though injured portrait—not Alessandro de' Medici—(No. 149) is one of his finest works. With this may be compared the No. 113, indeed a noble face nobly rendered, which is by 'Mary Logan' considered to be a Titian, but which has been identified with a portrait declared in Charles I.'s catalogue to be by Tintoretto. It is a more personal picture, and more advanced in style. Copies or works of his school which are worth consideration are the pretty Holy Family with S. Bridget (No. 79), an exquisite group, of which the original is at Madrid.
Mr. Berenson's new and elaborate book[1]has given a fresh interest to the study of Lorenzo Lotto. He has traced his artistic origin, his history, his development, and the surviving examples of his work, with the patience and the acuteness of a true critic. He places first among the pictures of this master at Hampton Court No. 114, bust of a young man—a full face, personal and expressive, painted when he was still under the influence of Alvise Vivarini. It is certainly one of the finest of his portraits, the pose so striking, the face so firm and unconventional. Interesting though this is, it bears no comparison with the magnificent Andrea Odoni, which is not fully sympathetic perhaps, but in its technical qualities is superb. Many minor masters, who felt the same influence as Lotto, here claim attention—Savoldo, Palma Vecchio (a fine Madonna and Saints, No. 115), and a "Shepherd's Offering" (No. 163), Cariani (No. 135,
- ↑ "Lorenzo Lotto," Putnam, 1896.
