the master is the _Initiation of a Bacchante_, No. 1116 (Cat. 1891), in
the Alte Pinakothek of Munich. This is a piece too cold and hard, too
opaque, to have come even from his studio. It is a _pasticcio_ made up
in a curiously mechanical way, from the Louvre _Allegory_ and the quite
late _Education of Cupid_ in the Borghese Gallery; the latter
composition having been manifestly based by Titian himself, according to
what became something like a custom in old age, upon the earlier
_Allegory_.]

[Footnote 12: A rather tiresome and lifeless portrait of Ippolito is
that to be found in the picture No. 20 in the National Gallery, in which
it has been assumed that his companion is his favourite painter,
Sebastiano del Piombo, to whom the picture is, not without some
misgivings, attributed.]

[Footnote 13: It has been photographed under this name by Anderson of
Rome.]

[Footnote 14: In much the same position, since it hardly enjoys the
celebrity to which it is entitled, is another masterpiece of portraiture
from the brush of Titian, which, as belonging to his earlier middle
time, should more properly have been mentioned in the first section of
this monograph. This is the great _Portrait of a Man in Black_, No. 1591
in the Louvre. It shows a man of some forty years, of simple mien yet of
indefinably tragic aspect; he wears moderately long hair, is clothed
entirely in black, and rests his right hand on his hip, while passing
the left through his belt. The dimensions of the canvas are more
imposing than those of the _Jeune Homme au Gant_. No example in the
Louvre, even though it competes with Madrid for the honour of possessing
the greatest Titians in the world, is of finer quality than this