[Footnote 60:  Formerly in the collection of the Earl of Dudley, upon the sale of which it was acquired by Mr. Ludwig Mond.  It was in the Venetian exhibition at the New Gallery.  There is an engraving of it by Pieter de Jode, jun.]

[Footnote 61:  This is No. 186 in the catalogue of 1895.  An etching of the picture appeared with an article “Les Ecoles d’Italie au Musee de Vienne,” from the pen of Herr Franz Wickhoff, in the Gazette des Beaux Arts for February 1893.  It was badly engraved for the Teniers Gallery by Lissebetius.]

[Footnote 62:  Now in the Accademia delle Belle Arti of Venice.]

[Footnote 63:  It was the intention of the writer to add to this monograph a short chapter on the drawings of Titian.  The subject is, however, far too vast for such summary treatment, and its discussion must therefore be postponed.  Leaving out of the question the very numerous drawings by Domenico Campagnola which Morelli has once for all separated from those of the greater master, and those also which, while belonging to the same class and period, are neither Titian’s nor even Campagnola’s, a few of the genuine landscapes may be just lightly touched upon.  The beautiful early landscape with a battlemented castle, now or lately in the possession of Mr. T.W.  Russell (reproduction in the British Museum marked 1879-5-10-224) is in the opinion of the writer a genuine Titian. The Vision of St. Eustace, reproduced in the first section of this monograph ("The Earlier Work of Titian”) from the original in the British Museum, is a noble and pathetic example of the earlier manner.  Perhaps the most beautiful of the landscape drawings still preserving something of the Giorgionesque aroma is that with the enigmatic female figure, entirely nude but with the head veiled, and the shepherds sheltering from the noonday sun, which is in the great collection at Chatsworth (No. 318 in Venetian Exhibition at New Gallery).  Later than this is the fine landscape in the same collection with a riderless horse crossing a stream (No. 867 in Venetian Exhibition at New Gallery).  The well-known St. Jerome here given (British Museum) is ascribed by no less an authority than Giovanni Morelli to the master, but the poor quality of the little round trees, and of the background generally, is calculated to give pause to the student.  A good example of the later style, in which the technique is more that of the painter and less that of the draughtsman, is the so-called Landscape with the Pedlar at Chatsworth.  But, faded though it is, the finest extant drawing of the later period is that here (p. 78) for the first time reproduced by the kind permission of the owner, Professor Legros, who had the great good fortune and good taste to discover it in a London book-shop.  There can be no doubt that this ought to be in the Print Room at the British Museum.  A good instance, on the other hand, of a drawing which cannot without demur be left to Titian, though it is a good deal too late in style for Domenico Campagnola, and moreover, much too fine and sincere for that clever, facile adapter of other people’s work, is the beautiful pastoral in the Albertina at Vienna (B. 283), with the shepherd piping as he leads his flock homewards.] INDEX