Truth, it appears, rather than embellishment, was sought for in the portraits of those days. Titian’s portrait of Paul III. is executed with uncompromising accuracy. The figure is diminutive and decrepit, but the eyes have a look of penetrating sagacity. His Holiness was greatly pleased with it; and, as a mark of his favour, made offer to the artist of a valuable situation in a public department; which Titian declined, upon finding that his emoluments were to be deducted from the income of those who already held possession of it. He obtained, however, the promise of a benefice for his son Pomponio. Aretine thought his friend illiberally treated by Paul, and did not scruple to publish his opinion on the subject. In 1545, when the Venetian Senate was compelled by the public exigencies to lay a general tax on the city, Titian was the only person exempted from the impost,—a noble homage to genius, which attests at once the liberality and the wisdom of that government. In this year, Titian having completed his engagements with the Duke of Urbino, and being, through the Cardinal Farnese, again invited to Rome, determined on a visit to that city; and he set out, accompanied by his son Orazio, several pupils, and a considerable number of domestics. He was received at Urbino by the Duke Guidobaldo II., and splendidly entertained for some days. On his departure, the Duke accompanied him from Urbino to Pesaro, and from thence sent forward with him a suite of horses and servants, as far as the gates of Rome. Here he was greeted with corresponding honours, and lodged in the Belvedere Palace. Vasari was, at this time, in the employment of Cardinal Farnese, and had the gratification of attending the great artist about the city. Titian was now engaged to paint a whole length portrait of Paul III., with the Cardinal Farnese and Duke Ottavio in one group. This picture is at present in the Museo Borbonico; and is a fine example of that highest style of portrait painting, which is scarce less difficult, or less elevated as a branch of art, than historical composition. An “Ecce homo,” painted at the same time, does not appear to have excited that admiration which his works usually obtained. The taste of the Roman artists and connoisseurs had been formed on the severe examples of Michael Angelo, Raphael, Polidoro, and others; so that the style of Titian was tried by a new and conventional standard, to which it was not fairly amenable. It was insinuated that his chief excellence lay in portrait-painting. Vasari relates that, in company with Michael Angelo, he made a visit to Titian at the Belvedere, and found him employed on the celebrated picture of Danae. Michael Angelo bestowed high commendations on it; but, as they went away, remarked to Vasari on Titian’s inaccurate style of design, observing, that if he had received his elementary education in a better school, his works would have been inimitable. Nothing, perhaps, has tended more than this anecdote to give