The 'Dilálogo de la pintura', first published in 1557, is a text conceived in defence of Tiziano Vecellio (and, thus, of Venetian painting), whose presence in the life of Giorgio Vasari (1550) turned out to be anecdotal, especially when faced with the attention paid to Michelangelo, who was exalted as the greatest artist of all time. The present bilingual edition of this seminal work together with its important critical apparatus constitutes a landmark in the understanding of 16th century art theory, whose importance excedes the limits of the Spanish-speaking market.