to this opinion
when discussing the Louvre "Concert," and must again emphatically
dissent from this view. Campagnola, as I know him in his pictures and
frescoes at Padua,--the only authenticated examples by which to judge
him,[112]--was utterly inadequate to such tasks. The grandeur and
dignity of the Vienna portrait is worthy of Titian, whose virility
Giorgione more nearly approaches here than anywhere else. But I agree
with the verdict of Crowe and Cavalcaselle that his is not the hand that
painted it, and believe that the author of the Temple Newsam "Man" also
produced this portrait, probably a few years later, at the close of his
career.

NOTES:

[85] Or "points" (_punte_). The translation is that used by Blashfield
and Hopkins, vol. iv. 260.

[86] Assuming he was born in 1477, which is by no means certain.

[87] Dr. Richter in the _Art Journal_, 1895, p. 90. Mr. Claude Phillips,
in his _Earlier Work of Titian_, p. 58, note, objects that Vasari's
"giubone di raso inargentato" is not the superbly luminous steel-grey
sleeve of this "Ariosto," but surely a vest of satin embroidered with
silver. I think we need not examine Vasari's casual descriptions quite
so closely; "a doublet of silvered satin wherein the stitches could be
counted" is fairly accurate. "Quilted sleeves" would no doubt be the
tailor's term.

[88] It is not quite clear whether the single letter is F or T.

[89] A curious fact, which corroborates my view, is that the four old
copies which exist are all ascribed to Giorgione (at Vicenza, Brescia,
and two lately in English collections). See Crowe and Cavalcaselle, p.
201.

[90] Gronau: _Tizian_, p. 21.

[91] See, however, note on p. 133.

[92] _La Galleria Crespi_.

[93] The documents quoted by Signor Venturi show the signature was there
in 1640.

[94] When in the Martinengo Gallery at Brescia (1640) it bore this name.
See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58.

[95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis
der Caterina Cornaro_." I am informed the original is now in the
possession of the German Ambassador at The Hague, and that a plaster
cast is at Berlin.

[96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtales
acquired this bust at Asolo.

[97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901)
republished in his _Study and Criticism of Italian Art_, vol. i. p. 85.

[98] Titian's posthumous portrait of Caterina