Duke Guidobaldo, while yet but Duke of Camerino, had sat to Titian, and had bought from him the picture of a "Nude Woman" (GRONAU, _op. cit._, p. 95). In March, 1538, he sent a messenger to Venice, who was instructed not to leave the city without them. He got one, but the other had not been delivered in May of that year. The Duke wrote to him to beware lest it passed elsewhere, "for I am resolved to mortgage a part of my property if I cannot obtain it in any other way." This picture was probably the _Venus_ of the Tribune (Uffizi, 1117) who is so like the _Bella_. Now if we are right in supposing the pictures alluded to in the letters--the lady in the blue dress and the nude woman--are the pictures we know (which came from Urbino), it seems obvious that they cannot have been portraits of the Duchess. And, again, we have the Duchess's portrait painted at this time, in which we see a woman of forty-three, which was in truth her age. In June, 1539, Guidobaldo, Duke of Urbino now, received three portraits, of the Emperor, the King of France, and the Turkish Sultan, from Titian. Vasari speaks of them, but they have been lost. In 1542-44 he painted a banner for the Brotherhood of Corpus Domini at Urbino--the Resurrection and the Last Supper. The pictures were shortly afterwards framed, and are now in the Urbino Gallery (10). Then in November, 1546, Duchess Giulia Varana of Urbino writes impatiently to Titian, sending at the same time some sleeves he had asked for, and hoping that he will not delay longer to finish "our portraits" (GRONAU, _op. cit._, p. 99). And letters of Aretino in 1545 confirm the fact that Titian was painting portraits of the Duke and Duchess. Then in February, 1547, one of the courtiers of Urbino sent Titian a dress of the Duchess, adding that "a handsomer one would have been sent if he had not wished for one of crimson or pink velvet"; a damask one was sent of the desired colour. The portrait by Titian in the State Apartments of the Pitti Palace, discovered only a few years ago, is said to be of Catherine de' Medici, by Tintoretto. It is, however, certainly Titian's (GRONAU, _op. cit._, p. 100), and is probably the missing portrait of the Duchess Giulia. It is unfinished, and the dress is of rose colour. It is one of his finest portraits. There were two portraits at least of Guidobaldo by Titian, one of 1538 and one of 1545; one of these is said to have been in Florence in the seventeenth century. Gronau suggests that the "Young Englishman" of the Pitti Gallery (92), the finest portrait even Titian ever painted, may be one of them. But I cannot persuade myself that that figure is other than English. Yet if it be, it might well companion the Bella.