[Footnote 31: The writer is unable to accept as a genuine design by
Titian for the picture the well-known sepia drawing in the collection of
the Uffizi. The composition is too clumsy in its mechanical repetition
of parts, the action of the Virgin too awkward. The design looks more
like an adaptation by some Bolognese eclectic.]

[Footnote 32: This double portrait has not been preserved. According to
Crowe and Cavalcaselle, the full length of Pier Luigi still exists in
the Palazzo Reale at Naples (not seen by the writer).]

[Footnote 33: The writer, who has studied in the originals all the other
Titians mentioned in this monograph, has had as yet no opportunity of
examining those in the Hermitage. He knows them only in the
reproductions of Messrs. Braun, and in those new and admirable ones
recently published by the Berlin Photographic Company.]

[Footnote 34: This study from the life would appear to bear some such
relation to the finished original as the _Innocent X._ of Velazquez at
Apsley House bears to the great portrait of that Pope in the Doria
Panfili collection.]

[Footnote 35: This portrait-group belongs properly to the time a few
years ahead, since it was undertaken during Titian's stay in Rome.]

[Footnote 36: The imposing signature runs _Titianus Eques Ces. F.
1543._]

[Footnote 37: The type is not the nobler and more suave one seen in the
_Cristo della Moneta_ and the _Pilgrims of Emmaus_; it is the much less