[86] Titian's portrait is not dealt with among the lost portraits taken up in the comprehensive catalogue of Titian's works by Harold E. Wethey, who apparently missed Aretino's reference to it; see The Paintings of Titian: Complete Edition, 2 vols. (New York, 1971), vol. 2, The Portraits. Vasari's portrait did have its genesis in a familial commission, but from Helena's brother Antonio Barozzi. Vasari's notebook records the portrait as follows: "Ricordo come adi 10 di marzo 1542 Messer Andrea Boldu Gentiluomo Venetiano mj allogò dua ritrattj dal mezzo la figura insu[;] uno era Madonna Elena Barozzi et [l'altro era] Messer Angelo suo fratello de qualj ne facemo mercato che fra tuttj dua dovessi avere scudi venti doro cioè scudi 21" (Il libro delle ricordanze di Giorgio Vasari, ed. Alessandro del Vita [Rome, 1938], p. 39).
On sixteenth-century collections that mixed antiques and portraits see, for instance, Logan's description, which matches Toscanella's representation of Zantani: "Two possible ancestors of the Renaissance art collection are the collection of family relics and memorials and the antiquarian collection. The first Venetian family museums in the fifteenth century were . . . of the former kind — collections of arms and banners and other family relics — and doubtless in such shrines to the family lares and penates many sixteenth-century portraits found a natural place. The evidence suggests, however, that the systematic collection of works of art tended to be more closely associated with the collection of antique objects"; see Oliver Logan, Culture and Society in Venice, 1470-1790: The Renaissance and Its Heritage (New York, 1972), p. 153.