Herr Wickhoff[111] goes a step further. He says: "Un autre portrait qui porte le nom de Titien est également l'une des oeuvres les plus remarquables du Musée. On prétend qu'il représente le 'Médecin du Titien, Parma'; mais c'est là une pure invention, imaginée par un ancien directeur du Musée, M. Rosa, et admise de confiance par ses successeurs. M. Rosa avait été amené à la concevoir par la lecture d'un passage de Ridolfi. Le costume suffirait à lui seul, pourtant, pour la démentir: c'est le costume officiel d'un sénateur vénitien, et qui par suite ne saurait avoir été porté par un médecin. Le tableau est incontestablement de la même main que les deux 'Concerts' du Palais Pitti et du Louvre, qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux tableaux au Giorgione, c'est à lui aussi qu'il faut attribuer le portrait de Vienne; si, comme feu Morelli, on attribue le tableau du Palais Pitti au Titien, il faut approuver l'attribution actuelle de notre portrait au même maître." I am glad that Herr Wickhoff recognises the same hand in all three works. I am sorry that in his opinion this should be Domenico Campagnola's. I have already referred to this opinion when discussing the Louvre "Concert," and must again emphatically dissent from this view. Campagnola, as I know him in his pictures and frescoes at Padua,--the only authenticated examples by which to judge him,[112]--was utterly inadequate to such tasks. The grandeur and dignity of the Vienna portrait is worthy of Titian, whose virility Giorgione more nearly approaches here than anywhere else. But I agree with the verdict of Crowe and Cavalcaselle that his is not the hand that painted it, and believe that the author of the Temple Newsam "Man" also produced this portrait, probably a few years later, at the close of his career. NOTES: [85] Or "points" (_punte_). The translation is that used by Blashfield and Hopkins, vol. iv. 260. [86] Assuming he was born in 1477, which is by no means certain. [87] Dr. Richter in the _Art Journal_, 1895, p. 90. Mr. Claude Phillips, in his _Earlier Work of Titian_, p. 58, note, objects that Vasari's "giubone di raso inargentato" is not the superbly luminous steel-grey sleeve of this "Ariosto," but surely a vest of satin embroidered with silver. I think we need not examine Vasari's casual descriptions quite so closely; "a doublet of silvered satin wherein the stitches could be counted" is fairly accurate. "Quilted sleeves" would no doubt be the tailor's term. [88] It is not quite clear whether the single letter is F or T. [89] A curious fact, which corroborates my view, is that the four old copies which exist are all ascribed to Giorgione (at Vicenza, Brescia, and two lately in English collections). See Crowe and Cavalcaselle, p. 201. [90] Gronau: _Tizian_, p. 21. [91] See, however, note on p. 133. [92] _La Galleria Crespi_. [93] The documents quoted by Signor Venturi show the signature was there in 1640.