the most universal genius for painting of all the Lombard school, and the best colourist of all the moderns, was born at Cadore, in 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 abun- dantly more elegant and less constrained than that of Bel- lino, he determined to quit the style to which he had so long been accustomed, and to pursue the other, that re- commended itself to him by having more force, more re- lief, 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 his success then 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 Ve- nice, his income and fortune were inconsiderable; and that 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 abi- lities; 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. Titian 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 blushed at the condescension of so great a monarch); that the merit of a Titian was worthy of the attendance of an emperor.

It cannot be truly affirmed that Titian equalled in design the great masters of the Roman school; but he always took care to dispose his figures in such attitudes as showed the most beautiful parts of the body. His taste in designing men was not generally so correct or elegant as it appeared in his boys and female figures; but his colouring had all the look of real flesh; his figures breathe. He was not so bold as Giorgione, but in tenderness and delicacy he proved himself much superior to him and all other artists. The expression of the passions was not his excellence, though even in that respect many of his figures merited the justest commendation; but he always gave his figures an air of ease and dignity. His landscapes are universally allowed to be unequalled, whether we consider the forms of his trees, the grand ideas of nature which appear in his scenery, or his distances, which agreeably delude and delight the eye of every observer; and they are executed with a light, tender, and mellow pencil. He learned from nature the harmony of colours, and his tints seem astonishing, not only for their force, but their sweetness; and in that respect his colouring is accounted the standard of excellence to all professors of the art. He was of so happy a constitution, that he was never ill till the year 1576, when he died of the plague, at the age of ninety-six or ninety-nine. His disciples were Paulo Veronese, Giacomo Tintoret, Giacomo de Porte Bassano, and his sons.