iption of the personage with all his styles and titles,
and the date MDLXVI. The execution is again _di macchia_, but
magnificent in vitality, as in impressiveness of general effect, swift
but not hasty or superficial. The reserve and dignity of former male
portraits is exchanged for a more febrile vivacity, akin to that which
Lotto had in so many of his finest works displayed. His peculiar style
is further recalled in the rather abrupt inclination of the figure and
the parallel position of the statuette which it holds. But none other
than Titian himself could have painted the superb head, which he himself
has hardly surpassed.

It is curious and instructive to find the artist, in a letter addressed
to Philip on the 2nd of December 1567, announcing the despatch,
together with the just now described altar-piece, _The Martyrdom of St.
Lawrence_, of "una pittura d'una Venere ignuda"--the painting of a nude
Venus. Thus is the peculiar double current of the aged painter's genius
maintained by the demand for both classes of work. He well knows that to
the Most Catholic Majesty very secular pieces indeed will be not less
acceptable than those much-desired sacred works in which now Titian's
power of invention is greatest.

[Illustration: _Religion succoured by Spain. Gallery of the Prado,
Madrid. From a Photograph by Braun, Clement, & Cie_.]

Our master, in his dealings with the Brescians, after the completion of
the extensive decorations for the Palazzo Pubblico, was to have proof
that Italian citizens were better judges of art than the King of Spain,
and more grudging if prompter paymasters. They declared, not without
some foundation in fact, that the canvases were not really from the hand
of Titian, and refused to pay more than one thousand ducats for them.
The negotiation was conducted--as were most others at that time--by the
trusty Orazio, who after much show of indignation was compelled at last
to accept the proffered payment.

[Illustration: _Portrait of the Antiquary Jacopo da Strada. Imperial
Gallery, Vienna. From a Photograph by Loewy_.]

[Illustration: _Madonna and Child. Collection of Mr. Ludwig Mond_.]

The great victory of Lepanto, gained by the united fleets of Spain and
Venice over the Turk on the 7th of October 1571, gave fitting occasion
for one of Paolo Veronese's most radiant masterpieces, the celebrated
votive picture of the Sala del Collegio, for Tintoretto's _Battle of
Lepanto_, but also for one of