The Economist schrijft over de verbondenheid tussen hoofd en hart in de portretkunst tijdens de Renaissance:
In the final room Raphael’s revered portrait of Pope Julius II has been hung alongside Titian’s “Pope Paul III Bare-headed” (pictured above), which has been lent by the Museo di Capodimonte in Naples. Pope Julius, wearing crimson velvet and heavy rings, looks old and weary; living evidence that high office and its trappings cannot stop age from doing its worst. Pope Paul, too, is dressed in crimson velvet and also sits looking old and bent. Yet, here, Paul shows a humanity that seems to transcend the depredations of old age, and this Titian outshines every other picture in the room.