[150] The Life and Times of Titian, 2 vols., 1881.

[151] The Earlier and Later Work of Titian.  Portfolio, October 1897 and July 1898.

[152] Tizian.  Berlin, 1901.

[153] La Vie et l’Oeuvre de Titien:  Paris, 1886.

[154] See Crowe and Cavalcaselle:  Titian, i. 85.  The fact that Titian’s name does not occur in these records is curious and suggestive.

[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.”