In the late 1550’s, Bassano leaves the Mannerist experiences and returns to the Renaissance, broad and expressive, manner of writing. Judging by the works of the early 1560s, the return came about under the influence of Titian’s works. Particularly well illustrates the last statement of the canvas Crucifixion, 1562. In addition to the secondary traces of studies in Titian, here there are quite obvious compositional borrowings from his canvases.
Moreover, Bassano even chooses the same format as Titian’s, the canvas format. From all of the above, the reader can conclude that our hero was the epigone of the great master. By no means. The crucifixion of Titian was for him only a starting point or, if you like, an invitation to a dialogue. “By accepting the invitation, Bassano completely differently ordered the” theme, having solved it, in contrast to Titian, in a reserved, strict, almost epic key.