it to saturation point, so that each pore of flesh or drapery makes texture. Despite the debts to Bellini and Giorgione, the painting shows Titian, who was then around twenty-one, developing his own independent character and style. Technical Technical examinations show that it was originally even closer to the Bellini in Detroit, and that many changes were made in the course of painting. Unlike Bellini's usual careful underdrawing, Titian "used as his guidelines only summary strokes made with a fairly wide brush with thin wash shading". Among several other changes, the head of the Child originally looked out at the viewer. Provenance Like several other important early Venetian paintings in Vienna, the work was (very likely) in the Venetian collection of Bartolomeo della Nave and in 1636 sold in Venice to the Duke of Hamilton, who brought it to London. In 1659, after Hamilton's execution, it was acquired by Archduke Leopold Wilhelm of Austria in Brussels, whose collection soon passed to the imperial collection in Vienna. Notes References Brown, David Alan (ed), Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting, 2006, National Gallery of Art, Washington / Yale Freedberg, Sydney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale, Hale, Sheila, Titian, His Life, 2012, Harper Press, "KM": "Zigeunermadonna", Kunsthistorisches Museum Jaffé, David (ed), Titian, The National Gallery Company/Yale, London 2003, Further reading Joannides, Paul, Titian to 1518: The Assumption of Genius, 2001, Yale University Press, , 9780300087215 1510 paintings Paintings of the Madonna and Child by Titian Paintings in the collection of the Kunsthistorisches Museum Paintings in the collection of the Archduke Leopold Wilhelm of Austria