the portrait of Ariosto attributed to, [69]-[74];
the portrait of Caterina Cornaro (Signor Crespi) attributed to, [74]-[81];
portrait of Prospero Colonna by, [82]-[85];
other portraits now attributed to, [85]-[88];
other romantic pictures attributed to, [89]-[95];
sacred pictures attributed to, [95]-[106];
misapprehension of the critics with regard to, [103];
relation to Sebastiano del Piombo, [106];
his characteristics, [108];
his genius essentially lyrical, [108];