[Footnote 19: Palma Vecchio, in his presentments of ripe Venetian
beauty, was, we have seen, much more literal than Giorgione, more
literal, too, less the poet-painter, than the young Titian. Yet in the
great _Venus_ of the Fitzwilliam Museum, Cambridge--not, indeed, in that
of Dresden--his ideal is a higher one than Titian's in such pieces as
the _Venus of Urbino_ and the later _Venus_, its companion, in the
Tribuna. The two Bonifazi of Verona followed Palma, giving, however, to
the loveliness of their women not, indeed, a more exalted character, but
a less pronounced sensuousness--an added refinement but a weaker
personality. Paris Bordone took the note from Titian, but being less a
great artist than a fine painter, descended a step lower in the scale.
Paolo Veronese unaffectedly joys in the beauty of woman, in the sheen of
fair flesh, without any under-current of deeper meaning. Tintoretto,
though like his brother Venetians he delights in the rendering of the
human form unveiled, is but little disquieted by the fascinating problem
which now occupies us. He is by nature strangely spiritual, though he is
far from indulging in any false idealisation, though he shrinks not at
all from the statement of the truth as it presents itself to him. Let
his famous pictures in the Anticollegio of the Doges' Palace, his
_Muses_ at Hampton Court, and above all that unique painted poem, _The
Rescue_, in the Dresden Gallery, serve to support this view of his art.]

[Footnote 20: Crowe and Cavalcaselle, _Life of Titian_, vol. i. p. 420.]

[Footnote 21: Two of these have survived in the _Roman Emperor on
Horseback_, No. 257, and the similarly named picture, No. 290, at
Hampton Court Palace. These panels were among the Mantua pieces
purchased for Charles I. by Daniel Nys from Duke Vincenzo in 1628-29. If
the Hampton Court pieces are indeed, as there appears no valid reason to