the “Titianus F.” on the Cobham Hall picture.  This form of signature points to the period after 1520, a date manifestly inconsistent with the style of painting.  But there is more than this to arouse suspicion.  The signature has been painted over another, or rather, the F. (= fecit)[88] is placed over an older V, which can still be traced.  A second V appears further to the right.  It looks as if originally the balustrade only bore the double V, and that “Titianus F.” were added later.  But it was there in Vasari’s day (1544), so that we arrive at the interesting conclusion that Titian’s signature must have been added between 1520 and 1544—­that is, in his own lifetime.  This singular fact opens up a new chapter in the history of Titian’s relationship to Giorgione, and points to practices well calculated to confuse historians of a later time, and enhance the pupil’s reputation at the expense of the deceased master.  Not that Titian necessarily appropriated Giorgione’s work, and passed it off as his own, but we know that on the latter’s death Titian completed several of his unfinished pictures, and in one instance, we are told, added a Cupid to Giorgione’s “Venus.”  It may be that this was the case with the “Ariosto,” and that Titian felt justified in adding his signature on the plea of something he did to it in after years; but, explain this as we may, the important point to recognise is that in all essential particulars the “Ariosto” is the creation not of Titian, but of Giorgione.  How is this to be proved?  It will be remembered that when discussing whether Giorgione or Titian painted the Pitti “Concert,” the “Giorgionesque” qualities of the work were so obvious that it seemed going out of the way to introduce Titian’s name, as Morelli did, and ascribe the picture to him in a Giorgionesque phase.  It is just the same here.  The conception is typically Giorgione’s own, the thoughtful, dreamy look, the turn of the head, the refinement and distinction of this wonderful figure alike proclaim him; whilst in the workmanship the quilted satin is exactly paralleled by the painting of the dress in the Berlin and Buda-Pesth portraits.  Characteristic of Giorgione but not of Titian, is the oval of the face, the construction of the head, the arrangement of the hair.  Titian, so far as I am aware, never introduces a parapet or ledge into his portraits, Giorgione nearly always does so; and finally we have the mysterious VV which is found on the Berlin portrait, and (half-obliterated) on the Buda-Pesth “Young Man.”  In short, no one would naturally think of Titian were it not for the misleading signature, and I venture to hope competent judges will agree with me that the proofs positive of Giorgione’s authorship are of greater weight than a signature which—­for reasons given—­is not above suspicion.[89]