Preface

To give proper variety to this little collection, the selections are equally divided between portraits and “subject” pictures of religious or legendary character.

The Flora, the Bella and the Philip II. show the painter’s most characteristic work in portraiture, while the Pesaro Madonna, the Assumption, and the Christ of the Tribute Money stand for his highest achievement in sacred art.

ESTELLE M. HURLL.

New Bedford, Mass.
March, 1901.

CONTENTS AND LIST OF PICTURES

PAGE

Portrait of Titian. Painted by himself.
Picture from Carbon Print by Braun, Clément & Co.

Introduction

I.	On Titian’s Character as an Artist	vii
II.	On Books of Reference	xi
III.	Historical Directory of the Pictures of this Collection	xii
IV.	Outline Table of the Principal Events in Titian’s Life	xiv
V.	Some of Titian’s Contemporaries	xvii

The Physician Parma
Picture from Photograph by Franz Hanfstaengl

II.

The Presentation of the Virgin (Detail)
Picture from Carbon Print by Braun, Clément & Co.

III.

The Empress Isabella
Picture from Carbon Print by Braun, Clément & Co.

IV.

Madonna and Child with Saints
Picture from Photograph by Franz Hanfstaengl

Philip II
Picture from Carbon Print by Braun, Clément & Co.

VI.

St. Christopher
Picture from Photograph by D. Anderson

VII.

Lavinia
Picture from Photograph by Franz Hanfstaengl

VIII.

Christ of the Tribute Money
Picture from Carbon Print by Braun, Clément & Co.

IX.

The Bella
Picture from Carbon Print by Braun, Clément & Co.

Medea and Venus
Picture from Carbon Print by Braun, Clément & Co.

XI.

The Man with the Glove
Picture from Carbon Print by Braun, Clément & Co.

XII.

The Assumption of the Virgin
Picture from Carbon Print by Braun, Clément & Co.

XIII.

Flora
Picture from Carbon Print by Braun, Clément & Co.

XIV.

The Pesaro Madonna
Picture from Photograph by D. Anderson

XV.

St. John the Baptist
Picture from Photograph by D. Anderson

XVI.

The Portrait of Titian

Pronouncing Vocabulary
of Proper Names and Foreign Words

INTRODUCTION

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