Chapter VII

and for biographies and lists D. V. Hadeln, new ed. Ridolfi, _Le Maraviglie dell’ Arte_, Berlin, 1914. A brief survey by the late Kenyon Cox, in _Concerning Painting_, New York, 1917, pp. 98–132, is valuable.

Footnote 78:

_Titian._ Crowe and Cavalcaselle’s _The Life and Times of Titian_, in 2 vols., London, 1881, is still the fullest repository of information. Georg Gronau’s popular but carefully done _Titian_, London and New York, 1904, takes account of later documentary discoveries. As a painter’s analysis of technical aims Charles Rickett’s _Titian_, London, 1910, is noteworthy. Nearly all of Titian’s works are published in _Klassiker der Kunst_, No. III, Stuttgart, 1906. Several newly discovered pictures are reproduced in the recent volumes, 1918–22, of the _Burlington Magazine_, _Art in America_, and _Zeitschrift für bildende Kunst_.

Footnote 79:

_Titian’s Age._ All the available material on this disputed matter is offered by Mr. Herbert Cook and Dr. George Gronau in a controversy printed as appendices to Cook’s _Giorgione_, London, 1907. The early evidence is very conflicting.

Writing in 1557 Dolce implies Titian was born about 1489 „ „ 1566–7 Vasari „ „ „ „ 1489 „ „ 1564 A Spanish Envoy „ „ „ 1474 „ „ 1567 A Spanish Consul „ „ „ 1482 „ „ 1571 Titian himself „ „ „ „ 1477 „ „ 1584 Borghini „ „ „ „ 1478–9

Writing in 1545 and 1548 Titian refers to his old age and disabilities (Cook, p. 141 note), expressions more natural if he was sixty-eight and seventy-one than they would be if he were only fifty-six and fifty-nine.

Mr. Cook’s theory that Titian and his Spanish official friends grossly exaggerated his age to secure prompter remittances from the Emperor seems to me gratuitous and flimsy. Dr. Gronau convinces me that neither Dolce nor Vasari can be regarded as serious witnesses. L. Hourticq in _La Jeunesse de Titien_, Paris, 1919, adds next to nothing to Cook in maintaining the later date for Titian’s birth.

The whole weight of evidence points to the fact that Titian told the broad truth about his age, perhaps, indulging in a round number. I am sure he was well over ninety when he described himself as ninety-five in the letter of 1571, and that he died all but a centenarian.

Footnote 80:

Pietro d’Achiardi, _Sebastiano de Piombo_, Roma, 1908.

Footnote 81:

Max von Boehn, _Giorgione und Palma Vecchio_, Leipzig, 1908.

Footnote 82:

Bernard Berenson, _Lorenzo Lotto_, London, 1905. Comprises also careful studies of Alvise Vivarini, Cima, Montagna and other Venetic painters. In _The Study and Criticism of Italian Art_, 3rd series, London, 1916, the superb Saint Justine of the Valsecchi Collection is rightly restored to Giovanni Bellini, l.c. p. 38 _ff._

Footnote 83:

_Correggio._ The standard work, C. Ricci, _Antonio Allegri da Coreggio_, New York, 1896. A delightful critical study, T. Sturge Moore, _Correggio_, London and New York, 1906. The complete works in _Klassiker der Kunst_, No. XVII, Stuttgart.

A new and convincing view of Correggio’s date of birth and early development in Venturi, _Storia_, Vol. VII, pt. iii, pp. 1152 _ff._

Footnote 84:

Evelyn March Phillipps, _Tintoretto_, London, 1911. Many of the extraordinary tempera sketches are reproduced in the _Burlington Magazine_ for January and February, 1910. H. Thode, _Tintoretto_, Leipzig, 1901.

Many eloquent criticisms by Ruskin in _Modern Painters_ and _Stones of Venice_ (see indices) and in the _Guide to the Academy at Venice_, Library ed. Vol. XXIV.

Footnote 85:

_Paolo Veronese._ See Kenyon Cox’s masterly essay in _Old Masters and New_, New York.

Footnote 86:

_G. B. Tiepolo._ The standard work is by Pompeo Molmenti. _G. B. Tiepolo_, Milan, 1909.

Footnote 87:

G. A. Simonson. _Francesco Guardi_, London, 1905. Numerous additions by the same author in the _Burlington Magazine_ for succeeding years.

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