Part 4 (1/2)

[35] The enlarged second edition, with the profile portrait of Ariosob titian, did not appear until 1532 A the additions then made were the often-quoted lines in which the poet, enureatest painters of the tina, Gian Bellino, the two Dossi, Michelangelo, Sebastiano, and Raffael (33rd canto, 2nd ed)

[36] [Greek: Philostratou Eikonon Erotes]

[37] Let the reader, as of the kind, refer to Rubens's _Jardin a Amour_, made familiar by so many repetitions and reproductions, and to Van Dyck's _Madone aux Perdrix_ at the Here (see Portfolio: _The Collections of Charles I_) Rubens copied, indeed, both the _Worshi+p of Venus_ and the _Bacchanal_, some time between 1601 and 1608, when the pictures were at Rome These copies are now in the Museuour of the _Bacchanal_ proved particularly attractive to the Antwerp master, and he in more than one instance derived inspiration from it The ultra-realistic _Bacchus seated on a Barrel_, in the Gallery of the Herure a pronounced reminiscence of titian's picture; while the unconventional attitude of the aure, in attendance on the God, is imitated without alteration from that of the little toper whose action Vasari so explicitly describes

[38] Vasari's simple description is best: ”Una donna nuda che dorure”

[39] Moritz Thausing's _Albrecht Durer_, Zweiter Band, p 14

[40] Crowe and Cavalcaselle, _Life and Times of titian_, vol i p 212

[41] It appears to the writer that this masterpiece of colour and reposeful chare, pale turquoise, red, blue, and golden white, with its early signature, ”Ticianus F,”

should be placed not later than this period Crowe and Cavalcaselle assign it to the year 1530, and hold it to be the _Madonna with St

Catherine_, mentioned in a letter of that year written by Giacoa at Mantua Should not this last picture be more properly identified with our own superb _Madonna and Child with St

John and St Catherine_, No 635 in the National Gallery, the style of which, notwithstanding the rather Giorgionesque type of the girlish Virgin, shows further advance in a eneralisation? The latter, as has already been noted, is signed ”Tician”

[42] ”Tizian und Alfons von Este,” _Jahrbuch der Koniglich Preussischen Kunstsaen_, Funfzehnter Band, II Heft, 1894