[Footnote 43:  “Das Tizianbildniss der koeniglichen Galerie zu Cassel,” Jahrbuch der koeniglich-preussischen Kunstsammlungen, Funfzehnter Band, III.  Heft.]

[Footnote 44:  See the Francesco Maria, Duke of Urbino at the Uffizi; also, for the modish headpiece, the Ippolito de’ Medici at the Pitti.]

[Footnote 45:  A number of fine portraits must of necessity be passed over in these remarks.  The superb if not very well-preserved Antonio Portia, within the last few years added to the Brera, dates back a good many years from this time.  Then we have, among other things, the Benedetto Varchi and the Fabrizio Salvaresio of the Imperial Museum at Vienna—­the latter bearing the date 1558.  The writer is unable to accept as a genuine Titian the interesting but rather matter-of-fact Portrait of a Lady in Mourning, No. 174 in the Dresden Gallery.  The master never painted with such a lack of charm and distinction.  Very doubtful, but difficult to judge in its present state, is the Portrait of a Lady with a Vase, No. 173 in the same collection.  Morelli accepts as a genuine example of the master the Portrait of a Lady in a Red Dress also in the Dresden Gallery, where it bears the number 176.  If the picture is his, as the technical execution would lead the observer to believe, it constitutes in its stiffness and unambitious naivete a curious exception in his long series of portraits.]

[Footnote 46:  It is impossible to discuss here the atelier repetitions in the collections of the National Gallery and Lord Wemyss respectively, or the numerous copies to be found in other places.]

[Footnote 47:  For the full text of the marriage contract see Giovanni Morelli, Die Galerien zu Muenchen und Dresden, pp. 300-302.]

[Footnote 48:  Joshua Reynolds, who saw it during his tour in Italy, says:  “It is so dark a picture that, at first casting my eyes on it, I thought there was a black curtain before it.”]

[Footnote 49:  Crowe and Cavalcaselle, vol. ii. p. 272.]

[Footnote 50:  They were, with the Rape of Europa, among the so-called “light pieces” presented to Prince Charles by Philip IV., and packed for transmission to England.  On the collapse of the marriage negotiations they were, however, kept back.  Later on Philip V. presented them to the Marquis de Grammont.  They subsequently formed part of the Orleans Gallery, and were acquired at the great sale in London by the Duke of Bridgewater for L2500 apiece.]

[Footnote 51:  This great piece is painted on a canvas of peculiarly coarse grain, with a well-defined lozenge pattern.  It was once owned by Van Dyck, at the sale of whose possessions, in 1556, a good number of years after his death, it was acquired by Algernon Percy, Earl of Northumberland.  In 1873 it was in the exhibition of Old Masters at the Royal Academy.]

[Footnote 52:  The best repetition of this Hermitage Magdalen is that in the Naples Museum; another was formerly in the Ashburton Collection, and yet another is in the Durazzo Gallery at Genoa.  The similar, but not identical, picture in the Yarborough Collection is anything but “cold in tone,” as Crowe and Cavalcaselle call it.  It is, on the contrary, rich in colour, but as to the head of the saint, much less attractive than the original.]