Titian stands in much the same

As it happens, too, Titian stands in much the same relation to Giorgione as Shakespeare did to Marlowe. Giorgione was really the great innovator, and Giorgione died young, leaving Titian to carry on the work. It has always been supposed that Titian and Giorgione, like Marlowe and Shakespeare, were born within the same year; but in this respect the parallel is no longer admissible, as Mr Herbert Cook has shown to the verge of actual proof that the story of Titian being born in 1577,decorative painting, and having lived to be ninety-nine years old, is unworthy of acceptance. If this were merely a question of biography, it would not be worth dwelling upon; but as it seriously affects the whole study of early Venetian painting, it is necessary to point out that the probability, according to a critical study of all the evidence available, is that Titian was not born till 1488 or 1489, and was thus really the pupil rather than the contemporary of Giorgione, and therefore more slightly influenced by Giovanni Bellini than has been generally supposed. original oil paintings
Without going into all the evidence adduced by Mr Cook (Reviews and Appreciations, Heinemann, 1913) it is nevertheless pretty evident that in the account given by his friend and contemporary, Lodovico Dolce, published in 1557, we have the most authentic story of Titian's early years, and from this it is quite clear that Titian was considerably younger than Giorgione. "Being born at Cadore," he writes, "of honourable parents, he was sent, when a child of nine years old, by his father to Venice,cheap oil paintings, to the house of his father's brother, in order that he might be put under some proper master to study painting; his father having perceived in him even at that tender age strong marks of genius towards the art.... His uncle directly carried the child to the house of Sebastanio, father of the gentilissimo Valerio and of Francesco Zuccati (distinguished masters of the art of mosaic, ...) to learn the principles of the art. From them he was removed to Gentile Bellini,art oil painting reproduction, brother of Giovanni, but much inferior to him, who at that time was at work with his brother in the Grand Council Chamber. But Titian, impelled by nature to greater excellence and perfection in his art, could not endure following the dry and laboured manner of Gentile, but designed with boldness and expedition. Whereupon Gentile told him he would make no progress in painting because he diverged so much from the old style. Thereupon Titian left the stupid Gentile and found means to attach himself to Giovanni Bellini; but not perfectly pleased with his manner,paintings reproductions, he chose Giorgio da Castel Franco. Titian, then, drawing and painting with Giorgione, as he was called, became in a short time so accomplished in art that when Giorgione was painting (in 1507-8) the façade of the Fondaco de'Tedeschi, or Exchange of the German merchants, which looks towards the Grand Canal, Titian was allotted the other side which faces the market place, being at the time scarcely twenty years old. Here he represented a Judith of wonderful design and colour,wholesale oil paintings, so remarkable indeed, that when the work came to be uncovered it was commonly thought to be the work of Giorgione, and all the latter's friends congratulated him (Giorgione) as being by far the best thing he had produced. Whereupon Giorgione, in great displeasure, replied that the work was from the hand of his pupil, who showed already how he could surpass his master and (what is more) Giorgione shut himself up for some days at home, as if in despair, seeing that a young (i.e. younger) man knew more than he did." oil painted portraits