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
Pi