Novelty and Tradition in Titian's Art

By Ruth Wedgwood Kennedy | Go to book overview

NOTES
1
P. Hendy, The Isabella Stewart Gardner Museum: Catalogue, Boston, 1931, pp. 370-75.
2
F. Sanchez Canton, Museo del Prado: Catalogo de los cuadros, Madrid, 1949, p. 646, no. 407.
3
For the Venetian cotton trade see G. Luzzato, Storia economica di Venezia, Venice, 1961, p. 55.
4
Cf. J. A. Crowe and G. B. Cavalcaselle, The Life and Times of Titian, London, 1881, I, p. 371 for the letter of May 10, 1533 to Titian from Charles V at Barcelona. The double-headed imperial eagle appears on the Vecelli family escutcheon at the lower right of the Pietà intended for Titian's tomb and now in the Accademia in Venice. Cf. H. Tietze, Titian: The Paintings and Drawings, London, 1950, p. 394. After he was knighted Titian signed his name in the Latin form. Cf. A. L. Mayer, "Two Pictures by Titian in the Escorial", The Burlington Magazine, vol. 71, p. 178.
5
Bellini's portrait of the Doge Leonardo Loredan ( 1501-21) in London shows him as clean-shaven. The representation of his successor, Antonio Grimani ( 1521-23), which was completed after 1555 by Titian's work­ shop at the request of Francesco Venier for the Ducal Palace shows him also without a beard. Titian's Czernin portrait of Andrea Gritti ( 1523- 38) and the presumed fragment of his devotional image of this doge (reconstructed by Tintoretto in the Sala del Collegio) shows him with a short white beard. Cf. W. Suida, "Titian's Portraits", Gazette des Beaux Arts, vol. 29, 1946, p. 148. The fashion had begun earlier elsewhere in Italy and Titian may himself have adopted it before 1523. Cf. L. Foscari, L'iconografia di Tiziano, Venice, 1935.
6
For the opinion of some of Titian's panegyrists ( Pino, Biondo, Ridolfi, Boschini, Armenini) that his paintings are like but better than Nature, see Crowe and Cavalcaselle, op. cit., I, p. 428.
7
See J. Gilbert, Cadore, or Titian's Country, London, 1869 for a delightful account of Titian's native mountains and of the country through which he passed between Cadore and Venice.
8
For Titian's additions to the painting by Giovanni Bellini see J. Walker, Giovanni Bellini and Titian at Ferrara, London, 1956, pp. 50 ff.
9
Signed and dated. Cf. H. Tietze, op. cit., p. 365.
10
A Lorenzoni, Italia Artistica: Cadore, Bergamo, vol. 33; P. Moro, Romanità in Carnia Zuglio, Padua, 1953.
11
Brief accounts of the monuments of Aquileia are available in G. Brusin, Aquileia, Padua, 1962 and V. Scrinari, Guida di Aquileia, Milan, 1958.
12
Crowe and Cavalcaselle, OP. cit., II, p. 365.
13
G. Mariarcher, Italian Blown Glass from Ancient Rome to Venice, New York, 1961. How transparent Roman glass could be may be seen in the still-life on the wall of the Pompeian room now in the Metropolitan Museum in New York. P. W. Lehmann, Roman Wall Paintings from Boscoreale, Cambridge, Mass., 1953, pl. XXIV. The Bacchanale ( Madrid, no. 418) was probably completed after November, 1519, when Titian went with Dosso Dossi to Mantua and saw the Endymion sarco£ phagus which was the inspiration for the sleeping Bacchante in the right

-18-

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