Tradition is herein also perfectly
consistent, and tradition has in each case a plausible signature to
support it. The TITIANVS F. of the former portrait is paralleled by the
T.V.--i.e. Titianus Vecellio, or Titianus Veneziano of the latter.[91] I
have already dealt at some length with the question of the former
signature, which appears to have been added actually during Titian's
lifetime; in the present instance the letters appear almost, if not
quite, coeval with the rest of the painting, and were undoubtedly
intended for Titian's signature. The cases, therefore, are so far
parallel, and the question naturally arises, Did Titian really have any
hand in the painting of this portrait? Signor Venturi[92] strongly
denies it; to him the T.V. matters nothing, and he boldly proclaims
Licinio the author.
I confess the matter is not thus lightly to be disposed of; there is no
valid reason to doubt the antiquity of the inscription, which, on the
analogy of the Cobham Hall picture, may well have been added in
Titian's own lifetime, and for the same reason that I there
suggested--viz. that Titian had in some way or other a hand in the
completion, or may be the alteration, of his deceased master's work.[93]
For it is my certain conviction that the painter of the Crespi "Lady" is
none other than Giorgione himself.
Before, however, discussing the question of authorship, it is a matter
of some moment to be able to identify the lady represented.
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