Next to these paintings, and certainly several years before the _Three Ages_ and the _Sacred and Profane Love_, the writer is inclined to place the _Bishop of Paphos (Baffo) recommended by Alexander VI. to St. Peter_, once in the collection of Charles I.[11] and now in the Antwerp Gallery. The main elements of Titian's art may be seen here, in imperfect fusion, as in very few even of his early productions. The not very dignified St. Peter, enthroned on a kind of pedestal adorned with a high relief of classic design, of the type which we shall find again in the _Sacred and Profane Love_, recalls Giovanni Bellini, or rather his immediate followers; the magnificently robed Alexander VI. (Rodrigo Borgia), wearing the triple tiara, gives back the style in portraiture of Gentile Bellini and Carpaccio; while the kneeling Jacopo Pesaro--an ecclesiastic in tonsure and vesture, but none the less a commander of fleets, as the background suggests--is one of the most characteristic portraits of the Giorgionesque school. Its pathos, its intensity, contrast curiously with the less passionate absorption of the same _Baffo_ in the renowned _Madonna di Casa Pesaro_, painted twenty-three years later for the family chapel in the great Church of the Frari. It is the first in order of a great series, including the _Ariosto_ of Cobham, the _Jeune Homme au Gant_, the _Portrait of a Man_ in the Alte Pinakothek of Munich, and perhaps the famous _Concert_ of the Pitti, ascribed to Giorgione. Both Crowe and Cavalcaselle and M. Georges Lafenestre[12] have called attention to the fact that the detested Borgia Pope died on the 18th of August 1503, and that the work cannot well have been executed after that time. He would have been a bold man who should have attempted to introduce the portrait of Alexander VI. into a votive picture painted immediately after his death! How is it possible to assume, as the eminent critics do nevertheless assume, that the _Sacred and Profane Love_, one of the masterpieces of Venetian art, was painted one or two years earlier still, that is, in 1501 or, at the latest, in 1502? Let it be remembered that at that moment Giorgione himself had not fully developed the Giorgionesque. He had not painted his Castelfranco altar-piece, his _Venus_, or his _Three Philosophers (Aeneas, Evander, and Pallas)_. Old Gian Bellino himself had not entered upon that ultimate phase of his art which dates from the great S. Zaccaria altar-piece finished in 1505.[13]