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

[Footnote 20: Crowe and Cavalcaselle, _Life of Titian_, vol. i. p. 420.]

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

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

[Footnote 23: See "The Picture Gallery of Charles I.," _The Portfolio_,
October 1897, pp. 98, 99.]

[Footnote 24: Nos. 529-540--Catalogue of 1891--Provincial Museum of
Hanover. The dim