lgrims at Emmaus_ in the collection of the Earl of Yarborough, signed
"Titianus," in which, alike as to the figures, the scheme of colour, and
the landscape, there are important variations. One point is of especial
importance. Behind the figure of St. Luke in the Yarborough picture is a
second pillar. This is not intended to appear in the Louvre picture; yet
underneath the glow of the landscape there is just the shadow of such a
pillar, giving evidence of a _pentimento_ on the part of the master.
This, so far as it goes, is evidence that the Louvre example was a
revised version, and the Yarborough picture a repetition or adaptation
of the first original seen by Vasari. However this may be, there can be
no manner of doubt that the picture in the Long Gallery of the Louvre is
an original entirely from the hand of Titian, while Lord Yarborough's
picture shows nothing of his touch and little even of the manner of his
studio at the time.]

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

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

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

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

[Footnote 43: "Das Tizianbildniss der koeniglichen Galerie zu Cassel,"
_Jahrbuch der koeniglich-preussischen Kunstsammlungen_, Funfzehnter Band,
III. Heft.]

[Footnote 44: See the _Francesco Maria, Duke of Urbino_ at the Uffizi;
also, for the modish headpiece, the _Ippolito de' Medici_ at the Pitti.]

[Footnote 45: A number of fine portraits must of necessity be passed
over in these remarks. The superb if not very well-preserved _Antonio
Portia_, within the last few years added to the Brera, dates back a good
many years from this time. Then we have, among other things, the
_Benedetto Varchi_ and the _Fabrizio Salvaresio_ of the Imperial Museum
at Vienna--the latter bearing the date 1558. The writer is unable to
accept as a genuine Titian the interesting but rather matter-of-fact
_Portrait of a Lady in Mourni