[2] For many highly ingenious interpretations of Lotto’s portraits and a sustained analysis of his art generally, Mr. Bernard Berenson’s Lorenzo Lotto should be consulted.  See also M. Emile Michel’s article, “Les Portraits de Lorenzo Lotto,” in the Gazette des Beaux Arts, 1896, vol. i.

[3] For these and other particulars of the childhood of Titian, see Crowe and Cavalcaselle’s elaborate Life and Times of Titian (second edition, 1881), in which are carefully summarised all the general and local authorities on the subject.

[4] Life and Times of Titian, vol. i. p. 29.

[5] Die Galerien zu Muenchen und Dresden, p. 75.

[6] Carlo Ridolfi (better known as a historian of the Venetian school of art than as a Venetian painter of the late time) expressly states that Palma came young to Venice and learnt much from Titan:  “C’ egli apprese certa dolcezza di colorire che si avvicina alle opere prime dello stesso Tiziano” (Lermolieff:  Die Galerien zu Muenchen und Dresden).

[7] Vasari, Le Vite:  Giorgione da Castelfranco.

[8] One of these is a description of wedding festivities presided over by the Queen at Asolo, to which came, among many other guests from the capital by the Lagunes, three Venetian gentlemen and three ladies.  This gentle company, in a series of conversations, dwell upon, and embroider in many variations, that inexhaustible theme, the love of man for woman.  A subject this which, transposed into an atmosphere at once more frankly sensuous and of a higher spirituality, might well have served as the basis for such a picture as Giorgione’s Fete Champetre in the Salon Carre of the Louvre!

[9] Magazine of Art, July 1895.

[10] Life and Times of Titian, vol. i. p. 111.

[11] Mentioned in one of the inventories of the king’s effects, taken after his execution, as Pope Alexander and Seignior Burgeo (Borgia) his son.

[12] La Vie et l’Oeuvre du Titien, 1887.

[13] The inscription on a cartellino at the base of the picture, “Ritratto di uno di Casa Pesaro in Venetia che fu fatto generale di Sta chiesa.  Titiano fecit,” is unquestionably of much later date than the work itself.  The cartellino is entirely out of perspective with the marble floor to which it is supposed to adhere.  The part of the background showing the galleys of Pesaro’s fleet is so coarsely repainted that the original touch cannot be distinguished.  The form “Titiano” is not to be found in any authentic picture by Vecelli.  “Ticianus,” and much more rarely “Tician,” are the forms for the earlier time; “Titianus” is, as a rule, that of the later time.  The two forms overlap in certain instances to be presently mentioned.

[14] Kugler’s Italian Schools of Painting, re-edited by Sir Henry Layard.

[15] Marcantonio Michiel, who saw this Baptism in the year 1531 in the house of M. Zuanne Ram at S. Stefano in Venice, thus describes it:  “La tavola del S. Zuane che battezza Cristo nel Giordano, che e nel fiume insino alle ginocchia, con el bel paese, ed esso M. Zuanne Ram ritratto sino al cinto, e con la schena contro li spettatori, fu de man de Tiziano” (Notizia d’ Opere di Disegno, pubblicata da J. Jacopo Morelli, Ed. Frizzoni, 1884).