When Dolce says that Titian painted with Giorgione at the
Fondaco, "non avendo egli allora appena venti anni," he is only trying
to make out that his hero, here as everywhere, was a most unusual person
(the whole dialogue is a glorification of the master). For the same
reason he makes the following remark, which we can absolutely prove to
be false:--the Assumption (he says) "fu la prima opera pubblica, che a
olio facesse." Now at least one work of Titian's was, then, already to
be seen in a public place--viz. the "St. Mark Enthroned, with Four
Saints," in Santo Spirito, afterwards removed to the sacristy of the
Salute. In other points, too, Dolce can be convicted of small errors and
misrepresentations, partly on literary grounds, partly due to his desire
to enhance the praise of Titian.
Vasari, again, should only be cited as witness when he speaks of works
of art which he has actually seen. In such a case, apart from slips, he
is always a trustworthy guide. Directly, however, he goes into
biographical details or questions of chronology accuracy becomes nearly
always a secondary matter. Titian's biography offers an excellent and
most instructive example of this. Vasari mentions first the birth and
upbringing of the boy, then he speaks of Giorgione and the Fondaco
frescoes, and goes on: "dopo la quale opera fece un quadro grande che
oggi e nella salla di messer Andrea Loredano.... Dopo in casa di messer
Giovanni D'Anna .
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