[Footnote 14:  In much the same position, since it hardly enjoys the celebrity to which it is entitled, is another masterpiece of portraiture from the brush of Titian, which, as belonging to his earlier middle time, should more properly have been mentioned in the first section of this monograph.  This is the great Portrait of a Man in Black, No. 1591 in the Louvre.  It shows a man of some forty years, of simple mien yet of indefinably tragic aspect; he wears moderately long hair, is clothed entirely in black, and rests his right hand on his hip, while passing the left through his belt.  The dimensions of the canvas are more imposing than those of the Jeune Homme au Gant.  No example in the Louvre, even though it competes with Madrid for the honour of possessing the greatest Titians in the world, is of finer quality than this picture.  Near this—­No. 1592 in the same great gallery—­hangs another Portrait of a Man in Black by Titian, and belonging to his middle time.  The personage presented, though of high breeding, is cynical and repellent of aspect.  The strong right hand rests quietly yet menacingly on a poniard, this attitude serving to give a peculiarly aggressive character to the whole conception.  In the present state of this fine and striking picture the yellowness and want of transparency of the flesh-tones, both in the head and hands, gives rise to certain doubts as to the correctness of the ascription.  Yet this peculiarity may well arise from injury; it would at any rate be hazardous to put forward any other name than that of Titian, to whom we must be content to leave the portrait.]

[Footnote 15:  This is the exceedingly mannered yet all the same rich and beautiful St. Catherine, St. Roch, with a boy angel, and St. Sebastian.]

[Footnote 16:  See Giorgione’s Adrastus and Hypsipyle (Landscape with the Soldier and the Gipsy) of the Giovanelli Palace, the Venus of Dresden, the Concert Champetre of the Louvre.]

[Footnote 17:  It is unnecessary in this connection to speak of the Darmstadt Venus invented by Crowe and Cavalcaselle, and to which as a type they so constantly refer.  Giovanni Morelli has demonstrated with very general acceptance that this is only a late adaptation of the exquisite Venus of Dresden, which it is his greatest glory to have restored to Barbarelli and to the world.]

[Footnote 18:  Die Galerien zu Muenchen und Dresden von Ivan Lermolieff, p. 290.]

[Footnote 19:  Palma Vecchio, in his presentments of ripe Venetian beauty, was, we have seen, much more literal than Giorgione, more literal, too, less the poet-painter, than the young Titian.  Yet in the great Venus of the Fitzwilliam Museum, Cambridge—­not, indeed, in that of Dresden—­his ideal is a higher one than Titian’s in such pieces as the Venus of Urbino and the later Venus, its companion, in the Tribuna.  The two Bonifazi