The Popes Julius II. (doubtful), Clement VII., Paul III., and Paul IV.

All the Doges of Venice of his time.

Francesco, Duke of Urbino, and his Duchess Eleonora: two wonderful portraits, now in the Florence Gallery.

The Cardinal Ippolito de' Medici: in the Louvre, and in the Pitti Palace.

The Constable de Bourbon.

The famous and cruel Duke of Alva.

Andrea Doria, Doge of Genoa.

Ferdinand Leyva, who commanded at the battle of Pavia.

Alphonso d'Avalos, in the Louvre.

Isabella d'Este, Marchioness of Mantua. Alphonso, Duke of Ferrara, and his first wife Lucrezia Borgia. In the Dresden Gallery there is a picture by Titian, in which Alphonso is presenting his wife Lucrezia to the Madonna.

Cesar Borgia.

Catherine Cornaro, Queen of Cyprus.

The Poet Ariosto: in the Manfrini Palace at Venice.

Bernardo Tasso.

Cardinal Bembo. Cardinal Sforza. Cardinal Farnese.

Count Castiglione.

Pietro Aretino: several times; the finest is at Florence; another at Munich. The engravings

by Bonasone of Aretino and Cardinal Bembo rank among the most exquisite works of art. There are impressions of both in the British Museum. Sansovino, the famous Venetian architect.

The Cornaro family in the possession of the Duke of Northumberland.

Fracastaro, a famous Latin poet.

Irene da Spilemborgo, a young girl who had distinguished herself as a musician, a poetess, and to whom Titian himself had given lessons in painting. She died at the age of eighteen.

Andrea Vesalio, who has been called the father of anatomical science-the particular friend of Titian, and his instructor in anatomy. He was accused falsely of having put a man to death for anatomical purposes, and condemned. Philip II., unwilling to sacrifice so accomplished a man to mere popular prejudice, commuted his punishment to a forced pilgrimage to the Holy Land. He obeyed the sentence; but on his return he was wrecked on the island of Zante, and died there of hunger in 1564. This magnificent portrait, which Titian seems to have painted with enthusiasm, is in the Pitti Palace at Florence.

Titian painted several portraits of himself, but none which represent him young. In the fine portrait at Florence he is about fifty, and in the other known representations he is an old man, with an

aquiline nose and long flowing beard. Of his daughter Lavinia there are many portraits. She was her father's favourite model, being very beautiful in face and form. In a famous picture, now at Berlin, she is represented lifting with both hands a dish filled with fruits. There are four repetitions of this subject: in one the fruits are changed into a casket of jewels; in another she becomes the daughter of Herodias, and the dish bears the head of John the Baptist. All are striking, graceful, full of animation.

The only exalted personage of his time and country whom Titian did not paint was Cosmo I., Grand-Duke of Florence. In passing through Florence, in 1548, Titian requested the honour of painting the Grand-Duke: the offer was declined. It is worthy of remark that Titian had painted, many years before, the father of Cosmo, Giovanni de' Medici, the famous captain of the Bande Neri.

THE VENETIAN PAINTERS OF THE SIXTEENTH CENTURY.

TINTORETTO-PAUL VERONESE-Jacopo

BASSANO.

TITIAN was the last great name of the earlier schools of Italy-the last really great painter which she produced. After him came many who were good artists, excellent artificers; but, compared with the heaven-endowed creators in art-the poet-painters who had gone before them, they were mere mechanics the best of them. No more Raphaels, no more Titians, no more Michelangelos, before whom princes stood uncovered! but very good painters, bearing the same relation to their wondrous predecessors that the poets, wits, and playwrights of Queen Anne's time bore to Shakspere. There was, however, an intervening period between the death of Titian and the foundation of the Caracci school, a sort of interregnum, during which the art of painting sank to the lowest depths of laboured inanity and inflated mannerism. In the middle of the sixteenth century Italy swarmed with painters: these go under the general name of the mannerists, because they all imitated the manner of some one

of the great masters who had gone before them. There were imitators of Michael Angelo, of Raphael, of Correggio:-Vasari and Bronzino, at Florence; the two brothers Taddeo and Federigo Zuccaro, and the Cavalier d'Arpino, at Rome; Federigo Barroccio, of Urbino; Luca Cambiasi, of Genoa; and hundreds of others, who covered with frescoes the walls of villas, palaces, churches, and produced some fine and valuable pictures, and many pleasing and graceful ones, and many more that were mere vapid or exaggerated repetitions of wornout subjects. And patrons were not wanting, nor industry, nor science; nothing but original and elevated feeling-"the inspiration and the poet's dream."

But in the Venetian school still survived this inspiration, this vital and creative power, when it seemed extinct everywhere besides. From 1540 to 1590 the Venetians were the only painters worthy the name in Italy. This arose from the elementary principle early infused into the Venetian artists-the principle of looking to nature, and imitating her, instead of imitating others and one another. Thus as every man who looks to Nature looks at her through his own eyes, a certain degree of individuality was retained even in the decline of the art. There were some who tried to look at nature in the same point of view as Titian, and these are generally included under the general de