A number of fine portraits must of necessity be passed over in these remarks. The superb if not very well-preserved Antonio Portia, within the last few years added to the Brera, dates back a good many years from this time. Then we have, among other things, the Benedetto Varchi and the Fabrizio Salvaresio of the Imperial Museum at Vienna—the latter bearing the date 1558. The writer is unable to accept as a genuine Titian the interesting but rather matter-of-fact Portrait of a Lady in Mourning, No. 174 in the Dresden Gallery. The master never painted with such a lack of charm and distinction. Very doubtful, but difficult to judge in its present state, is the Portrait of a Lady with a Vase, No. 173 in the same collection. Morelli accepts as a genuine example of the master the Portrait of a Lady in a Red Dress also in the Dresden Gallery, where it bears the number 176. If the picture is his, as the technical execution would lead the observer to believe, it constitutes in its stiffness and unambitious naïveté a curious exception in his long series of portraits.
It is impossible to discuss here the atelier repetitions in the collections of the National Gallery and Lord Wemyss respectively, or the numerous copies to be found in other places.
For the full text of the marriage contract see Giovanni Morelli, Die Galerien zu München und Dresden, pp. 300-302.