, painted
an Angel Raphael with Tobias and a dog in the Church of S. Marziliano,
with a distant landscape, where, in a little wood, S. John the Baptist
is praying on his knees to Heaven, whence comes a radiance that
illumines him; and this work it is thought that he executed before he
made a beginning with the facade of the Fondaco de' Tedeschi.
Concerning which facade, many gentlemen, not knowing that Giorgione
was not working there any more and that Tiziano was doing it, who had
uncovered one part, meeting with Giorgione, congratulated him in
friendly fashion, saying that he was acquitting himself better in the
facade towards the Merceria than he had done in that which is over the
Grand Canal. At which circumstance Giorgione felt such disdain, that
until Tiziano had completely finished the work and it had become well
known that the same had done that part, he would scarcely let himself
be seen; and from that time onward he would never allow Tiziano to
associate with him or be his friend.

[Illustration: BACCHANAL

(_After the painting by =Tiziano=. Madrid: The Prado_)

_Anderson_]

In the year after, 1508, Tiziano published in wood-engraving the
Triumph of Faith, with an infinity of figures; our first Parents, the
Patriarchs, the Prophets, the Sibyls, the Innocents, the Martyrs, the
Apostles, and Jesus Christ borne in Triumph by the four Evangelists
and the Four Doctors, with the Holy Confessors behind. In that work
Tiziano displayed boldness, a beautiful manner, and the power to work
with facility of hand; and I remember that Fra Sebastiano del Piombo,
conversing of this, said to me that if Tiziano had been in Rome at
that time, and had seen the works of Michelagnolo, those of Raffaello,
and the ancient statues, and had studied design, he would have done
things absolutely stupendous, considering the beautiful mastery that
he had in colouring, and that he deserved to be celebrated as the
finest and greatest imitator of Nature in the matter of colour in our
times, and with the foundation of the grand method of design he might
have equalled the Urbinate and Buonarroti. Afterwards, having gone to
Vicenza, Tiziano painted the Judgment of Solomon in fresco, which was
a beautiful work, under the little loggia where justice is
administered in public audience. He then returned to Venice, and
painted the facade of the Grimani. At Padua, in the Church of S.
Antonio, he executed likewise in fresco some stories of the action