155] Ed. _Sansoni_, p. 459. The translation is that of Blashfield and
Hopkins. Bell, 1897.

[156] _Ibid_. p. 425.

[157] _Ibid_. p. 428.

[158] The translation is that of Crowe and Cavalcaselle. _Titian_, ii.
391. The original is given by them at p. 538.

[159] Quoted from Crowe and Cavalcaselle.

[160] Crowe and Cavalcaselle. _Titian_, ii. 409.

[161] There is a collection of these in a volume in the British Museum.

[162] Before the discovery of the letter to Philip, Messrs. Crowe and
Cavalcaselle were quite prepared to admit that Titian was born "after
1480" (vide _N. Italian Painting_, ii. 119, 120). Unfortunately, they
took the evidence of the letter as final, but finding themselves
chronologically in difficulties, they shrewdly remark in their _Titian_,
i. 38, note: "The writers of these lines thought, and _still think_,
Titian younger than either Giorgione or Palma. They were, however,
inclined to transpose Titian's birthday to a later date than 1477,
rather than put back those of Palma and Giorgione to an earlier period,
and in this they made a mistake." Perhaps they were not so far wrong
after all!

[163] For this most amusing letter see Crowe and Cavalcaselle. _Titian_,
i. p. 153.

[164] The evidence afforded by Titian's own portraits of himself (at
Berlin and in the Uffizi) is inconclusive, as we do not know the exact
years they were painted. The portrait at Madrid, painted 1562, might
represent a man of seventy-three or eighty-six, it is hard to say which.
But there is a woodcut of 1550 (_vide_ Gronau, p. 164) which surely
shows Titian at the age of sixty-one rather than seventy-four; and,
finally, Paul Veronese's great "Marriage at Cana" (in the Louvre), which
was painted between June 1562 and September 1563, distinctly points to
Titian being then a man of seventy-four and not eighty-seven. He is
represented, as is well known, seated in the group of musicians in the
centre, and playing the contrabasso.

[165] _Jahrbuch der Sammlungen des A.H. Kaiserhauses_, vii. p. 221 _ff_
1888.

[166] Dr. Ludwig had the kindness to write to me on this subject: "Among
the thousands of signatures of painters which I have seen I have never
come across the signature _Maestro_. Of course, someone else can
describe a painter as Master; he himself always subscribes himself
_pittor, pictor_, or _depentor_."

[167] Dr. Gronau further points out (in a letter recently sent to the
writer) that Titian, writing to the e