"Titian was visited on a certain occasion by a company of German travellers, who were allowed to look at the pictures which his studio contained. On being asked what impression these works conveyed, these gentlemen declared that they only knew of one master capable of finishing as they thought paintings ought to be finished, and that was Dürer; their impression being that Venetian compositions invariably fell below the promise which they had given at their first commencement. "To these observations Titian smilingly replied, that if he had thought extreme finish to be the end and aim of art, he too would have fallen into the excesses of Dürer. But, though long experience had taught him to prefer a broad and even track to a narrow and intricate path, yet he would still take occasion to show that the subtlest detail might be compassed without sacrifice of breadth; and so produced the Christ of the Tribute Money." Crowe and Cavalcaselle say, "Vasari reflects an opinion which holds to this day, that the 'head of Christ is stupendous and miraculous.'" It was considered by all the artists of his time as the most perfect and best handled of any that Titian ever produced; but for us it has qualities of a higher merit than those of mere treatment. Single as the subject is, the thought which it embodies is very subtle. "Christ turns towards the questioning Pharisee, and confirms with his eye the gesture of his hand, which points to the coin. His face is youthful, its features and short curly beard are finely framed in a profusion of flowing locks. The Pharisee to the right stands in profile before Jesus, holds the coin, and asks the question. The contrast is sublime between the majestic calm and elevation and what Inandt calls the 'Godlike beauty' of Christ, and the low cunning and coarse air of the Pharisee; between the delicate chiselling of the features, the soft grave eye and pure-cut mouth of the Saviour, and the sharp aquiline nose or the crafty glance of the crop-haired, malignant Hebrew.... "The form of Christ was never conceived by any of the Venetians of such ideal beauty as this. Nor has Titian ever done better; and it is quite certain that no one, Titian himself included, within the compass of the North Italian schools, reproduced the human shape with more nature and truth, and with greater delicacy of modelling. Amidst the profusion of locks that falls to Christ's shoulders, there are ringlets of which we may count the hairs, and some of these are so light that they seem to float in air, as if ready to wave at the spectator's breath. Nothing can exceed the brightness and sheen or the transparent delicacy of the colors. The drapery is admirable in shade and fold, and we distinguish with ease the loose texture of the bright red tunic, and that of the fine broadcloth which forms the blue mantle. The most perfect easel picture of which Venice ever witnessed the production, this is also the most polished work of Titian."