HERBERT COOK.
NOTES:
[148] The picture now hangs in the Academia at Venice.
[149] e.g. the "Sacred and Profane Love" (so-called) in the Borghese
Gallery; the "S. Mark" of the Salute; the "Concert" in the Pitti; the
"Tribute Money" at Dresden; the "Madonna of the Cherries" at Vienna,
etc., which one or other of his biographers assign to the years
1500-1510.
[150] _The Life and Times of Titian_, 2 vols., 1881.
[151] _The Earlier and Later Work of Titian. Portfolio_, October 1897
and July 1898.
[152] _Tizian_. Berlin, 1901.
[153] _La Vie et l'Oeuvre de Titien_: Paris, 1886.
[154] See Crowe and Cavalcaselle: _Titian_, i. 85. The fact that
Titian's name does not occur in these records is curious and suggestive.
[155] Ed. _Sansoni_, p. 459. The translation is that of Blashfield and
Hopkins. Bell, 1897.
[156] _Ibid_. p. 425.
[157] _Ibid_. p. 428.
[158] The translation is that of Crowe and Cavalcaselle. _Titian_, ii.
391. The original is given by them at p. 538.
[159] Quoted from Crowe and Cavalcaselle.
[160] Crowe and Cavalcaselle. _Titian_, ii. 409.
[161] There is a collection of these in a volume in the British Museum.
[162] Before the discovery of the letter to Philip, Messrs. Crowe and
Cavalcaselle were quite prepared to admit that Titian was born "after
1480" (vide _N. Italian Painting_, ii. 119, 120). Unfortunately, they
took the evidence of the letter as final, but finding themselves
chronologically in difficulties, they shrewdly remark in their _Titian_,
i.
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