ment to Titian than they are to his master. The beautiful
motive--music for one happy moment uniting by invisible bonds of
sympathy three human beings--is akin to that in the _Three Ages_, though
there love steps in as the beautifier of rustic harmony. It is to be
found also in Giorgione's _Concert Champetre_, in the Louvre, in which
the thrumming of the lute is, however, one among many delights appealing
to the senses. This smouldering heat, this tragic passion in which youth
revels, looking back already with discontent, yet forward also with
unquenchable yearning, is the keynote of the Giorgionesque and the early
Titianesque male portraiture. It is summed up by the _Antonio Broccardo_
of the first, by the _Jeune Homme au Gant_ of the second. Altogether
other, and less due to a reaction from physical ardour, is the exquisite
sensitiveness of Lorenzo Lotto, who sees most willingly in his sitters
those qualities that are in the closest sympathy with his own
highly-strung nature, and loves to present them as some secret,
indefinable woe tears at their heart-strings. A strong element of the
Giorgionesque pathos informs still and gives charm to the Sciarra
_Violin-Player_ of Sebastiano del Piombo; only that there it is already
tempered by the haughty self-restraint more proper to Florentine and
Roman portraiture. There is little or nothing to add after this as to
the _Jeune Homme au Gant_, except that as a representation of
aristocratic youth it has hardly a parallel among the master's works
except, perhaps, a later and equally admirable, though less
distinguished, portrait in the Pitti.

[Illustration: From a Photograph by Brauen Clement & Cie. Walter L.
Colls. ph. sc.

Jeune Homme au gant]

[Illustration: _A Concert. Probably by Titian. Pitti Palace, Florence.
From a Photograph by Alinari_.]

Not until Van Dyck, refining upon Rubens under the example of the
Venetians, painted in the _pensieroso_ mood his portraits of high-bred
English cavaliers in all the pride of adolescence or earliest manhood,
was this particular aspect of youth in its flower again depicted with
the same felicity.[32]

To Crowe and Cavalcaselle's pages the reader must be referred for a
detailed and interesting account of Titian's intrigues against the
venerable Giovanni Bellini in connection with the Senseria, or office of
broker, to the merchants of the Fondaco de' Tedeschi. We see there how,
on the death of the martial pontiff, Julius the Secon