[Footnote 232: The style of Aretino was often rugged, wayward, and unintelligible, like his character. He seems to imagine that, of the three batons placed behind the Duke, one, bearing acorns and oak leaves, alludes to his successful campaigns on his own account, for recovery of his states. _Lettere Pittoriche_, I., App. No. 29. The force of colour peculiar to this, above all Titian's works, cannot be fully given by the burin, especially not by the _mezza macchia_ style in which it has been engraved for this volume. Our frontispiece, though accurate as a likeness, is accordingly among the least effective illustrations in our work. No other original portrait of the Duke has fallen under my observation; and if the slight youthful figure introduced by Raffaele into the Disputa and School of Athens really was meant for him, no resemblance can be traced in it.] [Illustration: _Anderson_ THE VENUS OF URBINO _Supposed portrait of the Duchess Leonora, after the picture by Titian in the Uffizi Gallery, Florence. Once in the Ducal Collection_] The other sonnet, descriptive of Leonora's likeness, alludes to the master's harmonious tints as figuring varied charms met in her character, such as humility of disposition, decorum in dress and manners, sustained by a dignified expression. In her features, beauty united with modesty, a rare combination; and grace was enthroned on her eyebrows. Prudence presided over her becoming silence, and other excellent qualities marvellously adorned her forehead. Nor are these praises exaggerated. Those who attentively observe this portrait in the Uffizi Gallery will readily acknowledge that, although, perhaps, more elaborated in its details than any other from the master's hand, his pencil never attained greater breadth, nor embodied high art in more severe character.[233] [Footnote 233: The _zebellino_ on the Duchess's knee was the fashionable bag or reticule of that day, made of an entire sable-skin, the animal's head, richly jewelled, forming its clasp. Giulia della Rovere d'Este commissioned such a one from a jeweller at Bologna in 1555, and paid him forty-six dollars to account.]