room of the National Gallery, where it is still assigned to the
great master himself, though it is beyond reasonable doubt by one of his
late pupils or followers.

[35] The enlarged second edition, with the profile portrait of Ariosto
by Titian, did not appear until 1532. Among the additions then made were
the often-quoted lines in which the poet, enumerating the greatest
painters of the time, couples Titian with Leonardo, Andrea Mantegna,
Gian Bellino, the two Dossi, Michelangelo, Sebastiano, and Raffael (33rd
canto, 2nd ed.).

[36] [Greek: Philostratou Eikonon Erotes.]

[37] Let the reader, among other things of the kind, refer to Rubens's
_Jardin a Amour_, made familiar by so many repetitions and
reproductions, and to Van Dyck's _Madone aux Perdrix_ at the Hermitage
(see Portfolio: _The Collections of Charles I._). Rubens copied, indeed,
both the _Worship of Venus_ and the _Bacchanal_, some time between 1601
and 1608, when the pictures were at Rome. These copies are now in the
Museum at Stockholm. The realistic vigour of the _Bacchanal_ proved
particularly attractive to the Antwerp master, and he in more than one
instance derived inspiration from it. The ultra-realistic _Bacchus
seated on a Barrel_, in the Gallery of the Hermitage at St. Petersburg,
contains in the chief figure a pronounced reminiscence of Titian's
picture; while the unconventional attitude of the amorino, or Bacchic
figure, in attendance on the god, is imitated without alteration from
that of the little toper whose action Vasari so explicitly describes.

[38] Vasari's simple description is best: "Una donna nuda che dorme,
tanto bella che pare viva, insieme con altre figure."

[39] Moritz Thausing's _Albrecht Duerer_, Zweiter Band, p. 14.

[40] Crowe and Cavalcaselle, _Life and Times of Titian_, vol. i. p. 212.

[41] It appears to the writer that this masterpiece of colour and
reposeful charm, with its wonderful gleams of orange, pale turquoise,
red, blue, and golden white, with its early signature, "Ticianus F.,"
should be placed not later than this period. Crowe and Cavalcaselle
assign it to the year 1530, and hold it to be the _Madonna with St.
Catherine_, mentioned in a letter of that year written by Giacomo
Malatesta to Federigo Gonzaga at Mantua. Should not this last picture be
more properly identified with our own superb _Madonna and Child with St.
John and St. Catherine_, No. 635 in the National Gallery, the style of
which, notwithstan