On looking back to the commencement of the sixteenth century, by far the most brilliant epoch of modern art, we cannot but marvel at the splendour and variety of talent concentrated within the brief space of half a century, or less. Michael Angelo, Raphael, Correggio, Titian, all fellow-labourers, with many others inferior to these mighty masters, yet whose works are prized by kings and nobles as their most precious treasures—by what strange prodigality of natural gifts, or happy combination of circumstances was so rare an assemblage of genius produced in so short a time? The most obvious explanation is to be found in the princely patronage then afforded to the arts by princes and churchmen. By this none profited more largely or more justly than the great painter, whose life it is our task to relate. Tiziano Vecelli was born of an honourable family at Capo del Cadore, a small town on the confines of Friuli, in 1480. He soon manifested the bent of his genius, and at the age of ten was consigned to the care of an uncle residing in Venice, who placed him under the tuition of Giovanni Bellini, then in the zenith of his fame. The style of Bellini though forcible is dry and hard, and little credit has been given to him for his pupil’s success. It is probable, however, that Titian imbibed in his school those habits of accurate imitation, which enabled him afterwards to unite boldness and truth, and to indulge in the most daring execution, without degenerating into mannerism. The elements of his future style he found first indicated by Lionardo da Vinci, and more developed in the works of Giorgione, who adopted the principles of Lionardo, but with increased power, amenity, and splendour. As soon as Titian became acquainted with this master’s paintings, he gave his whole attention to the study of them; and with such success, that the portrait of a noble Venetian named Barbarigo, which he painted at the age of eighteen, was mistaken for the work of Giorgione. From that time, during some years, these masters held an equal place in public esteem; but in 1507 a circumstance occurred which turned the balance in favour of Titian. They were engaged conjointly in the decoration of a public building, called the Fondaco de Tedeschi. Through some mistake that part of the work which Titian had executed, was understood by a party of connoisseurs to have been painted by Giorgione, whom they overwhelmed with congratulations on his extraordinary improvement. It may be told to his credit, that though he manifested some weakness in discontinuing his intercourse with Titian, he never spoke of him without amply acknowledging his merits.