fo_ inscription being
admittedly of later date. Thus that the _Cristo della Moneta_ bears the
"Ticianus F." on the collar of the Pharisee's shirt is an additional
argument in favour of maintaining its date as originally given by Vasari
(1514), instead of putting it back to 1508 or thereabouts. Among a good
many other paintings with this last signature may be mentioned the
_Jeune Homme au Gant_ and _Vierge au Lapin_ of the Louvre; the _Madonna
with St. Anthony Abbot_ of the Uffizi; the _Bacchus and Ariadne_, the
_Assunta_, the _St. Sebastian_ of Brescia (dated 1522). The _Virgin and
Child with St. Catherine_ of the National Gallery, and the _Christ with
the Pilgrims at Emmaus_ of the Louvre--neither of them early works--are
signed "Tician." The usual signature of the later time is "Titianus F.,"
among the first works to show it being the Ancona altar-piece and the
great _Madonna di San Niccolo_ now in the Pinacoteca of the Vatican. It
has been incorrectly stated that the late _St. Jerome_ of the Brera
bears the earlier signature, "Ticianus F." This is not the case. The
signature is most distinctly "Titianus," though in a somewhat unusual
character.

[31] Crowe and Cavalcaselle describe it as a "picture which has not its
equal in any period of Giorgione's practice" (_History of Painting in
North Italy_, vol. ii.).

[32] Among other notable portraits belonging to this early period, but
to which within it the writer hesitates to assign an exact place, are
the so-called _Titian's Physician Parma_, No. 167 in the Vienna Gallery;
the first-rate _Portrait of a Young Man_ (once falsely named _Pietro
Aretino_), No. 1111 in the Alte Pinakothek of Munich; the so-called
_Alessandro de' Medici_ in the Hampton Court Gallery. The last-named
portrait is a work injured, no doubt, but of extraordinary force and
conciseness in the painting, and of no less singular power in the
characterisation of a sinister personage whose true name has not yet
been discovered.

[33] The fifth _Allegory_, representing a sphinx or chimaera--now framed
with the rest as the centre of an ensemble--is from another and far
inferior hand, and, moreover, of different dimensions. The so-called
_Venus_ of the Imperial Gallery at Vienna is, notwithstanding the
signature of Bellini and the date (MDXV.), by Bissolo.

[34] In Bellini's share in the landscape there is not a little to remind
the beholder of the _Death of St. Peter Martyr_ to be found in the
Venetian