[Footnote 39: Purchased at the sale of Charles I.'s collection by Alonso
de Cardenas for Philip IV. at the price of £165.]

[Footnote 40: Crowe and Cavalcaselle, _Life of Titian_, vol. ii.,
Appendix (p. 502).]

[Footnote 41: Moritz Thausing has striven in his _Wiener Kunstbriefe_ to
show that the coat of arms on the marble bas-relief in the _Sacred and
Profane Love_ is that of the well-known Nuremberg house of Imhof. This
interpretation has, however, been controverted by Herz Franz Wickhoff.]

[Footnote 42: Cesare Vecellio must have been very young at this time.
The costume-book, _Degli abiti antichi e moderni_, to which he owes his
chief fame, was published at Venice in 1590.]

[Footnote 43: "Das Tizianbildniss der königlichen Galerie zu Cassel,"
_Jahrbuch der königlich-preussischen Kunstsammlungen_, Funfzehnter Band,
III. Heft.]

[Footnote 44: See the _Francesco Maria, Duke of Urbino_ at the Uffizi;
also, for the modish headpiece, the _Ippolito de' Medici_ at the Pitti.]

[Footnote 45: A number of fine portraits must of necessity be passed
over in these remarks. The superb if not very well-preserved _Antonio
Portia_, within the last few years added to the Brera, dates back a good
many years from this time. Then we have, among other things, the
_Benedetto Varchi_ and the _Fabrizio Salvaresio_ of the Imperial Museum
at Vienna--the latter bearing the date 1558. The writer is unable to
accept as a genuine Titian the interesting but rather matter-of-fact