ds (E.);
Christ in House of Pharisee; Assumption of Virgin; Men
fighting Bears; Tribute Money.
London. Portrait of Man; Christ and the Money-Changers; Good Samaritan.
Milan. Ambrosiana: Adoration of Shepherds (E.); Annunciation to
Shepherds (L.).
Munich. Portraits; S. Jerome; Deposition.
Padua. S. Maria in Vanzo: Entombment.
Paris. Christ bearing Cross; Vintage (L.).
Rome. Villa Borghese: Last Supper; The Trinity.
Venice. Academy: Christ in Garden; A Venetian Noble; S. Elenterino
blessing the Faithful.
Ducal Palace, Ante-Collegio: Jacob's Journey.
S. Giacomo dell' Orio: Madonna and Saints.
Vicenza. Madonna and Saints; Madonna; St. Mark and Senators.
Vienna. The Good Samaritan; Thomas led to the Stake; Adoration of Magi;
Rich Man and Lazarus; The Lord shows Abraham the Promised
Land; The Sower; A Hunt; Way to Golgotha; Noah entering the
Ark; Christ and the Money-Changers; After the Flood; Saints;
Adoration of Magi; Portraits; Christ bearing Cross.
Academy: Deposition; Portrait.

PART III

CHAPTER XXVIII

THE INTERIM

Many of the churches and palaces of Venice and the adjoining mainland,
and almost every public and private gallery throughout Europe, contain
pictures purporting to be painted by Titian, Tintoretto, Veronese, and
others of that famous company. Hardly a great English house but boasts
of a round dozen at least of such specimens, acquired in the days when
rich Englishmen made the "grand tour" and substantiated a reputation for
taste and culture by collecting works of art. These pictures resemble
the genuine article in a specious yet half-hearted way. Their owners
themselves are not very tenacious as to their authenticity, and the
visit of an expert, or the ordeal of a public exhibition tears their
pretensions to tatters. In the Academia itself the Bonifazio and
Tintoretto rooms are crowded with imitations. The Ducal Palace has
ceilings and panels on which are reproduced the kind of compositions
initiated by the great artists, which make an effort to capture their
gamut of colour and to master their scheme of chiaroscuro, copying them,
in short, in everything except in their inimitable touch and fire and
spirit. It would have been impossible for any men, however industrious
and prolific, to have carried out all the work which