chiaro Apelle con la man dell'arte
Rassembro d'Alessandro il volto e il petto.

There are in the guardaroba of the same Duke, by the hand of Tiziano,
two most lovely heads of women, and a young recumbent Venus with
flowers and certain light draperies about her, very beautiful and well
finished; and, in addition, a figure of S. Mary Magdalene with the
hair all loose, which is a rare work. There, likewise, are the
portraits of Charles V, King Francis as a young man, Duke Guidobaldo
II, Pope Sixtus IV, Pope Julius II, Paul III, the old Cardinal of
Lorraine, and Suleiman Emperor of the Turks; which portraits, I say,
are by the hand of Tiziano, and most beautiful. In the same
guardaroba, besides many other things, is a portrait of Hannibal the
Carthaginian, cut in intaglio in an antique cornelian, and also a very
beautiful head in marble by the hand of Donato.

[Illustration: POPE PAUL III

(_After the painting by =Tiziano=. Naples: Museo Nazionale_)

_Anderson_]

In the year 1541 Tiziano painted for the Friars of S. Spirito, in
Venice, the altar-piece of their high-altar, figuring in it the
Descent of the Holy Spirit upon the Apostles, with a God depicted as
of fire, and the Spirit as a Dove; which altar-piece becoming spoiled
in no long time, after having many disputes with those friars he had
to paint it again, and it is that which is over the altar at the
present day. For the Church of S. Nazzaro in Brescia he executed the
altar-piece of the high-altar in five pictures; in the central picture
is Jesus Christ returning to life, with some soldiers around, and at
the sides are S. Nazzaro, S. Sebastian, the Angel Gabriel, and the
Virgin receiving the Annunciation. In a picture for the wall at the
entrance of the Duomo of Verona, he painted an Assumption of Our Lady
into Heaven, with the Apostles on the ground, which is held to be the
best of the modern works in that city. In the year 1541 he made the
portrait of Don Diego di Mendoza, at that time Ambassador of Charles V
in Venice, a whole-length figure and standing, which was very
beautiful; and from this Tiziano began what has since come into
fashion, the making of certain portraits of full length. In the same
manner he painted that of the Cardinal of Trento, then a young man,
and for Francesco Marcolini the portrait of Messer Pietro Aretino, but
this last was by no means as beautiful as one of that poet, likewise
by the hand of Tiziano, which Aretino himself