This article considers Noli me Tangere by the early 20th-century British artist Arthur Ambrose McEvoy (1877– 1927), a copy after a work by Titian. The two artists’ respective working practices are compared to evaluate the extent to which McEvoy was successful in emulating Titian’s technique, and to draw out broader comparisons between the two artists. This object-based technical study is set in the context of McEvoy’s interest in ‘Old Masters’, as he termed them. Identifying this interest as unusual for a British artist at the time, it reveals both McEvoy’s successes in emulating Titian’s technique and his errors, particularly regarding the layering of fi nal glazes. The study also uses McEvoy’s interest in Titian to test the prevailing view that McEvoy’s career can be divided into two distinct periods: a promising early career contrasted with his later practice as a successful society portraitist, with a ‘turning point’ in c.1915. In particular, the paper identifi es continuities between McEvoy’s exploration of Titian’s technique and the oil painting method he developed in his portrait practice. The research builds on a general revival of interest in McEvoy in recent years and has benefi ted from access to McEvoy’s papers and from invaluable assistance from McEvoy’s family.