Titian
The design is clearly correlated to the self-portrait of Titian del Prado, although in the drawing the profile is turned to the right rather than to the left. The profile self-portrait was unusual in the sixteenth century, because some mirrors were needed to perform it, but the choice of this type of portrait was not random. The idea of immortality that was associated with the profile portrait was based on the portraiture of the ancient Roman coins and was brought back to life in Renaissance medals. The portrait of profile brought with it implications of monumentality and permanent commemoration. This self-portrait, along with Prado's self-portrait, is not the only known image of the profile artist. From 1540 onwards Titian had been portrayed in that way in some medals created by Leo Leoni and Agostino Ardenti. Another aspect of the profile is the portrait used as a cover page by the author of the printed book. This practice began with Tiziano who designed the xylography of Ludovico Ariosto's portrait that opened the final edition of the Furioso Orlando published in 1532. It is possible that this little self-portrait was used as a model for the self-portrait of Prado for a medal or for a cover page of a book. The design, black chalk on ivory paper of 120x99 mm size, was executed between 1562 and 1570. In 2007 the design was included in the Belluno Tiziano international exhibition The last act as Titian Self-Portrait. In 2009 Professor David Rosand wrote an article on Artibus et Historiae, where he stated that the drawing is the self-portrait of the master.
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