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Updated: June 23, 2025
"The last direct descendant of 'Il Tiziano' died not long ago a few years before I was born; and the collateral Vecelli are citizens of Cadore to this day. If the Signora will be pleased to look for it, she will see the name of Vecellio over a shop on the right-hand side, as she returns to the Piazza." I did look for it; and there, sure enough, over a small shop-window I found it.
I knew not only every word of the part, but every detail of that period of Venetian splendor in which the action of the play takes place. I had studied Vecellio. Now I am old, it is impossible for me to work like that, but I never acknowledge that I get on as well without it. Mrs. Bancroft told me that the production would be as beautiful as money and thought could make it.
"But how do you know that he was born here?" I asked. The hunchback lifted his wasted hand with a deprecating gesture. "They have always said so, Signora," he replied. "They have said so for more than four hundred years." "They?" I repeated, doubtfully. "The Vecelli, Signora." "I had understood that the Vecellio family was extinct." "Scusate, Signora," said the hunchback.
The name of this illustrious painter was Tiziano Vecellio or Vecelli, and he is called by the Italians, Tiziano Vecellio da Cadore. He was descended of a noble family; born at the castle of Cadore in the Friuli in 1477, and died in 1576, according to Ridolfi; though Vasari and Sandrart place his birth in 1480. Lanzi says he died in 1576, aged 99 years.
I understood that that scamp of a Vecellio was responsible that they had been bending over the book together, and that they had been admiring either that Doge's wife we had been looking at awhile before, or some other patrician woman of Venice. Never mind! I appeared with my enormous old book, thinking that Gelis was going to make a grimace.
But the sixteenth century was not merely the age of Vitruvius; it was the age of Vecellio also. Every nation seems suddenly to have become interested in the dress of its neighbours. Europe began to investigate its own clothes, and the amount of books published on national costumes is quite extraordinary.
Besides these two books there were also the works of Michael Colyns, of Hans Weigel, of Amman, and of Vecellio himself, all of them well illustrated, some of the drawings in Vecellio being probably from the hand of Titian. Nor was it merely from books and treatises that they acquired their knowledge.
"I keep your Titiano Vecellio, Master Nietzel, and consequently pay you three thousand ducats for this excellent original. That you may see how much in earnest I am I will immediately give you an order upon my treasurer, and you may forthwith receive that sum." He approached his writing table, rapidly dashed off a few words upon a strip of paper, and then handed it to the painter.
There are, however, who deny Titian's authorship; Mr. Ricketts, for example, gives the picture to Francesco Vecellio, the painter's son. Tintoretto's "Last Supper," on the left of the high altar, is more convivial than is usual: there is plenty of food; a woman and children are coming in; a dog begs; Judas is noticeable.
"No farther, please, your excellency, no farther!" cried out Gabriel, pale as death. "Forgive my excitement and my struggles. I pray you to forget my improper words, and accept me for your humble and obedient servant. You must do me the favor to keep the Venus of Master Titiano Vecellio, for she is my only possession, and I have given away my whole property in her purchase."
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