It was into this man's studio that Titian went as a young boy, but after a little he displeased Gentile Bellini, who complained that his pupil worked too fast, and therefore could not expect to do great work. He declared that picture painting was serious and careful work, and that Titian was too careless and quick. As a matter of fact, Titian was too wonderful for Bellini ever to do much for; and since he could not get on with him, he went to another master--Gentile Bellini's brother, Giovanni. One of Titian's chief troubles in the studio of Gentile had been that he was not allowed to use the gorgeous colouring he loved, but in the brother's studio he found to his joy that colour was more valued, and he was given more freedom to use it. Also there was a young peasant pupil with Giovanni, who, like Titian, loved to use beautiful colours, and he and the newcomer became fast friends.
The other artist's name was Giorgione, and he had the most delightful ways about him, winning friends wherever he went, so it was no wonder that the warm-hearted Titian sought his companionship. One day those two young comrades left their master's studio, to have a good time off by themselves. There was a stated hour for their return; but they had spent all their money, and forgot that Giovanni Bellini was expecting them home. When they did return the door was closed and locked. What were they to do? They did the only thing they could. As comrades in misfortune they joined forces, set up a studio of their own, and went to work to earn their living as best they might. At first it was hard sledding, but in time they got a good job, namely to decorate the walls of a public building in Venice which was used by foreign merchants for the transaction of their business, a sort of "exchange," as we understand it. This was the Fondaco de' Tedeschi, and it had two great halls, eighty rooms, and twenty-six warehouses. It was indeed a big undertaking for the two young men, and they divided the business between them. Their joy was great, their cartoons successfully made and the work well begun, when, alas, they fell to quarreling simply because someone had declared that Titian's work upon the building was a little better than Giorgione's.
This dispute parted the two friends, who had had good times together, and it must have been Giorgione's fault, because Ludovico Dolce, one who knew Titian well, said that "he was most modest ... he never spoke reproachfully of other painters ... in his discourse he was ever ready to give honour where honour was due ... he was, moreover, an eloquent speaker, having an excellent wit and perfect judgment in all things; of a most sweet and gentle nature, affable and most courteous in manner; so that whoever once conversed with him could not choose but love him henceforth forever." That is a most loving and splendid tribute for one man to pay another. Not long after Giorgione died, and Titian took up his unfinished work, doing it as well as his own.
There was a brilliant and mature artist called Palma Vecchio, in Venice, and Titian painted in his studio, where he saw and loved Vecchio's daughter, Violante. The young artist was not very well off financially, and therefore could not marry; hence he was not specially happy over his love affair. About that time he took to painting after the manner of Vecchio, through being so much influenced by his soft feelings for the older artist's daughter. He used the lovely Violante again and again for his model, and many of the beautiful faces which Titian painted at that time show the features of his lady-love. With his new love Titian's serious work seemed to begin, and at twenty-one he painted his first truly great picture, "Sacred and Profane Love." To day this picture hangs upon the walls of the Borghese Palace, in Rome.
Raphael painted a great many pictures, but Titian must have painted more. At least one thousand have his signature.
Now came wars and troubles for Venice. The Turks, French, and Venetians became at odds, and during the strife many fine works of art were lost, among them many of Titian's pictures. He had painted bishops, also the wicked Borgias, and many other great personages, but all of these are gone and to this day, no one knows what became of them.
At last Titian began one of his greatest paintings, "The Tribute Money," and he set about it because he had been criticised. Some German travellers in Venice visited Titian's studio, and though they found his work very fine, one of them said that after all there was only one master able to finish a painting as it should be finished, and that was the great Dürer. The German pointed out the differences between Titian's method and Dürer's, and declared that Venetian painters never quite came up to the promise of their first pictures. Dürer's wonderful pictures were quite different from Titian's, inasmuch as his work was fuller of detail and careful finishing, but Titian was as great in another way. His effects were broader, but quite as satisfying. However, the German criticism put him on his mettle, and he answered that if he had thought the greatest value of a painting lay in its fiddling little details of finishing, he too would have painted them. To show that he could paint after Dürer's fashion, as well as his own, he undertook the "Tribute Money," and the result was a wonderful picture.
Soon Rome sent for Titian. The Florentines, Raphael and Michael Angelo, were already there doing marvellous things, but the pope wished to add the genius of Titian to theirs and made him a great offer to go and live in Rome and do his future work for that city. This was an honour, but amid all his fame and the homage paid him, Titian had remembered the old home in the vale of Cadore. It was there his heart was, and he determined to return to the home of his boyhood to do his best work. So he sent his thanks and refusal to the pope, and he wrote as follows to his home folks, through the council of his town:
"I, Titian of Cadore, having studied painting from childhood upward, and desirous of fame rather than profit, wish to serve the doge and signorini, rather than his highness the pope and other signori, who in past days, and even now, have urgently asked to employ me. I am therefore anxious, if it should appear feasible to paint the hall of council, beginning, if it pleases their sublimity, with the canvas of the battle on the side toward the Piazza, which is so difficult that no one as yet has had the courage to attempt it."
Then in stating his terms he asked for a very moderate sum of money and a "brokerage" for life. The Government did not have to think over the matter long. Titian's father had been honoured among them, Titian's genius was well known, and the commission was gladly given him. As soon as he got this business affair settled he moved into the palace of the Duke of Milan "at San Samuele; on the Grand Canal, where he remained for sixteen years," so says his biographer.