ut still early work, in the
Flora (626). The two portraits, Eleonora Gonzaga and Francesco Maria
della Rovere, Duke and Duchess of Urbino, were painted in Venice in 1536
or 1538, and came into the Uffizi with the other Urbino pictures, with
the Venus of Urbino (1117), for instance, where Titian has painted the
Bella of the Pitti Palace naked on a couch, a little dog at her feet,
and in her hand a chaplet of roses. In the background two maids search
for a gown in a great chest under a loggia. This picture, first
mentioned in a letter of 1538, was painted for Duke Guidobaldo della
Rovere. The Venus with the little Amor (1108) appears to have been
painted about 1545. It is not from Urbino. Dr. Gronau thinks it may be
identical with the Venus "shortly described in a book of the Guardaroba
of Grand Duke Cosimo II in the year 1621." The Portrait of Bishop
Beccadelli (1116) was painted in July 1552, and is signed by Titian. It
was bought, with the other Venetian pictures, by Cardinal Leopoldo de'
Medici in 1654. I say nothing of Titian here: preferring to speak of him
in dealing with his more various and numerous work in the Pitti Palace.
Other pupils of Giovanni Bellini, beside Giorgione and Titian, are found
here--Palma Vecchio for instance--in a poor picture of Judith with the
Head of Holofernes (619); Rondinelli in a Portrait of a Man (354) and a
Madonna and two Saints (384); Sebastiano del Piombo in the Farnesina
(1123), long given to Raphael, and the Death of Adonis (592). All these
men, whose work is so full of splendour, came under the influence of
Giorgione after passing through Bellini's bottega. Nor did Lorenzo
Lotto, the pupil of Alvise Vivarini, escape the authority of that serene
and perfect work, whose beauty lingered so quietly over the youth of the
greatest painter of Italy, Tiziano Vecelli: his Holy Family (575) seems
to be a work of Giorgione himself almost, that has suffered some change;
that change was Lotto.

Titian's own pupils, Paris Bordone, Tintoretto, and Schiavone, may also
be found here; the first in a Portrait of a Young Man (607), full of
confidence and force. Tintoretto has five works here, beside the
portrait of himself (378): the Bust of a Young Man (577), the Portrait
of Admiral Vernier (601), the Portrait of an Old Man (615), the Portrait
of Jacopo Sansovino (638), and a Portrait of a Man (649). His portraits
are full of an immense splendour; they sum up often rhetorically enough
all that wa