the extensive decorations for the Palazzo Pubblico, was to have proof
that Italian citizens were better judges of art than the King of Spain,
and more grudging if prompter paymasters. They declared, not without
some foundation in fact, that the canvases were not really from the hand
of Titian, and refused to pay more than one thousand ducats for them.
The negotiation was conducted--as were most others at that time--by the
trusty Orazio, who after much show of indignation was compelled at last
to accept the proffered payment.

[Illustration: _Portrait of the Antiquary Jacopo da Strada. Imperial
Gallery, Vienna. From a Photograph by Löwy_.]

[Illustration: _Madonna and Child. Collection of Mr. Ludwig Mond_.]

The great victory of Lepanto, gained by the united fleets of Spain and
Venice over the Turk on the 7th of October 1571, gave fitting occasion
for one of Paolo Veronese's most radiant masterpieces, the celebrated
votive picture of the Sala del Collegio, for Tintoretto's _Battle of
Lepanto_, but also for one of Titian's feeblest works, the allegory
_Philip II. offering to Heaven his Son, the Infant Don Ferdinand_, now
No. 470 in the gallery of the Prado. That Sanchez Coello, under special
directions from the king, prepared the sketch which was to serve as the
basis for the definitive picture may well have hampered and annoyed the
aged master. Still this is but an insufficient excuse for the
absurdities of the design, culminating in the figure of the descending
angel, who is represented in one of those strained, over-bold attitudes,
in which Titian, even at his best, never achieved complete success. That
he was not, all the same, a stranger to the work, is proved by some
flashes of splendid colour, some fine passages of execution.