of grouping and by
happy moral allusions." Another series is that of the _Miracles of the
Holy Cross_, among which may be especially noticed the cure of a man
possessed by a devil; the scene is laid in the loggia of a Venetian
palace, and is watched from below by a varied group of figures on the
Canal and its banks. Larger and broader treatment may be seen in the
_Presentation in the Temple_, painted in 1510, which is also in the
Academy, and in the altar-piece of _S. Vitale_, dated 1514. This last
brings Carpaccio into closer comparison with the later Venetian
painters, being in the nature of a _Santa Conversazione_, where the holy
personages are grouped in some definite relation to each other, and not
independent figures.

PALMA VECCHIO (1480-1528), so called to distinguish him from Giacomo
Palma the younger--Palma Giovane,--was so much influenced by Giorgione
and Titian that his indebtedness to Bellini appears to have been
comparatively slight. The beautiful _Portrait of a Poet_ in the National
Gallery has been attributed both to Giorgione and to Titian.

The number of pictures which are now permitted by the experts to be
called Giorgione's is so small, that we may learn more about him as an
influence on the work of other painters--especially Titian--than from
the meagre materials available for his own biography. The only
unquestioned examples of his work are three pictures at the Uffizi, _The
Trial of Moses_, _The Judgment of Solomon_, and _The Knight of Malta_;
the _Venus_ at Dresden; _The Three Philosophers_ at Vienna; and the
famous _Concert Champetre_ in the Louvre. But until the critics deprive
him even of these, we are able to agree that "his capital achievement
was the invention of the modern spirit of lyrical passion and romance in
pictorial art, and his magical charm has never been equalled."

II

TIZIANO VECELLIO

TITIAN occupies almost, if not quite, as important a place in the
history of painting as does Shakespeare in that of literature. His fame,
his popularity, the wide range as well as the immense quantity of his
works, entitle him to be ranked with our poet, if only for the

[Illustration: PLATE XIII.--GIORGIONE

VENETIAN PASTORAL

_Louvre, Paris_]

enormous influence they have both exercised on posterity: and without
carrying the parallel farther than the limits imposed by the difference
of their circumstances and their method of expression, it may fairly be
said that Titian, in