Editing Titian (section)

==Family and workshop==
[[File:Titian - Allegorie der Zeit.jpg|thumb|left|''[[Allegory of Prudence|The Allegory of Age Governed by Prudence]]'' (c.&nbsp;1565–1570) is thought to depict (from left) Titian, his son [[Orazio Vecellio|Orazio]], and his nephew, [[Marco Vecellio]]. [[National Gallery]], London.]]

Titian's wife, Cecilia, was a barber's daughter from his hometown village of [[Cadore]]. As a young woman she had been his housekeeper and mistress for some five years. Cecilia had already borne Titian two fine sons, Pomponio and [[Orazio Vecellio|Orazio]], when in 1525 she fell seriously ill. Titian, wishing to legitimize the children, married her. Cecilia recovered, the marriage was a happy one, and they had another daughter who died in infancy.{{sfn|Hale|2012|p=215}} In August 1530 Cecilia died. Titian remarried, but little information is known about his second wife; she was possibly the mother of his daughter Lavinia.{{sfn|Hale|2012|p=249}} Titian had a fourth child, Emilia, the result of an affair, possibly with a housekeeper.{{sfn|Hale|2012|p=486}} His favourite child was Orazio, who became his assistant.

In August 1530, Titian moved his two sons and infant daughter to a new home and convinced his sister Orsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in the Biri Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a view towards [[Murano]]. In about 1526 he had become acquainted, and soon close friends, with [[Pietro Aretino]], the influential and audacious figure who features so strangely in the chronicles of the time.{{efn|"The relationship between the writer and the painter became particularly close over the almost thirty years Aretino spent in Venice." [[Xavier Salomon]], ''Titian's Pietro Aretino'' (2020), p. 38. Aretino became "the closest companion of Titian's life, his most sensitive critic, as well as his adviser, agent, publicist, debt collector, scribe, and hanger-on." Sheila Hale, ''Titian: His Life'' (2012), p. 229.}}  Titian sent a portrait of him to Gonzaga, duke of [[Mantua]].{{sfn|Rossetti|1911|p=1023}}

When he was very young, the famed Italian painter [[Tintoretto]] was brought to Titian's studio by his father. This was supposedly around 1533, when Titian was (according to the ordinary accounts) over 40 years of age. Tintoretto had only been ten days in the studio when Titian sent him home for good, because the great master observed some very spirited drawings, which he learned to be the production of Tintoretto; it is inferred that he became at once jealous of so promising a student. This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be properly a pupil. From this time forward the two always remained upon distant terms, though Tintoretto being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turned a cold shoulder to him. There was also active disparagement, but it passed unnoticed by Tintoretto.

Several other artists of the Vecelli family followed in the wake of Titian. [[Francesco Vecellio]], his older brother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardly admit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. This was a noteworthy performance, of which Titian (the usual story) became jealous; so Francesco was diverted from painting to soldiering, and afterwards to mercantile life.{{sfn|Rossetti|1911|p=1025}}

[[File:Titian - Diana and Actaeon - Google Art Project.jpg|thumb|upright=1.25|''[[Diana and Actaeon (Titian)|Diana and Actaeon]]'', 1556–1559.<br> [[National Galleries of Scotland]], Edinburgh.]]

[[Marco Vecellio]], called Marco di Tiziano, born in 1545, was Titian's nephew and was constantly with the master in his old age, and learned his methods of work. He has left some able productions in the ducal palace, the ''Meeting of Charles V and [[Pope Clement VII|Clement VII]] in 1529''; in [[San Giacomo di Rialto]], an ''Annunciation''; in [[Santi Giovanni e Paolo, Venice|Santi Giovanni e Paolo]], ''Christ Fulminant''. A son of Marco, named Tiziano (or Tizianello), painted early in the 17th century.{{sfn|Rossetti|1911|p=1025}}

From a different branch of the family came Fabrizio di Ettore, a painter who died in 1580. His brother Cesare, who also left some pictures, is well known by his book of engraved costumes, ''Abiti antichi e moderni''. Tommaso Vecelli, also a painter, died in 1620. There was another relative, Girolamo Dante, who, being a scholar and assistant of Titian, was called [[Girolamo di Tiziano]]. Various pictures of his were touched up by the master, and are difficult to distinguish from originals.{{sfn|Rossetti|1911|p=1025}}

Few of the pupils and assistants of Titian became well known in their own right; for some being his assistant was probably a lifetime career. [[Paris Bordone]] and [[Bonifazio Veronese]] were his assistants during at some point in their careers. [[Giulio Clovio]] said Titian employed [[El Greco]] (or Dominikos Theotokopoulos) in his last years. [[Polidoro da Lanciano]] is said to have been a follower or pupil of Titian. Other followers were [[Nadalino da Murano]],<ref>[Le maraviglie dell'arte: ovvero Le vite degli illustri pittori], Volume 1, by Carlo Ridolfi, Giuseppe Vedova, page 288.</ref> [[Damiano Mazza (artist)|Damiano Mazza]],<ref>Ridolfi and Vedova, page 289.</ref> and Gaspare Nervesa.<ref>{{cite book| first=Filippo de'| last=Boni| year=1840| title= Biografia degli Artisti, Emporeo biografico metodico, volume unico.| page= 703 | publisher= Co' Tipi di Gondolieri |location=Venice |url=https://books.google.com/books?id=dAO9AofDUj8C }}</ref>