against the plague, while Cosmas and Damian (on the left) are the patron saints of physicians. Vasari says that the faces of the saints are ‘portraits from life’. Like the other Titians in the Salute, the picture came from Sansovino’s church (demolished in 1656) on the island of Santo Spirito.
Descent of the Holy Spirit. Canvas, 570 x 260.
Commissioned by the Augustinian friars of Santo Spirito in Isola in 1529-30, but placed over the high altar only in 1541. Towards the end of 1543, the paint started to ‘flake and crack’ and ‘develop blisters’. Following a lawsuit brought by the friars (who were reluctant to pay not only 100 ducats more than the fee of 400 ducats originally agreed but also the cost of the restoration), Titian either restored the picture or painted another one from scratch. It now hangs over the third altar on the left side of the Salute. Previously very faded in appearance, cleaning in 1984-85 restored some of the original brilliance of the colour.
Ceiling decoration in Sacristy and Choir.
Vasari records that Titian took up the commission for the ceiling of the church of Santo Spirito which Vasari himself had abandoned when he left Venice in August 1542. Following the suppression of the Augustinian order in 1656, the canvases were transferred to the Salute. In the sacristy are three dramatic ceiling pictures: The Sacrifice of Isaac (320 x 280), David and Goliath (280 x 280), and Cain slaying Abel (280 x 280). With their bold foreshortening and violent action, they are among the most Mannerist of Titian’s works. The Heads of the Four Evangelists and Four Doctors of the Church (70 in dia.) in the ceiling of the choir behind the altar may have been painted largely by Titian’s workshop. The St Matthew, with a flowing beard, is said to be a self-portrait. The canvas of David and Goliath was removed from the ceiling and restored in 2010 after water, sprayed by firefighters tackling a blaze at the Semminario next to the church, seeped though the roof.

Venice. San Salvatore.
Transfiguration. Canvas, 245 x 295.
A radiant Christ rises between Moses and Elijah; in the foreground three apostles shield themselves from the light. A late work, perhaps dating from the early 1560s. It was seen in situ by Vasari in 1566. The picture screens the fourteenth-century silver reredos over the high altar of the church, and for centuries it was subjected to the wear and tear of being raised and lowered on a pulley. It has been repeatedly restored. Extensive repaint was removed in 1995-97. The picture surface, unsurprisingly, is very abraded, 
Annunciation. Canvas, 410 x 240.
The picture hangs over the third altar (probably designed by Sansovino) in the south aisle. It was painted for the rich merchant Cornovi della Vecchia family, which also commissioned Titian’s Crucifixion in San Domenico in Ancona. In the lower right-hand corner is the Latin inscription ‘Fire that burns but does not consume’, alluding to the Immaculate Conception, while in the background is a depiction of the burning bush that Moses saw in the desert (which burnt without being consumed). There is an old tale that Titian signed it twice because the monks of San Salvatore doubted his share in the work. In fact, however, as revealed in a 1988-89 restoration, fecit fecit is an old restoration of faciebat. Vasari claims that the Transfiguration and Annunciation ‘were not greatly esteemed by Titian himself, and in fact fall short of the perfection of his other pictures'.

Venice. San Sebastiano.
Saint NIcholas of Bari.  
Canvas, 171 x 91.
The elderly saint rises from his bishop's throne to deliver his blessing. Vasari tells us that the picture was painted for the lawyer Niccolò Crasso, who purchased in 1563 the chapel where it still stands. Though the picture is signed, some critics doubted if Titian had much hand in its execution. A recent restoration, which removed old repainting and varnish, has helped to re-establish its authenticity.

Verona. Cathedral. 
Assumption of the Virgin. Canvas, 392 x 214.    
The Virgin, hands folded in prayer, ascends to heaven on a bank of cloud. St Thomas, in the midst of awestruck apostles crowded around the empty sarcophagus, clutches her girdle. The apostle praying on the right is said by Ridolfi (1648) to be a portrait of the Veronese architect Michele Sanmicheli. The picture, situated over the first altar in the left aisle in a frame designed by Jacopo Sansovino, was painted for the Nichisola family. It was noted by Vasari as 'the best of the modern works' in Verona. The context of Vasari's reference would suggest a date around 1541; modern critics have usually put it earlier, with datings ranging from the early 1520s to the 1530s. Taken to France in 1797 and returned to the chapel in 1815.

Vienna. Kunsthistorisches Museum.  
'Gypsy Madonna'. Wood, 66 x 84.
Called the 'Gypsy Madonna' because of her swarthy complexion, dark hair and eyes; the nickname dates back only to the  gallery catalogue of 1881. A very early work (about 1510-11), once ascribed to Giorgione and close in composition to late Madonnas of Giovanni Bellini, such as the Detroit Madonna of 1509 and the Brera Madonna of 1510. In the seventeenth century, it was acquired by the Duke of Hamilton through his brother-in-law Lord Fielding; sold during the Civil War and acquired by Archduke Leopold Wilhelm.
'Madonna of the Cherries. Canvas (transferred from panel), 81 x 99.
An early work (1512-18). There are obvious similarities (particularly in the figure of St John) with Dürer's 'Madonna of the Siskin', which was painted in Venice in 1506 and is now in Berlin. When the picture was transferred in 1853, only very sketchy underpainting was revealed, suggesting that Titian worked out the composition directly on the panel without the aid of a cartoon. The picture appears to have been executed in two distinct stages – with the two fathers, St Zacharias behind the Baptist and St Joseph behind the Christ Child, added after the main figures. In spite of the transfer to canvas, the colour remains rich and luminous. Like most Venetian pictures in the museum, it is from the collection of Archduke Leopold Wilhelm, established at Brussels when he was Governor of the Habsburg Netherlands (1647-56). 
'The Physician Parma'. Canvas, 88 x 75.  
The identification of the sitter as the 'Physician Parma', namely Gian Giacomo Bartolotti da Parma, rests on the assumption that this is the picture described by Ridolfi (1648) in the collection of Bartolomeo della Nave, many of whose pictures passed into the collection of Archduke Leopold Wilhelm. Bartolotti served as physician to the Venetian fleet and was prior of the Venetian College of Physicians. He was also a prolific author, who wrote medical texts and an extremely lewd comic poem (Macharonea Medicinalis) about the adventures of a quack doctor. The attribution was sometimes doubted in the past (the handling is unusually light and delicate for Titian) but is now generally accepted. Usually dated between 1515 and 1520. Giorgione's Terris Portrait in San Diego may represent the same sitter at a younger age.
'The Bravo'. Canvas, 75 x 67.  
Possibly the 'two half-figures attacking each other by Titian' seen by Michiel in 1528 in the house of the Venetian patrician Zuanantonio Venier. Ridolfi identified the subject as the attack by the military tribune Claudius Luscius, nephew of the tyrant Caius Marius, upon Coelius Plotius. Recently, it has been suggested that an episode is illustrated from Euripides's Bacchae, in which King Pentheus of Thebes arrested Bacchus to prevent the spread of the wine god's cult. However, since the seventeenth century the picture has been generally known simply as 'The Bravo', meaning literally a hired cut-throat. Ridolfi's attribution to Giorgione was first questioned by Crowe and Cavalcaselle, who saw 'the hand of the painter whose style leads up to that of Cariani'. There were subsequent attributions to Palma Vecchio and Dosso Dossi; but the attribution to Titian, which was proposed by von Engerth in 1882, is now fairly general. Usually dated about 1515-20. Like several other Titians in the museum, The Bravo was in the Duke of Hamilton's collection, which was dispersed during the Civil War. By 1659, it was in Archduke Leopold Wilhelm's collection.
Madonna and Child with SS. Stephen, Jerome and (?)Maurice. Wood, 93 x 138.    
One of two versions: the other is in the Louvre. Both pictures were probably painted in the early 1520s. The Louvre picture has usually been considered the finer. But recent X-ray analysis, revealing extensive pentimenti in the Vienna version and none in the Louvre one, suggests that it is the Vienna picture that is the earlier of the two. In Archduke Leopold Wilhelm's collection. 
Girl in a Fur Coat. Canvas, 95 x 63.
Generally dated about 1535-38; the same young woman seems to be depicted in La Bella in the Pitti Palace, the Girl with the Plumed Hat in the Hermitage and the Venus of Urbino in the Uffizi. X-rays reveal that the picture was started as a replica of La Bella in both pose and costume, but was later modified to show the woman in her present erotic near-nudity. Once owned by the sculptor Pompeo Leoni. Acquired by Charles I in Spain from the Count of Villamediana, and sold to a Mr Murray in 1650 for £100. Recorded in Austria from 1730. The picture inspired Ruben's full-length Het Pelsken (also in Vienna).  
Portrait of Isabella d'Este. Canvas, 102 x 64.
Cut down on both sides. Described as the Queen of Cyprus in the 1659 inventory of Archduke Leopold Wilhelm's collection, but identified in the nineteenth century (by Cavacaselle) as the portrait of Isabella d'Este commissioned in a letter of 6 March 1534. Titian was asked by the sixty-two year old Isabella to copy a portrait painted by Francesco Francia many years earlier in 1511-12, when she was thirty-seven. Francia's portrait was itself not painted from life but taken from another artist's even earlier cartoon. Titian delivered his portrait in 1536. Isabella praised it as 'so pleasing that I doubt that at the age which I am represented I could have possessed all the beauty it contains'. There is also in the Kunsthistorisches Museum a copy of a lost Titian portrait of Isabella ('Isabella in Red'), painted in about 1530.
'Ecce Homo'. Canvas, 242 x 361.  
Signed and dated 1543 on the scroll on the steps. Painted for the Flemish merchant Giovanni d'Anna (Jan van Haanen), whose palazzo (frescoed by Pordenone) was on the Grand Canal. The picture is packed with portraits. According to Ridolfi (1648), Pontius Pilate, dressed in shimmering blue satin, is a likeness of Pietro Aretino. The two horsemen on the right are portraits of Alfonso d'Avalos (mistakenly called Charles V by Ridolfi) and Suleyman the Magnificent. The imposing fat man, opulently dressed in a red robe and ermine collar, probably represents the High Priest Caiaphas in the guise of a wealthy contemporary Jew (though he is sometimes said to be a portrait of the reigning Doge, Pietro Lando). The thin bearded man, dressed in black and leaning on a staff, was once thought to be Titian himself or the donor Giovanni d'Anna, but has been identified more recently as the Sienese preacher and religious reformer Bernardino Ochino. The blonde girl dressed in white and the child whom she draws towards her are often said (on little evidence) to be portraits of Titian's adolescent daughter Lavinia and Aretino's daughter Adria. After Henry II of France had tried unsuccessfully to buy the picture for 800 ducats in 1574, it was purchased from the d'Anna family in 1620 by the English envoy Sir Henry Wootton for George Villiers, Duke of Buckingham. After Thomas, Earl of Arundel, had failed to acquire it with an extraordinary offer of £7,000, it was sold (for a much smaller sum) in 1648 to Canon Hellewerve of Antwerp and then acquired by Archduke Leopold Wilhelm for his brother Emperor Ferdinand III at Prague.
John Frederick of Saxony. Canvas, 104 x 83.    
Vasari records that Titian painted a portrait of the Elector of Saxony, leader of the Protestant forces beaten at Mühlberg, when he was a prisoner. The portrait could have been painted on Titian's first visit to Augsburg in 1548 or on his second visit in 1550-51. It was probably one of two portraits of John Frederick by Titian in the possession of Queen Marie of Hungary when she left Brussels for Spain in 1556. It was given by Philip IV to the Marqués de Leganés, and was bought from his estate by Archduke Leopold Wilhelm. Opinion has been divided over the portrait, which has been praised by some critics and dismissed as a copy by others. There is a version (copy or damaged original) in the Prado of Titian's other portrait of John Frederick, showing him 'when he was captured, armed and wounded in the face'.  
Nymph and Shepherd. Canvas, 150 x 187.
The shepherd, crowned with flowers, pipes to a nude nymph who lies on a wild beast's hide; in the background a deer or goat tears at a tree. The subject has been variously interpreted as Venus and Adonis (Duke of Hamiliton's inventory of 1649), Endymion and DianaVenus and AnchisesOenone and Paris and Dionysus and Ariadne. Clearly a very late work, dating probably from the early 1570s. From Archduke Leopold Wilhelm's collection. A long and careful restoration, completed in 2007, removed layers of dirty varnish. 
Portrait of Benedetto Varchi. Canvas, 117 x 91.
Signed on the column. The identification of the sitter is based on a resemblance to a profile portrait on a medal by Domenico Poggini. Benedetto Varchi (1503-65) was a Florentine historian, poet and humanist, who lived in Venice and Padua from 1536 to 1543 as tutor to Filippo Strozzi's children. From Archduke Leopold Wilhelm's collection.
Fabrizio Salvaresio. Canvas, 112 x 88.
Considerably cut down at the bottom and on the right, partly removing the black servant boy with a bunch of flowers. The name and age (50) of the portly, richly dressed sitter are given in the inscription on the tablet on the wall, together with Titian's name and the date 1558. Salvaresio was a Venetian merchant who made a fortune out of importing Turkish wheat, and also traded in velvet, silk and slaves. From Archduke Leopold Wilhelm's collection.
Portrait of Jacopo Strada. Canvas, 125 x 95.
Jacopo Strada (about 1515-88), a Mantuan aristocrat, was an antiquarian, who published books on the Roman Emperors and antique coins and worked as a dealer for the Popes and Hapsburg Emperors. He holds up an antique statue of Venus, perhaps to tempt a potential buyer. One of Titian's last portraits. It was almost certainly painted in 1567-68 when Strada, whom Titian seems to have disliked intensely, visited Venice to negotiate the purchase of Gabriele Vendramin's antiques for Albrecht V, Duke of Bavaria. In return for the portrait, Strada promised Titian a fur and help in selling to the Emperor Maximilian workshop copies of mythological pictures painted for Philip II. From Archduke Leopold Wilhelm's collection. Restoration in 1996 removed layers of discoloured varnish.
Danaë. Canvas, 135 x 152.
A later, signed variant of the picture in Naples. Titian seems to have replicated the figure of Danaë by means of a cartoon or drawings. An old maidservant, catching the golden rain in a metal dish, replaces the Cupid standing at the end of the bed. In other versions in the Prado and Hermitage, the maidservant catches the golden shower in her apron. The picture was a gift sent in 1600 from Cardinal Montalto at Rome to the Emperor Rudolph II in Prague. The intervention of assistants has been seen (eg. in the figure of the old servant).
Diana and Callisto. Canvas, 183 x 200.
A variant, from Titian's workshop, of the picture now shared by the National Galleries at Edinburgh and London. Underdrawing revealed when the picture was relined in 1910 is careful and mechanical, suggesting that the assistant (Girolamo Dente?) made an exact replica of the whole composition (probably by tracing), before Titian himself made adjustments here and there in the final paint layers. Probably one of a set of seven replica 'favole' ('fables') offered by Titian (through Jacopo Strada) in 1568 to both Emperor Maximilian and Albrecht V, Duke of Bavaria. 
Francesco Filetto; His Son. Canvas, 83 x 62 and 89 x 67.     
These are believed to be two damaged and repainted fragments of the portrait of the famous orator Francesco Filetto and his son seen by Vasari in the house of Matteo Giustiniani. Filetto's book and staff (transforming him into a St James) and the arrows (the attributes of St Sebastian) held by his son are later additions. From the collection of Archduke Leopold Wilhelm.
'Violante'. Wood, 64 x 51.
Called 'La Bella Gatta' ('Pretty Cat') in old inventories, the picture owes its current title to the little flower tucked into the neck of the blouse. It is uncertain whether it is a portrait of a real young woman (girl-friend or mistress of a wealthy Venetian?) or an idealised 'bella donna' picture of the type particularly associated with Palma Vecchio. Described as a work of Palma in the 1659 inventory of Archduke Leopold Wilhelm's collection, an attribution that passed unquestioned until the twentieth century. The re-attribution to Titian was made in 1927 by Roberto Longhi. It has won considerable but not total support, a segment of opinion still favouring the old attribution to Palma. The young woman's costume and hairstyle were fashionable around 1515. Comparison with the engraving in Tenier's Theatrum Pictorium suggests that the panel has been cut down on the right and at the bottom.
Lucretia. Wood, 63 x 51. 
The faint form of a man, barely visible in the dark background, must be either that of the rapist Tarquin or Lucretia's husband Collatinus. Like the Violante, this panel is attributed either to Titian, as an early work of about 1515, or to Palma Vecchio. The Titian attribution goes back to the seventeenth century, when the painting was in the collections of Charles I of England and of Archduke Leopold Wilhelm. The attribution to Palma Vecchio is more recent, having been first made apparently in 1860 by Erasmus von Engerth. It won general support for a time, before Roberto Longhi revived the old attribution to Titian in 1927.  

Vienna. Akademie der Bildenden Künste.
Tarquin and Lucretia. 
Canvas, 114 x 100. 
Sometimes regarded as a very late, broadly painted, half-length variant by Titian himself of the picture in Cambridge, but possibly a copy by an assistant or follower. Nothing is known of its history before 1907, when it was auctioned in Vienna with the Schroff collection as 'Othello by Veronese'. 

Washington. National Gallery of Art.
Venus with a Mirror. Canvas, 125 x 106.
The only one of many versions generally accepted to be by Titian himself. Usually dated about 1555. X-rays show that Titian reused a canvas on which he had begun to paint a double portrait. (Interestingly, Titian left the man's red cloak exposed to form the velvet drapery covering Venus's lap.) Venus's pose is related to that of the famous Roman Venus Pudica, owned by the Medici and now in the Uffizi. The picture remained in Titian's studio at his death, and passed from his son Pomponio to the Barbarigo family in 1581. It was acquired for the Hermitage at St Petersburg in 1850 and bought by Mellon in 1931-32. There is a copy, attributed to Orazio Vecellio, still at the Hermitage. At least two versions of the Venus with a Mirror are now lost. One, painted for the Venetian lawyer Niccolò Crasso, is recorded by a pen-and-ink drawing in Van Dyck's Italian Sketchbook (British Museum). Another, painted for Philip II of Spain, was copied by Rubens, whose version is now in the Thyssen-Bornemisza Museum at Madrid.
Portrait of Ranuccio Farnese. Canvas, 90 x 74.
Ranuccio was the son of Pier Luigi Farnese and the grandson of Pope Paul III. It is known from a letter that Titian painted his portrait in Venice in 1542, when he was twelve years old. He is dressed, in a black cloak with a silver cross, as a Knight of Malta, because he was in Venice to be made prior of the Knights' San Giovanni dei Forlani. The picture is first certainly recorded in 1680 in the Farnese collection at Parma. It was bought from a private Neapolitan collection by Sir George Donaldson in about 1885 and entered the Cook collection at Richmond. The attribution was often doubted until the painting was cleaned in the late 1940s, following its acquisition by Kress from Contini Bonacossi. It has hung in the National Gallery of Art since 1951.
Portrait of Doge Andrea Gritti. Canvas, 133 x 103.
The sitter is identified by the inscription, upper left. Signed, centre right (the letters 'EF' allude to the knighthood Titian had conferred on him by Charles V in 1533). Doge Gritti died in 1538, but the portrait, with its vigorous and rapid brushwork, is probably some years later. Titian also painted two earlier 'official' portraits of Gritti for the Doge's Palace, both of which were destroyed by fire. Probably the picture of 'Duke Grettie' in Charles I's collection which was sold to a Mr Jackson in 1652 for £40. From 1820 to 1936 the portrait was in the possession of the Czernin von Chudenitz family at Vienna. Acquired by Kress in 1954. The canvas has never been relined and the impasto is unusually well preserved. 
Portrait of Pietro Bembo. Canvas, 94 x 77.
Pietro Bembo (1470-1547), the great humanist, is best known for his poem Gli Asolani (1505), which extols the court of Caterina Cornaro at Asolo. He was created a cardinal by Paul III in March 1539, and is shown in his red robe and hat. The portrait may be the one Bembo asked Girolamo Querini to thank Titian for in a letter dated March 1540. In 1636 the portrait passed to Cardinal Antonio Barberini, and it remained in the Barberini collection in Rome until at least 1890. It was acquired by Charles M. Schwab of New York in 1906 and by Kress in 1942. Another portrait of Bembo, at Naples, is possibly a ruined original by Titian.
St John the Evangelist on Patmos. Canvas, 238 x 264.      
The central panel of the ceiling decoration of the new Sala dell'Albergo (Council Room) of the Scuola di San Giovanni Evangelista in Venice. The room was built in 1540-45, and the ceiling was probably decorated after Titian's return from Rome in mid-1546. Nineteen other canvases from the ceiling are still in Venice (Accademia). The St John on Patmos, which was described as 'very badly ruined', passed in exchange to a Turin dealer named Barbini in 1818, and was believed lost for many years. It resurfaced on the art market and was acquired by the Kress Foundation in 1954. It is usually attributed to Titian himself, while the smaller canvases in Venice are mainly by his workshop.
Venus and Adonis. Canvas, 107 x 136.    
A smaller, oblong replica in Titian's late style of the painting in the Prado. There is another (probably superior in both quality and condition) in the Metropolitan Museum, New York. The Washington version is probably the one mentioned by Boschini (1660) in the Barbarigo-Giustiniani collection in Padua. By 1679 it was owned by Anne Russell Digby, Countess of Bristol. It was inherited by the Spencers, and remained at Althorp until 1925, when it was sold to Agnew's. Bequeathed by Widener to the National Gallery in 1942.
Portrait of a Venetian Gentleman ('Goldman Portrait'). Canvas, 76 x 64.  
The long-haired young man throws a brooding sideways glance at the viewer. He holds a handkerchief in his clenched right hand, which rests on a book on a parapet. (Earlier versions, subsequently overpainted, showed him holding a dagger and then a scroll.) There is a view of the Doge's Palace through the window on the left. The letters 'VVO' on the parapet were revealed by cleaning in 1962. There are no early references to the portrait, which was sold with the vast and uneven collection of Henry Doetsch in London in 1895 as a work of Bernardino Licinio. In 1897 Berenson (in an article in the Gazette des Beaux Arts of Paris) included it among several paintings that he considered copies of lost originals by Giorgione. However, when the painting came into Duveen's hands, Berenson re-attributed it to Titian and it was sold to Henry Goldman as such in 1920. Acquired by Kress in 1937. It has often been accepted as one of Titian's earliest surviving portraits, with a dating of around 1507-10. Doubters have included Wethey (1971), who thought 'only a minor painter could be responsible for this picture, so thoroughly unpleasant both in form and content', and Joannides (2001), who found an attribution to Giovanni Cariani with a dating of around 1515 more plausible. The Cariani attribution is now preferred by the gallery itself. The portrait was, however, exhibited as 'attributed to Titian' at the Royal Academy in 2016 (the Age of Giorgione).  
Portrait of Andrea de' Franceschi. Canvas, 65 x 51.
Andrea de' Franceschi, whom Ridolfi describes as 'most beloved of the painter', was elected Grand Chancellor of Venice in 1529, and he is shown wearing the red robe and black stole of his office. The portrait appears to have been cut down. Another version, in Detroit, is considerably larger and shows the sitter half-length. The Washington version was long considered Titian's original, painted from life, but it is now sometimes ascribed to his studio or following. (The present gallery label is 'attributed to Titian'.) Formerly owned by the Earl of Wemyss, it was sold in 1927 and entered the Washington gallery in 1937 with the Mellon bequest. A curious triple portrait at Hampton Court, dubbed 'Titian and HIs Friends', combines a replica of Titian's Portrait of Andrea de' Franceschi with replicas of Titian's Self-Portrait at Berlin and Titian's Portrait of a Special Friend at San Francisco. This picture, now attributed to Titian's workshop, was the subject of Alan Bennett's 1988 stage play A Question of Attribution.
Portrait of Vincenzo Cappello. Canvas, 141 x 118.
Vincenzo Cappello, who commanded the Venetian fleet at the Battle of Preveza, is portrayed as an admiral. He holds his ceremonial baton and wears a crimson cloak over burnished armour. Titian is known (from a letter and sonnet sent by Pietro Aretino) to have portrayed Cappello in 1540. However, the Washington portrait is unsigned and some critics (including Bernard Berenson and Federico Zeri) have attributed it to Tintoretto. Previously in the Scottish collections of the Duke of Hamilton and the Earl of Rosebery, it was acquired by Kress in 1954. 
Irene di Spilimbergo; Emilia di Spilimbergo. Canvas, each 122 x 107. 
The palm branch behind Irene and the Latin inscription ('if the fates allowed') on the base of the column indicate that her portrait is posthumous. The storm-tossed ship in the background of Emilia's portrait may also allude to Irene's early death. Irene and her older sister Emilia were from a patrician Friulian family, who lived in a castle not very far from Titian's home town of Pieve di Cadore. After the death of their father, Adriano di Spilimbergo, they were sent to live in Venice with their grandfather Paolo da Ponte, who was a great friend of Titian according to Vasari. Irene, a gifted poet and musician, studied painting with Titian and is said to have shown great promise. She was just twenty when she died in December 1559. Vasari and Dolce say that Titian painted her portrait, while Irene's grandfather (in a diary entry shortly after her death) says he paid Titian six Venetian ducats to finish a portrait of her that had been 'sketched in rather badly' by a painter called Gian Paolo Pace. The portraits at Washington previously belonged to the Count of Maniago, who was a descendant of the Spilimbergo family. They were acquired in 1909 by the American transport magnate Peter Widener and gifted to the gallery in 1942. Somewhat damaged and restored. With their distinguished pedigree, the portraits were once regarded as authentic works of Titian. However, while the compositions are typical of Titian, the execution is rather weak, and the gallery now attributes both portraits to 'a follower'.