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Home , Alessandro Vittoria, Allegory of Prudence, Andrea Gritti, Annunciation (Bellini), Bacchus (Rubens), Bacchus and Ariadne

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and the end of the venetian 001_017_Titian_Intro_ROB 17/09/2013 15:17 Page 2 001_017_Titian_Intro_ROB 17/09/2013 15:17 Page 3 TITIAN and the end of the

om ichols

reaktion books 001_017_Titian_Intro_ROB 17/09/2013 15:17 Page 4

For Kerr¥

Published by reaktion books ltd 33 Great Sutton Street ec1v 0dx, uk www.reaktionbooks.co.uk

Copyright © Tom Nichols 2013

All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

Printed and bound in China by C&C OΩset Printing Co., Ltd

British Library Cataloguing in Publication Data

isbn 978 1 78023 186 0 001_017_Titian_Intro_ROB 17/09/2013 15:17 Page 5

CONTENTS

* Introdu±ion Titian’s Last : The Sight of Death 7 – An Inglorious Passing; or, The Difficult Case of the Pietà 9 – How ‘Venetian’ was Titian? 12 Surrogate Monuments to the Leader of a Tradition 15

one: Art as Appropriation: The Rise of Titian : The Venetian 19 – Bellini and Titian: Master and Pupil 20 Titian and the Venetian Istoria 23 – Titian and 30 – Giorgione and Titian’s Early Portraiture 35 – The Early Mythologies 43 – Titian Repaints 55

two: Remaking Tradition: Icons and Anachronic Titian 59 – The Modern Icon 60 – The Cultural Dynamics of Space in Two Altarpieces for 64 – Private Values in a Public Picture Type 72 or Artwork? 78

three: Portraiture and Non-venezianità Portraiture in Renaissance Venice 83 – Titian’s Portraits to 1530: Accommodation of the Courts 87 – Habsburg and Related Portraits of the 95 Historical Portraits 99 – Natura Potentior Ars 117 four: Sacred Painting, the Poesie and the Late Style Titian as Tradition 123 – Titian’s Hybrid Poesie 134 – Two Late Mythologies 146 Early Responses to Titian’s Late Style 149 – The Late Style in Critical and Historical Perspective 153

five: Titian and Venice: Surviving the Father of Art Patrons and Prices 157 – Titian versus the Rest: A Literary Self-image 159 Pictor et eques: Titian’s Self-portraits 161 – Images of Succession 167 – Images of Attachment 173 – The Darker Side of Titian; or, The Anti-image 179 Venetian Responses to Titian: Veronese and 186

Conclusion Titian and the End of the Venetian Renaissance 199 – Titian in Disguise 201

references 207 bibliograph\ 238 acknowledgements 247 photo acknowledgements 248 index 249 001_017_Titian_Intro_ROB 17/09/2013 15:17 Page 6

1 Titian, Pietà, c. 1570–76. Gallerie dell’Accademia, Venice. 001_017_Titian_Intro_ROB 17/09/2013 15:18 Page 17

6 Luigi Zandomeneghi and Pietro Zandomeneghi, Monument to Titian, 1838–52, marble. S. Maria Gloriosa dei Frari, Venice. 018_057_Titian_Ch 1_ROB 17/09/2013 15:31 Page 18

7 Vittore Belliniano, Portrait of Giovanni Bellini, charcoal, wash and bistre on paper, 1505. Musée Condé, Chantilly.

8 Giovanni Bellini, Portrait of Gentile Bellini, c. 1496, charcoal on paper. Kupferstichkabinett, Staatliche Museen, . 018_057_Titian_Ch 1_ROB 17/09/2013 15:31 Page 19

chapter one Art as Appropriation: The Rise of Titian

Confronted by a rival . . . Titian* responded by engorging him (Richard Wollheim, Painting as an Art, 1987)

Giovanni Bellini: The Model Venetian When Titian arrived in the metropolis of Venice from their constant demand for official portraits, votive paint- the remote mountain village of around 1500, ings and histories.4 Like his brother, Giovanni’s later painting was dominated by two local artists, the broth- career was dominated by the production of large-scale ers Gentile and Giovanni Bellini. They were the sons of for major Venetian public buildings and insti- Jacopo Bellini, the leading master in Venice in the tutions: that is, for the state, the lay religious brother hoods decades before his death in 1471, and had inherited his known as the Scuole, and the Church. social status as cittadini originari, ‘original citizens’ of the The narrow geographical parameters of Giovanni’s city.1 Of the two, the younger brother Giovanni was the career may have owed more to his Venetian identity and more self-effacing, and in this sense, at least, conformed ideology than to lack of opportunities for expansion. more absolutely to the presiding cultural value of medi- When Isabella d’Este, marchesa of the Gonzaga court, ocritas, which promoted society and state over individual approached Giovanni for a contribution to her studiolo, accomplishment. If Gentile had worked abroad for or study, in the Ducal Palace at , the painter sultan Mehmed ii in and sometimes proved less than willing to supply a painting following signed himself as ‘knight’ on his paintings, Giovanni re- her instructions.5 And it seems that even when Giovanni mained quite comfortably in his brother’s shadow.2 did provide a painting for a foreign court very late in He made his name producing modest half-length his career, for Isabella’s brother Alfonso d’Este, Duke paintings of the and Child. These were rela- of , his work proved not to be to his patron’s taste tively small-scale works intended primarily for devotional (illus. 38).6 As we shall see, Titian’s career proves a sharp purposes within the home and were more usually asso- contrast: it developed around his ability to form congenial ciated with the less successful painters in Venice known relationships with leading courtly rulers and their families, as ‘Madonneri’.3 Giovanni quickly transformed the stand- and his related capacity to anticipate their artistic tastes. ing of the Madonna and Child as a subject and expanded But he often argued with local patrons. Giovanni, on his range into more high-profile and large-scale painting the contrary, focussed his attention on the home market types, such as the altarpiece and the istoria, or ‘history’ and seems to have felt that local commissions offered painting. But his career remained relatively narrowly him more room for creative manoeuvre. In a letter of focussed on the needs of local patrons. Though Giovanni 1506, his friend, the poet , informed the was exempted from paying dues to the Venetian painter’s irritated Isabella that he liked ‘to wander at will’ in his guild in 1483, this was not necessarily an attempt to paintings rather than to follow detailed prescriptions distance himself from the local community of painters. from his patrons. Seen as an expression of Giovanni’s It reflected the Venetian state’s attempt to help him fulfil ‘Venetianness’, or venezianità, his assumption of a right

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to creative licence appears as an artistic analogue to a leading political virtue of Venice itself. Freedom was, Bellini and Titian: Master and Pupil after all, a key concept within the so-called ‘myth of Among Titian’s early works there are surprisingly few Venice’ and was perhaps the primary way in which the that continue or develop the type of the half- or three- Republic defined itself in ideological terms against the quarter-length Madonna and Child for which Giovanni oppression or ‘tyranny’ of the courts.7 Bellini had become renowned. Indeed, there is remark- By the final decade of the fifteenth century Giovanni ably little reference to Bellini’s work per se, a striking ran one of the largest and most successful workshops in fact given that the young painter was certainly a pupil ; his growing fame and professional prominence in the ’s workshop.13 The young Titian, who was, in part at least, dependent on the range and extent quickly became enamoured with the work of the elusive of his activity as a teacher with many pupils. Giovanni Giorgione, is never overtly ‘anti-Bellinesque’. But from and his brother were particularly renowned among Italian the outset he makes clear his difference, resisting the artists and humanist intellectuals for their teaching of expected formative impress of master on pupil. Titian’s perspective in the workshop, which was understood as immediate escape from his artistic ‘father’, his dis- a quasi-scientific topic and therefore as a key element avowal of the conventional bond between old and in the training of young artists.8 In 1506 the visiting young formed in the workshop immediately limits the German artist Albrecht Dürer, whose interest in the common idea that he simply inherited the values of the new ‘science’ of art is well documented, firmly identified Venetian tradition through his training.14 Titian’s break Giovanni as the best painter in Venice.9 But as a portrait with the past was enacted through the transitional figure drawing by a devoted pupil, Vittore Belliniano, shows, of Giorgione, a slightly older contemporary in Bellini’s the old master’s professional identity hardly changed in shop, much of whose work offered a kind of poetic later life (illus. 7). Sensitive as the drawing is, it reveals withdrawal from the civic-minded culture of the older relatively little about Giovanni as an individual, picturing generation. The extent of Giorgione’s influence over him as a dutiful master and faithful civil servant rather the young painter has led some to argue that Titian than an inspired genius.10 Belliniano’s drawing contrasts was his pupil, though there is little evidence to support a little with the portrait that Giovanni himself made of this idea.15 But Giorgione might nonetheless have acted his older brother, which hints at Gentile’s more expansive as surrogate master or artistic father figure, perhaps international and personal profile (illus. 8). Yet even mediating the antagonism between Bellini and Titian. Gentile is shown in the traditional public dress of the Whatever the case, it seems that referencing the picto- cittadino originario.11 At his death in 1516, Giovanni was rial innovations of the ultra-modern Giorgione allowed buried in simple fashion alongside his brother in the Titian to distance himself with unusual rapidity from the premises of a cittadini-dominated confraternity, the Scuola predominant and established mode of Bellini, quickly di Sant’Orsola, a building decorated by Gentile’s follower, setting this into the past and making it appear outdated . This was perhaps a final act of self- and ‘traditional’. repressing mediocritas, seeming to reassert his original role Titian’s Virgin and Child, known as The Gypsy Madonna, as the junior member of the family despite the fact that is unusual among his early paintings in its clear deriva- he was widely recognized as having outstripped his older tion from the type that Bellini had made his own in brother in the field of painting.12 Venice (illus. 9 and 10).16 The presence of an earlier version beneath the one now visible, which is closer still to Bellini’s painting (now in the Detroit Institute of Arts), indicates that the work of his master was Titian’s first point of reference. As Titian worked on the canvas,

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9 Giovanni Bellini, Virgin and Child, 1509. Detroit Institute of Arts.

however, he remade Bellini’s work in accordance with suggesting a more immediate connection between the his own very different artistic principles. Titian’s admis- Madonna and the natural world. sion of sensuous elements into the traditionally separate The billowing folds of the drapery of the sleeve in and timeless space reserved for a Bellini Madonna is Titian’s work appear exaggerated, spreading out across noticeable. In both paintings the drapery of the Virgin’s the picture surface beyond the enclosure of the Cloth sleeve overlaps with the landscape beyond. But in Bellini of Honour hanging behind the holy figures, to connect a symbolic royal is used, the expensive the sacred and secular sides of the painting while also conferring a kind of absolute value on the recalling the expensive fabrics beloved of noblewomen Queen of Heaven and maintaining a point of sacred in early sixteenth-century Venice but criticized by the distinction from the broken, worldly tones in the land- authorities.17 New points of connection with the reality scape. In Titian’s Gypsy Madonna, by contrast, the tra- beyond the painting are, then, opened up by Titian’s ditional blue is dramatically lightened so that it is very painting of the Virgin’s sleeve, soon to be explored fur- close to the tone of the mountains and sky beyond, ther in early portraits such as the Portrait of a Man (illus.

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10 Titian, Virgin and Child (\e Gypsy Madonna), c. 1511. , .

27). But the non-canonical lightening of this blue sleeve the Detroit painting Bellini makes a forward reference is also part of the new priority given to broad areas of to another sacred , as he had done many light and dark within the composition. Great pools of times before in his Madonnas: his confidently upright shadow engulf certain areas of the composition (much child is a forerunner of the Resurrected Christ, often of the landscape, the area around the Virgin’s right pictured standing on his tomb. In Titian, on the other hand, the whole space to the right of Christ), taking the hand, there is a new measure of informality suggested emphasis away from more literal details of surface or by his apparent lack of awareness of the viewer. Christ texture. Just as the sleeve is lightened, so the Virgin her- does not raise his hand in the orthodox gesture of blessing, self is darkened: Titian’s dark-eyed, dark-haired and and there is instead a new emphasis on the soft and vari- dark-skinned Virgin would have been felt as a dramatic able surfaces of his flesh, allowing for distinctions between move away from Bellini’s pale brunettes that still sug- hardness and softness in the toes, knees, thighs and belly. gest their heritage from Byzantine icons.18 Particularly His gesture, touching the Virgin’s garment, is made slight noticeable is the way Titian enlarges the pupils and and meaningless, the turning of his head a matter of irises of his Virgin so that the whites of her eyes almost momentary infantile distraction. Instead of referencing disappear. Her full face – which nonetheless does not run other paintings or , Christ’s slight move- to the fleshiness of the matronly sitter in the portrait ment – the outward sway of his hips caused by the of the same year known as (illus. 29) – contrasting relaxation and tension of the legs – recalls suggests a corporeal presence still undreamed of in the naturalistic contrapposto of an antique putto. Released Bellini’s austere Madonna. from the momentousness of his own future narrative, The same kind of worldly remaking of the Bellini Titian’s Christ is, for the time being, part of this world. model is evident in the posture of the Christ Child. In If Bellini enjoyed referencing future aspects of the Passion

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power that is distinct – an immediacy of narrative gesture open-ended or ‘poetic’ pictorial imagery among a sophis- or action that breaks away from the Giorgionesque dream- ticated circle of patrician patrons in Venice.45 land. In other early works too, Titian’s adoption of the Even at his most Giorgionesque the young Titian warm buff tonality and generalizing brushstroke of gives his figures added visual prominence and three- Giorgione is counteracted by areas of intense local coloura- dimensionality, organizing his compositions around tion and the vibrant elaboration of surface texture. The moments of intense interchange between the leading predominance of large figures over settings already evident protagonists. In very early works such as Christ and the in the is another signal of Titian’s immediate Adulterous Woman now in Glasgow, which probably dates difference from Giorgione.43 from before 1510, passages of Giorgionesque intro spection In works such as The Three , and and stillness compete uncomfortably with sudden figural (The Sunset, illus. 19), Giorgione had set myste- movements and heightened emotional responses (illus. rious figures into landscapes that combine generic reference 18).46 Within four or five years, Titian had more thor- to the so-called terra firma (the area of Venetian territory oughly absorbed the older master’s promptings into his inland from the city) with an element of idealism recalling own idiom, such that in The Three Ages of Man and Noli me the Arcadian settings of contemporary and classical pastoral tangere the potential conflicts are smoothed away (illus. poetry. In both The Tempest and Il Tramonto, the scale of the 20, 21). Titian’s figures occupy evocative Giorgion - figures is reduced so that the landscape itself predomi- esque landscapes featuring rolling pastures interspersed nates.44 Even if these figures continue to provide clues to with woody copses, openings to distant buildings and the meaning of the paintings, their small scale makes this blue-and-gold horizons. But these settings are cast in a ambiguous. This ‘veiling’ of the subject’ seems to have supportive role, offering symbolic or visual echoes of been quite intentional, perhaps feeding a new taste for the wider meaning of the image as articulated in the

18 Titian, Christ and the Adulterous Woman, c. 1508–9. Kelvingrove Art Gallery and Museum, Glasgow.

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19 Giorgione, \e Sunset (Il Tramonto), c. 1506. , London.

20 Titian, \e \ree Ages of Man, c. 1513. National Gallery of Scotland, . 018_057_Titian_Ch 1_ROB 17/09/2013 15:31 Page 33

21 Titian, , c. 1513–14. National Gallery, London. 018_057_Titian_Ch 1_ROB 17/09/2013 15:31 Page 34

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aspects into a sacred schema. If in the Three Ages of Man specific objects with symbolic overtones (pipes, dead tree, skulls, church) are dotted through the composition to suggest a wider allegorical meaning, in the London paint- ing the entire structure of the landscape is made depend- ent on the interrelationship of the foreground figures. There may still be a frisson of erotic tension between the two protagonists, yet as the kneeling Magdalene reaches out to touch Christ’s body he swings away from her, gathering his robes about him in a movement of pious 22 Aristotile da Sangallo, after ’s of \e Battle of retraction. Her crouching form and his swaying one are , 1542. Holkham Hall, Norfolk. Cascina mirrored in the shapes of the low bushes and tree be- powerful interaction between the main actors in the hind them, and it may be that the latter defines a more foreground.47 general boundary between sacred and secular within the In The Three Ages of Man the enlarged and brightly lit painting. The contemporary-looking farm buildings on figures of the young man and woman absorbed in each the Magdalene’s side of the work are contrasted with other’s desirous gaze provides the main visual focus, the the grazing flocks and intense (both with heavenly intimations of their past and future given elsewhere in associations) that predominate on Christ’s. the picture finally made subject to the passionate sensual intensity of the present moment.48 The traditional title implies that this is a Giorgionesque allegory concerning the cycle of human life, as is partially confirmed by a sixteenth-century inventory in which the painting is described simply as ‘representing love and death’.49 But the careful depiction of the lovers makes them something more than mere personifications. The muscularity of the near-naked youth may again betray Titian’s study of Michelangelo, but translation of the idealizing source (a seated in the foreground of the Battle of Cascina cartoon, illus. 22) back into a naturalistic artistic language is as thorough as that noted in The Miracle of the Jealous Husband.50 And this is taken further still in the figure of the young woman who lies in his lap, her hairstyle and dress identifying her as a contemporary of early six- teenth-century Venice. The loose tumble of her blond hair on to the exposed flesh of her neck and shoulders, like her revealing décolletage and suggestive posture holding phallic pipes, introduces an intensity of erotic interaction not matched in Giorgione.51 In the Noli me tangere, Titian transfers the Giorgion - esque mode to a devotional painting with ease, reab- 23 Giorgione, Portrait of an Old Woman (Col Tempo), c. 1508. Gallerie sorbing (with characteristic self-confidence) its secular dell ’Accademia, Venice.

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Venice. It is no coincidence that Giorgione’s most Giorgione and Titian’s Early Portraiture groundbreaking works of this type feature women, who Giorgione was also an important figure in Titian’s - played a role strictly circumscribed in public and official ation from the restricted corporate and documentary culture.54 But a similarly private domain is implied for functions of the Venetian portrait in the Bellinesque his male sitters, who take on a delicate, feminized tradition.52 In works such as the Portrait of an Old Woman appearance that gives notice of a departure from the (Col tempo) and Giorgione had rendered the entire conventionally masculine space of Venetian portraiture concept of the type problematic, for it remains unclear (illus. 25).55 whether these really are ‘portraits’ in the conventional This earlier conception had, once again, been defined sense (illus. 23, 24). They are very unlikely to have been primarily by the Bellini family. Jacopo, Gentile and commissioned by the sitters or their families, and though Giovanni Bellini painted very few portraits of women, they appear to represent specific people they were clearly but they had developed a popular type for Venetian men intended to convey meanings beyond those of the that owed a discernible debt to the group portraits merely descriptive. Despite (or perhaps because of ) these featured in their large-scale istorie for the ’s Palace ambiguities, these works are more freely expressive of the sitter’s individuality and personality than earlier Venetian portraits. In the case of Col tempo, the image of the old woman is presented as a perhaps less-than-sympathetic study of old age, with a moralizing memento mori held up by the sitter for the viewer’s edification. In Laura, the erotic intimacy of the sitter’s revealing gesture, with fur lifted to expose the analogous softness of breast and nip- ple, challenges her more abstract identity as poetic muse or the personification of poetry.53 The Giorgionesque habit of allowing ‘portraits’ to carry wider allegorical, erotic or esoteric meanings showed well enough that this picture type could function as a vehicle for creative invention. Presented as original and suggestive ‘works of art’ these paintings acquire a new cultural value quite independent of their outward commitment to recording a likeness. The new subjectivity suggested in these works is developed precisely through the obscur- ing of the sitter’s identity, at least insofar as this was traditionally defined through outward position in the social order of 24 Giorgione, Laura, 1506. Kunsthistorisches Museum, Vienna.

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25 Giorgione, Portrait of a Man, c. 1505. Gemäldegalerei, Berlin. 018_057_Titian_Ch 1_ROB 17/09/2013 15:31 Page 37

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26 Giovanni Bellini, Portrait of a |oung Senator, c. 1485–7. Museo Civico, Padua.

and the meeting houses of the Scuole. Giovanni Bellini regalia – senatorial robes, stole and cap. Their distant in particular made a number of portraits of young gaze directed beyond the viewer, like the setting against patricians, who probably sat for him at the time of their a blue backdrop with heavenly associations, suggests admission to the ruling at the inspired yet muscular readiness to take up the patriotic age of 25 (illus. 26).56 These works represent the point and divinely sanctioned cause of the Republic. In of passage into public life rather than defining the Giorgione’s Portrait of a |oung Man, on the other hand, the possibility of withdrawal from it. They show the young sitter glances directly at us; the turn of his eyes away sitters in bust length, proudly dressed in their official from the direction of his head, like the delicate shadows

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27 Titian, Portrait of a Man (Gerolamo Barbarigo?), c. 1513. National Gallery, London. 206_256_Titian_end__ROB_Layout 1 17/09/2013 16:09 Page 249

index

*

acheiropoieta 61, 62 Bellini, Gentile 12, 19–20, 35, 60, 70, 160–61 Agatone, Giovanni Francesco 181 Procession in St Mark’s Square 23–5, 123, 13 Alberti, Leon Battista, 60, 69, 80, 103, 161, 193 Bellini, Giovanni 13, 19–23, 30, 35–7, 59–61, 70, 83, 121, 155, 157, De pictura 23, 25 160, 179–80 Alexander vi, 70 Doge Leonardo 83–4, 112, 66 Amberger, Christoph 96 Pietà 61, 42 77–8 Portrait of Gentile Bellini 20, 8 Andros 53 Portrait of a Young Senator 37, 83, 26 anonymous, Portrait Medallion of Titian and his Son Orazio 120, 163, San Giobbe altarpiece 7–8, 59, 64–9, 51 167–9, 131 Submission of Frederick Barbarossa (destr.) 57, 157 Antico (Pier Jacopo Alari Bonacolsi) 72 The Assassination of St Peter Martyr 50, 40 59 The 47–8, 50, 54–5, 121, 35, 45 59, 67, 83 Virgin and Child 20–23, 9 Antony of Padua, St 25 Virgin and Child with SS. Augustine and Mark and Doge Agostino Apelles 153, 163 Barbarigo 70, 54 Apollo 147–8, 204–5 as cittadino originario of Venice 121 72, 60 medal of 161–2 Ardenti, Agostino workshop of 172 Portrait Medal of Titian and his Son Orazio 120, 163, 167, 132 Bellini, Jacopo 19, 23, 35 Aretino, Pietro 12, 161, 179, 181 Perspective drawing 23, 11 L’umanità di Cristo 105 St Preaching 23–4, 12 and Eupompos 153 Belliniano, Vittore (Vittore di Matteo) 162 as in Titian’s 105 Portrait of Giovanni Bellini 20, 7 as privileged outsider in Venice 105–6 Belting, Hans 61, 63 as the ‘scourge of princes’ 113–15 Bembo, Pietro 19, 117 Ariosto, Ludovico 115 Blaise, St 77 13, 64, 163 95–7 Poetics 144 Bonenfant, Antoine Arte dei Depentori 55 and see Titian and painter’s guild Titian with his Courtesan 148 Augsburg 110, 117, 166 Bonifazio dei Pitati 81 Averoldi, Altobello 72–4 Bordone, 81, 167 Borgia, Cesare 70 Badile, Antonio (iv) 174 Boschini, Marco 67–9, 175 Bartholomew, St 147 Breve Istruzione 151–2 Bartolommeo, Fra 48 24, 72, 169 Study for the Worship of 50–51, 41 Britto, Giovanni Bassano, Francesco 11, 184 After a Self-portrait by Titian 162–3, 178, 127 Bassano, Jacopo 11, 176 Burckhardt, Jacob 94 and workshop, The Purification of the Temple 183–4, 145, 146 The Civilization of the Renaissance in Italy 87 Bassano, Leandro Burgkmair, Hans Portrait of 176, 184, 142 Emperor Maximilian i on Horseback 110

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Cadore 15, 19, 167, 171 Farnese, Alessandro 140, 175 Camelio (Vittore di Antonio Gambello) Ferrante, Francesco 110 Portrait Medal of Giovanni Bellini 161–2, 125 Ferrara 23, 54, 86 Campagnola, Domenico 167 Camerino d’Alabastro 47–9, 51, 54, 150 Capello, Vincenzo 113 Fialetti, Odoardo, 195 Cariani, Giovanni Il vero modo et ordine per dissegnar tutte le parti et membra del corpo The Seduction 185, 149 humano 196, 158 Caroto, Giovanni 174 85, 181 Carpaccio, Vittore 20, 30, 179, 190 maniera painting in 130 The Presentation of the Virgin 121, 99 tradition of artistic disegno in 12, 155 Carracci, Agostino Fontana, Giulio Engraved Portrait of Titian 166 The Battle of Spoleto (after Titian) 124, 98 Castiglione, Baldassare 90 Francia, Francesco 117 Il Cortegiano 90, 94, 150 Franciscan Order 9, 11 concept of sprezzatura in 90, 94, 150 and Titian portraits of 95 Gauricus, Pomponius 23 Catena, Vincenzo 55, 158–9 Gell, Alfred 59 Cavalcaselle, Giovanni Battista 153 Giambono, Michele 123 Celso, St 73–4 Giorgione 13, 20, 30–43, 51, 59, 61, 80, 94, 125, 155 Charles v, Holy Roman Emperor 95–9, 110–12, 130, 158, 162, Laura 35, 43, 24 166 Portrait of a Young Man 37–9, 85, 88, 25 as Alexander the Great 163 31 Clement vii, Pope 96 The Tempest 31 Clovio, Giulio 175 The Sunset (Il Tramonto) 31, 19 Colleoni, Bartolomeo 85 Old Woman (Col Tempo) 35, 23 Colonna, Francesco Self-portrait as (lost) 162, 126 Hypnerotomachia Poliphili 46–7, 50, 37 Sleeping Venus (and Titian) 43–6, 32, 33 Como 79 Giotto 29, 60 Constantinople 12, 19 Marriage of the Virgin 25–7, 15 Correggio, Antonio 152 Giovio, Paolo 106 81 Gothic polyptychs 67 Crete 174 Gozzi, Alvise 77–8 Crowe, Joseph Archer 153 Greco, El (Doménikos Theotokópoulos) 169, 177, 193–4, 139, 140 Giulio Clovio 175 Damisch, Hubert 23 The Purification of the Temple 174–5, 183 d’Anna, Giovanni 105 Gritti, Andrea, Doge 87, 157 d’Avalos, Alfonso 96, 110 Dente, Girolamo 167 Hegel, Georg 87 Della Rovere, Guidobaldo ii, Duke of 176 Hellespontine Sibyl 8 Dolce, Ludovico 59–60, 67, 103, 179, 199 Herculaneum 144 Dialogo della pittura 13–14, 117–18, 123, 159–61 Holanda, Francesco de 130–31 Dominican Order 79–80 Hollar, Wenceslaus Donà, Leonardo 85 After a Self-portrait by Giorgione 162, 126 Donatello 25 Horace 136, 150 Dossi, Dosso 48 Dürer, Albrecht 20 , Empress 117, 158 Knight, Death and the Devil 110, 91 Dyck, Anthony van 155 , St 7–8, 201–3 John, St (the Evangelist) 125, 127 171 Erasmus, Desiderius Laocoön and his Sons 51, 72–4, 57 Enchiridion militis Christiani 110 104, 124 Este, Alfonso d’ 19, 47–8, 50, 54, 74, 150 Christ Carrying the Cross 63, 49 Este, Isabella d’ 19, 48, 51, 117 Leoni, Leone Eupompos 153 Michelangelo as Blind Beggar 203, 163 Portrait Medal of Titian 161–2, 124

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Libro d’oro 10 Omnia vincit Amor 192 Lombardo, Antonio Order of the Golden Fleece 96 The Forge of Vulcan 51, 42 Lombardo, Pietro 67 Fasti 50 Loredan, Leonardo Doge 88 134, 144 Loth, Carlo Ovide moralisé 144 The Death of St Peter Martyr (after Titian) 79–81, 65 50, 54 Padua 24–5 Lotto, Lorenzo 29, 81, 159–60, 180 Scuola del Santo 24 Palladio, Andrea 195 Madonna of Mercy (Misericordia) 7, 166 Palma, Antonio 175 Madonneri 19 Palma Giovane 11, 15–16, 154, 193, 194–5, 199 Mantegna, Andrea 25, 51, 99 Monument to Titian and Palma Giovane 15, 175–6, 5 Mantua 19, 86, 148 Palma Vecchio 15, 55–7, 175 Mantua, Ducal Palace The Holy Family with SS. Catherine and John the Baptist (and Camera Picta in 99 Titian) 55–7, 180, 46 Gabinetto dei Cesari in 99 Panofsky, Erwin 23, 169 studiolo in 48, 51 (Girolamo Francesco Maria Mazzola) 152 Gonzaga of 86, 99 Pastorini, Pastorino (de’) Marcus Aurelius on Horseback 90 Portrait Medal of Titian 162, 166 Mark, St 70 Pérez, Antonio 127, 152 147, 204–5 Perugino, Pietro 51 Mary of Hungary, Queen 150 176 Massa, Nicolò Pesaro, Jacopo 69–72, 77 Facile est inventis addere 152 Pesaro, Lunardo 72, 110 Maurice, St 70 Peter, St 70, 147 Maximilian i, Holy Roman Emperor 110 Peter Martyr, St 79–80 Maximilian ii, Holy Roman Emperor 181 Philip ii, King of Spain 99, 117, 120, 127, 134, 136, 143–4, 146, Medici, Duke Cosimo i de’ 150, 181 150, 188, 195 Mehmed ii, Sultan 12, 19 Philostratus Michelangelo Buonarroti 13, 30, 60, 72, 75, 79, 117, 130–31, 152, Imagines 50 175, 193, 195, 203 Piero della Francesca 67 Battle of Cascina (Aristotile da Sangallo after) 34, 22 Pino, Paolo Fall of Man 27–9, 17 Dialogo di pittura 159–60 Giuliano de’ Medici 85, 104, 83 Pittoni, Battista Lorenzo de’ Medici 85 Imprese di diversi principi 118–19, 96 105, 115, 166, 93 Pliny the Elder Pietà 7–12, 15–16, 201–3, 3 Natural History 152 Rebellious Slave 72, 75, 58 Pompeii 144 criticism of Flemish art 130–31 Pordenone (Giovanni Antonio de’ Sacchis) 158, 160, 180 criticism of Titian 119, 130–31, 139, 163, 193 portraits at court 84–5 and Giotto 25 Poussin, Nicolas 201 hostility to portraiture 85, 92, 104, 117 50 late style of 131 Propertius 61 obsequies at death of 12 Protestant Reformation 80 99 punctum / studium 23 Monet, Claude 153 Moses 8, 151, 202 Rangone, Tommaso 85 Mühlberg, Battle of 110 Raphael 29, 48, 60, 64, 78, 88, 106, 152, 160–61, 175, 188 95, 71 S. Maria degli Angeli 158 Madonna di Foligno 77, 62 St Paul Preaching in Athens 106 50 van Rijn 153, 201 Nazaro, St 73 Reynolds, Sir Joshua 201 9 Riario, Raffaele 72 Ridolfi, Carlo 9, 11–12, 154, 174, 184

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Le maraviglie dell’arte 15 Self-portrait (Paris) 193, 155 Life of Tintoretto 195 Self-portrait (Philadelphia) 193, 154 Roch, St 73 Virgin and Child with SS. Sebastian, Mark and Theodore Adored by Romano, Giulio 99 Three Camerlenghi 84, 67 The of Marsyas 148, 123 criticism of Titian 196 Vision of the Cross (detail) 106, 88 identification with Michelangelo 195 72, 74, 77, 86–7, 105–6, 119, 130, 139, 155, 162, 166, 175 importance of drawing in workshop of 195–7 in 185 nickname and Venetian identity of 193–5 maniera painting in 130 and pictorial space 193 Marcus Aurelius in 110 successful workshop of 194–7 Sistine Chapel 30 and Titian 192–7 Vatican, Sala del Costantino 106 Tintoretto, Jacopo, and workshop Vatican stanze 29, 160 195, 156 Rota, Martino Nativity 195, 157 The Death of St Peter Martyr (after Titian) 78–81, 64 Paradise 195 Rovere, Guidobaldo della 46 Tintoretto, Marco 195 Rubens, Peter Paul 155, 201 Tintoretto, Marietta 195 Charles v after Titian 95–6, 74 Titian Ruskin, John 59 Alfonso d’Avalos 96–7, 110, 75 169, 171, 175, 133 Sadeler, Aegidius Antonio Anselmi 95 Julius Caesar after Titian 99–104, 81 and 49, 51–4, 121, 135, 138, 161, 44 Nero after Titian 99–104, 82 Baldassare Castiglione 95, 73 Salis, Jacopo de’ 24 Battle of Spoleto (destr.) 30, 71, 123–4, 157, 179–80, 98 Sansovino, Jacopo 105–6, 115, 174, 188 Caesars (destr.) 99–105, 117 Santa Maura, Lefkada, Greece 70 Charles v (lost) 95–6, 99, 113, 158 Sanudo, Marin 88 Charles v on Horseback 110, 89 Sarcinelli, Cornelio 11 Charles v with a Hound 97, 117, 78 , Andrea 155, 181 Christ and the Adulterous Woman 31, 18 Schmalkaldic League 110 Christ Carrying the Cross (Venice) 61–3, 134, 48 Scrots, Guillim 117 Christ Carrying the Cross () 61–2, 131–4, 108 Sebastian, St 72–5 Christ Carrying the Cross (St Petersburg) 61–2, 131–4, 109 Sebastiano del Piombo 160 (with Orazio) 171, 134 Seisenegger, Jakob 97 Danaë (Naples) 125, 130, 139–40, 113 Charles v with a Hound 97, 117, 79 Danaë (Madrid) 125, 132, 139–40, 145, 150, 114 Seneca 144 Daniele Barbaro 95 Serlio, Sebastiano and 134, 138, 141–6, 151, 190, 117, 118 Libri dell’architettura 193 Diana and 134, 141–6, 151, 119 Seville Doge 112–15, 166, 92 Alcázar 99 Doge Francesco Donà (lost) 115 50 Doge 115, 94 131 Ecce Homo 105–6, 117, 84 36 Federico Gonzaga 88, 94–5, 70 Stokes, Adrian 45 43–4, 88, 185, 30, 34 Stoppio, Nicolò 181 Francesco Maria della Rovere, Duke of Urbino 96–7, 113, 117, 76 Strada, Jacopo 181–3 Friend of Titian 95 Suavius iii, Lambert 181–3, 144 Engraved portrait of Titian 166 Laura dei Dianti 95–6 Sudeley Castle, Gloucestershire 185 Man of Sorrows (Dublin) 128, 131, 107 Suetonius Man of Sorrows (Madrid) 128, 103 De vita Caesarum 99–104 90, 94–5, 72 Martyrdom of St Lawrence 140 Tebaldi, Jacopo 184 128, 106 52 Mater Dolorosa with Hands Apart 128, 105 Tintoretto, Domenico 195 Mater Dolorosa with Hands Clasped 128, 104 Tintoretto, Jacopo 81, 84, 155, 157, 160, 175, 179, 181, 192–7 Miracle of the Jealous Husband 27–30, 34, 16

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Miracle of the Sleeping Babe 24–7, 30, 40, 14, 28 Virgin and Child with SS. Francis and Blaise and Alvise Gozzi 77–8, Noli me tangere 31–4, 135, 21 125, 61, 63 Perseus and 134, 140, 145, 116 altarpieces by 7–12, 64–81, 201–4 11, 56, 69–72, 77, 79, 81, 110, 140, 188, 201, 53 anachronic aspects in the style of 59–64, 123–34 Prince Philip 99, 150, 80 androgynous quality of sitters in 88 Pietà 7–13, 15–16, 147, 168, 175, 201–3, 1, 2, 160, 161 as Apelles 153, 163 (Frick) 105, 85 and Aretino 105–8, 113–15, 180–81 Pietro Aretino () 105, 113–15, 150, 166, 86 avarice of 180–84, 204–5 Pietro Bembo 117 belle donne portraits of 43, 88, 185 Portrait of a Young Man 88, 68 burial of 10 Portrait of a Young Man (‘Man with a Blue Sleeve’) 21–2, 39, 88, 27 and Byzantine art 63–4 Portrait of a Woman (‘La Schiavona’) 22, 40, 88, 29 and Central Italian art 29–30, 60, 64, 79, 110, 130–31, 155, Presentation of the Virgin 56, 105, 123–4, 127, 130, 97 161 Resurrection polyptych 72–7, 56 and Charles v 95–9, 110, 112, 117, 130, 158, 162–3, 168 Self-portrait (Berlin) 163, 166, 174, 176, 182, 128 classical art and classicism 43, 45, 50–54, 72–7, 106–10, Self-portrait (lost) 162 132–49, 161–3 Self-portrait (lost: see under Giovanni Britto) 162–3, 166, 127 colouration and role of and white in 88–95 Self-portrait (Madrid) 163, 167, 176, 129 contrast between disguised and undisguised 201–5 Self-portrait with portrait of Philip ii (lost) 120, 166, 168 as courtly performance 149–50, 155 Sleeping Venus (and Giorgione) 43–5, 125, 135, 180 courtly values in 88–95, 111–15 Study for Francesco Maria della Rovere, Duke of Urbino 97, 77 critical responses to the 149–55 St James Major 81 devotional works by 127–34 St Jerome 202–3, 162 as divino artista in the 8, 151, 161, 201–4 St John Almsgiver 81 donor portraits in 70–72, 74, 77–8, 166–7 St John the Baptist 81 dowry of 159 St (Pitti) 125, 135, 111 drapery painting in 43–5 St Mary Magdalene (St Petersburg) 125, 135, 110 and drawing 173, 193–5 St Peter Enthroned with Jacopo Pesaro Presented by Pope Alexander vi and the crisis in 199–201 70, 55 family of 11, 157–9, 167–73 Submission of Frederick Barbarossa (destr.) 57, 157 and Flemish painting 117, 130–34 The Allocution of Alfonso d’Avalos 106–110, 87 and Gentile Bellini 12, 160 The Andrians 49, 51–4, 121, 135, 43 and Giorgione 30–46, 55, 125, 160 The 158 and Giovanni Bellini 7–8, 19–23, 30, 47–50, 54, 59–61, The Assumption of the Virgin 11, 16, 59–60, 64–70, 78, 81, 160, 121, 157, 160–62 192, 202, 50, 52 idealization, rejuvenation and revivification in 99–115, The Damned Men 150 117–18 140, 146, 148, 153, 121 impact of Counter-Reformation on 127, 130 The Death of St Peter Martyr (destr.) 55, 78–81, 123, 136, 140, imperial style of and reference to in 64, 65 99–115 The Descent of the Holy Spirit (lost) 158 impresa of 118–20, 130, 205 The Entombment (Paris) 125–7, 143, 100 income and wealth of 158–9 The Entombment (Madrid, 1559) 125–7, 140,151, 101 and the international 200–01 (and Giovanni Bellini) 47–50, 54, 38, 45 and Jacopo Bassano 12, 176,183–5 The Flaying of Marsyas 140, 146–9, 153, 181, 204–5, 122, 164 and Jacopo Tintoretto 160, 192–7 The Holy Family with SS. Catherine and John the Baptist (and Palma as St Jerome in 8, 201–3 Vecchio) 55–7, 46 knighthood of 97–9, 121, 162, 168 The Rape of 134, 138, 142–5, 188–90, 120 late style of 9, 14, 57, 119, 123–55 The Three Ages of Man 31–4, 141, 169, 20 and Ludovico Dolce 13–4, 117–18, 159–61 48–51, 121, 135, 39 and Michelangelo 9, 27–30, 34, 72–3, 85, 104, 115, 117, Tommaso de’ Mosti 88–95, 69 119–20, 130–31, 163, 203 43 as King in 204–5 Venus and Adonis 134, 138, 140–41, 150, 190–92, 115 mythological paintings of 43–54, 134–49, 188–92 Venus with an Organist and Dog 125, 135–6, 142, 205, 112 and the paragone 9, 30, 40, 51, 75, 117 45–7, 95, 125, 135, 142, 205, 35 and the painter’s guild 12–13, 55 and see Arte dei Depentori Vincenzo Capello 113 as performance of old age 155 Virgin and Child (‘Gypsy Madonna’) 20–23, 44, 10 and Philip ii 99, 150, 166, 168, 171

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physiognomic and pathognomic approaches in 103–4 SS. Anthony Abbot, Lucy and Mary Magdalene 173, 123 and pictorial space 25–7, 39–40, 49–50, 60, 64–72, 79, 193 Orazio 8, 11, 120, 157–8, 166–73, 201 poesie 134–46, 181, 188, 190, 192 Crucifixion 171, 134 and Pordenone 158, 160, 180 SS. John the Baptist, Catherine and Lucy 171–2, 135 portraiture of 13, 35–43, 83–121 The Battle of Castel Sant’Angelo 169 prices of 97, 158 as greedy 181 and religious icon painting 60–64, 127–34 paintings in S. Biagio, Calalzo di Cadore 171 ricordi 125, 131, 166 receives the sansaria 157–8, 168 in Rome 105, 119 Titian’s Habsburg pension transferred to 172 and the sansaria 30, 71, 157–8, 179 Pomponio 11, 169 and the scuole dell’arte 159 Tiziano see Titian and the Scuole Piccole 159 Velázquez, Diego 155, 201 and Scuola di S. Pietro Martire 158 Venetian art and Scuola Grande di S. Rocco 158 altarpieces in 7–8, 19, 59, 64–72, 81, 188 and Sebastiano del Piombo 160 anti-Titian imagery in 179–85 self-portraiture of 8, 161–7, 169, 201–5 colore and colorito in 13–14, 118, 159–60 social origins of sitters in 86–7 Counter-Reformation in 183, 188 stylistic self-reference and repetition in works of 123–34 depictions of the Doge in 112–15 as ‘Tradition’ 123–34, 155, 173–9, 199–201 end of Renaissance tradition in 199–201 and Venetian patrons 9–10, 30, 121, 157–9, 180–81, 186–7 fresco painting in 30 and Veronese 174–5, 187–92 history painting in 19, 23–4, 57, 83, 123 viewer response to paintings of 44–5, 61–2, 64–72, 80–81, impact of Flemish art on 130 94, 131–4 importance of drawing and perspective in 14, 20, 23–5, 193, and 184 196–7 visual spolia and bricolage in 64, 123 pictorial space in 23–5, 69–72, 193 as works of artistic invention 117–21 portraiture in 35–7, 83–7 workshop and pupils of 124, 167–73, 187 pro-Titian imagery in 173–9 Titian and workshop Republican values in 70, 84–5, 158, 161–2, 178, 186–7, 200 The Entombment (Madrid, c. 1562–72) 125–7, 130, 134, 140, ristauro in 57 152, 102 rivalry and competition in 186–7 Titian workshop Venetian School Empress Isabella of Portugal 117, 95 Titian with his Courtesan 185, 147 Madonna della Misericordia with the Family of Titian 166, 130 Veneziano family 67 The Descent of the Holy Spirit 158 Venice Tizianello cittadini originari in 19–20, 84, 123 Breve compendio della vita di Tiziano 15 cultural politics of mediocritas in 10, 19–20, 84–6, 115, 197 Ghetto in 62 Urbino 86, 95 giovane or case nuove in 85 ut pictura poesis 136, 150 papalisti in 86–7, 113–15 patrician caste of 10, 70, 83–7 Vargas, Francisco de 152, 163 position of women in 35 Varotari, Alessandro (Il ) 176 alle Pompe 88 Self-portrait with a Bust of Titian(?), 141 salaries in 158 Vasari, Giorgio 9, 12, 13–14, 54, 61, 83, 85, 119, 130–31, 134, 149– social status of artists in 12 51, 158, 160–61, 169 tomb monuments in 10 Lives of the Artists 13, 160 Virgin in 77 Monument to Michelangelo 10, 12 Venice, churches in Vecchia, Pietro della S. Angelo 11 Portrait of Titian 178, 143 S. Francesco della Vigna 188 disegno 12–13, 67, 75, 118, 130–31, 155, 159, 163, 184, 194 S. Giorgio Maggiore 195 Vecellio family 167 S. Giovanni e Paolo 15–16, 78–80 Cesare 167, 171 S. Maria Gloriosa dei Frari 10–11, 64–7, 69–70, 78, 201–03 Francesco 167 St Mark’s Basilica 78 Gregorio 167 S. Spirito in Isola 158 Lavinia (Sarcinelli) 159, 185 S. Zaccaria 10 Marco 167, 169, 171, 199 Venice, scuole in 19, 35

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Scuola Grande della Carità 123, 131 Scuola Grande di S. Giovanni Evangelista 24 Scuola Grande di S. Rocco 62, 134, 158 Scuola di S. Orsola 20 Scuola di S. Pietro Martire 55, 78, 81, 158 Venice, state buildings in 174 Doge’s Palace 30, 35, 123, 157–8, 180, 194 160 Venus Genetrix 43, 148, 31 Venus Pudica 43 Verdizzotti, Giovanni Mario 174 175, 188 Veronese, Paolo 81, 174–5, 199 190 Holy Family with SS. John the Baptist, Anthony Abbot and Catherine (‘The Altarpiece’) 188, 150 The Marriage at 174, 137, 138 The Rape of Europa 190, 152 Altarpiece 188, 151 Venus and Adonis 190–92, 153 and Raphael 188 and Titian 174, 188–92 Veronica (picture type) 62 Vico, Giambattista 152–3 Virgo Orans 64 Vittoria, Alessandro Monument to 10, 4 , Alvise 60 Vivarini family 67

War of the League of Cambrai 70, 88 Wölfflin, Heinrich 13, 45

Zandomeneghi, Luigi and Pietro Monument to Titian 16, 6 Zuccaro, Federico 157

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