local authorities on the subject.

[4] _Life and Times of Titian_, vol. i. p. 29.

[5] _Die Galerien zu München und Dresden_, p. 75.

[6] Carlo Ridolfi (better known as a historian of the Venetian school of
art than as a Venetian painter of the late time) expressly states that
Palma came young to Venice and learnt much from Titan: "_C' egli apprese
certa dolcezza di colorire che si avvicina alle opere prime dello stesso
Tiziano_" (Lermolieff: _Die Galerien zu München und Dresden_).

[7] Vasari, _Le Vite: Giorgione da Castelfranco_.

[8] One of these is a description of wedding festivities presided over
by the Queen at Asolo, to which came, among many other guests from the
capital by the Lagunes, three Venetian gentlemen and three ladies. This
gentle company, in a series of conversations, dwell upon, and embroider
in many variations, that inexhaustible theme, the love of man for woman.
A subject this which, transposed into an atmosphere at once more frankly
sensuous and of a higher spirituality, might well have served as the
basis for such a picture as Giorgione's _Fête Champêtre_ in the Salon
Carré 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