Jameson, Anna: Memoirs of the early Italian painters, and of the progress of painting in Italy: from Cimabue to Bassano; in 2 volumes (vol. 2) (London: Charles Knight & Co., 1845)

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and caress this unprincipled literary ruffian, who
was pleased to designate himself as the “ friend of
Titian, and the scourge of princes.” One of the
finest of Titian’s portraits is that of Aretino in the
Munich Gallery.
Thus in the practice of his art, in the society of
his friends, and in the enjoyment of the pleasures
of life, did Titian pass several years. The only
painter of his time who was deemed worthy of
competing with him was Licinio Regillo, better
known as Pordenone. Between Titian and Porde-
none there existed not merely rivalry, but a per-
sonal hatred, so bitter that Pordenone affected to
think his life in danger, and when at Venice painted
with his shield and poniard lying beside him. As
long as Pordenone lived, Titian had a spur to exer-
tion, to emulation ; all the other good painters of
the time, Palma, Bonifazio, Tintoretto, were his
pupils or his creatures ; Pordenone would never
owe anything to him ; and the picture called the
St. Justina, at Vienna, shows that he could equal
Titian on his own ground.
After the death of Pordenone at Ferrara, in 1539,
Titian was left without a rival; everywhere in Italy
art was on the decline ; Lionardo, Raphael, Cor-
reggio, had all passed away. Titian himself, at the
age of sixty, was no longer young, but he still re-
tained all the vigour and the freshness of youth ;