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Updated: May 11, 2025
Catherine, No. 635 in the National Gallery, the style of which, notwithstanding the rather Giorgionesque type of the girlish Virgin, shows further advance in a more sweeping breadth and a larger generalisation? The latter, as has already been noted, is signed "Tician." "Tizian und Alfons von Este," Jahrbuch der Königlich Preussischen Kunstsammlungen, Fünfzehnter Band, II. Heft, 1894.
Let us look into this question of signatures, the ultimate and irrevocable proof in the minds of the innocent that a picture must be genuine. Titian's methods of signing his well-authenticated works varied at different stages of his career. The usual signature of the later time is "Titianus," probably the earliest picture with it being the Ancona altar-piece of 1520. "Tician" is found only twice.
The part of the background showing the galleys of Pesaro's fleet is so coarsely repainted that the original touch cannot be distinguished. The form "Titiano" is not to be found in any authentic picture by Vecelli. "Ticianus," and much more rarely "Tician," are the forms for the earlier time; "Titianus" is, as a rule, that of the later time.
On the 2nd of December in that year "Io tician di Cador Dpñtore" gives a receipt for money paid him on completion of some frescoes at Padua, and from this date on there are frequent letters and documents in existence right down to 1576, the year of his death.
The fact that in 1511 he signs himself simply "Io tician di Cador Dpñtore" and not Maestro would be more intelligible in a young man of twenty-two than in an accomplished master of thirty-five, and the character of his letter addressed to the Senate in 1513 would be more natural to an ambitious aspirant of twenty-four than to a man in his maturity of thirty-seven.
Anthony Abbot of the Uffizi; the Bacchus and Ariadne, the Assunta, the St. The Virgin and Child with St. Catherine of the National Gallery, and the Christ with the Pilgrims at Emmaus of the Louvre neither of them early works are signed "Tician."
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