[Footnote 5: Crowe and Cavalcaselle, Appendix to vol. i. p. 448.]

[Footnote 6: No. 1288 in the Long Gallery of the Louvre.]

[Footnote 7: See the canvas No. 163 in the Imperial Gallery of Vienna.
The want of life and of a definite personal character makes it almost
repellent, notwithstanding the breadth and easy mastery of the
technique. Rubens's copy of a lost or unidentified Titian, No. 845 in
the same gallery, shows that he painted Isabella from life in mature
middle age, and with a truthfulness omitting no sign of over-ripeness.
This portrait may very possibly have been done in 1522, when Titian
appeared at the court of the Gonzagas. Its realism, even allowing for
Rubens's unconscious exaggeration, might well have deterred the Gonzaga
princess from being limned from life some twelve years later still.]

[Footnote 8: Crowe and Cavalcaselle, vol. i., Appendix, p. 451.]

[Footnote 9: The idea of painting St. Jerome by moonlight was not a new
one. In the house at Venice of Andrea Odoni, the dilettante whose famous
portrait by Lotto is at Hampton Court, the Anonimo (Marcantonio Michiel)
saw, in 1532, "St. Jerome seated naked in a desert landscape by
moonlight, by ---- (sic), copied from a canvas by Zorzi da Castelfranco
(Giorgione)."]

[Footnote 10: See "The Picture Gallery of Charles I.," _The Portfolio_,
January 1896, pp. 49 and 99.]

[Footnote 11: The somewhat similar _Allegories_ No. 173 and No. 187 in
the Imperial Gallery at Vienna (New Catalogue, 1895), both classed as by
Titian, cannot take rank as more than atelier works. Still farther from