of Casa Pesaro." His son Orazio caught the
plague and died immediately after, and the painter's house was sacked
by thieves and many precious things stolen.

The great personality of Titian stands out as that which of all others
established and consolidated the school of Venice. He is its central
figure. The century of life, of which eighty years were passed in
ceaseless industry of production, left its deep impression on the art of
every civilised country of Europe. Every great man of the day who was a
lover of art and culture fell under Titian's spell. His influence on his
contemporaries was enormous, and he had everything: genius, industry,
personal distinction, character, social charm. He is, perhaps, of too
intellectual a cast of mind to be quite typical of the Venetian spirit,
in the way that Tintoretto is; it is conceivable that in another
environment Titian might have developed on rather different lines,
but this temper gave him greater domination. He was free from the
eccentricities which beset genius. He possessed the saving salt of
practical common sense, so that the golden mean of sanity and healthful
joy in his works commended them to all men, and they are not difficult
to understand. Yet while all can see the beauty of his poetic instinct
for colour, his interesting and original technique, his grasp and
scope, his mastery and certainty have gained for him the title of "the
painter's painter." There is no one from whom men feel that they can so
safely learn so much, and the grand breadth and power of elimination of
his later years is justified by the way in which in his earlier work he
has carried exquisite finish and rich impasto to perfection.

PRINCIPAL WORKS

Ancona. Crucifixion (L.).
S. Domenico: Madonna with Saints and Donor, 1520.
Antwerp. Pope Alexander VI. presenting Jacopo Pesaro.
Berlin. Infant Daughter of Strozzi, 1542; Portrait of Himself (L.);
Lavinia bearing Charges.
Brescia. SS. Nazaro e Celso: Altarpiece, 1522.
Dresden. Madonna with Saints (E.); Tribute Money (E.); Lavinia as Bride,
1555; Lavinia as Matron (L.); Portrait, 1561; Lady with
Vase (L.); Lady in Red Dress.
Florence. Pitti: La Bella; Aretino, 1545; Magdalen; The Young Englishman;
The Concert (E.); Philip II.; Ippolito de Medici, 1533;
Tomaso Mosti.
Uffizi: Eleanora Gonzaga, Duchess of Urbino, 1537; Francesco
del