[Footnote 26:  No. 108 in the Winter Exhibition at Burlington House in 1896.  By Franceschini is no doubt meant Paolo degli Franceschi, whose portrait Titian is known to have painted.  He has been identified among the figures in the foreground of the Presentation of the Virgin.]

[Footnote 27:  See a very interesting article, “Vittore Carpaccio—­La Scuola degli Albanesi,” by Dr. Gustav Ludwig, in the Archivio Storico dell’ Arte for November-December 1897.]

[Footnote 28:  A gigantic canvas of this order is, or rather was, the famous Storm of the Venetian Accademia, which has for many years past been dubitatively assigned to Giorgione.  Vasari described it as by Palma Vecchio, stating that it was painted for the Scuola di S. Marco in the Piazza SS.  Giovanni e Paolo, in rivalry with Gian Bellino(!) and Mansueti, and referring to it in great detail and with a more fervent enthusiasm than he accords to any other Venetian picture.  To the writer, judging from the parts of the original which have survived, it has long appeared that this may indeed be after all the right attribution.  The ascription to Giorgione is mainly based on the romantic character of the invention, which certainly does not answer to anything that we know from the hand or brain of Palma.  But then the learned men who helped Giorgione and Titian may well have helped him; and the structure of the thick-set figures in the foreground is absolutely his, as is also the sunset light on the horizon.]

[Footnote 29:  This is an arrangement analogous to that with the aid of which Tintoretto later on, in the Crucifixion of San Cassiano at Venice, attains to so sublime an effect.  There the spears—­not brandished but steadily held aloft in rigid and inflexible regularity—­strangely heighten the solemn tragedy of the scene.]

[Footnote 30:  Crowe and Cavalcaselle, Life of Titian, vol. vi. p. 59.]

[Footnote 31:  The writer is unable to accept as a genuine design by Titian for the picture the well-known sepia drawing in the collection of the Uffizi.  The composition is too clumsy in its mechanical repetition of parts, the action of the Virgin too awkward.  The design looks more like an adaptation by some Bolognese eclectic.]

[Footnote 32:  This double portrait has not been preserved.  According to Crowe and Cavalcaselle, the full length of Pier Luigi still exists in the Palazzo Reale at Naples (not seen by the writer).]

[Footnote 33:  The writer, who has studied in the originals all the other Titians mentioned in this monograph, has had as yet no opportunity of examining those in the Hermitage.  He knows them only in the reproductions of Messrs. Braun, and in those new and admirable ones recently published by the Berlin Photographic Company.]

[Footnote 34:  This study from the life would appear to bear some such relation to the finished original as the Innocent X. of Velazquez at Apsley House bears to the great portrait of that Pope in the Doria Panfili collection.]