prnia hal THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES 3 & 1 1 Spanish Consul 1482. ,,1571, Titian himself he Now it is curious to notice that the last three state- ments are all made in letters to King Philip, either by Titian himself, or at his request by the Spanish agents. It is curious to notice these statements as to Titian's great age occur in begging letters. 2 1 Quoted from Crowe and Cavalcaselle, ii. 344. The Spanish original is given at p. 535. 2 I have quoted Titian's letter in full in the Nineteenth Century. That of the Spanish Consul is given in the " Jahrbuch der Samm- DID TITIAN LIVE TO BE NINETY-NINE ? 67 It is curious to notice they are mutually contra- dictory. What are we to conclude ? Surely that the Spanish Envoy, the Spanish Consul and Titian himself out of their own mouths stand con- victed of inconsistency of statement, and further that they betray an identical motive underlying each repre- sentation, viz. an appeal ad misericordiam. Before however contrasting the value of the evidence as found in these Spanish letters with the evidence as found in Dolce and Vasari, let us note two points in these letters. Garcia Hernandez, the Spanish Envoy, writes : " Ac- cording to some people who knew him Titian was about ninety years old, though he did not show it." Now if Titian was really about ninety in the year 1564, he would have lived to the age of one hundred and two, a feat of longevity of which no one has ever accused him ! Apart therefore from the healthy scepticism which Hernandez betrays in this letter we may certainly conclude that " some people who knew him " were exaggerating Titian's age. Secondly, Titian's letter of 1571 says he is ninety- five years old. Titian's similar letter of 1576, the year of his death, omits to say he is one hundred. Surely a strange omission, considering that he refers to his old age three times in this one letter. 1 Does not lungen des A. H. Kaiserhauses," VII. p. 221, from which I extract the passage : "El dicho Ticiano besa pies y manos de V. M., y suplica umilmente a V. M. mande le sea pagado lo que le ha corrido de las pensiones de que V. M. le tiene echo merced en Milan y en esa corte, y la trata de Napoles, y con los 85 afios de su edad servira a V. M. hasta la muerte." 1 I have quoted this letter also in full in the Nineteenth Century. I am indebted to M. Salomon Reinach for making this point (Chroniqite des Arts, February 15, 1902, p. 53, where he expresses himself a convert to my views). 68 REVIEWS AND APPRECIATIONS the second letter correct the inexactness of the first, and so Titian's statement go for nothing ? The collective evidence then of these Spanish letters amounts to this, that in the words of the Envoy " for money everything was to be had of Titian," and ac- cordingly any statement as to his great age when thus made for effect must be treated with the greatest suspicion. But is the evidence of Dolce and Vasari any more trustworthy ? Dr. Gronau is at pains to show that both these writers often made mistakes in their dates, a fact which no one can dispute. Their very incorrect- ness is the more reason, however, for trusting them in this instance, for they happen to agree about the date of Titian's birth ; and although neither of them ex- pressly gives the year 1489, they indicate separate and independent events in his life, the one, Dolce, at the beginning, the other, Vasari, at the end, which when looked into give the same result. Moreover be Dolce ever so anxious to cry up his hero Titian, and make him out to have been precocious, and be Vasari ever so inexact in his chronology, we must remember that when both of them wrote, the presumption of unusual longevity had not arisen, and that their evidence therefore is less likely to be prejudiced in this respect than the evidence given in obituary notices, such as occurs in Borghini's " Riposo " of 1584, and in the later writers like Tizianello and Ridolfi. That Borghini therefore says Titian was ninety-eight or ninety-nine when he died, and that Tizianello and Ridolfi, thirty-eight and sixty-four years later respec- tively, put him down at ninety-nine, is by no means proof that such was the case. It would seem that there had been some speculation before and after Titian's death as to his exact age ; that no one quite knew for certain ; DID TITIAN LIVE TO BE NINETY-NINE ? 69 and that Titian with the credulousness of old age had come to regard himself as well-nigh a centenarian. Be this as it may, I still hold that the evidence of Dolce and Vasari that Titian's birth occurred in 1489 is more trustworthy than either the evidence found in the three Spanish letters, or the evidence as given in the obituary notices of Borghini and others. One word more. If Titian was born in 1489 instead of 147677, it does make a great difference in the story of his own career, and what is more, the history of Venetian art in the early sixteenth century as it centres round Giorgione, Palma and Titian will have to be carefully reconsidered. Plate XVIII N II. THE "ARIOSTO" IN THE NATIONAL GALLERY 1 "OW that several English experts have ex- pressed their opinion on the subject of the new j3> oo picture recently bought for the National Gallery, it might be well to summarise these views and see how far they agree with the official or popular designation of the picture as the "Portrait of Ariosto by Titian." Two problems arise, (i) Is the portrait that ot Ariosto ? (2) Is it painted by Titian ? On the first point Sir Claude Phillips publishes, in the current number of the Art Journal^ a carefully reasoned judg- ment that the portrait is that of the Barbarigo gentle- man mentioned by Vasari as having been painted by Titian at the age of eighteen. In this he adopts my own view, published some five years ago, when the picture yet hung at Cobham Hall. 2 Mr. Roger Fry, in the Burlington Magazine for November, comes to a negative decision that it cannot be either Ariosto or Barbarigo, founding, however, his objection to the latter identification chiefly on a previous article written by Sir Claude Phillips, which that writer now modifies in the Art Journal^ as quoted above. On the other hand, Sir Walter Armstrong puts it forward as his opinion that the portrait is that of Ariosto. 3 The material for comparison with authen- ticated likenesses of the poet is opportunely published by Mr. Roger Fry in the Burlington Magazine for November, and confirms me so far in my previous belief that it is not Ariosto. 1 Reprinted from the Athcn^eum^ January 21, 1905. 2 Vide "Giorgione" (Bell's "Great Masters" Series), p. 70. 3 Portfolio monograph on the " Peel Collection," 1905, p. 24. 70 "ARIOSTO" IN NATIONAL GALLERY 71 We arrive, then, at this result that three out of four modern English writers who have specially studied the question agree that it is not Ariosto, and two out of the three think that it is Barbarigo. As, however, this identification is somewhat dependent on the answer to the second question Is it painted by Titian ? it is necessary to pass on at once to this consideration. No writer, so far as I am aware, had raised this question previously to myself in 1900, when I claimed Giorgione for the author. "It may be," I wrote, "that Titian felt justified in adding his signature on the plea of something he did to it in after years ; but, explain this as we may, the important point to recognise is that, in all essential particulars, the ' Ariosto ' is the creation, not of Titian, but of Giorgione." So the matter rested till the picture was bought always, of course, as a Titian and Mr. Roger Fry was then the first to consider the question carefully from this point of view. His decision is thus given : 1 "It seems to me that Mr. Cook's theory is not altogether impossible. But I should say that in any case the share of Titian, both in the painting and the final fusion of the whole into the precious and rare colour-harmony which we now enjoy, is larger than Mr. Cook suggests." Then comes Sir Claude Phillips, in the current number of the Art Journal^ bravely maintaining the traditional view that Titian, and not Giorgione, is the painter. Sir Walter Armstrong merely alludes to the alternative view, without apparently deciding which to favour. 2 Perhaps I may be allowed to record my present opinion, which has been somewhat modified by later 1 Burlington Magazine, November 1904, p. 137. 2 Portfolio, 1905, p. 25. 72 REVIEWS AND APPRECIATIONS study of the intricate question of Titian's real age. For here, as I believe, lies the key to the solution. Let me, then, state my firm conviction that Titian was born, not in 1477, as commonly supposed, but some twelve years later i.e. about 1489. Now, assuming (with Sir Claude Phillips) that the style of painting in our new picture points to the years 1505-8, we see that Titian was sixteen to nineteen years old at the time, and I quite agree too young to have achieved such a splendid result. Nevertheless there is the signature TITIANVS, the authenticity of which is indisput- able. But, as has often been pointed out, this form came into use first about 1520, for in his earlier time the painter invariably put TICIANVS. The conclusion is inevitable. Titian signed a picture about 1520 that had been painted 1505-8 by some one else. Who ? and why ? Here comes in Mr. Roger Fry's analysis, 1 which convinces him that two hands have been at work Giorgione's (following my opinion) and Titian's. But why should Titian finish Giorgione's work ? and why should he sign it thus ? The explanation is perfectly simple. Giorgione was cut off by the plague at the early age of thirty-three, just at the height of his career, and it is quite natural to assume that he left behind him a good deal of work in various states of incompletion. Now we know that the young Titian was associated with his master on the frescoes at the Fondaco de' Tedeschi in 1508, and history has always connected the two young artists in the closest bonds of fellowship. What more likely than that Titian should have acted, so to speak, as Giorgione's artistic executor ? And proof of this is forthcoming in the statement of the "Anonimo" that Titian finished Giorgione's Venus (now at Dresden), and that he retouched a Pieth (not identified). The 1 Burlington Magazine, November 1904. ARIOSTO " IN NATIONAL GALLERY 73 same authority also tells us that Giorgione's Three Philosophers (or rather jEneas, Evander and Pallas, now at Vienna) was finished by Sebastiano del Piombo, Titian's fellow-pupil. These instances go to show, in my opinion, that there must have been a number of unfinished canvases on the easel at the date of Giorgione's unexpected death, and that the two young assistants, Titian and Sebastiano, aged respectively twenty-one and twenty-five, took over these works for ultimate completion. I say ultimate, because, as a matter of fact, Sebastiano departed almost immediately for Rome, where he remained many years, and Titian was certainly away from Venice a good part of 1511, painting his frescoes in Padua. It is infinitely probable, therefore, that some of Giorgione's pictures remained unfinished for some years, even as late as 1520, when Titian came to sign himself TITIANVS. Such I believe to be the case with the " Ariosto." Begun about 1507 by Giorgione, and left unfinished at his death in 1 5 10, it was completed some ten years later by Titian (at the age of thirty-one). As to the respective share of each in the result, I am quite of Mr. Roger Fry's opinion that Giorgione painted the head, and that the conception of the whole thing is his, and that Titian painted the superb sleeve and put on those finishing touches which would justify him in putting his signature to it. The history of the Crespi Schiavona (or, as I prefer to call it, the Portrait of Caterina Cornaro] is precisely the same, and the signature TIT ... v. to be explained in the same way. 1 And I go further, and state my opinion that, signature or no, there is a category of such joint productions by Giorgione and Titian, invariably ascribed 1 The signature must be read thus, and not as single letters T. v. (Titianus Vecellio). This was rightly pointed out by a writer in the Times, October 24, 1901. The superb portrait has recently been sold out of the Crespi Gallery, and its fate is unknown to me. 74 REVIEWS AND APPRECIATIONS by force of circumstances to the latter, and that herein lies the clue to the oft-recurring problem, Giorgione or Titian ? l We now see how significantly Vasari's words read when he states that Titian took the portrait of his friend, one of the Barbarigo family, and that it would have been taken for Giorgione's work if Titian had not signed his name on it. Naturally, and that, as Sir Claude Phillips suggests, may have been the very reason why Titian did put his name on it. I conclude, therefore, that we have in our new picture the very portrait mentioned by Vasari, viz. A Gentleman of the Barbarigo Family, that it was painted by Giorgione about 1507, and finished by Titian about 1 520, when the signature was added, as duly seen and recorded by Vasari, some twenty-five years later. That Giorgione's share in its inception had already been forgotten is nothing strange when we see Vasari, in his second edition of 1568, actually registering the Christ dragged to Calvary (in S. Rocco in Venice) under Titian's name, when in his first edition of 1550 he had rightly ascribed it to Giorgione. One word more. The whole of this period of Venetian art will have to be carefully reconsidered by art historians on the basis of Titian's birth falling, not in 1477, but in 1489, and on the assumption of a Giorgione-cum-Titian authorship of a good many famous paintings now exclusively assigned to Titian. Until these data are accepted, our knowledge of this period will remain in the state of confusion and uncertainty which at present characterises all writings on the subject. 2 1 Dr. Gronau has already hinted at this solution in the vexed question of the Pitti Concert. 2 I need only cite the varied chronology of Titian's earliest works as given by such competent writers as Crowe and Cavalcaselle, Morelli, Lafenestre, Claude Phillips, Gronau and Ricketts. III. THE IDENTIFICATION OF A PAINTER'S PORTRAIT: THE PORTRAIT OF ANTONIO PALMA BY TITIAN 1 IN order to establish the attribution of a picture to a given painter one at least of the following con- ditions must be fulfilled : (i) The picture must bear the genuine signa- ture of the artist. (ii) The picture must so completely agree in style with other authentic works of the artist as to betray a common origin ; in short, it must be " signed all over." (iii) The hypothesis of its authenticity must be the only explanation which will satisfy certain ascertained external evidence. 2 Of these conditions the first affords the most entirely satisfactory proof to the ordinary observer, whilst to the trained eye condition number two is paramount. 3 Number three affords unlimited scope for the logician, where the ultimate appeal is not to the eye, but to the reason. There may be further all kinds of combina- tions of evidence, as in the complicated case of the new "Ariosto Titian," where two painters appear to have been at work ; indeed there is no limit to the possible intricacy which the problem may offer. I do not now propose enlarging on the science, still 1 Reprinted from the Burlington Magazine, March 1905. 2 Documentary evidence is only admissible as proof positive when borne out by the independent testimony of the picture itself. 3 So much is this the case that where signature and style flagrantly conflict the signature may be regarded as a forgery. The frequent monogram AD. on paintings that have nothing to do with Albert Durer is a case in point. 75 76 REVIEWS AND APPRECIATIONS less the art, of connoisseurship by discussing all these conditions. Such a subject would require a treatise. Suffice it if we deal for the moment with the question of genuine signatures. Now an artist may sign his work in several ways, either by putting his name or monogram on the painting, or by introducing some symbol or emblem which may or may not bear direct allusion to his name. The name or monogram is of course the most frequent form of signature, and for that very reason the most often forged. Hundreds of instances could be adduced of this, and that is why condition number one reads, " The picture must bear the genuine signature of the artist." The other form of signature, that is, the emblem or symbol, is far less frequent, and generally occurs in cases where the artist's name readily lends itself to a pictorial treatment. Instances or this- are Mazo's "hammer," Dosso's "bone," Garofalo's "pink," Pieter de Ryng's "ring" ; whilst as instances of caprice we may cite Cranach's "crowned serpent," Barbari's "caduceus," and Herri de Bles' "owl." Whistler's "butterfly" is really a monogram. The identification of the portrait here made for the first time shows that Titian in portraying the person of a contemporary artist, Antonio Palma, did not hesitate to give a clue to the identity of his sitter by introducing a palm branch and a paint box. The Dresden portrait illustrates of course the very common practice, especially in Italian art, of associating the person represented with some pictorial accessory bearing allusion to his name, a practice, we may remark, which affords the modern investigator scope for much ingenuity, and offers a fruitful field of research to some to whom the loftier regions of connoisseurship may be inaccessible. In our own national collection there are several such puzzles, one IDENTIFICATION OF A PORTRAIT 77 of which at all events has exercised the minds of earnest students as keenly as any double acrostic I mean Holbein's Ambassadors ; whilst scarcely less entertaining problems are offered by Moretto's Noble- man (No. 299) and Palma's Poet (No. 636). The persons here represented are all provided liberally with accessories doubtless intended to disclose to the initiated the identity of the owner, and many elaborate and ingenious theories have been constructed on the subject of these portraits. A far simpler means of identification exists in the case of those portraits which appear with letters addressed to themselves, e.g. the Marco Barbarigo in the Flemish Room (No. 696), or in the scarcely less obvious case where an Agatha, a Margaret, or a Magdalen is transformed into her homonymous saint. Instances of this occur in Sebas- tiano del Piombo's Portrait of a Lady (No. 24), in the newly acquired Zurbaran, and in the two Mary Magdalens in the Flemish Room (Nos. 654, 655).* The introduction of accessories in a portrait is there- fore constantly, if not always, intended to give a clue to the identity of the person represented, and this I believe is also the case in the magnificent Titian from the Dresden Gallery here reproduced. It is one of the Plate XIX 1 Besides the many instances of a Laura with the laurel, and a Catherine (generally and gratuitously miscalled Caterina Cornaro) with the emblems of St. Catherine, there is one remarkable case worth calling special attention to because one of Leonardo's portraits is concerned. Dr. Bode has recently been able to substantiate his belief that the wonderful portrait in the Liechtenstein Gallery at Vienna is a genuine work of Leonardo's early time by identifying the lady as Ginevra dei Benci, whose portrait by Leonardo is mentioned by Vasari. This identification rests partly on the jumper bush (ginffro) which is so conspicuous a feature in the background. (See " Zeitschrift," 1903.) With this conclusion I entirely agree, not- withstanding the arguments adduced by Miss Cruttwell, the recent biographer of Verrocchio, in favour of the latter's authorship. (See antea, p. 40.) 78 REVIEWS AND APPRECIATIONS greatest of Titian's portraits, supremely simple and dignified in conception, and amazingly accomplished in handling. The painter himself was evidently proud of his work, for he has added quite a long inscription and his title in full: MDLXI ANNO NATVS AETATIS SVAE XLVI. TITIANVS PICTOR ET AEQVES CAESARIS. Now in 1561 Titian was, as I believe, seventy-two years of age, 1 so that it is clear that the third line of the inscription refers, not to himself, but to the person represented (as indeed is obvious from his apparent age). This person then was born in 1515. Further, he carries a palm branch, and on the window-sill lies a box of paints with an instrument apparently for prizing up the separate colours. But why should a painter bear a palm, the symbol of martyrdom ? Why, if he be a martyr, has he no halo ? The reason is clear. He is no martyred saint, but a well-known and worthy citizen named Palma, and a painter by profession. And here our archivists come to the rescue ! for given his name, profession and date, it only remains to find the documents which fit the case. Fortunately this has already been done, and Dr. Gustav Ludwig has dis- covered and published all that is so far known about this very Palma. 2 He is not the Palma " Vecchio " that we all know, or even the Palma " Giovine " that we often under- value, but he is a certain Antonio Palma, nephew of 1 Assuming that he was born in 1489. If, however, the con- ventional view be taken that he was born in 1477, he would have been eighty-four when he painted this portrait. 2 In the " Jahrbuch," 1901, p. 184. PLATE XIX PORTRAIT OF ANTONIO PALMA. BY TITIAN. DRESDEN GALLERY. TAMME, PHOTO IDENTIFICATION OF A PORTRAIT 79 the first and father of the second. His existing works that are signed are but two, one a processional flag, dated 1565, now at Serinalta, the other a Resurrection in the gallery of Stuttgart, wherein he shows himself a close follower of Bonifazio. The documents relating to him are very few, but from one of the year 1524 we learn that he was not yet eligible for a certain position the qualifying age for which was fourteen, and in another document of 1554 he is called "depentor celebre." Dr. Ludwig concludes from the first that his birth maybe put "about 1510-12," but we may remark there is no objection to its having been 1515, that being the date of birth deduced from the inscription in our picture. We know from another document this Palma was still alive in 1575, and when Titian painted his fellow-artist in 1561 the latter was still doubtless "depentor celebre." All this fits admirably with our picture, and leaves scarcely room for doubt but that the Unknown Man in the Dresden Gallery whom Titian has delighted to honour is his fellow-artist Antonio Palma. 1 1 This view has now been officially adopted in the latest edition (1908) of the Dresden catalogue. ^ TT % / ^y IV. THE TRUE PORTRAIT OF LAURA DE' DIANTI BY TITIAN 1 Plate TT ASARI, in his " Life of Titian," after referring to the portrait of Alfonso d'Este, Duke of Ferrara, painted by the artist in his early-middle career, goes on to say : " Similmente ritrasse la signora Laura che fu poi moglie di quel duca ; che e opera stupenda." 2 Both these portraits are commonly supposed to be lost, or rather to have survived only in copies ; that of the Duke hanging in the Pitti Gallery at Florence, 3 that of the Duchess Laura existing in some half dozen versions scattered about Europe. Plate Whether or no the Pitti picture is an old copy or a xxi defaced original I have not been able to ascertain, for it hangs high up in a dark corner of one of the smaller rooms, where it is practically impossible to examine it ; but the same doubt must no longer exist about the portrait of Laura de' Dianti, the Duke's third wife, for the original to-day hangs in Sir Frederick Cook's gallery at Richmond. We are indebted to H.E. Baron de Bildt for the following criticism of this picture published in the last December number of the Nineteenth Century, in the course of a most interesting article on " Queen Christina's Pictures " : 4 " Sir Frederick Cook's gallery in Richmond," he writes, " gives its splendid hospitality to one of the gems of Rudolph the Second's and Christina's Collec- 1 Reprinted from the Burlington Magazine, September 1905. 2 Vasari, vii. 435. 3 Another copy belongs to Sir Henry Howorth in London. 4 Nineteenth Century, December 1904. 80 PLATE XX PORTRAIT OF LAURA DE' DIANTl. BY TITIAN. COLLECTION OF SIR FREDERICK COOK, RICHMOND. GRAY, PHOTO PLATE XXI PORTRAIT OF ALPHONSO OF FERRARA AFTER TITIAN. PITTI GALLERY, FLORENCE ALINARI, PHOTO PORTRAIT OF LAURA DE' DIANTI 81 tions Titian's famous L'Esclavonne. It is now gene- rally presumed to be a portrait of Laura de' Dianti, the beloved mistress of Alfonso d'Este, Duke of Ferrara. At Prague it was called A Turkish Woman , probably on account of the head-dress, while at Rome it became known as La Schiavona a name it is likely to retain. There are several copies in existence, the best known in the museum at Modena, and hypercritical judges have not been wanting who have declared the Richmond picture also to be a copy after a lost original. It has, however, a broadness of touch which is scarcely ever found in a copy, and a transparency in the shadows which seems to mark it as the handiwork of Titian himself. The picture has suffered some slight damage during its journeys, but it still remains a thing of joy and beauty. It has besides the advantage of being most appropriately framed." It is a far cry from Vasari to modern times, yet in the intervening three hundred and fifty years no other criticism of this painting is known to us, although its history can be accurately traced. Extremes therefore meet; "e opera stupenda," said Vasari; "it still remains a thing of joy and beauty " is the verdict of to-day. I propose, first, to trace the history of the picture itself ; secondly, to identify the person represented ; thirdly, to consider its merit as a work of art. For the first point I must rely mainly on the excellent article, just mentioned, written by Baron de Bildt ; for the second on an exhaustive study published some years ago in a German periodical by Dr. Carl Justi ; * for the third on the expert opinion of modern English critics best qualified to judge. First, as to the history of the picture. 1 Jahrbuch," xx. p. 183. 82 REVIEWS AND APPRECIATIONS It is rarely that the pedigree of a painting dating from the early years of the sixteenth century can be traced as accurately as in the present case. Painted by Titian for Alfonso d'Este 1 about 1523, it was en- graved by Sadeler in Venice 2 and copied by Lodovico Carracci before it left the Este family in 1 599. 3 In that year Cesare d'Este sent it as a present to Rudolph II. at Prague, in whose possession it remained till his death and the subsequent sack of Prague by the Swedes in 1648. In 1648 Ridolfi describes it accurately in his " Meraviglie d'Arte," 4 doubtless being acquainted with Sadeler's engraving or the Modena copy. The original, taken off to Stockholm to adorn Queen Chris- tina's gallery, next travelled to Rome, when the ill-fated Queen removed thither in 1654, and after her death in 1689 passed through the hands of the Marchese Azzolino and (1696) Prince Odescalchi, until sold to Philippe d'Orleans in 1721 and sent to Paris. Here it is recorded as L'Esclavonne, the title of La Bella Schiavona having first been given it when in Rome. For seventy years it enjoyed a rest, but its wanderings soon began anew. 5 The Orleans Gallery was dispersed, and in 1792 it was sold to the banker Walkner in Brussels, and thence passed to Laborde de Mereville. He sold it in turn to the Earl of Suffolk, 6 and in 1824 it belonged to a Mr. Edward Gray, of Harringay House, Hornsey, " a gentleman who possesses," says Buchanan, "one of the finest small collections of pictures which is in the country." When this collection was dispersed 1 Vasari. 2 According to the inscription on the print. 3 Copy now in the Modena Gallery. 4 i. 209. 5 For all these incidents see the Nineteenth Century, December 1904. 6 See Buchanan's "Memoirs." M. Yriarte states (" Autour des Borgia," 1891, p. 122) it was then sold for 52,000 francs. PORTRAIT OF LAURA DE' DIANTI 83 in 1839 it passed eventually into the possession of a Mr. J. Dunnington Fletcher, and was sold by him, January 15, 1876, through Messrs. Colnaghi and Co. to the late Sir Francis Cook, and has remained at Richmond ever since. Surely a much travelled canvas ! and bearing marks to-day, alas, of its journeys up and down Europe for three hundred and fifty years. So much for its history. The second point is the identity of the lady. Great confusion has been caused by the vague statement of Ridolfi (writing in 1648, and giving the earliest descrip- tion of the picture) that it represented " Madama la Duchessa " of Ferrara. Now Alfonso's former wife was Lucretia Borgia, and modern writers like Marquis Campori, 1 M. Yriarte, 2 and especially Crowe and Cavalcaselle, 3 have all been misled by this statement into thinking that Titian painted a portrait of Lucretia Borgia. It was reserved for Dr. Carl Justi to establish the identity of Ridolfi's " Madama la Duchessa " with Alfonso's mistress, and afterwards (according to Vasari) his wife, Laura de' Dianti. 4 The truth had already been hinted at by those astute historians, Crowe and Cavalcaselle, 6 and those who have since seen the portrait of Lucretia Borgia that was sold from the Doetsch collection in 1895 need no further proof that our lady with the negro page is not the same woman. 6 Agreeing therefore with Dr. Justi that Ridolfi's "Madama la 1 " Tiziano e gli Estensi," p. 33. 2 " Autour des Borgia," p. 122. 3 " Titian," i, 185-91. 4 " Jahrbuch, xx. p. 183. 6 Titian," i, 266. 6 The Doetsch portrait bore the inscription, " Lucretia Borgia, aetatis suae an. XL. A.C.N. MDXX." It was ascribed to Dosso, and seems a posthumous likeness. It is published as frontispiece to Gregorovius' " Lucretia Borgia," translated by Garner from third German edition. (Murray, 1904.) It now belongs to Mr. de Zoete at Layer Marney, in Essex. 84 REVIEWS AND APPRECIATIONS Duchessa" is Alfonso's third wife, Laura de' Dianti, we find all difficulties vanish, and Vasari's words "ritrasse la signora Laura che fu poi moglie di quel duca ; che e opera stupenda " fully confirmed. Laura de' Dianti was of humble origin, but as mistress of Alfonso she seems to have occupied a recognised position at the Ferrarese court, and was known in her lifetime as " the most illustrious Signora Laura Eustochio Estense." There is pretty good evidence that Alfonso married her after the death of Lucretia Borgia, his second wife, and when Laura died and was buried in Sant' Agostino of Ferrara in 1573, Alfonso II. and Cardinal Luigi of Este accompanied her son Don Alfonso to the funeral. 1 It may be added that the popular name given to a famous picture in the Salon Carre of the Louvre, viz. Laura de Dianti and Alfonso d'Este, is entirely erroneous, and seems of modern invention, for in Charles I.'s time it was called Titian and his Mistress I The Louvre catalogue is unfortunately misleading in stating that the real portrait of Alfonso by Titian is at Madrid ; as already mentioned, it (or an old copy of it) hangs in the Pitti Gallery at Florence. The Madrid portrait repre- sents either Alfonso's son, Ercole II. (as Justi and others hold), or else Federigo, Marquis of Mantua. 2 Now from the dress and bearing of the lady in the Richmond picture it is clear that she is a person of distinction : 1 See Crowe and Cavalcaselle, " Titian," i. 266. 2 Gronau, " Titian," p. 302. Another so-called Laura and Alfonso belongs to the Earl of Malmesbury, at Heron Court, Christ- church, Hants. (New Gallery, 1894, No. 163.) These romantic names were usually attached to portraits in the eighteenth century, in order to invest them with more interest. The most unfortunate victims of this craze are probably Queen Elizabeth, Mary Queen of Scots, La bella Simonetta, Caterina Cornaro and Christopher Columbus ! PORTRAIT OF LAURA DE' DIANTI 85 " None but a princess in those days could indulge in the luxury of an Ethiopian page ; and the gemmed passion-flower and silken riband adorning her turbaned head, or the looped silk gown and scarf of striped gauze which set off her person, are not less rich and elegant than the dress which gives distinction to Isabel of Este or the Duchess of Urbino." (Crowe and Cavalcaselle, i. 186.) In fact when this portrait was painted it would seem that she was already Duchess of Ferrara, and, as Alfonso's second wife died in 1519, it follows that the picture was painted after that date. How soon after it is impossible to say with exactness, yet it is probable that as Titian painted Alfonso's likeness twice, once before 1529, and again in 1536, he may have painted the Duchess at the same time. Indeed a comparison of the two portraits, that of the Duke (in the Pitti) and the Duchess (at Richmond), almost suggests they are companion pieces, the action of the arms in both being singularly balanced, the Duke lean- ing on a piece of artillery (of which he was a famous inventor), the Duchess on her Ethiopian page. The sizes of the two paintings do not perfectly agree, but the Pitti portrait being the second one of Alfonso painted by Titian (or a copy of it), it is possible the earlier one (which is lost, but which is described by a contemporary writer " the one was as like the other as two drops of water") may have been a little smaller and so the size of the Richmond Duchess. This is, however, conjecture ; what is certain is that as com- positions the two figures correspond admirably, both being knee pieces, facing inwards, and of similar pose and action. There remains the all-important question Is the Richmond picture really painted by Titian ? This is 86 entirely a matter of internal evidence ; for although the picture can be traced right back to the days of Sadeler's engraving and Carracci's copy, i.e. before 1599, it is always possible that a copy was substituted at some stage in its history, and that we have before us, not the original by Titian, but only an old repetition by some clever imitator. It happens, however, in this case that we have six other versions of this picture, and if we compare them carefully we shall find the gulf of quality fixed between the Richmond portrait and the six others, which places the former in a class by itself. Of these six versions one has been already mentioned, viz. the copy made by Lodovico Carracci, which is now in the gallery at Modena. This makes no claim to be an original Titian, nor do the two smaller versions in Rome one in the Borghese gallery, and one formerly in the Sciarra collection. Yet another version belonged to Conte Luigi Sernagiotti in Venice, and I am content to accept Dr. Carl Justi's judgment that these are all later copies. 1 Two, however, remain worthy of some study, and are here reproduced. One is in a private collection at Berlin, the other in the gallery at Stock- holm. The former is unknown to me at first hand, so I leave it to the judgment of competent critics to Plates say if it bears on its face the marks of an original xxir work by Titian himself. Judging merely from repro- xxni duction, there is to my mind scarcely room for doubt, and from a long familiarity with the Richmond painting any hesitation I might have in deciding only from photographs vanishes in the certain conviction that here is Titian's own original, damaged, it is true, but still "a thing of joy and beauty." And here let me invoke the opinion of Mr. Charles Ricketts, a most competent judge of such matters. "It is a beautiful wreck," he says, "but hands, skirt 1 See "Jahrbuch," xx. p. 183. '- PLATE XXII PORTRAIT OF LAURA DE' DIANTI. AFTER TITIAN BARON VON LIPPERHEIDE COLLECTION, BERLIN. BOLL, PHOTO PLATE XXIII PORTRAIT OF LAURA DE 1 DIANTI. AFTER TITIAN. STOCKHOLM MUSEUM PORTRAIT OF LAURA DE' DIANTI 87 and negro are still by Titian." The upper part of the picture, especially the face, has been cruelly rubbed, and the modelling is gone ; at some period a varnish has been applied, leaving dirty brown spots all over the surface, and the whole has been flattened out and otherwise disfigured. Of repainting there is very little, so that what one sees, underpainting and all, is Titian's very own ; but it is only in passages like the right hand and wrist, the delicate lawn of the sleeve, the wonderful blue of the dress and the variegated costume of the negro page that the real touch of the master-hand can be recognised. Let any one contrast these details with the cold precision of the Stockholm and Berlin versions, and decide the relative merits of all three paintings. (For the rest these only claim to be copies !) Many years ago Dr. Carl Justi suggested that the Richmond picture was the lost original ; he was followed by M. Yriarte ; x but more modern critics were silent, or, like myself, unwilling to dissent from their fellows who only saw yet another copy. 2 To-day I see in the Richmond picture Titian's own hand, and an historical portrait the interest in which is not the less for the many strange vicissitudes through which it has passed. 1 " Autour des Borgia," 1891, p. 122, with a reproduction. 2 As such I wrongly described it in the article on " Titian " in the new edition of Bryan's " Dictionary." V. NOTES ON THE STUDY OF TITIAN 1 FEW of the "old masters" have claimed so much attention from writers as Titian ; the biblio- graphy connected with his life and art fills several pages in Dr. Georg Gronau's " Titian," which is one of the latest books on the subject. 2 The pages of the Burlington Magazine bear witness to the constant interest attaching to his name ; 3 fresh points are raised, fresh facts recorded, fresh pictures found, which give rise to discussion or maybe settle definitely some open question. It cannot be too often asserted that knowledge is progressive ; each generation succeeds to the heritage of its predecessor, and brings fresh evidence to light, correcting, amplifying, modifying previous beliefs. The monumental work of Crowe and Cavalcaselle (second edition, 1 88 1) still remains the standard book on Titian, but must be studied in the light of more modern research ; and we still await a complete life of Titian which shall incorporate all that is now known and present a more faithful picture of the man and his art than is at present accessible to the public. 4 There is something so universal in the character of Titian's art that it is not unreasonable to compare him with Beethoven and even Shakespeare ; and when 1 Reprinted from the Burlington Magazine, November 1906. 2 English translation, 1904, from the German edition, 1900. 3 i. 185. ii. 281. iv. 17. v. 516. vi. 60, 95, 136,412,452. vii. 59, 345, 449 and May I9 6 - I have elsewhere indicated my own conviction that no true life of Titian will be written until the date of his birth be recognised as 1489 instead of 1477, as commonly supposed. This matter affects the whole development of his early career, and, indeed, of Venetian painting in the first years of the sixteenth century. PLATE XXIV CUPID. BY TITIAN VIENNA ACADEMY PLATE XXV "THE LITTLE TAMBOURINE-PLAYER" ASCRIBED TO TITIAN. VIENNA GALLERY LOWY, PHOTO \ NOTES ON THE STUDY OF TITIAN 89 pages of profound learning and study are being devoted to Lotto, to Carpaccio and to Sodoma, small excuse is needed for bringing fresh facts to light and fresh evidence to bear on a subject of far greater artistic moment. It is strange that a public gallery in Europe should possess a genuine painting by Titian which (so far as I know) goes unrecorded by modern biographers of the master. The Academy at Vienna that remarkable collection second only to the larger museum or picture gallery which every one knows has among its many treasures a Cupid or Amor by Titian. Chance has it that the other and more famous gallery in Vienna also possesses a picture of similar kind, known uni- versally as The Little Tambourine Player. Both are Plates here illustrated, and the contrast is suggestive ; it XXIV is even disquieting, for if the latter be, as is generally XXT now assumed, a genuine bit of an early Titian, it is hard to explain the obvious divergence of style between the two. The Academy Cupid must be either of later date in Titian's career, or it is not the work of Titian. Such has been apparently the view of critics. Before suggesting a third explanation let us see why the alternatives just mentioned fail to meet the case. First, the Academy Cupid cannot possibly be a late, or even a middle, period work of Titian if for no other reason than the character of the land- scape. For in the background occurs the group of buildings exactly identical line for line with those in two famous paintings of Titian's early time, the Noli Me Tangere of the National Gallery and the Dresden Venus^ the latter of which, although painted by Giorgione, was completed by Titian, who added the landscape. 1 Doubtless the landscape in the Vienna 1 Signer Venturi (La gall. Crespi in Milan, p. 145) has already noticed this identity of landscape. 90 REVIEWS AND APPRECIATIONS Cupid was painted about the same time as the other two, and it is not unreasonable to suppose that these farm buildings portray some cherished spot in Titian's memory connected with his mountain home at Pieve di Cadore. 1 Secondly, who but Titian himself would have painted a landscape in which the chief motive is identical with Titian's own admitted work elsewhere ? Moreover, where, as here, every indication of style points to him and tradition attaches his name to the picture, it is surely illogical to deny his authorship. On the ques- tion of quality alone there is some difficulty, for so much damage has been done to this canvas by abrasion and repainting that some may assert it is a copy. I cannot, however, accept this view, and must emphatically claim it for an original work of Titian, damaged no doubt, but not beyond recognition. If Cupid then be, as I maintain, a genuine early work of Titian, what of the other, The Little Tam- bourine Player, which differs from it in certain definable ways, yet is commonly put down to Titian's early time ? (Gronau, Berenson, Venturi, Phillips.) Here, I think, Crowe and Cavalcaselle saw more accurately than modern writers, for they state (ii. 456) : " All the surface glazing having been removed, the flesh looks white and stony and unrelieved by shadow of any kind. It is hard under these circumstances to say more than that the picture is not by Titian." They go on to suggest a Flemish appearance in the landscape, but here I cannot agree. The painting is essentially Venetian, and the way the balance of lines is managed, the 1 The same group of buildings recurs in the Borghese Sacred and Profane Love, but seen from the other side apparently, and analogous bits are found in the Padua frescoes of 1511 and in the Three Ages. The clouds, too, in the Cupid picture are exactly repeated in the Dresden Venus. NOTES ON THE STUDY OF TITIAN 91 imaginative treatment of the background and the subtle beauty of detail are more akin to Giorgione than to Titian. The decorative accessories reveal a poetic mind of high order ; the whole conception is more lyrical than is usual with Titian, even in his early mood. In a word, 1 cannot see Titian here. But I am not so much concerned in proving a nega- tive, notoriously difficult, as in rehabilitating to favour the strangely neglected Cupid y which should take its place among the slighter pieces of that early time when Titian was emerging from the subordinate position he occupied during Giorgione's life, and was struggling into prominence as candidate for Bellini's official post in the senseria. * * * * Partial eclipse has also fallen upon another work of Titian, and that a masterpiece. This is the great group of The Cornaro Family, in the possession of the Duke of Northumberland at Alnwick. 1 Crowe and Cavalcaselle spoke of it in terms of praise, and Sir Claude Phillips more recently described it as " the finest portrait group of this special type that Venice has pro- duced." 2 Yet other writers pass it by, perhaps because it is unfamiliar, so that it is well to republish the illus- tration which appeared some years ago. 3 Its size alone would entitle it to rank among Titian's most imposing productions (8 ft. 5 in. x 6 ft. 8 in.), but in every respect it must have ranked high in the ceu QO ug PLATE XXXIV MADONNA AND CHILD. BY FRANCESCO VECELL1O. HERMITAGE GALLERY, ST. PETERS- BURG. HANFSTANGL, PHOTO NOTES ON THE STUDY OF TITIAN 95 also bearing his name and representing two Putti em- bracing. The dainty Madonna and Saints in the Liech- Plate tenstein gallery at Vienna I believe also to be by *xix Francesco. 1 All these paintings prove how closely the styles of the two brothers agree at a certain period ; and this is not to be wondered at when we learn that they were living together in Venice in 1550, and that friendly relations subsisted between them from earlier times down to 1559, when Francesco died. He was said to be the elder brother by some two or three years, and divided his life between painting, soldiering and com- mercial pursuits. It is time his artistic merits received due recognition. 1 To above short list I now (1912) add and here illustrate : (l) The lovely Tobias and the Angel 'in the Church of St. Caterina Plates in Venice. (2) The Glasgow Holy Family. (3) The Marriage of St. xxx- Catherine in Sir Frederick Cook's gallery at Richmond, of which xxxiv there are old copies at Hampton Court, Cambridge, the Ambrosiana Gallery, Milan, and elsewhere. (4) The Madonna and Child in the Verona Gallery. (5) The Madonna and Child in the Hermitage at St. Petersburg. MISCELLANEOUS I. "THE MADONNA OF THE Plate TOWER" BY RAPHAEL 1 IN 1857 the art treasures of all England were brought together at Manchester. On that famous occasion there was exhibited for the first time a painting by Raphael known as the Madonna della Torre or Madonna of the Tower, whose owner, Mr. R. J. Mackintosh, son of the historian, and recorder of Bombay, had purchased it the previous year at the sale of the collection of the poet Rogers. For forty-five years afterwards the picture was lost to sight, until Miss Mackintosh, to whom it had passed on the death of her father, consented to exhibit it once more, and in 1902 the modern generation saw it at the winter exhibition of "Old Masters" at the Royal Academy. Through the generosity of the same lady, Raphael's picture has now passed into the nation's keeping, and has thus found a final and fitting resting-place in the National Gallery. So much for its recent history. The verdict passed upon it as a work of art by modern critics and writers of repute is remarkably unanimous. It may be worth recalling these critical opinions. Waagen, describing the picture when it was still in Mr. Rogers' possession in 1854 states (ii. 76) : u The expression of joyousness in the Child is very pleasing. The grey colour of the underdress of the Virgin, with the red sleeves, forms an agreeable harmony with the blue mantle. Judging from the character and drawing, the composition may be assigned to the early period of Raphael's residence at Rome. In other 1 Reprinted from the Burlington Magazine, October 1906. 97 c 98 REVIEWS AND APPRECIATIONS respects this picture admits of no judgment ; many parts having become quite flat by cleaning, and others being painted over. The landscape is in a blue-greenish tone, differing from Raphael's manner." Passavant followed in 1860, and duly notes the painting as a genuine though damaged original, the several old copies of which he also enumerates. Then came the period of eclipse, during which no one appears to have seen the picture, for in 1882 Crowe and Cavalcaselle write thus i 1 " To the Rogers * Madonna ' we turn as to a lost example of the master. The kindly poet who was so pleased to own it died, and for a season a fortunate purchaser consented to its public exhibition. But since 1857, when the art treasures of all England were brought together at Manchester, no one had the privilege of seeing it. Yet our memory still clings to this masterpiece as embodying the feeling and tenderness of the Florentine period manifested in the * Madonna del Gran Duca' and the * Virgin of Casa Tempi,* com- bined with the dignity and elevation that characterise the later * Madonna del Pesce.' Though different in many ways from all these, the Rogers e Madonna ' is marked at once as being of Raphael's early Roman period by the greater breadth of its style, the grander forms of the figures and the richness of dress which the master first appreciated after he witnessed the splendours of the Vatican. But for the variegated head-gear, veil and puffed sleeve, one might say that the group is a simple one of a mother and child in a landscape. . . . The action is the more charming as the Virgin gazes at the Boy with a delicious fondness, whilst He looks out of the picture with a smile as if unconscious of all but the joy of the moment. The pleasure with which this 1 " Life of Raphael," ii. 132. PLATE XXXV t THE "MADONNA OF THE TOWER" iBY RAPHAEL. NATIONAL GALLERY HANFSTANGL, PHOTO "THE MADONNA OF THE TOWER" 99 picture fills the spectator would be without alloy but for the state to which it was reduced by accidents and repairs." In Sir Henry Layard's edition of Kugler (1887) the date 1512 is adopted, and this comment made : " The picture has now lost its surface, and is inter- esting in a technical point of view on account of the bright reddish under-tint which is apparent." A small outline sketch is also given, but the first photographic reproduction appears in " Raphael's Madonnas and Other Great Pictures," by Karl Karoly, 1 followed in 1900 by an article published in the Qazette des Beaux Arts, in which the seven or eight authentic Raphaels in private possession in England are illus- trated. The writer confirms what he then wrote : " La Madone de Miss Mackintosh est un tres beau tableau, plein du charme intense et du sentiment raphaelesques. Elle n'a pas etc montre publiquement depuis 1857, date ou elle figura a 1'exposition de Manchester, et peu de personnes savent ce qu'elle est devenue depuis. La reproduction que nous en donnons sera done la bienvenue. L'etat de conserva- tion de 1'oeuvre est loin d'etre satisfaisant. . . . Raphael possede vraiment le secret de 1'eternelle beaute, que ne peuvent detruire les ravages du temps ni les restaurateurs." Then came its reappearance at the " Old Masters " at the Royal Academy in 1902, and the gist of the Press criticisms at the time was that the picture was a damaged but genuine work by Raphael. Mr. Bern- hard Berenson gives a guarded adhesion to this view : 2 " Without discussing how much of this picture came 1 Bell and Sons, 1894, with text. 2 " Study and Criticism of Italian Art," ii. 46 (1902), with illustra- tions of the picture and the British Museum cartoon en face. ioo REVIEWS AND APPRECIATIONS from Raphael's own hand, and whether a more authentic version ever existed, it certainly is the least unworthy of the master among all the versions known to me." Finally, Julia Cartwright (Mrs. Ady) in the latest "Life of Raphael" 1 adds: " The motive of the child standing on a parapet was common in Venetian art, and was probably suggested to Raphael by his friend Sebastiano del Piombo. Unfortunately this once lovely work has suffered terribly from neglect and repaint, but not even the restorer's hand has been able wholly to destroy the exquisite charm and tenderness of Raphael's original design." With such a weight of collective testimony behind it, the Madonna of the Tower can brave the hostile criticism of the modern few who disparage what they cannot appreciate, and disdain beauty because of its imperfections. As to the earliest history of the picture we are in the region of conjecture. Mrs. Ady puts forward the theory : 2 "It is quite possible that this picture was the ' Little Virgin and Christ ' by Raphael, mentioned in the inventory of King Charles I.'s sale, and valued on that occasion at the high price of 800. This quadretto, as it was called, came from Mantua, and may have been the very painting which Isabella d'Este ordered in 1515, but which Castiglione discovered to be still unfinished four years later. In all probability it remained in the same state at the time of Raphael's death, and was afterwards completed by other hands." But this double conjecture can hardly be sustained, 1 Duckworth and Co., 1906. * Op. cit. p. 142. "THE MADONNA OF THE TOWER" 101 as 1515 seems to be too late a date. 1512 (as given by Kugler) is probably right, that is to say, just at the time when Sebastiano del Piombo had arrived in Rome from Venice, and Raphael's style reflects a certain extraneous influence to be attributed to contact with the Venetian master. 1 Certain it is that the com- position acquired early popularity, for Domenico Alfani embodied it in his altar-piece of 1518, now in the gallery at Perugia, and a contemporary copy was made by one of Raphael's own pupils and now hangs in the Borghese gallery. Later, in the seventeenth century, Sasso- ferrato copied it twice (Borghese and Leuchtenberg galleries), and Carlo Ceresa (1609-79) has a version of it in the gallery at Bergamo. It is curious to note that these copies have no landscape background. Other versions again exist in the Palazzo Albani in Rome, and in the Esterhazy gallery at Budapest. How the picture eventually passed into the Orleans gallery is not known, but it was sold from there at the end of the eighteenth century to Mr. Willet for j 1 50, and passed through Mr. Henry Hope's sale into the collection of Mr. Samuel Rogers, at whose death, in 1856, it was bought, as before mentioned, by Mr. Mackintosh for 480 guineas. It is a happy augury that the generous intention of the donor has matured at the very moment when the new directorate of the National Gallery is just in- augurated, and we suspect that both Sir Edward Poynter and Sir Charles Holroyd deserve the thanks of the nation in a degree second only to the generous benefactress herself. 1 The interchange of style between Raphael and Sebastiano in those years 1512-18 has led, as is well known, to a terrible confusion between the two, of which the Fornarina (in the Uffizi) is the leading case. But the matter is by no means so simply disposed of, even yet, as some assert. II. A LOST PORTRAIT BY FRANCIA 1 p ^HE name of Isabella d'Este, Marchioness of Mantua, is familiar to most people. This enlightened patroness of the fine arts may be justly regarded as the first collector in the modern sense of the word, and her studiolo in the palace at Mantua as the first private gallery ever formed. Several modern writers have interested themselves in the history of this remarkable lady of the Renaissance. One of the most recent accounts, and at the same time one of the most interesting to the general reader, has been published by the late M. Charles Yriarte in a series of articles in the Gazette des Beaux Arts, in which the writer traces the history of the relations between Isabella and the great artists of her day, notably Mantegna, Perugino, Leonardo, Bellini, Costa and Francia. In his sixth and concluding article 2 M. Yriarte picturesquely puts before us the story of Isabella's transactions with Francia, based upon extant letters and other documents already published by previous writers. Briefly summarised the story is as follows. In the year 1509 Gian Francesco Gonzaga, Marquis of Mantua, Isabella's husband, had fallen into the hands of the Venetians after the disastrous fight at Legnano. At last, in July 1510, he was set at liberty by the influence of Pope Julius II., but the latter claimed as hostage Isabella's young son Federigo, then aged ten. After much hesitation his mother sent him to the Vatican, where he soon became a great favourite with the Pontiff. On his way to Rome the boy passed 1 Reprinted from the Athenceum, February 7, 1903 2 Gazette des Beaux Arti, 1896, pp. 330-46. 1 02 A LOST PORTRAIT BY FRANCIA 103 through Bologna, where his father then was, and Isabella, anxious to retain a souvenir of her young son, asked Lorenzo Costa, the Bolognese artist, to paint his portrait for her. Costa, however, was unable at the moment to comply with her request, so the com- mission was transferred to Francia. On July 29 (so we learn from Isabella's correspondence) Francia began the boy's portrait, and already by August 10 Isabella had received it. "It is impossible," she writes, "to see a better portrait or one more like Federigo ; I am surprised to see in how short a time the artist has produced so perfect a work ; it is clear he wished to show us of what he was capable." In sending Francia 30 golden ducats for it she asks him to retouch the hair, which is too blond. This was eventually done, and Francia writes : "We accept the 30 ducats as a munificent gift of your Highness ; the trouble we have taken in executing the portrait of the Lord Federigo does not deserve such a handsome reward. We remain your grateful servant for life." The portrait, it seems, was sent to the Vatican to be shown the Pope, but what became of it eventually is not clear. Francia also executed a portrait of Isabella herself in the following year, 1511; this portrait, too, has disappeared. 1 M. Yriarte significantly remarks : " Ce n'est plus qu'un hasard heureux qui pourrait nous mettre un jour en face de ce portrait, ou Isabelle, tout en se reconnaissant, declare que le peintre 1'a faite plus belle que nature.' Quant au portrait de Frederic, execute a Bologne par Francia, alors qu'il allait devenir 1 Dr. Williamson, in his recent book on Francia, pp. 139-41, refers to these missing portraits, quoting Sig. Ventini in drcfiivio, July 1888. io 4 REVIEWS AND APPRECIATIONS 1'otage du Vatican, c'est dans 1'ensemble des collections de Charles I 61 , disperses dans toute 1'Europe, qu'il faut certainement le chercher ; nous ne dsesperons point de pouvoir 1'identifier un jour." M. Yriarte's hopes have been fulfilled. The portrait of the young Federigo Gonzaga by Francia has been found, not, however, exactly as he surmised, but in a no less likely direction, in an English country-house. A few days ago there arrived from Gloucestershire, from the home of Mr. A. W. Leatham, for exhibition at the Burlington Fine Arts Club, a portrait of a boy Plate by Francia. Of its history nothing was known, except xxxvi t h a t t h e father of the present owner bought it from the Napoleon collection, and it was supposed to represent one of the Medici. That it is the work of Francia there cannot be any doubt whatever ; and in admitting that, its rarity is at once recognised, for genuine portraits by Francia can be counted on the fingers of one hand. But not only is it a genuine piece, it is as fine a thing as Francia ever painted, and in absolutely perfect condition. There is not a repaint anywhere, proof of the great care that has always been taken of it by successive owners. The picture shows us a young boy about ten years old, seen to the waist, holding a dagger in his right hand. He is dressed as a boy of distinction, and the long fair hair falls from beneath a cap placed jauntily on the side of the head. There is an elaborate landscape background of the usual Francia type- Now Federigo was born on May 1 7, 1 500 ; so that when Francia painted his portrait in 1510 the boy had just turned ten, the exact age the boy looks in our portrait. The latter also is clearly a mature work of the artist, and answers perfectly to Isabella's description : "It is clear he wished to show us of what he was A LOST PORTRAIT BY FRANCIA 105 capable." Moreover, the portrait has the blond hair to which Isabella alludes, although we may conclude that Francia darkened it as requested. These coincidences of age, date, style and detail warrant the conclusion that here we have the long-lost portrait of the young Federigo Gonzaga painted by Francia between July 29 and August 10, 1510. It is likely that the portrait remained in the great collection of the Gonzagas at Mantua until its dispersal in 1629-30. Charles I. then acquired the greater part, but our portrait does not seem to have passed to England then ; at any rate, the well-known brand of Charles is not to be found on the back. It is more probable that Cardinal Richelieu obtained it amongst his share of the spoil, and that after further vicissitudes it passed into the Napoleon collection, to emerge once again into recognition in the year 1903, nearly four hundred years after it was painted. That the name of Federigo Gonzaga had been forgotten is no wonder. Such may have been its history ; but one thing is certain, it is a recovered masterpiece by Francia. 1 1 The portrait of the young Federigo was introduced by Raphael into the School of Athens at the express request of the Pope (vide "Raphael in Rome," by Mrs. Ady, Portfolio, August 1895, p. 1 8). There seems, however, some doubt which of the figures is really he (vide Blashfield and Hopkins, trans, of " Vasari," iii. 148, note). It is notoriously difficult to identify likenesses, but either of two youths who appear in the fresco could be reasonably compared with our portrait, although both wear their hair curled. I am not aware that any medal or other authentic likeness of the young prince exists ; the names of Isabella and her son, given to a picture in the Mond collection, are disputed. Raphael began a charcoal drawing of him in 1513, but left it unfinished ; other portraits by Costa, Bonsignori and Titian (see "Vasari") seem to be lost, or as yet unidentified. In the Athen an d formerly it was No. 563 in the sale of the Costabili collection at Ferrara. Further investiga- tion showed that this portrait is described accurately in the older writers on Ferrarese art, Cittadella (1864), Laderchi (1856), Baruffaldi (i 844) and by Rosini (i 850), who gives an outline reproduction of it. In more recent times Crowe and Cavalcaselle (1871) describe it, Morelli refers to it, 1 and Heiss (1881) gives a list of the different readings of the inscription now no longer decipherable. From all these writers it ap- pears that it is the one surviving portrait, fully signed and dated, which enables us to gauge the style of Bal- dassare's art. This, then, is the one genuine work which must serve as a test of authenticity in other doubtful cases, and with this portrait we must begin in any attempt to reconstruct Baldassare's artistic personality. The por- trait is painted in tempera on canvas and represents an elderly man of somewhat solemn aspect, clad in black cap and dress, seen in profile to the left. The ground is a very dark green, with the letters D T on each side above, and an inscription on the ledge below. This has been so much mutilated in modern times that it is no longer possible to read it in its entirety, but the older writers above mentioned give it (with slight alterations) thus : BALDASAR ESTENSIS NOB FIX ANOR 1 English edition, ii. 130, note. Milanesi's notes to Vasari (iii. 27) also cite the picture. PLATE XXXVIII W H C/3 Wo < z" 83 < ? 05 gffi & w HS erf s O" BALDASSARE D'ESTE 109 56. I493- 1 The meaning of D T is not clear, for the ingenuity of Christie's cataloguer who hazarded Duke of Treviso ( !) is hardly to be taken seriously. Baruffaldi (1844) suggests it may represent Dominus, or Dilectus Titus, i.e. Tito Strozzi, the poet, under whose name the picture is first mentioned in 1838 in the catalogue of the Costabili collection at Ferrara. 2 This time- honoured tradition is again quoted by Crowe and Cavalcaselle and other modern writers, but it is difficult to reconcile it with the date 1493, when Tito Strozzi (who was born in 1422) would have been seventy-one. Moreover, his appearance is scarcely poetical. We may therefore conclude the tradition to be of more than doubtful authenticity, and D T will stand for some other of the many distinguished men of the time whom Baldassare portrayed. But if the identity of the sitter be uncertain, the picture is undoubtedly the work of Baldassare d'Este, and apparently the sole surviving picture signed and dated, thereby affording the clue to the rehabilitation of this forgotten master. I leave it to the researches of students to follow up this clue, only suggesting for further consideration the possibility that the two fine full-length portraits in the Kestner Museum at Hanover may be by Baldassare. Plate The half-Milanese, half-Ferrarese character of all three xxxvm portraits is probably to be explained by the fact that our painter had worked in Pavia, under Galeazzo Sforza, and indeed Baldassare must be regarded as the con- necting link between these two schools, on the one side suggesting Bernardino de' Conti, and on the other Cossa and kindred Ferrarese masters. 1 Crowe and Cavalcaselle, " North Italians " (i. 526) remark : " It is impossible to say why Laderchi read the date 1499, and Rosini 1495." Assuming 1493 to be correct, Baldassare would have been born in 1437. 2 " Descrizione della Quadreria Costabili," 1838, p. 32 " Ritratto del poeta Tito Strozzi." IV. SOME VENETIAN PORTRAITS IN ENGLISH POSSESSION 1 IN the pursuit of the study of art history there are two main routes to progress. Either we may study documents as archaeologists, or we may study the work of art as connoisseurs. The combination of the two methods, backed by a technical knowledge of the painter's or sculptor's art, would produce the ideal art-critic. Such a man has yet to be born. The archaeologist, the connoisseur, the artist, these three at present too often antagonistic beings, may one day be fused into a harmonious creature in whose composite nature all will be peace. But there are signs of the approaching millennium. To-day there is rising in our midst a younger class of men, inheriting the connoisseurship of their prede- cessors, not scornful of archaeological research, and withal armed with a practical knowledge of technique. Such men are breaking down the old barriers. The worst barrier is prejudice, which in England is apt to be called conservatism. The expert in most English- men's eyes is a positive danger : the " good-all-round man " capable of being First Lord of the Admiralty, or Director of the National Gallery, or anything else for that matter, is the national ideal. Unfortunately for us in artistic matters other nations have other ideas, and the days of Protection are coming upon us. Specialists have their use after all, and the following notes are intended to embody for English readers the latest information on certain matters for which we have to thank German research. In the history of Venetian art more progress has been made in recent years than in any other direction 1 Reprinted from the Burlington Magazine^ February 1906. no PLATE XXXIX PORTRAIT OF A MAN. BY GIORGIONE COLLECTION OF SIR GKOKGE KEMP. DIXON, PHOTO SOME VENETIAN PORTRAITS in of Italian art study. Whilst Mr. Berenson has been expounding the connoisseur's point of view, Dr. Ludwig (whose premature death last year is so much to be deplored) has been giving us invaluable informa- tion culled from the depths of Venetian archives. The result of this research work is naturally little known to English students, still less to those who write English catalogues and dictionaries, 1 so that in the following notes on some unfamiliar Venetian portraits in England an opportunity occurs for correcting erroneous state- ments about certain painters and for giving the latest information on the subject of their lives. The first picture in point of date, as in importance, is the portrait of an unknown Venetian gentleman by Giorgione. This was reproduced some years ago in Mr. Berenson's "Study and Criticism of Italian Art," and, although I cannot agree with him that it is only a copy and not an original, to him is due the credit of first connecting Giorgione's name with it. In the Doetsch sale of 1895 it was catalogued as a Licinio ; it has now passed into the possession of Sir George Kemp. It is reproduced here not Plate because there is any fresh information to impart con- XXXIX cerning Giorgione, about whom the archives are strangely silent, but to illustrate a phase of his art which profoundly influenced his contemporaries who took to producing " Giorgionesque " portraits such as those which are also here illustrated. Mr. Berenson has already described this portrait in these terms : 2 " The face is one of those which seem to brood in 1 The new edition of" Bryan " is, on the subject of Venetian art, very far from complete, and in the particular cases presently to be quoted absolutely misleading. * " Study and Criticism of Italian Art," i. p. 82. ii2 REVIEWS AND APPRECIATIONS melancholy over energies their owners know not what to do with, while proudly conscious of power and full of determination. It is like the haunting face of that youth at Budapest ... a character which fascinates the mind and yet repels the sympathies. And to represent a person as unsympathetic, as consumed with self, as are the head I am now introducing and the Esterhazy portrait, requires the very greatest of artists an artist at least as great as Velazquez. ... As interpretation is there not a startling likeness between the spirit of the two portraits by Giorgione of which I am speaking, and the spirit of the various likenesses of Philip IV. and of Olivarez by Velazquez ? And it is not only in feeling that Giorgione here has travelled so far away from his earlier better-known self. His sense of structure has increased apace, and his tone has approached those exquisite harmonies in cool grey the mastery over which makes Velazquez the very greatest, perhaps, of colourists." Giorgione died in November 1510. This portrait, therefore, must date from the first decade of the century. The remaining three portraits were all painted ten to twenty years later (one is actually dated 1528), and prove the vogue which such a style enjoyed in the earlier years of the sixteenth century. The male portrait belonging to Sir Spencer Maryon- Wilson, at Charlton Park, is hitherto unrecorded, and, thanks to the owner's kind permission, is now illustrated Plate for the first time. The type is far from attractive XL in fact, this must have been some prosperous common- place person, anxious to be painted in an up-to-date style, but scarcely a likely sitter to Titian, Palma, or even Cariani, whose patrons were drawn from the more aristocratic world. And so he had recourse to an artist of the second rank, to Marco Basaiti, who in later life PLATE XL PORTRAIT OF AN UNKNOWN MAN. BY BASAITI. COLLECTION OF SIR SPENCER MARYON WILSON, CHARLTON. GRAY, PHOTO SOME VENETIAN PORTRAITS 113 adopted the prevalent style of portraiture, although to the last retaining traces of an antiquated manner. This is exactly the point he has reached in this portrait, which still shows the precision of design and sense of pattern of a Bellini or an Antonello, with a certain dry matter-of-factness hardly disguised by an expression of mood which is introduced more by the artist than evoked by the sitter. Comparable with this phase of Basaiti's art are the portraits in the Morelli Gallery at Bergamo and in Mr. Benson's collection in London, of which the former is dated 1521, and both are signed. The present picture bears neither date nor signature, yet on grounds of style may be assigned to Basaiti, of whom, too, a characteristic touch is seen in the leafy sprig introduced apparently without reason in the upper right-hand corner. 1 Marco Basaiti was probably of Greek origin, and the family of the Basaiti may have settled in the Friuli after the fall of Constantinople in I453- 2 It is not known when exactly the painter was born, but he was still living in 1 53O. 3 His earliest dated picture is 1 503, when he completed Alvise Vivarini's altar-piece, still in Frari Church at Venice, and there are several other pictures bearing signature or date, the list of which is given in Mr. Berenson's "Venetian Painters" (p. 82). Alvise, Bellini and Giorgione were successively his models, if not his actual teachers in Venice, and his style underwent considerable changes, as, indeed, is only to be expected of an imitative artist in a period of transition. It is curious that so many of his paintings still exist, and that so little is known about him from 1 For other instances of this see the Burlington Magazine, 1904, P. 574- 8 See " Repertorium, " 1899, p. 455 (Dr. Ludwig). 3 Ludwig in Supp. to " Jahrbuch," 1905, p. I, correcting previous ideas. He also proves that Alvise was still living in September 1503, and died shortly before November 1505. n 4 REVIEWS AND APPRECIATIONS documents. The above constitutes all that is historically certain. Plate The next portrait is a document of some value, XLI although an artistic achievement of more modest kind. For here is a signed and dated picture by a very rare artist whose better work doubtless to-day passes current under more famous names. Domenico Caprioli was born at Venice in 1494, the son-in-law and pupil of Pier Maria Pennacchi, by whom we also possess pictures. Caprioli was murdered in 1528, at the early age of thirty-four, and it will be noted that our picture which hangs in the Bowes Museum at Barnard Castle bears this very date. We are, therefore, able to observe his maturest style, and to work back through 1520, when he painted the Ascension of the Virgin, still in Treviso Cathedral, to 1518, which is the date on his signed Nativity in the Treviso Gallery. Two other pictures bear his monogram D. C. : A Holy Family, sold at Milan in 1898, and a Nativity, now in the Giovanelli Palace at Venice. 1 These are the only authenticated pictures, although a list of works attributed to him on stylistic grounds appears in Mr. Beren son's " Venetian Painters," third edition, p. 98. There were, however, four "Domenicos of Treviso," all painters, one of whom was doubtless the author of the Duke of Grafton's Portrait of a Man, dated 1541, and signed Domenicus, and Domenico Mancini is separate again. Our Caprioli seems to have spent his short career working in Treviso, and can hardly have attained the distinction of painting the Doge and Cardinal Domenico Grimani. 2 The Bowes Museum portrait shows a 1 For these facts see " Repertorium," 1899, p. 251, and 1901, p. 156, quoting the researches of Girolamo Biscaro in the Archives of Treviso. The account given in Bryan's " Dictionary " is entirely erroneous. 2 Gazette des Beaux drts, 1896, p. 209. PLATE XLI PORTRAIT OF AN UNKNOWN MAN. BY CAPRIOLI. BOWES MUSEUM, BARNARD CASTLE SOME VENETIAN PORTRAITS 115 connection with Lotto's art, with an ultimate dependence on Giorgione, and as it is fully signed, doubtless Caprioli was proud of it. The last illustration shows a more familiar painter in his characteristic Giorgione mood. Cariani, though XLH scarcely so prolific as some would have it, was yet a variable artist, and his better work escapes that note of provincialism which Morelli justly noted in his style. Yet modern archaeological research forces us to modify some of the historic deductions made by Morelli (ii. 27), as will be seen from the following sketch of his career. Giovanni di Giovanni Busi, called Cariani, was born, 1485-90, either at Bergamo or in Venice. His father, who bore exactly the same name, came from Fiupiano, in the Brembo valley, moved to Venice about 148 6, and about 1506 was appointed Comandador Ministerial di St. Marco, an official position of some importance. The father, who lived on till 1536, was also an artist, and he is mentioned several times by the Anonimo. 1 Cariani, the son, was already painting in Venice in 1 509, the earliest date we hear of him, 2 and his name and date, 1514, were on an altar-piece once in the parish church of Lonno, in the Serio valley, and now missing. In 1 5 1 7 we find him in Venice possessed of property, and we have dated pictures of 1519 and 1520, both at Bergamo. In 1537 he was evidently a man of means, and in November 1547 he was still living. He was twice married, and had adopted daughters. His last known work was the one presented by him to the Church of Fiupiano in 1541, but it is no longer to be found. The large number of his pictures still existing at Bergamo is no proof they were done there, although 1 Dr. Williamson, in his recent edition of the " Anonimo," incor- rectly asserts that this Giovanni del Zanin Comandador is unknown (p. 100). 2 Ludwig, in Supp. to " Jahrbuch," 1905, p. 1 53. n6 REVIEWS AND APPRECIATIONS he undoubtedly worked in fresco in the Town Hall, and the number of documents about him in Venice point to his having passed most of his life in the capital. 1 It is certain, therefore, that Cariani was established as a painter in Venice in Giorgione's lifetime, and that he outlived Palma by about twenty years. The influence of both these contemporary artists is seen in his pictures, but there is no documentary proof that he completed Palma's unfinished works. It is more likely that Bonifazio and other assistants of Palma were employed on this task. 2 A long list of his works is published by Mr. Berenson ("Venetian Painters," p. 99), who cites the present portrait from Chatsworth. It is also referred to by the late Mr. Strong in these terms : 3 "The strangely haunting, richly toned Portrait of a Man belongs to the period when Italian painting, under the influence and auspices of Giorgione, had taken a momentous turn, and artists, having mastered the diffi- culty of external form, began the attempt to portray the soul. In the present case we see or, rather, we are made to feel more of the sitter than his face. He looks furtively out of the picture as if from beneath the burden of an uneasy self-consciousness, and whether we are attracted or repelled, we cannot remain indifferent. . . . Crowe and Cavalcaselle left the authorship of the portrait between Lotto and Cariani, and of these two I have no hesitation in pronouncing for Cariani." 1 Ludwig, in Supp. to " Jahrbuch," 1903, p. 33. * A fairly correct account of Cariani is given in the National Gallery Catalogue ; the fuller details in Morelli require modification in the light of modern research ; the account given in the new " Bryan " was apparently written in pre-Morellian times. " Critical Studies and Fragments," p. 84 (Duckworth, 1905). PLATE XLII PORTRAIT OF AN UNKNOWN MAN. BY CARIANI COLLECTION OF THE DUKE OF DEVONSHIRE, CHATSWORTH HANFSTANGL, PHOTO SOME VENETIAN PORTRAITS 117 One further point may be noted. At some period in their career Cariani and Basaiti must have been in contact, and no better instance of this relationship could be found than in Sir Spencer Maryon- Wilson's Basaiti portrait already described. There is here much of Cariani at first sight, and were it not for the decided quattrocentist element in the design the painting might almost be ascribed to him. This may act as a note of warning against a modern tendency to overstate Cariani, and, indeed, to find a name for every Venetian picture, especially when archaeological research is establishing the identity of obscure or even unknown painters and proving them to be the authors of many works that pass under the greater names of Giorgione, Titian and Paul Veronese. Even Polidoro, Beccaruzzi and Caprioli will have to share the spoil with Francesco Vecellio, Cernotto, Zampietro Silvio, Oliverio and other resuscitated artists of lesser fame. 1 1 On these and other Venetians deserving study see the writings of Dr. Ludwig quoted above. The existence of one, and only one, Bonifazio is now definitely proved, the so-called Bonifazio II. and III. being merely useful labels to describe school-work. Here Bryan's "Dictionary" is up-to-date. Sir Frederick Cook possesses an altar-piece known from documents to be by Francesco Vecellio, i.e. Titian's brother, and a signed portrait by Oliverio passed at the Hamilton Palace sale into the Dublin Gallery. V. VENETIAN PORTRAITS AND SOME PROBLEMS 1 ON a previous occasion 2 I introduced to the notice of readers of the Burlington Magazine some Venetian portraits in English possession and took the opportunity to give in con- densed form the results of the most recent archivistic research so far as Cariani, Caprioli and Basaiti were concerned. Thanks chiefly to the labours of the late Dr. Ludwig, we now know many more facts of the life of the old Venetian painters than was possible in Morelli's day, and these historical data enable us to amplify and sometimes correct the deductions arrived at by that eminent critic. Knowledge in such matters must ever be progressive ; it is therefore with the view of adding fresh material to the discussion that I now submit other Venetian portraits in English possession, and bring to the notice of English students the latest results of foreign research, so far as concerns the painters of these portraits. First of all a real problem presents itself in the so- Plate called Giorgione portrait of Giovanni Onigo. This pic- ture was recen tly lent to the National Loan Exhibition at the Grafton Galleries by Sir Frederick Cook, and is, therefore, fresh in the memory of those who visited that remarkable exhibition. Two problems are here before us : the identity of the person represented, and the name of the painter. Special research has been made recently among the archives of the Onigo family (whence this portrait lately came), with the result that, assuming the portrait really is that of a member of that illustrious family (as tradition has it), the one indicated 1 Reprinted from the Burlington Magazine, March 1910. 2 Burlington Magazine, vol. viii. p. 338, February 1906. 118 PLATE XLIII PORTRAIT OF GIOVANNI ONIGO. ASCRIBED TO GIORGIONE. COLLECTION OF SIR FREDERICK COOK, RICHMOND PLATE XLIV PORTRAIT OF A YOUNG MAN. BY LICINIO FAKRER COLLECTION. DIXON, PHOTO VENETIAN PORTRAITS 119 by the date of painting and apparent age of the sitter is either Giovanni Onigo or his cousin Pileo. Nothing seems to be known of the former, but Pileo was Decano di Treviso, and Canonico d'Onore of Pope Alexander VI. There the matter must rest, the only inference to be drawn from the portrait being that the man must have been a poet or philosopher. But after all, this question is not of great moment ; the artistic qualities of the work claim more serious consideration, and invite discussion as to the probable authorship. Of course tradition would have it to be Giorgione's work, as in so many other instances now proved wrong. Every one would admit its Giorgionesque character, but is it just Giorgione's own ? No one has better analysed the qualities of the painting than Sir Claude Phillips, who recently wrote : * " The attribu- tion is no doubt based on the general resemblance of this fine and expressive likeness to the Antonio Broccardo at Budapest, which is undoubtedly by Giorgione. But the Onigo portrait is surely too hard in the modelling, too hot in colour, too obvious in the definition of sentiment to be from Giorgione's brain or brush. The painter is, in our opinion, Bernardino Licinio, who in the productions of his earlier and better time is so often mistaken for greater men of his time." An anonymous writer in the Burlington Magazine* also feels doubtful on the point : " Whether this most Giorgionesque work can be given to the master him- self is a doubtful question. The modelling of the head appears harder than his, the technique less purely Venetian. Yet, if too cool and precise for Cariani, it seems too solid for Pordenone." Here then are three names suggested as possible creators of this fine portrait, and of these Sir Claude 1 Dally Telegraph, October 6, 1909. 2 Vol. xii. p. 317, February 1908. 120 REVIEWS AND APPRECIATIONS Phillips favours Licinio. Naturally such an opinion carries weight, and without definitely admitting this view to be final I am disposed to accept the sugges- tion tentatively and regard this portrait as the finest example of Licinio's Giorgionesque manner so far known to us. Closest to it in quality is a portrait in Plate the late Sir William Farrer's collection. This was XLIV exhibited some years ago by the then owner, Louisa Lady Ashburton, under Giorgione's name, but was identified with practical unanimity by the critics as a work by Licinio. The same thing has happened here as with the Onigo portrait both have claimed a courtesy title with some show of propriety, but they cannot sustain the claim under adverse criticism. Nevertheless they remain the finest of Licinio's achieve- ments in this direction, surpassing in interpretative and romantic qualities those many other portraits such as those in the National Gallery, at Hampton Court, at Vienna, at Madrid, at Castle Howard and elsewhere, all of which are authenticated by Licinio's signature. And now as to Licinio. 1 Bernardino Licinio came of a family established at Poscante in the Bergamask territory, and not from Pordenone in the Friuli as hitherto supposed. 2 He was already settled in Venice at least as early as 1511, and, therefore, may well have known Giorgione and been directly under his influence. He seems to have been born about 1489, and to have lived till after 1556. Contemporary reference is made to him in documents of 1515, 1523, 1528, 1535, 1541 and 1549. His pictures are fairly numerous, 3 and not infrequently 1 The following facts are set out by Dr. Ludwig in the " Jahrbuch," 1903, Supplement. a The National Gallery Catalogue repeats this old mistake. * Mr. Berenson gives a list of about fifty. (" Venetian Painters," third edition.) PLATE XLV PORTRAIT OF AN UNKNOWN MAN. VENETIAN SCHOOL. CARLTON GALLERIES, PALL MALL PLATE XLVI PORTRAIT OF AN UNKNOWN MAN BY LOTTO. COLLECTION OF SIR J. C. ROBINSON, SWANAGE VENETIAN PORTRAITS 121 catalogued under the name of Pordenone, with whom he may have come in contact, and whose robust style may well have influenced him. The National Gallery portrait is signed and dated 1528, the Hampton Court family group 1524, Lord Crawford has a portrait of 1535, and other fine examples belong to Lord Carlisle, Lord Kinnaird and the Duke of Northumberland. But the earliest in date and the best are the two here reproduced. The next portrait here illustrated offers a new Plate puzzle. Intensely Giorgionesque in feeling an4 in XLV outward presentation, its whole character stamps it as belonging to the Bellini-Basaiti-Catena group which is so tantalisingly elusive to distinguish. Is it a late work of a Bellinesque reflecting the Giorgione mood, caught from some such masterpiece as the Antonio Broccardo at Budapest, or is it an early work of some Cariani-Lotto type? I confess I cannot settle the question, and a study of the original is complicated by the far from perfect state of the actual painting. A landscape can be seen through an opening to the left. This portrait is at present at the Carlton Galleries, Pall Mall Place, to the owners of which I am indebted for the photograph. An unpublished portrait by Lotto may well find Plate place here ; not that it sheds any fresh light on a XLVI subject which in recent years has had an undue amount of appreciation lavished on it by several eminent critics, but because of the amusing conundrum offered by the devices contained in the picture. What in the world do these odd emblems signify ? for that they mean something is certain, and that the man's action is also significant cannot be questioned. Can this be a self portrait of the painter? or is it the Sick Man of the Doria Palace once more posing as a living problem ? Sir Charles Robinson, the 122 REVIEWS AND APPRECIATIONS owner, interprets the devices thus (beginning from the left) : (1) A half-blown bladder poverty. (2) A pearl and sapphire wealth. (3) An ox-head labour. (4) An armillary sphere worldly renown. (5) Crossed palm branch fame. (6) A full-blown bladder empty fame. The pendant garland is of green laurel leaves. The man is pointing up at these emblems, as if to say his experience of life had ranged from poverty to empty fame, passing through stages of wealth, labour and renown. All this is, of course, pure conjecture ; some reader good at acrostics may care to suggest a better clue. The painting itself is somewhat rubbed, but un- questionably the work of Lorenzo Lotto, dating from about 1535. Plate Finally we come to another puzzling picture, but XLVII S o fine in conception and feeling, if not in condition, as to warrant our studying it attentively, and trying to fathom its origin. This sort of inquiry is a sheer waste of time where the quality of a picture is below a certain level, but no one will here deny the essential distinction and dignified mien of this arresting head, and the art with which the painter has brought out the pronounced traits of an unpleasant character. The fact that we dislike the man at a glance is a testi- monial to the power of the artist we cannot remain indifferent as so often in the presence of third-rate work. Of course, Giorgione's name is again the tradition, and again it is obvious that Giorgione's mode of treatment underlies the presentation, but not the actual painting, which is that of a full-blooded Venetian of later date than 1510, the year when Giorgione died. To my mind, we have here another of those magnificent PLATE XLVII PORTRAIT OF A MAN. PROBABLY BY PALMA VECCHIO. MARQUESS OF BRISTOL'S COLLECTION. GRAY, PHOTO VENETIAN PORTRAITS 123 portraits by Palma Vecchio which tradition and some modern criticism have assigned to Giorgione ; and having been myself mistaken in regard to two such por- traits, viz. the so-called Poet in the National Gallery, and the Querini portrait in Venice, I venture to restore all three to their rightful owner, Palma Vecchio, and to add yet another to the group equally fine belong- ing to the Duke of Alba, in Madrid. Such works as these, and the Lady with the Lute at Alnwick, place Palma almost on the highest level of achievement ever reached in Venice. Any authentic biography of Palma Vecchio must be based upon Dr. Ludwig's researches, 1 from which it appears that he came of the family of the Nigretti in the Bergamask country, and was born at Serinalta. He signs himself as Nigretti in a document dated March 8, 1510, and as Jacomo Palma in a document dated January 8, 1513. If Vasari is correct in saying he died at the age of forty-eight, he must have been born in 1480, for the exact date of his death is known, viz. July 30, 1528. He was certainly in Venice by 1510, and had probably worked earlier in the studio of Giovanni Bellini, thus becoming associated with Giorgione and Titian in their youth. An existing in- ventory made at his death records forty-four pictures in his studio, nineteen of which remained unfinished. Some of these can be identified to-day, and some appear to have been completed by Bonifazio, who may have been Palma's chief pupil. 2 It is well to note that a good many male portraits are cited in this inventory. Where are they to-day ? Possibly Lord Bristol's is one, but the very vague description in the list does not enable us to identify it with certainty. 1 See Jahrbuch," 1901, iii. 184. 2 The fullest biography of Palma is given by Max von Boehn in "Kiinstler-Monographien," No. 94, 1908. i2 4 REVIEWS AND APPRECIATIONS Sir Claude Phillips has lately 1 revived the old attri- bution to Palma given to the Rustic Concert (at Lans- downe House, and lately at the Grafton Gallery), which passes as a "Giorgione." I think he is probably right, and that this exquisite idyll is really an early work of Plate Palma. It may be pointed out that the seated figure XLVIII o t j ie man j s delved from Titian's Three Ages (at Bridgewater House) and proves a direct relation between the two young painters. This practice is con- tinued into later life, for in the superb Santa Conversa- zione, lately added to the Accademia in Venice, Palma gives us an almost literal copy of the St. Agnes in Titian's Holy Family, No. 1579 of the Louvre. 2 Of his direct indebtedness to Giorgione an excellent instance occurs in the Capitol Christ and the Adulteress, where the accuser is taken straight from the Jew in Giorgione's Christ bearing the Cross in the Church of St. Rocco in Venice. These several examples of Palma's connection with Titian and Giorgione warrant us in believing his art and theirs was largely interdependent, and fully account for the fact that some of Palma's portraits still pass under Giorgione's name. 1 " Daily Telegraph," October 6, 1909. 2 This has already been pointed out by Dr. Frizzoni (" Rassegna d'Arte," 1906, p. 120). PLATE XLVIII " THE CONCERT." PROBABLY BY PALMA VECCHIO. MARQUESS OF LANSDOWNE'S COLLEC- TION. GRAY, PHOTO INDEX ACADEMY, Royal " Last Supper " Giampetrino, 5 " St. Anne," cartoon Leonardo, 4-2 1 Academy, Royal, exhibitions, i; minute of March 22, 1791, quoted, 8 and note i ; exhibition 1879, 38 note i ; 1896, 4 note 2 ; 1902, 97, 99 Academy, Venice A " Riposo " Francesco Vecellio, 94 " Pieta "Titian, 45 " Santa Conversazione" Palma, 124 Academy, Vienna " Cupid " Titian, 89-90, 90 note 1,91 "Adoration of the Magi" Leonardo, 10, 26 " Adoration of the Shepherds " Giorgione, 94 Ady, Mrs. (Julia Cartwright), Life of Raphael, 100; Raphael in Rome, 105 ; on the Francia portrait, 105 note i ; Beatrice aCEste, 106 note 2 Alba, Duke of, Collection, 123 Albani, Palazzo, Rome " Madonna of the Tower " (copy), 101 Alexander VI., 119 ; portrait, 64 Alfani, Domenico, altar-piece, i o i Allendale, Viscount, 94 Alnwick. See Northumberland Althorp. See Spencer "Ambassadors" Holbein, 77 Amboise, 18 Ambrosiana, Milan "Holy Family" Luini, 6, 7, 13 " Marriage of St. Catherine," 95 note i " Portrait of a Musician " Leonardo, 3034 Amoretti, 4 Angelo, Michael, 62 "The Bathers," 18 "Annunciation" Leonardo, 27, 30, 34 Anonimo Gaddiano, cited, 40, 42, 72, 115 Antonello, 113 125 126 INDEX "Antonio Broccardo" Giorgione, 119, 121 " Apostles in the Cenacolo " Leonardo, 7 note 2, 8 note 2 Aragona, Cardinal Lodovico d', 17-18 Arconati Collection, 7 note 2, 8 note 2 Arconati, Galeazzo, and the Leonardo cartoon, 6-7 Arese Collection, 16 "Ariosto" Titian, 70-74 Armstrong, Sir Walter, on the "Ariosto," 70-71 Art Journal, cited, 70, 71 Art criticism, the new, 3 Arte(L'), 28 note i " Ascension of the Virgin " Caprioli, 114 Ashburnham, Earl of, Collection Botticelli, 2 Rembrandt, 2 " Assumption " Titian, 49, 60 Athenaeum, articles cited, 7 note i, 16 note 2, 102, 105 note i Azzolino, Marchese, 82 " BACCHUS" Leonardo (attrib.), 23 "Baptism" Verrocchio, 26 Barbari, 63 ; signature of " Caduceus," 76 Barbarigo, portrait, 70, 71, 74, 77 Barnard Castle, Bowes Museum, portrait by Caprioli, 114-5 Baruffaldi, cited, 107, 108, 109 Basaiti, Marco, art of, 112-14; Cariani and, 117 Bath, 242 note 2 "Bathers (The) "Michael Angelo, 18 "Battle of Anghiari'' Leonardo, 18 Beccaruzzi, 117 "Belle Ferroniere (La)" Leonardo, 27, 30 " Belle Gabrielle (La)," 37 Bellini, Gentile, 48, 51, 62, 63 Bellini, Giovanni, 48, 123 Beltrami, Signer Luca, 31 Benci, Ginevra dei. See Ginevra dei Benci Benois, Mme. Leon, Collection, 28 Benson, Mr. Robert, Collection, 2, 113 Berenson, Mr. Bernhard, 3, 90; Florentine Painters, 18-19, 4042 ; Study and Criticism, of Italian Art, 99100, m- 12; Venetian Painters, 113, 114, 116, 120 note 3 INDEX 127 Bergamo Collection "Madonna of the Tower" Ceresa, 101 Pictures by Cariani, 115-16 Berlin Gallery Albert Diirers, 2 Altar-piece Francesco Vecellio, 94 Titian, portrait of, 58 note 2 Bianchi, Andrea, 18 Bianchi- Ferrari, Francesco, 107 Bildt, H.E. Baron de, criticism of the " Laura" portrait, 80, 81 Biscaro, Girolamo, 114 note i Bles, Herri de, signature of the " owl," 76 Bode, Dr., cited, 33, 40, 41, 77 note i Boehn, Max von, cited, 123 note 2 Bologna, 103 Boltraffio, 30 11 Bona of Savoy," portrait, 30 note 2 Bonifazio, 79, 116, 117 note i, 123 Bonnat Collection, 26 Bonsignori " Federigo Gonzaga," portrait of, 105 note i Borghese Gallery " Laura " (copy), 86 " Madonna of the Tower " Sassoferrato, 101 "Sacred and Profane Love" Titian, 46 note i, 90 note i Borghini, Riposo, quoted, 59-60, 68, 69 Borgia, Lucretia, 83 note 6, 84 Borromeo, Cardinal, reference to the Leonardo cartoon, 6, 7 Borso, Duke of Ferrara, account of, 106 ; portraits by Baldassare d'Este, 107 Bossi, cited, 18 Bottari Raccolta di Lettere, 6 note 3, 16 note 2 Boyce, G. P., sale, 108 Bridgewater House, "Three Ages" Titian, 2, 124 Bristol, Marquess of, Collection, 123 British Museum Eulogies on Titian, 56 note i "Madonna" Leonardo, 29 note i, 99 note 2 St. Anne," 9 Brown Life of Leonardo, 4 Brownlow, Earl, Collection, 24 note 2 128 INDEX Bryan, Dictionary, in note i, 114, 116 note 2, 117 note i Buchanan, Memoirs, cited, 82 Buckingham Palace Collection, 92 note i Budapest " Antonio Broccardo " Giorgione, 112, 119, 121 Bugiardini, 62 Burlington Fine Arts Club exhibitions, 3-4, 4 note i, 23, 32, 37, 104 ; publication of the Cartoon of St. Anne, 4-5 Burlington Magazine, 28, 30, 33 note 3, 35, 36, 40, 70-72, 75 articles reprinted from, 80, 88, 97, 106, no, 118, 119 CADORE, 48, 50, 90, 93 "Calcagnino, Marietta," portrait by Baldassare d'Este, 107 Cambridge " Marriage of St. Catherine," 95 note i Campori, Marquis, 83 Caprioli, Domenico Art of, 114, 117 " Ascension of the Virgin," 114 "Holy Family," 114 " Nativity," 114 "Caraffa, Fabrizio," portrait by Baldassare d'Este, 107 Cariani Art of, 112, 115-17, 119 " Portrait of a Man," 1 16 Carlisle, Earl of, Collection, 120, 121 Carlton Galleries, 121 Carnesecchi, Signor Carlo, 43 Carotti, Dr., Le Opere di Leonardo, 33, 40 note 3 Carracci, Lodovico, copy of the " Laura," 82, 86 Casa Ponte, Fonzaso, 93 Casnedi, Marquis, 7 and note 2, 8 note 2 Castiglione, cited, 100 Ceresa, Carlo " Madonna of the Tower," 101 Cernotto, 117 Chabrieres-Arles, M., Collection, 36 Chantilly Collection, Leonardo cartoon, 35, 37 Charles I. Collection, 84, 104, 105 " Little Virgin and Christ," 100 Charles V. of Spain, 54 INDEX 129 Charlton Park, 112 Chatsworth, portrait by Cariani, 116 " Christ and the Adulteress," Palma, 124 " Christ bearing the Cross" Giorgione, 74, 124 Christie's, 93, 108, 109 Christina, Queen, Collection, 80, 82 Chronique des Arts, 67 note i Cittadella, 108 Cobham Hall, 2, 70 Cochin, Voyage cFItalie, cited, 7 note 3 Colnaghi, 83 Colonna Gallery, Rome, copy of a " Madonna," 29 Coltellini, 107 Colvin, Sir Sidney, 29 note i Commines, 106 "Concert (The)" Giorgione, 46 note i, 74 note i Conti, Bernardino de', 30, 109 Cook, Sir Francis, 83 Cook, Sir Frederick Altar-piece Francesco Vecellio, 93, 117 note i " Duchess Laura " portrait Titian, 80-7 "Giovanni Onigo," portrait of Giorgione (?), 118 " Marriage of St. Catherine" Francesco Vecellio, 95 note i "Portrait of a Young Man" Ambrogio de Predis, 32, 34 " Cornaro, Caterina," portrait of, 73 "Cornaro Family" Titian, 91-2 Cornoca, Thomas da, letter to Philip II., 59, 65, 66 Correggio, Antonio da, portrait by Baldassare d'Este, 107 Cossa, 107, 109 Costa, Lorenzo, 102, 103, 107;" Portrait of Federigo Gonzaga," 105 note i Costabili Collection, 108, 109 Cracow " Lady with the Weasel " Leonardo, 2 7 Cranach, "crowned serpent," signature of, 76 Crawford, Earl of Licinio, portrait by, 121 "St. John the Baptist" Leonardo (attrib.), 23-4 Credi, Lorenzo di "Madonna," 29 Works attributed to, 40, 41, 42, 43 i 130 INDEX Crespi Gallery, 73 note i 'Crowe and Cavalcaselle, cited, 42; Titian, 47, 49 note i, 52, 53, 55 57 *ok *, 5 8 ofe 64, 66, 74 ote 2, 83, 84, 85, 88, 90, 91, 93, 94 ; Raphael, 98 ; North Italians, 107-9 Cruttwell, Miss, Verrocchio, 40 note 4, 41 note 5, 77 note i "Cupid" Titian, 89-90, 90 note i, 91 "DEPOSITION from the Cross" Filippino Lippi, 14 note i Doetsch Collection, 83 and note 6, in Dolce, Lodovico, L'Aretino, o dialogodella pittura, 47-50, 52, 54, 55, 56, 60, 66-67, 68, 69 Domenicus "Portrait of a Man," 114 Donaldson, Sir George, 30 note 2 Dorchester House, 2 Doria Palace " Sick Man " Lotto, 121 Dosso, the " bone" signature, 76; picture ascribed to, 83 note 6 Dresden "Antonio Palma," portrait Titian, 75-9 "Tribute Money " Titian, 46 note i "Venus" Giorgione, 72, 89, 90 note i Dreyfus Collection, Paris, 107 note 2 Dublin Gallery, 117 note i Durer, Albert, 63; letter of 1506, 57; monogram, A. D., 75 note 3 Dyck, Van, 92 note i ECCE Homo " Titian, 61 Emblems, employment in portraiture, 76-8, 121-2 Ercole I. of Ferrara, 106 note 2 ; portrait by Baldassare d'Este, 107 Ercole II., portrait, 84 " Esclavonne, L'." See Laura de' Dianti Este, Alfonso d'. See Ferrara Este, Baldassare d', account of, 106 ; portraits by, 107-8 Este, Cesare d', and the " Laura," 82 Este, Isabella d', 85; letter to, cited, 13; painting ordered by, 100 ; story of, 102 Esterhazy, Count Paul " Cartoon of St. Anne." See Plattemberg " Madonna of the Tower" (copy), 101 INDEX 131 FAIR Women exhibition, 38 note i " Family of Darius " Paul Veronese, 92 Farrer, Sir William (the late), 93, 120 Ferrara, Duke of, portrait, 80, 84, 85 ; commission for the "Laura," 81, 82, 83 Fesch sale, 36 note 2 Ffoulkes, Miss, cited, 3, 39 note i Fiupiano, Church of, 115 Fletcher, J. Dunnington, Collection, 83 Fondaco de' Tedeschi, frescoes by Giorgione and Titian, 48-9, 57-8, 60, 63, 72 " Fornarina " in the Uffizi, 101 note i Foy, Monsignor di, portrait by Baldassare d'Este, 107 Francia Portrait of Federigo Gonzaga, 102-5 Portrait of Isabella d'Este, 103-4 Francis I. and Leonardo, 17, 19 Frari Church, Venice, altar-piece by Basaiti, 113 ; by Titian, 49 Frizzoni, Dr. Gustavo, cited, 5 note i, 27-8, 40 note 5, 124 note 2 Fry, Mr. Roger, and the "Ariosto," 70-1, 72, 73 GAFFURIO, Francesco, 31 Gallerani, Cecilia, 33 Garofalo, signature of the " pink," 76 Gazette des Beaux Arts, articles referred to, 13 note i, 99, 102, 114 note 2 Ghirlandajo, Ridolfo, 30 Giampetrino " Last Supper," 5 "Ginevra dei Benci," 27, 30, 33, 40-3, 77 note i Giovanelli Palace, Venice "Nativity " Caprioli Giorgione, Titian and, 48-9, 51, 57 and note i, 60, 91; age of, 62-4, 69, 123; criticism of the " Ariosto," 71-4 ; unfinished work, 723; influence, 113, 117, 120, 121, 122, 124; Carianiand, 115-6 " Adoration of the Shepherds," 94 "Antonio Broccardo," 119 "Christ bearing the Cross," 74, 124 "Giovanni Onigo," portrait (ascribed), 118-20 Portrait of unknown Venetian gentleman, 1 1 1-? 132 INDEX Giorgione (continued) "Three Philosophers," 73 "Venus," 72, 89 Glasgow, " Holy Family" Francesco Vecellio, 95 note i "Gonzaga, Federigo," portrait by Francia, 102-5; other por- traits, 105 note i Gosford Collection. See Wemyss, Earl of Grafton, Duke of, Collection " Portrait of a Man," 114 Grafton Galleries exhibition, 22, 24, 38 note i, 118 Graham, Mr., 38 Grandi, Ercole, 107 Granvella, 65 note i Gray, Mr. Edward, Collection, 82 Grimani, Cardinal Domenico, 114 Grittleton Collection, 92 note i Gronau, Dr. Georg, 29 note i ; Titian, 47, 58 and note 3, 65 note i, 74 notes 1-2, 84 note 2, 88, 90 Grosvenor Gallery publications, 1 5 Gruyer, M., Le Salon Carre, cited, 1 1 HAMILTON Palace sale, 117 note i Hampton Court " Licinio " portrait, 120, 121 " Marriage of St. Catherine," 95 note i Harrach Gallery, Vienna Picture by Francesco Vecellio, 94 Harringay House Collection, 8 note Heiss, 1 08 Henri Quatre, 37 Hermitage, St. Petersburg Madonna " Litta," Leonardo, 2 7 Hernandez, Garcia, Envoy in Venice, letter to Philip II., 66-8 Heron Court Collection. See Malmesbury, Earl of Hertford House, 2 Holbein " Ambassadors," 7 7 Holroyd, Sir Charles, 101 " Holy Family " Caprioli, 114 " Holy Family" Francesco Vecellio, 95 note i "Holy Family" Titian, 124 INDEX 133 Hope, Mr. Henry, sale, 101 Howorth, Sir Henry, Collection Portrait of Duke of Ferrara, 80 note 3 IDENTIFICATION of a picture, conditions, 75-6 JACOBI, Dr., 64 Julius II., Pope, 102 Justi, Dr. Carl, on the " Laura" portrait, 81, 83-4, 86, 89 KAROLY, Karl Raphaels Madonnas and Other Great Pictures, 99 Kaupe, Mr. Wm., Collection at Pallanza, 36 Kemp, Sir George, 1 1 1 Kestner Museum, Hanover, portraits, 109 Kinnaird, Lord, Collection, 121 Kugler, 99, 101 LADERCHI, 108, 109 note i " Lady with the Lute " Palma, 123 "Lady with the Weasel" Leonardo, 27, 33 Lafenestre, 47, 74 note 2 Lafenestre and Richtenberger La Peinture, 36 Lanini, 23 Lansdowne House "Rustic Concert " Palma, 124 Lanzi, 4, 93 note 3 " Last Supper" Giampetrino, 5 " Last Supper" Leonardo, 24 " Laura and Alfonso " Malmesbury Collection, 84 note 2 " Laura de' Dianti" Titian, identification, 80-1 ; history, 81-3 ; identity of the lady, 83-5 ; other versions, 86-7 Lawrence, Sir Thomas, offer to the nation, 8 note 2 Leatham, Mr. A. W., 104 " Leda" Leonardo, 7 note 2, 24 Legnano, 102 Leonardo da Vinci. See Vinci Leoni, Pompeo, and the Leonardo cartoon, 7 Leuchtenberg Gallery, St. Petersburg " Madonna of the Tower " Sassoferrato, 101 "St. Anne" Salaino, 20, 25 i 3 4 INDEX Licinio, Bernardino, works attributed to Giorgione, 119-20; account of, 120-1 Liechtenstein Gallery Ginevra dei Benci, 27, 30, 33, 40-3, 77 note i Liphardt, M. de, cited, 27, 29 note i Lippi, Filippino " Deposition from the Cross," 1 4 note i Litta, Duke of, Collection, 38 " Little Tambourine Player " Titian, 89-90 " Little Virgin and Christ " Raphael, 100 Lodovico il Moro, 31 " Logan, Mary," 3 Lomazzo, 8 Lonno Parish Church, altar-piece, 115 Loredano, Andrea, 61 Lotto, Lorenzo, 115-6; portrait by, 121-2 Louis XII. request for the " St. Anne," 6, 2 1 Louvre Collection "Bacchus" Leonardo (attrib.), 23 "Belle Ferroniere" Leonardo, 27, 30 " Holy Family" Titian, 124 " Laura de' Dianti " (so-called), 84 " Madonna and Child" Leonardo, 29 " Marriage at Cana " Veronese, 58 note 2 " St. Anne" Leonardo, 5, 8, 9, 11-21, 23, 25 Ludwig, Dr. Gustav, cited, in, 113 note 3, 116 note i, 117 note i, 118, 120, 123 ; on the title of contemporaries, 123 " Antonio Palma " portrait, 7 5-9 "Ariosto," 70-4 " Caterina Cornaro " portrait, 73 > c Concert," 46 note i, 74 note i "Cornaro Family," 91, 92 "Cupid," 89-90, 90 note i, 91 "Ecce Homo," 61 " Federigo Gonzaga," 105 note i Fondaco frescoes, 48-9 "Holy Family," 124 " Laura de' Dianti " portrait, 80-7 " Little Tambourine Player," 89-90 " Lucretia and Tarquin," 52 INDEX 141 Titian (continued) " Madonna of the Cherries," 46 note i " Noli Me Tangere," 89 Padua frescoes, 61 " Pieta," 45 " Sacred and Profane Love," 46 note i, 90 note i " St. Mark," 46 note i, 60, 61, 64 11 Three Ages," 90 note i, 124 " Tribute Money," 46 note i " Triumph of Faith," 61 " Venus," 89, 90 note i Vicenza frescoes, 61 " Titian and his Mistress," 84 Tizianello, evidence of Titian's age, 56, 64, 68 ' Tobias and the Angel " Francesco Vecellio, 95 note i Treviso Cathedral, "Ascension of the Virgin" Caprioli, 114 Treviso Gallery " Nativity " Caprioli Tribolo, 62 " Tribute Money " Titian, 46 note i Tura, Cosimo, 1067 Turin " St. Anne" Cartoon, 16 UDINE, Giovanni da, 62 Udny, Robert, 7, 8 note 2 Uffizi Gallery " Adoration of the Magi " Leonardo, 10, 26 "Annunciation" Leonardo, 27, 30, 34 " Fornarina," 101 note i Pen-drawing and note by Leonardo, 29 Titian, portrait of, 58 note 2 Urbino, Duchess of, 85 Uzielli, Ricerche, 17 VALERI, Count Malaguzzi, cited, 35, 36 Vasari, cited on Leonardo, 12, 14 and note i, 21, 25,38, 40,42; Titian, 47, 50-2, 54-6. 59-62, 66-9, 70, 74, 80, 81 ; some inaccuracies, 6 1-2 ; Palma's date of birth, 123 Vatican, the, 98, 103 Vecellio, Francesco Altar-piece, at Richmond, 92-3, 117 note i i 4 2 INDEX Vecellio, Francesco (continued) " Holy Family," 95 note i " Madonna and Child," 95 note i " Marriage of St. Catherine," 95 note i " Santa Conversazione," 94 "Tobias and the Angel," 95 note i Velazquez, 112 Venturi, Signer, cited, 103 note i, 107 and note 2; Storia deW Arte Italiana, 28 note i, 40 note 5 ; on Titian, 89 note i, 90 "Venus" Giorgione, 72, 89, 90 note i Verona Gallery Madonna and Child Francesco Vecellio, 95 note i Veronese, Paul, 92, 117 " Marriage at Cana," 58 note 2 Verrocchio, works attributed to, 30, 40, 41, 42 " Baptism," 26 Vicenza frescoes, 61 Victoria and Albert Museum, 2 Vienna Academy "Cupid" Titian, 89, 90 Vienna Gallery " Ecce Homo " Titian, 61 Licinio portrait, 120 " Little Tambourine Player " Titian, 89-90 " Madonna of the Cherries " Titian, 46 note i "Three Philosophers " Giorgione, 73 Vinci, Leonardo da, his Milanese pupils, 1 7 ; visit of Cardinal Lodovico d'Aragona, 1 7-8 ; employment of emblems, 77 note i "Adoration of the Magi," 26 "Annunciation," 27, 30, 34 "Bacchus," 23 " Battle of Anghiari," drawing, 18 "Ginevra dei Benci," 27, 30, 33, 40-43, 77 note i "La Belle Ferroniere," 27, 30 " Lady with the Weasel," 27 " Last Supper," 24 " Leda," 24 " Madonna and Child," 27-9 " Madonna of the Rocks," 24 " Madonna Litta," 27 INDEX 143 Vinci, Leonardo da (continued) " Mona Lisa," 24, 26, 27 " Portrait of a Musician," 30-4 "St. Anne," Cartoon, 4-21, 24 " St. John the Baptist " (attrib.), 23-4 " Virgin of Casa Tempi " Raphael, 98 Vivarini, Alvise, altar-piece, 113 and note 3 WAAGEN, Dr., cited, 14, 16, 97-98 Walkner, Mr., 82 Wemyss, Earl of, 2, 24 note 2 Whistler, "Butterfly" signature, 76 Willet, Mr., 2, 101 Williamson, Dr., 103 note i, 115 note i Windsor Royal Collection, 15, 21 Wright, Edward, cited, 7 and note 2 YARBOROUGH, Earl of, Collection "St. Anne," 19-20, 25 Yriarte, Charles, articles in the Gazette des Beaux Arts, 13 note i, 102-4; Autour des Borgia, 82 note 6, 83 note 2, 87 note i ZOETE, Mr. de, Collection, 83 note 6 Zuccati, Francesco, 48 Zurbaran, 77 PRINTED BY BALLANTYNE & COMPANY LTD AT THE BALLANTYNE PRESS TAVISTOCK STREET COVENT GARDEN LONDON r BF University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. 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