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 is lost.  The best known copy is in the Uffizi.  Crowe and Cavalcaselle long ago pointed out the absurdity of regarding this fancy portrait as a true likeness of the long deceased queen.  It bears no resemblance whatever to the Buda-Pesth portrait, which is the latest of the group.

[99] Cicerone, sixth edition.

[100] Gazette des Beaux Arts, 1897, pp. 278-9.

[101] Venetian Painting at the New Gallery, 1895, p. 41.

[102] Titian, ii. 58.

[103] Gazette des Beaux Arts, loc cit.

[104] Life of Giorgione.  The letters T.V. either were added after 1544, or Vasari did not interpret them as Titian’s signature.

[105] La Galleria Crespi, op. cit.

[106] The importance of this portrait in the history of the Renaissance is discussed, postea, p. 113.

[107] ii. 19.

[108] This picture was transferred in 1857 from panel to canvas, but is otherwise in fine condition.