The 1540s and 1550s witnessed the highest presence of Veneto artists in Milan. This phenomenon responded to various factors, such as the cultural orientation of the ruling elite headed by the governor Alfonso d’Avalos and the arrival in Milan of Titian’s bewildering Crowning with Thorns for Santa Maria delle Grazie (1542). This period also coincided with Aurelio Luini’s formative years and such ‘Venetian vogue’ left an indelible mark on the receptive mind of the young Milanese artist. Through selected examples from Aurelio’s graphic and painted work, this paper explores the ramification of Titianesque elements in Aurelio’s œuvre.