Tiziano." The
Cupid, irretrievably damaged, has been altogether removed, but the
landscape remains, and it certainly shows a strong family resemblance to
those which enframe the figures in the _Three Ages, Sacred and Profane
Love_, and the "_Noli me tangere_" of the National Gallery. The same
_Anonimo_ in 1530 saw in the house of Gabriel Vendramin at Venice a
_Dead Christ supported by an Angel_, from the hand of Giorgone, which,
according to him, had been retouched by Titian. It need hardly be
pointed out, at this stage, that the work thus indicated has nothing in
common with the coarse and thoroughly second-rate _Dead Christ supported
by Child-Angels,_ still to be seen at the Monte di Pieta of Treviso. The
engraving of a _Dead Christ supported by an Angel_, reproduced in M.
Lafenestre's _Vie et Oeuvre du Titien_ as having possibly been derived
from Giorgione's original, is about as unlike his work or that of Titian
as anything in sixteenth-century Italian art could possibly be. In the
extravagance of its mannerism it comes much nearer to the late style of
Pordenone or to that of his imitators.

[20] _Jahrbuch der Preussischen Kunstsammlungen_, Heft I. 1895.

[21] See also as to these paintings by Giorgione, the _Notizia d' Opere
di Disegno_, pubblicata da D. Jacopo Morelli, Edizione Frizzoni, 1884.

[22] M. Thausing, _Wiener Kunstbriefe_, 1884.

[23] _Le Meraviglie dell' Arte_.

[24] The original drawing by Titian for the subject of this fresco is to
be found among those publicly exhibited at the Ecole des Beaux Arts of
Paris. It is in error given by Morelli as in the Malcolm Collection, and
curiously enough M. Georges Lafenestre repeats this error in his _Vie et
Oeuvre du Titien._ The drawing differs so essentially from the fresco
that it can only be considered as a discarded design for it. It is in
the style which Domenico Campagnola, in his Giorgionesque-Titianesque
phase, so assiduously imitates.

[25] One of the many inaccuracies of Vasari in his biography of Titian
is to speak of the _St. Mark_ as "una piccola tavoletta, un S. Marco a
sedere in mezzo a certi santi."

[26] In connection with this group of works, all of them belonging to
the quite early years of the sixteenth century, there should also be
mentioned an extraordinarily interesting and as yet little known
_Herodias with the head of St. John the Baptist_ by Sebastiano Luciani,
bearing the date 1510. This has recently passed into the rich collec