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
wit