extravagant, a constant source of trouble, and Aretino writes him
reproachful letters, which he treats with much impertinence. Orazio took
to his father's profession, and was his constant companion, and often
drew his cartoons; and his beautiful daughter, Lavinia, was his greatest
joy and pride. In this house Titian showed constant hospitality, and
there are records of the princely fashion in which he entertained his
friends and distinguished foreign visitors. Priscianese, a well-known
Humanist and _savant_ of the day, describes a Bacchanalian feast on
the 1st of August, in a pleasant garden belonging to Messer Tiziano
Vecellio. Aretino, Sansovino, and Jacopo Nardi were present. Till the
sun set they stayed indoors, admiring the artist's pictures. "As soon as
it went down, the tables were spread, looking on the lagoons, which soon
swarmed with gondolas full of beautiful women, and resounded with music
of voices and instruments, which till midnight, accompanied our
delightful supper. Titian gave the most delicate viands and precious
wines, and the supper ended gaily."

In the year 1532 Titian for the first time sought other than Italian
patronage. Charles V., who was then at the height of his power, with all
Italy at his feet, passed through Mantua, and among all the treasures
that he saw was most struck by Titian's portrait of Federigo Gonzaga.
After much writing to and fro, it was arranged that Titian should meet
the Emperor at Bologna, where he had just been crowned. He made his
first sketch of him, from which he afterwards produced a finished full
length. It was the first of many portraits, and Vasari declares that
from that time forth Charles would never sit to any other master. He
received a knighthood, and many commissions from members of the
Emperor's court. It was for one of his nobles, da Valos, Marquis of
Vasto, that he painted the allegorical piece in the Louvre, in which
Mary of Arragon, the lovely wife of da Valos, is parting with her
husband, who is bound on one of the desperate expeditions against the
terrible Turks. Da Valos is dressed in armour, and the couple are
encircled by Hymen, Victory, and the God of Love. The composition was
repeated more than once, but never with quite the same success. We again
suspect the influence of Michelangelo in the altarpiece painted before
Titian next left Venice, of St. John the Almsgiver, for the Church of
that name, of which the Doge was patron. The figures are lif