 |
| Titian and workshop Madonna and Child in a Landscape with Tobias and the Angel ca. 1535-40 oil on panel Royal Collection, Great Britain |
 |
| Titian Portrait of Francesco Maria della Rovere, Duke of Urbino ca. 1536-38 oil on canvas Galleria degli Uffizi, Florence |
 |
| Titian Portrait of a Man holding a Book ca. 1540 oil on canvas Museum of Fine Arts, Boston |
 |
| Titian Allocution of Alfonso d'Avalos, Marchese del Vasto to his Troops 1540-41 oil on canvas Museo del Prado, Madrid |
 |
| Titian Vendramin Family venerating a Relic of the True Cross ca. 1540-45 oil on canvas National Gallery, London |
 |
| Titian Archangel Raphael with Tobias ca. 1542 oil on canvas Gallerie dell'Accademia, Venice |
 |
| Titian St John the Baptist ca. 1542 oil on canvas Gallerie dell'Accademia, Venice |
 |
| Titian Posthumous Portrait of Caterina Corner as St Catherine of Alexandria 1542 oil on canvas Galleria degli Uffizi, Florence |
 |
| Titian The Last Supper ca. 1542-44 oil on canvas Galleria Nazionale delle Marche, Urbino |
 |
| Titian The Resurrection ca. 1542-44 oil on canvas Galleria Nazionale delle Marche, Urbino |
 |
| Titian The Resurrection (detail) ca. 1542-44 oil on canvas Galleria Nazionale delle Marche, Urbino |
 |
| Titian The Resurrection (detail) ca. 1542-44 oil on canvas Galleria Nazionale delle Marche, Urbino |
 |
| Titian and workshop Portrait of Pope Paul III (Alessandro Farnese) ca. 1545 oil on canvas National Trust, Hatchlands, Surrey |
 |
| Titian Portrait of Doge Andrea Gritti ca. 1545 oil on canvas National Gallery of Art, Washington DC |
"The year 1546 having come, he went at the invitation of Cardinal Farnese to Rome, where he found Vasari, who, having returned from Naples, was executing the Hall of the Cancelleria for the above-named Cardinal; whereupon, Tiziano having been recommended by that lord to Vasari, Giorgio kept him company lovingly in taking him about to see the sights of Rome. And then, after Tiziano had rested for some days, rooms were given to him in the Belvedere, to the end that he might set his hand to painting once more the portrait of Pope Paul. . . . Michelangelo and Vasari, going one day to visit Tiziano in the Belvedere, saw in a picture that he had executed at that time a nude woman representing Danaë, who had in her lap Jove transformed into a rain of gold; and they praised it much, as one does in the painter's presence."
– from Lives of the Painters, Sculptors and Architects by Giorgio Vasari (1568), translated by Gaston du C. de Vere (1912)