[Footnote 35:  This portrait-group belongs properly to the time a few years ahead, since it was undertaken during Titian’s stay in Rome.]

[Footnote 36:  The imposing signature runs Titianus Eques Ces.  F. 1543.]

[Footnote 37:  The type is not the nobler and more suave one seen in the Cristo della Moneta and the Pilgrims of Emmaus; it is the much less exalted one which is reproduced in the Ecce Homo of Madrid, and in the many repetitions and variations related to that picture, which cannot itself be accepted as an original from the hand of Titian.]

[Footnote 38:  Vasari saw a Christ with Cleophas and Luke by Titian, above the door in the Salotta d’Oro, which precedes the Sala del Consiglio de’ Dieci in the Doges’ Palace, and states that it had been acquired by the patrician Alessandro Contarini and by him presented to the Signoria.  The evidence of successive historians would appear to prove that it remained there until the close of last century.  According to Crowe and Cavalcaselle the Louvre picture was a replica done for Mantua, which with the other Gonzaga pictures found its way into Charles I.’s collection, and thence, through that of Jabach, finally into the gallery of Louis XIV.  At the sale of the royal collection by the Commonwealth it was appraised at L600.  The picture bears the signature, unusual for this period, “Tician.”  There is another Christ with the Pilgrims at Emmaus in the collection of the Earl of Yarborough, signed “Titianus,” in which, alike as to the figures, the scheme of colour, and the landscape, there are important variations.  One point is of especial importance.  Behind the figure of St. Luke in the Yarborough picture is a second pillar.  This is not intended to appear in the Louvre picture; yet underneath the glow of the landscape there is just the shadow of such a pillar, giving evidence of a pentimento on the part of the master.  This, so far as it goes, is evidence that the Louvre example was a revised version, and the Yarborough picture a repetition or adaptation of the first original seen by Vasari.  However this may be, there can be no manner of doubt that the picture in the Long Gallery of the Louvre is an original entirely from the hand of Titian, while Lord Yarborough’s picture shows nothing of his touch and little even of the manner of his studio at the time.]

[Footnote 39:  Purchased at the sale of Charles I.’s collection by Alonso de Cardenas for Philip IV. at the price of L165.]

[Footnote 40:  Crowe and Cavalcaselle, Life of Titian, vol. ii., Appendix (p. 502).]

[Footnote 41:  Moritz Thausing has striven in his Wiener Kunstbriefe to show that the coat of arms on the marble bas-relief in the Sacred and Profane Love is that of the well-known Nuremberg house of Imhof.  This interpretation has, however, been controverted by Herz Franz Wickhoff.]

[Footnote 42:  Cesare Vecellio must have been very young at this time.  The costume-book, Degli abiti antichi e moderni, to which he owes his chief fame, was published at Venice in 1590.]