ters nothing, and he boldly proclaims
Licinio the author.

I confess the matter is not thus lightly to be disposed of; there is no
valid reason to doubt the antiquity of the inscription, which, on the
analogy of the Cobham Hall picture, may well have been added in
Titian's own lifetime, and for the same reason that I there
suggested--viz. that Titian had in some way or other a hand in the
completion, or may be the alteration, of his deceased master's work.[93]
For it is my certain conviction that the painter of the Crespi "Lady" is
none other than Giorgione himself.

Before, however, discussing the question of authorship, it is a matter
of some moment to be able to identify the lady represented. An old
tradition has it that this is Caterina Cornaro, and, in my judgment,
this is perfectly correct.[94] Fortunately, we possess several
well-authenticated likenesses of this celebrated daughter of the
Republic. She had been married to the King of Cyprus, and after his
death had relinquished her quasi-sovereign rights in favour of Venice.
She then returned home (in 1489) and retired to Asolo, near
Castelfranco, where she passed a quiet country life, enjoying the
society of the poets and artists of the day, and reputed for her
kindliness and geniality. Her likeness is to be seen in three
contemporary paintings:--

1. At Buda-Pesth, by Gentile Bellini, with inscription.

2. In the Venice Academy, also by Gentile Bellini, who introduces her
and her attendant ladies kneeling in the foreground, to the left, in his
well-known "Miracle of the True Cross," dated 1500.

3. In the Berlin Gallery, by Jacopo de' Barbari, where she appears
kneeling in a composition of the "Madonna and Child and Saints."

[Illustration: _From a print. Pourtales Collection, Berlin_

MARBLE BUST OF CATERINA CORNARO]

Finally we see Caterina Cornaro in a bust in the Pourtales Collection at
Berlin, here reproduced,[95] seen full face, as in the Crespi portrait.
I know not on what outside authority the identification rests in the
case of the bust, but it certainly appears to represent the same lady as
in the above-mentioned pictures, and is rightly accepted as such by
modern German critics.[96]

[Illustration: _Anderson photo. Crespi Collection, Milan_

PORTRAIT OF CATERINA CORNARO]

To my eyes, we have the same lady in the Crespi portrait. Mr. Berenson,
unaware of the identity, thus describes her:[97] "Une grande dame
italienne est devant nous, ec