[Footnote 15: This is the exceedingly mannered yet all the same rich and beautiful St. Catherine, St. Roch, with a boy angel, and St. Sebastian.]

[Footnote 16: See Giorgione's Adrastus and Hypsipyle (Landscape with the Soldier and the Gipsy) of the Giovanelli Palace, the Venus of Dresden, the Concert Champetre of the Louvre.]

[Footnote 17: It is unnecessary in this connection to speak of the Darmstadt Venus invented by Crowe and Cavalcaselle, and to which as a type they so constantly refer. Giovanni Morelli has demonstrated with very general acceptance that this is only a late adaptation of the exquisite Venus of Dresden, which it is his greatest glory to have restored to Barbarelli and to the world.]

[Footnote 18: Die Galerien zu Muenchen und Dresden von Ivan Lermolieff, p. 290.]

[Footnote 19: Palma Vecchio, in his presentments of ripe Venetian beauty, was, we have seen, much more literal than Giorgione, more literal, too, less the poet-painter, than the young Titian. Yet in the great Venus of the Fitzwilliam Museum, Cambridge—not, indeed, in that of Dresden—his ideal is a higher one than Titian's in such pieces as the Venus of Urbino and the later Venus, its companion, in the Tribuna. The two Bonifazi of Verona followed Palma, giving, however, to the loveliness of their women not, indeed, a more exalted character, but a less pronounced sensuousness—an added refinement but a weaker personality. Paris Bordone took the note from Titian, but being less a great artist than a fine painter, descended a step lower in the scale. Paolo Veronese unaffectedly joys in the beauty of woman, in the sheen of fair flesh, without any under-current of deeper meaning. Tintoretto, though like his brother Venetians he delights in the rendering of the human form unveiled, is but little disquieted by the fascinating problem which now occupies us. He is by nature strangely spiritual, though he is far from indulging in any false idealisation, though he shrinks not at all from the statement of the truth as it presents itself to him. Let his famous pictures in the Anticollegio of the Doges' Palace, his Muses at Hampton Court, and above all that unique painted poem, The Rescue, in the Dresden Gallery, serve to support this view of his art.]

[Footnote 20: Crowe and Cavalcaselle, Life of Titian, vol. i. p. 420.]

[Footnote 21: Two of these have survived in the Roman Emperor on Horseback, No. 257, and the similarly named picture, No. 290, at Hampton Court Palace. These panels were among the Mantua pieces purchased for Charles I. by Daniel Nys from Duke Vincenzo in 1628-29. If the Hampton Court pieces are indeed, as there appears no valid reason to doubt, two of the canvases mentioned by Vasari, we must assume that though they bore Giulio's name as chef d'atelier, he did little work on them himself. In the Mantuan catalogue contained in d'Arco's Notizie they were entered thus:—"Dieci altri quadri, dipintovi un imperatore per quadro a cavallo—opera di mano di Giulio Romano" (see The Royal Gallery of Hampton Court, by Ernest Law, 1898).]

[Footnote 22: The late Charles Yriarte in a recent article, "Sabionneta la petite Athenes," published in the Gazette des Beaux Arts, March 1898, states that Bernardino Campi of Cremona, Giulio's subordinate at the moment, painted the Twelfth Caesar, but adduces no evidence in support of this departure from the usual assumption.]

[Footnote 23: See "The Picture Gallery of Charles I.," The Portfolio, October 1897, pp. 98, 99.]

[Footnote 24: Nos. 529-540—Catalogue of 1891—Provincial Museum of Hanover. The dimensions are 0.19 c. by 0.15 c.]

[Footnote 25: Of all Pordenone's exterior decorations executed in Venice nothing now remains. His only works of importance in the Venetian capital are the altar-piece in S. Giovanni Elemosinario already mentioned; the San Lorenzo Giustiniani altar-piece in the Accademia delle Belle Arti; the magnificent though in parts carelessly painted Madonna del Carmelo in the same gallery; the vast St. Martin and St. Christopher in the church of S. Rocco; the Annunciation of S. Maria degli Angeli at Murano.]

[Footnote 26: No. 108 in the Winter Exhibition at Burlington House in 1896. By Franceschini is no doubt meant Paolo degli Franceschi, whose portrait Titian is known to have painted. He has been identified among the figures in the foreground of the Presentation of the Virgin.]

[Footnote 27: See a very interesting article, "Vittore Carpaccio—La Scuola degli Albanesi," by Dr. Gustav Ludwig, in the Archivio Storico dell' Arte for November-December 1897.]

[Footnote 28: A gigantic canvas of this order is, or rather was, the famous Storm of the Venetian Accademia, which has for many years past been dubitatively assigned to Giorgione. Vasari described it as by Palma Vecchio, stating that it was painted for the Scuola di S. Marco in the Piazza SS. Giovanni e Paolo, in rivalry with Gian Bellino(!) and Mansueti, and referring to it in great detail and with a more fervent enthusiasm than he accords to any other Venetian picture. To the writer, judging from the parts of the original which have survived, it has long appeared that this may indeed be after all the right attribution. The ascription to Giorgione is mainly based on the romantic character of the invention, which certainly does not answer to anything that we know from the hand or brain of Palma. But then the learned men who helped Giorgione and Titian may well have helped him; and the structure of the thick-set figures in the foreground is absolutely his, as is also the sunset light on the horizon.]

[Footnote 29: This is an arrangement analogous to that with the aid of which Tintoretto later on, in the Crucifixion of San Cassiano at Venice, attains to so sublime an effect. There the spears—not brandished but steadily held aloft in rigid and inflexible regularity—strangely heighten the solemn tragedy of the scene.]

[Footnote 30: Crowe and Cavalcaselle, Life of Titian, vol. vi. p. 59.]

[Footnote 31: The writer is unable to accept as a genuine design by Titian for the picture the well-known sepia drawing in the collection of the Uffizi. The composition is too clumsy in its mechanical repetition of parts, the action of the Virgin too awkward. The design looks more like an adaptation by some Bolognese eclectic.]

[Footnote 32: This double portrait has not been preserved. According to Crowe and Cavalcaselle, the full length of Pier Luigi still exists in the Palazzo Reale at Naples (not seen by the writer).]

[Footnote 33: The writer, who has studied in the originals all the other Titians mentioned in this monograph, has had as yet no opportunity of examining those in the Hermitage. He knows them only in the reproductions of Messrs. Braun, and in those new and admirable ones recently published by the Berlin Photographic Company.]

[Footnote 34: This study from the life would appear to bear some such relation to the finished original as the Innocent X. of Velazquez at Apsley House bears to the great portrait of that Pope in the Doria Panfili collection.]

[Footnote 35: This portrait-group belongs properly to the time a few years ahead, since it was undertaken during Titian's stay in Rome.]

[Footnote 36: The imposing signature runs Titianus Eques Ces. F. 1543.]

[Footnote 37: The type is not the nobler and more suave one seen in the Cristo della Moneta and the Pilgrims of Emmaus; it is the much less exalted one which is reproduced in the Ecce Homo of Madrid, and in the many repetitions and variations related to that picture, which cannot itself be accepted as an original from the hand of Titian.]

[Footnote 38: Vasari saw a Christ with Cleophas and Luke by Titian, above the door in the Salotta d'Oro, which precedes the Sala del Consiglio de' Dieci in the Doges' Palace, and states that it had been acquired by the patrician Alessandro Contarini and by him presented to the Signoria. The evidence of successive historians would appear to prove that it remained there until the close of last century. According to Crowe and Cavalcaselle the Louvre picture was a replica done for Mantua, which with the other Gonzaga pictures found its way into Charles I.'s collection, and thence, through that of Jabach, finally into the gallery of Louis XIV. At the sale of the royal collection by the Commonwealth it was appraised at L600. The picture bears the signature, unusual for this period, "Tician." There is another Christ with the Pilgrims at Emmaus in the collection of the Earl of Yarborough, signed "Titianus," in which, alike as to the figures, the scheme of colour, and the landscape, there are important variations. One point is of especial importance. Behind the figure of St. Luke in the Yarborough picture is a second pillar. This is not intended to appear in the Louvre picture; yet underneath the glow of the landscape there is just the shadow of such a pillar, giving evidence of a pentimento on the part of the master. This, so far as it goes, is evidence that the Louvre example was a revised version, and the Yarborough picture a repetition or adaptation of the first original seen by Vasari. However this may be, there can be no manner of doubt that the picture in the Long Gallery of the Louvre is an original entirely from the hand of Titian, while Lord Yarborough's picture shows nothing of his touch and little even of the manner of his studio at the time.]

[Footnote 39: Purchased at the sale of Charles I.'s collection by Alonso de Cardenas for Philip IV. at the price of L165.]

[Footnote 40: Crowe and Cavalcaselle, Life of Titian, vol. ii., Appendix (p. 502).]

[Footnote 41: Moritz Thausing has striven in his Wiener Kunstbriefe to show that the coat of arms on the marble bas-relief in the Sacred and Profane Love is that of the well-known Nuremberg house of Imhof. This interpretation has, however, been controverted by Herz Franz Wickhoff.]

[Footnote 42: Cesare Vecellio must have been very young at this time. The costume-book, Degli abiti antichi e moderni, to which he owes his chief fame, was published at Venice in 1590.]

[Footnote 43: "Das Tizianbildniss der koeniglichen Galerie zu Cassel," Jahrbuch der koeniglich-preussischen Kunstsammlungen, Funfzehnter Band, III. Heft.]

[Footnote 44: See the Francesco Maria, Duke of Urbino at the Uffizi; also, for the modish headpiece, the Ippolito de' Medici at the Pitti.]

[Footnote 45: A number of fine portraits must of necessity be passed over in these remarks. The superb if not very well-preserved Antonio Portia, within the last few years added to the Brera, dates back a good many years from this time. Then we have, among other things, the Benedetto Varchi and the Fabrizio Salvaresio of the Imperial Museum at Vienna—the latter bearing the date 1558. The writer is unable to accept as a genuine Titian the interesting but rather matter-of-fact Portrait of a Lady in Mourning, No. 174 in the Dresden Gallery. The master never painted with such a lack of charm and distinction. Very doubtful, but difficult to judge in its present state, is the Portrait of a Lady with a Vase, No. 173 in the same collection. Morelli accepts as a genuine example of the master the Portrait of a Lady in a Red Dress also in the Dresden Gallery, where it bears the number 176. If the picture is his, as the technical execution would lead the observer to believe, it constitutes in its stiffness and unambitious naivete a curious exception in his long series of portraits.]

[Footnote 46: It is impossible to discuss here the atelier repetitions in the collections of the National Gallery and Lord Wemyss respectively, or the numerous copies to be found in other places.]

[Footnote 47: For the full text of the marriage contract see Giovanni Morelli, Die Galerien zu Muenchen und Dresden, pp. 300-302.]

[Footnote 48: Joshua Reynolds, who saw it during his tour in Italy, says: "It is so dark a picture that, at first casting my eyes on it, I thought there was a black curtain before it."]

[Footnote 49: Crowe and Cavalcaselle, vol. ii. p. 272.]

[Footnote 50: They were, with the Rape of Europa, among the so-called "light pieces" presented to Prince Charles by Philip IV., and packed for transmission to England. On the collapse of the marriage negotiations they were, however, kept back. Later on Philip V. presented them to the Marquis de Grammont. They subsequently formed part of the Orleans Gallery, and were acquired at the great sale in London by the Duke of Bridgewater for L2500 apiece.]

[Footnote 51: This great piece is painted on a canvas of peculiarly coarse grain, with a well-defined lozenge pattern. It was once owned by Van Dyck, at the sale of whose possessions, in 1556, a good number of years after his death, it was acquired by Algernon Percy, Earl of Northumberland. In 1873 it was in the exhibition of Old Masters at the Royal Academy.]

[Footnote 52: The best repetition of this Hermitage Magdalen is that in the Naples Museum; another was formerly in the Ashburton Collection, and yet another is in the Durazzo Gallery at Genoa. The similar, but not identical, picture in the Yarborough Collection is anything but "cold in tone," as Crowe and Cavalcaselle call it. It is, on the contrary, rich in colour, but as to the head of the saint, much less attractive than the original.]

[Footnote 53: This picture was presented by Philip IV. to Prince Charles of England, and was, at the sale of his collection, acquired by Jabach for L600, and from him bought by Cardinal Mazarin, whose heirs sold it to Louis XIV. The Cardinal thus possessed the two finest representations of the Jupiter and Antiope legend—that by Correggio (also now in the Louvre) and the Titian. It was to these pictures especially that his touching farewell was addressed a few hours before his death.]

[Footnote 54: See Crowe and Cavalcaselle, vol. ii., Appendix, p. 340.]

[Footnote 55: See as to the vicissitudes through which the picture has passed an article, "Les Restaurations du tableau du Titien, Jupiter et Antiope" by Fernand Engerand, in the Chronique des Arts of 7th May 1898.]

[Footnote 56: This picture came to England with the Orleans Gallery, and was until lately at Cobham Hall in the collection of the Earl of Darnley. It has now passed into that of Mrs J.L. Gardner of Boston, U.S. It is represented in the Prado Gallery by Rubens's superb copy. A Venetian copy on a very small scale exists in the Wallace Collection.]

[Footnote 57: A very clever adaptation of this work is No. 490 in the Prado Gallery under the name of the master. It is remarkable for the contrast between the moonlight which irradiates the Christ and the artificial light supplied by the lantern carried by one of the soldiers.]

[Footnote 58: This picture is mentioned in the list of 1574 furnished by Titian to Secretary Antonio Perez. A Perseus and Andromeda by, or attributed to, Titian was in the Orleans Gallery. Is this the canvas now in the Wallace Collection, but not as yet publicly exhibited there? This last piece was undoubtedly produced in the entourage and with the assistance of Titian, and it corresponds perfectly to Vasari's description of the Deliverance of Andromeda. It has the loose easy touch of the late time, but obscured as it at present is by dirt and successive coats of now discoloured varnish, no more definite opinion with regard to its merits can be given. No. 135 in the Hermitage is a canvas identical in subject and dimensions with this last-named picture. It was once attributed to Tintoretto, but is now put down to the school of Titian.]

[Footnote 59: Somewhat earlier in the order of the late works should come in, if we may venture to judge from the technique of a work that is practically a ruin, the Adam and Eve of the Prado, in which, for the usual serpent with the human head of the feminine type, Titian has substituted as tempter an insignificant amorino. Far more enjoyable than this original in its present state is the magnificent copy, with slight yet marked variations, left behind by Rubens. This is also to be found in the Prado. A drawing by the great Antwerper from Titian's picture is in the Louvre. This is more markedly Flemish in aspect than the painted canvas, and lacks the foolish little Love.]

[Footnote 60: Formerly in the collection of the Earl of Dudley, upon the sale of which it was acquired by Mr. Ludwig Mond. It was in the Venetian exhibition at the New Gallery. There is an engraving of it by Pieter de Jode, jun.]

[Footnote 61: This is No. 186 in the catalogue of 1895. An etching of the picture appeared with an article "Les Ecoles d'Italie au Musee de Vienne," from the pen of Herr Franz Wickhoff, in the Gazette des Beaux Arts for February 1893. It was badly engraved for the Teniers Gallery by Lissebetius.]

[Footnote 62: Now in the Accademia delle Belle Arti of Venice.]

[Footnote 63: It was the intention of the writer to add to this monograph a short chapter on the drawings of Titian. The subject is, however, far too vast for such summary treatment, and its discussion must therefore be postponed. Leaving out of the question the very numerous drawings by Domenico Campagnola which Morelli has once for all separated from those of the greater master, and those also which, while belonging to the same class and period, are neither Titian's nor even Campagnola's, a few of the genuine landscapes may be just lightly touched upon. The beautiful early landscape with a battlemented castle, now or lately in the possession of Mr. T.W. Russell (reproduction in the British Museum marked 1879-5-10-224) is in the opinion of the writer a genuine Titian. The Vision of St. Eustace, reproduced in the first section of this monograph ("The Earlier Work of Titian") from the original in the British Museum, is a noble and pathetic example of the earlier manner. Perhaps the most beautiful of the landscape drawings still preserving something of the Giorgionesque aroma is that with the enigmatic female figure, entirely nude but with the head veiled, and the shepherds sheltering from the noonday sun, which is in the great collection at Chatsworth (No. 318 in Venetian Exhibition at New Gallery). Later than this is the fine landscape in the same collection with a riderless horse crossing a stream (No. 867 in Venetian Exhibition at New Gallery). The well-known St. Jerome here given (British Museum) is ascribed by no less an authority than Giovanni Morelli to the master, but the poor quality of the little round trees, and of the background generally, is calculated to give pause to the student. A good example of the later style, in which the technique is more that of the painter and less that of the draughtsman, is the so-called Landscape with the Pedlar at Chatsworth. But, faded though it is, the finest extant drawing of the later period is that here (p. 78) for the first time reproduced by the kind permission of the owner, Professor Legros, who had the great good fortune and good taste to discover it in a London book-shop. There can be no doubt that this ought to be in the Print Room at the British Museum. A good instance, on the other hand, of a drawing which cannot without demur be left to Titian, though it is a good deal too late in style for Domenico Campagnola, and moreover, much too fine and sincere for that clever, facile adapter of other people's work, is the beautiful pastoral in the Albertina at Vienna (B. 283), with the shepherd piping as he leads his flock homewards.] INDEX

"Agony in the Garden, The" (Escorial), 94 Alfonso d'Avalos, Marques del Vasto (Madrid), 46 Alfonso d'Avalos, with his Family, Portrait of (Louvre), 17, 18 "Alfonso d'Este" (Madrid), 16, 54 "Annunciation, The" (Venice), 98 "Annunciation of the Virgin" (Verona), 56 Aretino, Portrait of (Pitti Gallery), 9, 46, 57, 58 Acquaviva, Duke of Arti, Portrait of, 74

"Bacchanals, The" (Madrid), 8, 87, 92 "Bacchus and Ariadne" (National Gallery), 8, 29, 87 "Battle of Cadore, The," 38, 39 Beccadelli, Legate, Portrait of (Uffizi), 75, 76 "Bella, La" (Pitti), 32 "Boy Baptist," 15

"Cain and Abel" (Venice), 50, 51 Charles V., Portrait of (Munich), 70 "Charles V. at Muehlberg" (Madrid), 8, 68-70 "Christ crowned with Thorns" (Louvre), 84 "Christ crowned with Thorns" (Munich), 104 "Christ with the Pilgrims at Emmaus" (Louvre), 57 Cornaro Family (Duke of Northumberland's Collection), 88 Cornaro, Portrait of (Castle Howard), 54 "Cornelia, La," Portrait of, 12

"Danae and the Golden Rain" (Naples Museum), 62, 66 "Danae with Venus and Adonis" (Madrid), 78-80 "David victorious over Goliath" (Venice),50, 51 "Deliverance of Andromeda, The," 95 "Descent of the Holy Spirit, The" (Venice), 50, 51 "Destruction of Pharaoh's Host, The," 72 "Diana and Actaeon" (Bridgewater Gallery), 9, 86, 91, 95 "Diana and Calisto" (Bridgewater Gallery), 9, 86, 91

"Ecce Homo" (Madrid), 67; (Munich), 94; (Vienna), 53, 54. "Education of Cupid, The" (Rome), 98 "Entombment, The" (Louvre), 87 "Entombment, The" (Madrid), 87 Ercole d'Este, Portrait of, 16, 54

Farnese Family, Portrait of, 52 "Flora" (Uffizi), 29, 66 Francis the First, Portrait of (Louvre), 12, 13 Frederick of Saxony, Portrait of (Vienna), 71

"Girl in a Fur Cloak" (Vienna), 28, 83 Gonzaga, Eleonora, Portraits of, 28, 33, 34 Gonzaga, Federigo, Portrait of, 15 Gonzaga, Isabella d'Este, Portrait of, 12, 13

"Herodias" (Doria Gallery), 29, 66

"Ixion," 71

"Jupiter and Antiope," 76, 90, 92

Lavinia, Titian's daughter, 82, 83

"Madonna Addolorata," 78, 79 "Madonna and Child in a Landscape" (Munich), 95, 96 "Madonna and Child" (Mr. Ludwig Mond's Collection), 104 "Madonna and Child with St. Catherine and St. John" (National Gallery), 9, 10, 11 "Madonna and Child with St. Peter and St. Andrew" (Serravalle), 65 "Madonna del Coniglio" (Louvre), 9-11 "Magdalen" (Florence), 14, 15 "Martyrdom of St. Lawrence, The" (Venice), 84, 100, 101 Medici, Portrait of Ippolito de' (Pitti), 12, 13, 18-21

"Nymph and Shepherd" (Vienna), 9, 106

"Ottavio Farnese with his Beloved": see Venus with Organ Player

Philip II., Portrait of (Madrid), 16 "Pieta," 73, 94, 106, 107 Pope Paul III., Portrait of (Naples), 52; (Hermitage), 53 Pope Paul III. with Alessandro Farnese and Ottavio Farnese (Naples), 53, 60 "Portrait of a Man" (Dresden), 89 "Portrait of a Man in Black" (Louvre), 22 (footnote) "Presentation of the Virgin in the Temple" (Venice), 42-45 "Prometheus Bound to the Rock," 71 "Prince Philip of Austria in Armour" (Madrid), 73; (Pitti), 74; (Naples), 74

"Rape of Europa," 9, 90, 92, 95 "Religion succoured by Spain" (Madrid), 100

"Sacred and Profane Love" (Borghese Gallery), 8, 29, 92 "Sacrifice of Isaac" (Venice), 50 "St. Jerome in Prayer" (Louvre), 14 "St. Jerome in the Desert" (Milan), 96 "St. John in the Desert" (Venice), 64 "St. Margaret in a Landscape" (Madrid), 76 "St. Peter Martyr," 8, 11, 50, 79, 84 "Sisyphus" (Madrid), 71 Strada, Jacopo da, Portrait of (Vienna), 100

"Tantalus" (Madrid), 71 "Three Ages, The" (Bridgewater Gallery), 106 Titian, Portrait of, by himself (Berlin), 40, 41; (Madrid), 94; (Pitti), 9; (Uffizi), 40, 41 "Titian and Franceschini" (Windsor Castle), 42 "Trinity, The," 86 "Twelve Caesars, Series of," 34-36

Vasto, Marques del: see Alfonso d' Avalos "Venere del Pardo" (Paris), 9; see also Jupiter and Antiope "Venetian Storm Landscape" (Buckingham Palace), 10 "Venus Anadyomene" (Bridgewater Gallery), 29 "Venus and Cupid" (Tribuna), 14, 15, 29, 65 "Venus of Urbino," 28, 29, 32, 66, 92 "Venus with the Mirror" (Hermitage), 90 "Venus with the Organ Player" (Madrid), 66 "Virgen de los Dolores" (Madrid), 79

"Worship of Venus" (Madrid), 65, 66, 87

"Young Nobleman, Portrait of" (Florence), 22

THE END