See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58.
[95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis
der Caterina Cornaro_." I am informed the original is now in the
possession of the German Ambassador at The Hague, and that a plaster
cast is at Berlin.
[96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtales
acquired this bust at Asolo.
[97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901)
republished in his _Study and Criticism of Italian Art_, vol. i. p. 85.
[98] Titian's posthumous portrait of Caterina is lost. The best known
copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the
absurdity of regarding this fancy portrait as a true likeness of the
long deceased queen. It bears no resemblance whatever to the Buda-Pesth
portrait, which is the latest of the group.
[99] _Cicerone_, sixth edition.
[100] _Gazette des Beaux Arts_, 1897, pp. 278-9.
[101] _Venetian Painting at the New Gallery_, 1895, p. 41.
[102] _Titian_, ii. 58.
[103] _Gazette des Beaux Arts, loc cit_.
[104] _Life of Giorgione_. The letters T.V. either were added after
1544, or Vasari did not interpret them as Titian's signature.
[105] _La Galleria Crespi, op. cit_.
[106] The importance of this portrait in the history of the Renaissance
is discussed, _postea_, p. 113.
[107] ii. 19.
[108] This picture was transferred in 1857 from panel to canvas, but is
otherwise in fine condition.
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