TIT 
17 
T I T 
consented, at least tacitly, to this resitution. In 1179, the 
third council of Lateran, held under Alexander III., com¬ 
manded the laymen to restore all the tithes they yet held to 
the church. 
In 1215, the fourth council of Lateran, held under Inno¬ 
cent III., moderated the matter a little; and, without saying 
any thing of the tithes which the laity already possessed, 
forbad them to appropriate or take any more for the future. 
We may observe, that, upon the first introduction of tithes, 
though every man was obliged to pay tithes in general, yet 
he might give them to what priests he pleased, which were 
called arbitrary consecrations of tithes, or he might pay 
them into the hands of the bishop, who distributed among 
his diocesan clergy the revenues of the church, which were 
then in common. But when dioceses were divided into 
parishes, the tithes of each parish were allotted to its own parti¬ 
cular minister; first by common consent, or the appoint¬ 
ments of lords of the manors, and afterwards by the written 
law of the land. However, arbitrary consecrations of tithes 
took place again afterwards, and became in general use with 
us till the time of king John. But in process of years, 
the income of the laborious parish-priests being scandalously 
reduced by these arbitrary consecrations of tithes, it was re¬ 
medied by pope Innocent III. about the year 1200, in a de¬ 
cretal epistle, sent to the archbishop of Canterbury, and 
dated from the palace of Lateran, which enjoined the payment 
of tithes to the parsons of the respective parishes, where every 
man inhabited, agreeably to what was afterwards directed by 
the same pope in other countries. This epistle, being reason¬ 
able and just, and correspondent to the ancient law, was al¬ 
lowed of, and became lex terrae. 
TITHEFRE'E, adj. Exempt from payment of tithe.— 
All estates subject to tithes were transmitted, or purchased, 
subject to this incumbrance; for which the purchaser must 
have paid a greater price, and the farmer a higher rent, if 
they had been tithe-free. Abp. Hort. 
TI'THER, s. One who gathers tithes. 
TITHING, s. [ttSing, Saxon,] Tithing is the num- 
beror company of ten men with their families knit together in 
a society, all of them being bound to the king for the peace¬ 
able and good behaviour of each of their society: of these 
companies there was one chief person, who, from his office, 
was called (toothing-man) tithing-man; but now he is nothing 
but a constable. Cowel. —Poor Tom, who is whipt from 
tithing to tithing, and stock punished and imprisoned. 
Shakspeare. —Tithe ; tenth part due to the priest. 
Though vicar be bad, or the parson evil. 
Go not for thy tithing thyself to the devil. Tusser. 
Anciently no man was suffered to abide in England above 
forty days, unless he were enrolled in some tithing.—One of 
the principal inhabitants of the tithing was annually appointed 
to preside over the rest, being called the tithing-man, the head- 
borough, and in some countries the borsholder, or borough’s 
elder, being supposed the discretest man in the borough, 
town, or tithing. The distribution of England into tithings 
and hundreds is owing to king Alfred. 
TI'THINGMAN, s. A petty peace-officer; an under¬ 
constable.—His hundred is not at his command further than 
his prince’s service; and also every tithing-man may con- 
troul him. Spenser. 
TI'THYMAL, s. [tithymalle, French; tithymallus, 
Lat.] An herb. Sherwood. —Rubbing the stem with cow- 
dung, or a decoction of tithyma/e. Evelyn. 
TITI (Santi di), was born at Citta S. Sepolero, in the 
Florentine State, in 1538. He first acquired a knowledge of 
painting under the tuition of A.-Bronzino, and afterwards of 
Bandinelli, but owes the greater part of his fame to his 
studies at Rome, where he long resided, and from whence, 
as Lanzi observes, he carried back to his native country a 
graceful and scientific style of art, not supported by much 
ideal beauty, but chiefly characterized by the truth and 
freshness of nature; and in expression he had few superiors 
in any school, none in his own. He adorned his pictures 
Vol. XXIV. No. 1624. 
with pieces of architecture, which science he in a measure 
professed, and by its means gave great relief to his figures, 
and increased the dignity and beauty of his compositions. 
His principal works are, the Supper at Emmaus, painted for 
the church of St. Croce, at Florence; the Resurrection 
of Lazarus, in the Duomo di Volterra; and the Descent 
of the Holy Spirit, painted for a convent at Citta di Cas- 
tello. He died at Florence in 1603, aged 65, leaving a 
son, Tiberio Titi, born at Florence in 1578, who followed 
the same art with his father, but not with equal success. 
TITIAN, the name by which we are acquainted with that 
great master, who is universally regarded as the head of the 
Venetian school of painting, Tiziano Vecelli da Cadore. 
This justly distinguished artist was born of noble parents at 
the castle of Cadore, in Friuli, in 1480, according to Vasari 
and Sandrart. The education he received, first from Sebas- 
tiano Zuccati of Trevigi, and afterwards from Giovanni Bel¬ 
lini at Venice, rendered him a diligent and subtle observer 
of nature. His early works exhibit the greatest correctness 
of imitation, but in a laboured and minute style, with a 
finish so highly wrought, that when, at a maturer age, he 
painted a picture for Ferrara of the tribute-money, in com¬ 
petition with Albert Durer, he excelled in nicety of pen¬ 
cilling that master of minuteness; with this difference, that 
his finish did not, like the German’s, obtrude itself, and 
impede the general effect, but obtained grandeur by dis¬ 
tance. This picture, to which he made no companion, as 
he soon after changed his style, now adorns the gallery of 
Dresden, and remains a proof of the sense this great artist 
entertained of the falsity of that taste, which seeks for gra¬ 
tification in mere finish, and which he deserted for the 
adoption of a style conveying general character instead of 
identity. It was from the better taste of his fellow-pupil 
Giorgione, that Titian imbibed a more exalted view of art, 
and was induced to quit the meaner and more confined style 
with which he commenced his practice; and some portraits 
which he painted about this time are scarcely to be distin¬ 
guished from those of Giorgione himself. But he seems to 
have found it not exactly to his mind, and soon discovered 
a variety of style more congenial to his own feelings; less 
softened, and perhaps less grand, but more agreeable; a style 
which delights the spectator less by novelty of effect, than 
by the exactness of truth. His first work in this style, which 
is entirely his own, is the archangel Raphael leading Tobiah, 
painted in his thirteenth year for the sacristy of S. Marciale; 
and soon after he painted the Presentation of the Virgin, at 
the Carita ; one of the richest of his compositions remaining. 
On the death of Giorgione, in 1511, Titian succeeded him 
in several important commissions, and continuing to increase 
in renown, was invited to the court of Alfonso, duke of Fer¬ 
rara, for whom he painted the celebrated picture of Bacchus 
and Ariadne, now in England. Here he became acquainted 
with the poet Ariosto, whose portrait he painted, and in 
return was celebrated by him in his Orlando Furioso. 
About 1523, Titian produced the work which, above all 
others, elevates him in the scale of merit among painters; 
viz., the celebrated picture of the Death of St. Peter the 
Martyr, for the church of S. Giovanni and S. Paolo at Venice, 
which has by almost all artists and connoisseurs been con¬ 
sidered his chef-d’oeuvre in history. This extraordinary 
picture was one of the first objects of French spoliation at 
Venice. It was painted originally on wood, but was trans¬ 
ferred to canvas in France, in consequence of its having been 
much blistered from the wood by the effect of sea-water in 
its voyage to Marseilles; and it is now returned to its ori¬ 
ginal station in a more agreeable, if not more perfect con¬ 
dition, than when it was first removed. The excellence of 
this picture procured Titian, according to Vasari, a commission 
from the senate to paint the battle of Cadore between the 
Venetians and the Imperialists, or the rout of Giaradadda, in 
which the action proceeded during a tremendous storm of 
rain. This grand work was destroyed by fire, but the com¬ 
position is preserved to us by the print engraved by Fontana. 
Besides these, he painted several other public works, which, 
F together 
