[32] Among other notable portraits belonging to this early period, but to which within it the writer hesitates to assign an exact place, are the so-called _Titian's Physician Parma_, No. 167 in the Vienna Gallery; the first-rate _Portrait of a Young Man_ (once falsely named _Pietro Aretino_), No. 1111 in the Alte Pinakothek of Munich; the so-called _Alessandro de' Medici_ in the Hampton Court Gallery. The last-named portrait is a work injured, no doubt, but of extraordinary force and conciseness in the painting, and of no less singular power in the characterisation of a sinister personage whose true name has not yet been discovered. [33] The fifth _Allegory_, representing a sphinx or chimaera--now framed with the rest as the centre of an ensemble--is from another and far inferior hand, and, moreover, of different dimensions. The so-called _Venus_ of the Imperial Gallery at Vienna is, notwithstanding the signature of Bellini and the date (MDXV.), by Bissolo. [34] In Bellini's share in the landscape there is not a little to remind the beholder of the _Death of St. Peter Martyr_ to be found in the Venetian room of the National Gallery, where it is still assigned to the great master himself, though it is beyond reasonable doubt by one of his late pupils or followers. [35] The enlarged second edition, with the profile portrait of Ariosto by Titian, did not appear until 1532. Among the additions then made were the often-quoted lines in which the poet, enumerating the greatest painters of the time, couples Titian with Leonardo, Andrea Mantegna, Gian Bellino, the two Dossi, Michelangelo, Sebastiano, and Raffael (33rd canto, 2nd ed.). [36] [Greek: Philostratou Eikonon Erotes.] [37] Let the reader, among other things of the kind, refer to Rubens's _Jardin à Amour_, made familiar by so many repetitions and reproductions, and to Van Dyck's _Madone aux Perdrix_ at the Hermitage (see Portfolio: _The Collections of Charles I._). Rubens copied, indeed, both the _Worship of Venus_ and the _Bacchanal_, some time between 1601 and 1608, when the pictures were at Rome. These copies are now in the Museum at Stockholm. The realistic vigour of the _Bacchanal_ proved particularly attractive to the Antwerp master, and he in more than one instance derived inspiration from it. The ultra-realistic _Bacchus seated on a Barrel_, in the Gallery of the Hermitage at St. Petersburg, contains in the chief figure a pronounced reminiscence of Titian's picture; while the unconventional attitude of the amorino, or Bacchic figure, in attendance on the god, is imitated without alteration from that of the little toper whose action Vasari so explicitly describes. [38] Vasari's simple description is best: "Una donna nuda che dorme, tanto bella che pare viva, insieme con altre figure." [39] Moritz Thausing's _Albrecht Dürer_, Zweiter Band, p. 14. [40] Crowe and Cavalcaselle, _Life and Times of Titian_, vol. i. p. 212.