[Footnote 4:  Crowe and Cavalcaselle, vol. i. pp. 396, 397; Tizian, von H. Knackfuss, p. 55.]

[Footnote 5:  Crowe and Cavalcaselle, Appendix to vol. i. p. 448.]

[Footnote 6:  No. 1288 in the Long Gallery of the Louvre.]

[Footnote 7:  See the canvas No. 163 in the Imperial Gallery of Vienna.  The want of life and of a definite personal character makes it almost repellent, notwithstanding the breadth and easy mastery of the technique.  Rubens’s copy of a lost or unidentified Titian, No. 845 in the same gallery, shows that he painted Isabella from life in mature middle age, and with a truthfulness omitting no sign of over-ripeness.  This portrait may very possibly have been done in 1522, when Titian appeared at the court of the Gonzagas.  Its realism, even allowing for Rubens’s unconscious exaggeration, might well have deterred the Gonzaga princess from being limned from life some twelve years later still.]

[Footnote 8:  Crowe and Cavalcaselle, vol. i., Appendix, p. 451.]

[Footnote 9:  The idea of painting St. Jerome by moonlight was not a new one.  In the house at Venice of Andrea Odoni, the dilettante whose famous portrait by Lotto is at Hampton Court, the Anonimo (Marcantonio Michiel) saw, in 1532, “St. Jerome seated naked in a desert landscape by moonlight, by ——­ (sic), copied from a canvas by Zorzi da Castelfranco (Giorgione).”]

[Footnote 10:  See “The Picture Gallery of Charles I.,” The Portfolio, January 1896, pp. 49 and 99.]

[Footnote 11:  The somewhat similar Allegories No. 173 and No. 187 in the Imperial Gallery at Vienna (New Catalogue, 1895), both classed as by Titian, cannot take rank as more than atelier works.  Still farther from the master is the Initiation of a Bacchante, No. 1116 (Cat. 1891), in the Alte Pinakothek of Munich.  This is a piece too cold and hard, too opaque, to have come even from his studio.  It is a pasticcio made up in a curiously mechanical way, from the Louvre Allegory and the quite late Education of Cupid in the Borghese Gallery; the latter composition having been manifestly based by Titian himself, according to what became something like a custom in old age, upon the earlier Allegory.]

[Footnote 12:  A rather tiresome and lifeless portrait of Ippolito is that to be found in the picture No. 20 in the National Gallery, in which it has been assumed that his companion is his favourite painter, Sebastiano del Piombo, to whom the picture is, not without some misgivings, attributed.]

[Footnote 13:  It has been photographed under this name by Anderson of Rome.]