TITIANO VECCELLI, or TITIAN, the most universal genius for painting of all the Lombard school, the best colourist of all the moderns, and the most eminent for histories, portraits, and landscapes, was born at Cadore, in Piombino's Dictionary of Eastern the province of Friuli, in the state of Venice, in 1477, or in 1480 according to Vasari and Sandrart. His parents sent him at ten years of age to one of his uncles at Venice, who finding that he had an inclination to painting, put him to the school of Giovanni Bellino.
But as soon as Titian had seen the works of Giorgione, whose manner appeared to him abundantly more elegant, and less constrained than that of Bellino, he determined to quit the style to which he had to long been accustomed, and to pursue the other that recommended itself to him, by having more force, more relief, more nature, and more truth. Some authors affirm, that he placed himself as a disciple with Giorgione; yet others only say, that he cultivated an intimacy with him; but it is undoubtedly certain that he studied with that great master; that he learned his method of blending and uniting the colours; and practised his manner so effectually, that several of the paintings of Titian were taken for the performances of Giorgione; and then his success inspired that artist with an invincible jealousy of Titian, which broke off their connection for ever after.
The reputation of Titian rose continually; every new work contributed to extend his fame through all Europe; and he was considered as the principal ornament of the age in which he flourished. And yet, Sandrart observes, that amidst all his applause, and constant employment at Venice, his income and fortune were inconsiderable; and he was more remarkable for the extensiveness of his talents, than for the affluence of his circumstances. But when his merit was made known to the emperor Charles V. that monarch knew how to set a just value on his superior abilities; he enriched him by repeated bounties, allowed him a considerable pension, conferred on him the honour of knighthood, and what was still more, honoured him with his friendship. He painted the portrait of that benefactor several times; and it is recorded by Sandrart, that one day, while the emperor was sitting for his picture, a pencil happening to drop from the painter, he stooped, took it up, and returned it; obligingly answering to the modest apology of the artist (who