[94] When in the Martinengo Gallery at Brescia (1640) it bore this name. See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58. [95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis der Caterina Cornaro_." I am informed the original is now in the possession of the German Ambassador at The Hague, and that a plaster cast is at Berlin. [96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtalès acquired this bust at Asolo. [97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901) republished in his _Study and Criticism of Italian Art_, vol. i. p. 85. [98] Titian's posthumous portrait of Caterina is lost. The best known copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the absurdity of regarding this fancy portrait as a true likeness of the long deceased queen. It bears no resemblance whatever to the Buda-Pesth portrait, which is the latest of the group. [99] _Cicerone_, sixth edition. [100] _Gazette des Beaux Arts_, 1897, pp. 278-9. [101] _Venetian Painting at the New Gallery_, 1895, p. 41. [102] _Titian_, ii. 58. [103] _Gazette des Beaux Arts, loc cit_. [104] _Life of Giorgione_. The letters T.V. either were added after 1544, or Vasari did not interpret them as Titian's signature. [105] _La Galleria Crespi, op. cit_. [106] The importance of this portrait in the history of the Renaissance is discussed, _postea_, p. 113. [107] ii. 19. [108] This picture was transferred in 1857 from panel to canvas, but is otherwise in fine condition. [109] Morelli, ii. 19, note. [110] Crowe and Cavalcaselle: _Titian_, p. 425. [111] _Gazette des Beaux Arts_, 1893, p. 135. [112] It is customary to cite the Prague picture of 1525 as his work. The clumsy signature CAM was probably intended for Campi, the real author, and its genuineness is not above suspicion. It is a curious _quid pro quo_. CHAPTER V ADDITIONAL PICTURES OTHER THAN PORTRAITS I have now pointed out six portraits which, in my opinion, should be included in the roll of genuine Giorgiones. No doubt others will, in time, be identified, but I leave this fascinating quest to pass to the consideration of other paintings illustrating a different phase of the master's art.[113]