his individuality, [6];
true test of the authenticity of his pictures, [6], [23], [59];
three universally accepted pictures by, [7];
his lyrical quality, [8], [9];
influence of Bellini on, [10], [13], [16], [18], [24], [25], [47], [53], [62];
pictures accepted by Crowe and Cavalcaselle and Morelli, [14];
his freedom from conventionality, [16], [17];
disproportionate sizes of the figures in his pictures, [23];
introduction of the hand in his portraits, [19], [31], [32];