for such a picture as Giorgione's _Fete Champetre_ in the Salon
Carre of the Louvre!

[9] _Magazine of Art_, July 1895.

[10] _Life and Times of Titian_, vol. i. p. 111.

[11] Mentioned in one of the inventories of the king's effects, taken
after his execution, as _Pope Alexander and Seignior Burgeo (Borgia) his
son_.

[12] _La Vie et l'Oeuvre du Titien_, 1887.

[13] The inscription on a cartellino at the base of the picture,
"Ritratto di uno di Casa Pesaro in Venetia che fu fatto generale di Sta
chiesa. Titiano fecit," is unquestionably of much later date than the
work itself. The cartellino is entirely out of perspective with the
marble floor to which it is supposed to adhere. The part of the
background showing the galleys of Pesaro's fleet is so coarsely
repainted that the original touch cannot be distinguished. The form
"Titiano" is not to be found in any authentic picture by Vecelli.
"Ticianus," and much more rarely "Tician," are the forms for the earlier
time; "Titianus" is, as a rule, that of the later time. The two forms
overlap in certain instances to be presently mentioned.

[14] Kugler's _Italian Schools of Painting_, re-edited by Sir Henry
Layard.

[15] Marcantonio Michiel, who saw this _Baptism_ in the year 1531 in the
house of M. Zuanne Ram at S. Stefano in Venice, thus describes it: "La
tavola del S. Zuane che battezza Cristo nel Giordano, che e nel fiume
insino alle ginocchia, con el bel paese, ed esso M. Zuanne Ram ritratto
sino al cinto, e con la schena contro li spettatori, fu de man de
Tiziano" (_Notizia d' Opere di Disegno_, pubblicata da J. Jacopo
Morelli, Ed. Frizzoni, 1884).

[16] This picture having been brought to completion in 1510, and Cima's
great altar-piece with the same subject, behind the high-altar in the
Church of S. Giovanni in Bragora at Venice, being dated 1494, the
inference is irresistible that in this case the head of the school
borrowed much and without disguise from the painter who has always been
looked upon as one of his close followers. In size, in distribution, in
the arrangement and characterisation of the chief groups, the two
altar-pieces are so nearly related that the idea of a merely accidental
and family resemblance must be dismissed. This type of Christ, then, of
a perfect, manly beauty, of a divine meekness tempering majesty, dates
back, not to Gian Bellino, but to Cima. The preferred type of the elder
master is more passionate, more human. Our own _Incre