Focus on The Three Ages of Man (Titian) and analyze the History.
Vasari, one of the most important biographers of the Renaissance, states Titian painted The Three Ages of Man after returning to Venice for the father-in-law of famous gem-engraver and medallist Giovanni Bernardi, also known as Giovanni di Castel Bolognese at Faenza, dated to 1515. Critics have also dated it slightly earlier, due to the three sleeping putti to the right, evidently modelled on the Santa Giustina altarpiece by Romanino (Musei civici di Padova), which dates to 1513. Several copies of The Three Ages are known, one of the most notable of which is that at Rome's Doria Pamphilj Gallery, attributed to Sassoferrato. Many art historians have debated the possibility that two or three of these copies came from Titian's workshop.From Giovanni Bernardi, the painting then came into possession of Cardinal Otto Truchsess von Waldburg, a leading figure at the Habsburg court and a prominent art patron. There is no record of direct exchange between Bernardi and Cardinal Truchsess but it is a known fact that, at some point, the painting was in the care of both of their hands. Both men knew Titian himself, and Cardinal Truchsess would have frequented Italy around the time of Bernardi's death in 1553 due to the deaths of five popes from 1549-1565.The masterpiece later fell into the hands of Matthäus Hopfer, known to have a house in the Grottenau filled with 'poetic fable' frescoes.  After his death in 1623, the painting was then passed down to the Ebert family, before being put into the Augsburg market. The first concrete record of the painting dates to 1662, listed in the collection of Queen Christina of Sweden at Palazzo Riario in Rome. Joachim von Sandrart notes that The Three Ages of Man was purchased by the Queen from one "Herr von Waldburg" (of no relation to Cardinal Truchsess) in Augsburg for 1,000 Reichsthaler, likely as she passed through the city from the Netherlands to Rome in October 1655.The Three Ages of Man was later purchased in 1692 by Prince Livio Odescalchi and again in 1720 by Philippe, 2nd duke of Orleans. It remained in the Orleans Collection until 1798, where it was purchased by Francis Egerton, 3rd Duke of Bridgewater, whose descendants later deposited his whole collection with the National Gallery of Scotland for storage and display.
National Gallery of Scotland Renaissance Livio Odescalchi putti Queen Christina of Sweden Titian Sassoferrato Venice Francis Egerton, 3rd Duke of Bridgewater descendants Otto Truchsess von Waldburg Romanino Joachim von Sandrart Doria Pamphilj Gallery Palazzo Riario Vasari Reichsthaler Faenza Augsburg