f the
technique. Rubens's copy of a lost or unidentified Titian, No. 845 in
the same gallery, shows that he painted Isabella from life in mature
middle age, and with a truthfulness omitting no sign of over-ripeness.
This portrait may very possibly have been done in 1522, when Titian
appeared at the court of the Gonzagas. Its realism, even allowing for
Rubens's unconscious exaggeration, might well have deterred the Gonzaga
princess from being limned from life some twelve years later still.]

[Footnote 8: Crowe and Cavalcaselle, vol. i., Appendix, p. 451.]

[Footnote 9: The idea of painting St. Jerome by moonlight was not a new
one. In the house at Venice of Andrea Odoni, the dilettante whose famous
portrait by Lotto is at Hampton Court, the Anonimo (Marcantonio Michiel)
saw, in 1532, "St. Jerome seated naked in a desert landscape by
moonlight, by ---- (sic), copied from a canvas by Zorzi da Castelfranco
(Giorgione)."]

[Footnote 10: See "The Picture Gallery of Charles I.," _The Portfolio_,
January 1896, pp. 49 and 99.]

[Footnote 11: The somewhat similar _Allegories_ No. 173 and No. 187 in
the Imperial Gallery at Vienna (New Catalogue, 1895), both classed as by
Titian, cannot take rank as more than atelier works. Still farther from
the master is the _Initiation of a Bacchante_, No. 1116 (Cat. 1891), in
the Alte Pinakothek of Munich. This is a piece too cold and hard, too
opaque, to have come even from his studio. It is a _pasticcio_ made up
in a curiously mechanical way, from the Louvre _Allegory_ and the quite
late _Education of Cupid_ in the Borghese Gallery; the latter
composition having been manifestly based by Titian himself, according to
what became something like a custom in old age, upon the earlier
_Allegory_.]

[Footnote 12: A rather tiresome and lifeless portrait of Ippolito is
that to be found in the picture No. 20 in the National Gallery, in which
it has been assumed that his companion is his favourite painter,
Sebastiano del Piombo, to whom the picture is, not without some
misgivings, attributed.]

[Footnote 13: It has been photographed under this name by Anderson of
Rome.]

[Footnote 14: In much the same position, since it hardly enjoys the
celebrity to which it is entitled, is another masterpiece of portraiture
from the brush of Titian, which, as belonging to his earlier middle
time, should more properly have been mentioned in the first section of
this monograph. This is the great _Portrait of a