Following an earlier paper, this contribution presents a group of further paintings by Stefano Cernotto. With these new additions, the number of works attributed to him rises to about 50. They further support the idea that the painter was a pupil of Titian, and not a close follower of Bonifacio Veronese, as traditionally believed. In a couple of cases, a date or the period of time in which they were created, is suggested by their features: a canvas in Ottawa with St Sebastian and St Roch may refer to the plague of 1528, whereas another at Woburn Abbey seems to coincide with the ‘Maniera moderna’ coming to Venice from Rome and Florence in 1539–1540.

Of further interest is the fact that we now have a group of copies after Stefano Cernotto, something that earlier seemed inconceivable. The reason for this is that their prototype was a lost painting either by Titian himself (known in 1815 in the famous Albarelli collection in Verona), or by Cernotto, but reputed to be by Titian. This raises the question of the fluctuations of Cernotto’s fame over the centuries, and the degree to which he has been confused with other members of Titian’s workshop.