The _Madonna and Child, with St. Catherine (? St. Agnes), and St. John the Baptist as a Child_ (No. 1579), which has been enlarged by the addition of a strip of canvas down the left side, contains a glimpse of the country near Pieve di Cadore, the native place of Titian. Fourteen of the twenty pictures here officially credited to him are to be regarded as authentic. Polidoro Lanzani (1515?-1565), an imitator of Titian, however, painted the _Holy Family with St. John the Baptist_ (No. 1580), and the _Holy Family and Saints_ (No. 1596) in the La Caze Room; while Andrea Meldolla (Schiavone), who was a pupil of Titian, no doubt executed the _Ecce Homo_ (No. 1582) credited to the great Venetian artist, as well as the _St. John the Baptist_ (No. 1524) which is rightly assigned to him. The German painter Johan Stephan von Calcar, who to Italian biographers is known as Giovanni Calcar (1499-1546), was a pupil of Titian. He painted the imposing _Portrait of a Man_ (No. 1185). He is seen at half length standing, and holding a letter in his right hand; his left hand to his waist. On a column in the background is painted the coat of arms, reputed to be that of the Buono family of Venice, which is repeated on the bezel of the ring on the forefinger of his left hand. Below his right hand is the inscription: ANNO 1540 ÆTATIS 26. Paris Bordone (1500-1570), who “painted women with more of an eye on the fashion-plate than on the expression of their features,” is not the author of a _Portrait of a Lady_ (No. 1180A), nor of the _Portrait of a Man and a Child_ (No. 1180), which seems to be a Flemish rather than a Venetian picture. His _Vertumnus and Pomona_ (No. 1178) is less representative than his _Portrait_ (so called) _of Jeronimo Croft_ (No. 1179). It takes its title from the inscription, “_Spss. Domino Jeronimo Crofft ... Magior suo semper obsero ... Augusta_,” which is written on the letter held in the right hand. The last dying echo of the “fire” and poetry of Giorgione is seen in some of the works of Bonifazio Veronese (1487-1553), who was also a pupil of Palma. Bonifazio is now regarded as a single individual, although formerly the varying differences in his style of painting led certain critics to regard him as three different members of the same family. The varied grouping seen in the large canvas entitled _Holy Family, with St. Francis, St. Anthony, St. Mary Magdalene, St. Elizabeth, and St. John the Baptist_ (No. 1171), and the colouring of this canvas, seem to prove its authenticity. The smaller picture of a _Holy Family_ (No. 1172), with a similar pedigree and a Greek inscription, which includes the same saints, is a mediocre work. The _Madonna and Child, with St. Joseph, St. John the Baptist, St. Paul, and St. Ursula_ (No. 1674D) is a poor picture.