of Verona followed Palma, giving, however, to the loveliness of their women not, indeed, a more exalted character, but a less pronounced sensuousness—­an added refinement but a weaker personality.  Paris Bordone took the note from Titian, but being less a great artist than a fine painter, descended a step lower in the scale.  Paolo Veronese unaffectedly joys in the beauty of woman, in the sheen of fair flesh, without any under-current of deeper meaning.  Tintoretto, though like his brother Venetians he delights in the rendering of the human form unveiled, is but little disquieted by the fascinating problem which now occupies us.  He is by nature strangely spiritual, though he is far from indulging in any false idealisation, though he shrinks not at all from the statement of the truth as it presents itself to him.  Let his famous pictures in the Anticollegio of the Doges’ Palace, his Muses at Hampton Court, and above all that unique painted poem, The Rescue, in the Dresden Gallery, serve to support this view of his art.]

[Footnote 20:  Crowe and Cavalcaselle, Life of Titian, vol. i. p. 420.]

[Footnote 21:  Two of these have survived in the Roman Emperor on Horseback, No. 257, and the similarly named picture, No. 290, at Hampton Court Palace.  These panels were among the Mantua pieces purchased for Charles I. by Daniel Nys from Duke Vincenzo in 1628-29.  If the Hampton Court pieces are indeed, as there appears no valid reason to doubt, two of the canvases mentioned by Vasari, we must assume that though they bore Giulio’s name as chef d’atelier, he did little work on them himself.  In the Mantuan catalogue contained in d’Arco’s Notizie they were entered thus:—­“Dieci altri quadri, dipintovi un imperatore per quadro a cavallo—­opera di mano di Giulio Romano” (see The Royal Gallery of Hampton Court, by Ernest Law, 1898).]

[Footnote 22:  The late Charles Yriarte in a recent article, “Sabionneta la petite Athenes,” published in the Gazette des Beaux Arts, March 1898, states that Bernardino Campi of Cremona, Giulio’s subordinate at the moment, painted the Twelfth Caesar, but adduces no evidence in support of this departure from the usual assumption.]

[Footnote 23:  See “The Picture Gallery of Charles I.,” The Portfolio, October 1897, pp. 98, 99.]

[Footnote 24:  Nos. 529-540—­Catalogue of 1891—­Provincial Museum of Hanover.  The dimensions are 0.19 c. by 0.15 c.]

[Footnote 25:  Of all Pordenone’s exterior decorations executed in Venice nothing now remains.  His only works of importance in the Venetian capital are the altar-piece in S. Giovanni Elemosinario already mentioned; the San Lorenzo Giustiniani altar-piece in the Accademia delle Belle Arti; the magnificent though in parts carelessly painted Madonna del Carmelo in the same gallery; the vast St. Martin and St. Christopher in the church of S. Rocco; the Annunciation of S. Maria degli Angeli at Murano.]