other, and less due to a reaction from physical ardour, is the exquisite
sensitiveness of Lorenzo Lotto, who sees most willingly in his sitters
those qualities that are in the closest sympathy with his own
highly-strung nature, and loves to present them as some secret,
indefinable woe tears at their heart-strings. A strong element of the
Giorgionesque pathos informs still and gives charm to the Sciarra
_Violin-Player_ of Sebastiano del Piombo; only that there it is already
tempered by the haughty self-restraint more proper to Florentine and
Roman portraiture. There is little or nothing to add after this as to
the _Jeune Homme au Gant_, except that as a representation of
aristocratic youth it has hardly a parallel among the master's works
except, perhaps, a later and equally admirable, though less
distinguished, portrait in the Pitti.

[Illustration: From a Photograph by Braün Clement & Cie. Walter L.
Colls. ph. sc.

Jeune Homme au gant]

[Illustration: _A Concert. Probably by Titian. Pitti Palace, Florence.
From a Photograph by Alinari_.]

Not until Van Dyck, refining upon Rubens under the example of the
Venetians, painted in the _pensieroso_ mood his portraits of high-bred
English cavaliers in all the pride of adolescence or earliest manhood,
was this particular aspect of youth in its flower again depicted with
the same felicity.[32]

To Crowe and Cavalcaselle's pages the reader must be referred for a
detailed and interesting account of Titian's intrigues against the