Page:Biographical catalogue of the principal Italian painters.djvu/217

 186 TITIAN— TORBIDO. nich Gallery, Portrait of the Emperor Charles Y. ; Venus initiating a Bac- chante into the mysteries of Bacchus ; the Madonna enthroned; &o, Dres- den Gallery, Venus; Philip and his Mistress; the Cristo della Moneta; &c, Madrid, Prado Gallery: this col- lection contains forty-three of Titian's pictures, including several of his best works — ^the Arrival of Bacchus in the Isle of Naxos; Diana and Actseon; Diana and Calisto; a Sacrifice to the Goddess of Fertility, a Baccha- nalian scene ; Prometheus ; Sisiphus ; Charles V., on horseback; the same, full length ; Venus and Adonis ; the Original Sin; Deposition from the Cross ; the Trinity ; the Holy Family ; Adoration of the Magi. Louvre, Jupi- ter and Antiope, called '* La Venus del Pardo;" St. Jerome kneeling before a Crucifix ; Christ crowned with Thorns ; the Entombment ; the Supper at Em- maus; La Vierge au Lapin; and a Madonna and Child, with three Saints (both early works) ; a Portrait of Titian and his Mistress, or Alfonso I. of Ferrara, and Laura de' Dianti; a Portrait of Francis I. ; L' homme au Gant; Sso. London, National Gallery, Bacchus and Ariadne; the Rape of Ganymede (by Damiano Mazza ?) ; Venus and Adonis ; a Concert ; a Holy Family. Bridgewater Gallery, the Three Ages. Stafford Gallery, two pictures of Diana and her Nymphs; ActiBon and Calisto; Venus rising from the Sea. Northumberland House, the Comaro Family: Holford Collec- tion, Holy Family. Dulwich, Venus. Windsor, Titian and Aretin (?). Cam- bridge, Fitzwilliam Museum, repetition of Dresden Venus. (Vasari, Bidolfi, Zanetti, J^cozzi, MaieVf Cean Bermu- dez, NwrthcoUy Cadorin,) TITO, Santi di, b. at Citta San Sepoloro, in 1538, d. at Florence, 1608. Tuscan SchooL The scholar first of fiastiano da Monte Carlo, then of An- gelo Bronzino at Florence; and of Benvenuto Cellini at Borne, where he studied likewise ornament and archi- tecture ; he derived also some instruc- tion firom Bacdo Bandinelli. Santi di Tito was distinguished for his fine draw- ing and suitable expression, bat his colouring was inferior and feeble. His excellences were, however, according to Lanzi, sufficient to secure him the re- putation of the best painter of his time at Florence, and he had a nume- rous school ; among his scholars were his own son, Tiberio Titi, a good por- trait-painter, and Gregorio Pagani. Works. Florence, Santa Croce, Christ at Emmaus: San Giuseppe, Nativity: San Marco, Last Supper: Academy, Entrance of Christ into Je- rusalem ; a Pietii; and a Holy Family. Volterra Cathedral, Raising of Lazarus. Cittii di Castello, the Descent on the faithful of the Holy Spirit Arezzo Cathedral, altar-piece. {JBaldinucci,) TORBIDO, Francesco, called II MoBO, ft. at Verona, about 1490, painted in 1535. Venetian School. He was a scholar of Giorgione in his youth, but studied afterwards under liberale at Verona, and painted in the manner of both masters, combining the colour- ing and softness of Giorgione with the style of Liberale, who became greatly attached to Terbido, and made him his heir. Torbido painted both in oil and in fresco, and excelled greatly in portraits. Works, Vasari mentions as his greatest work, the frescoes of the Ma- donna in a chapel of the Cathedral of Verona, painted in 1534 for the Bishop Giovan Matteo Giberti, from drawings by Ginlio Romano; they are still in good preservation. Torbido painted for the same prelate a chapel of the Abbey of Rosazzo in the Friuli, also with frescoes from th^ life of Christ and of the Virgin, d^c. ; the piotore of the Transfiguration is signed Fran-