. Probably the most popular
are the Dresden _Venus_, which has only recently been rescued from
Titian and given to its rightful author, and the _Concert_, which you
remember in the Pitti Gallery, Florence, about which there is
considerable dispute, some critics thinking it an early work by Titian."

"Why did the artists not sign their pictures?" rather impatiently
interrupted Malcom.

"Even a signature does not always settle questions," replied his uncle,
"for it is by no means an unknown occurrence for a gallery itself to
christen some doubtful picture. But to go on:--

"In Venice there is but one painting by Giorgione which is undoubtedly
authentic. I will take you to the Giovanelli Palace, where it is. It is
called _Family of Giorgione_. He was fond of introducing three figures
into his compositions,--you remember the Pitti _Concert_,--there are
also three in this Giovanelli picture--a gypsy woman, a child, and a
warrior. The landscape setting is exceedingly beautiful, and the whole
glows with Giorgione's own color.

"About Titian," continued he, "you have read, and can easily read so
much that I shall not talk long. His whole story is like a romance; his
success and fame boundless; his pictures scattered among all important
galleries."

"Has Venice a great many?" queried Malcom.

"No, Venice possesses comparatively few; and, strangely enough, these
are not most characteristic of the painter. His name, you know, is
almost indissolubly connected with noble portraits, magnificent
mythological representations, and those ideal pictures of beautiful
women of which he painted so many, and which wrought such a revolution
in the character of succeeding art. Hardly any of these, though so
entirely in keeping with the brilliant city, are in Venice to-day; we
must go elsewhere, to Madrid, to Paris, Florence, Rome, Dresden, and
Berlin to find them. One mythological picture only, _Venus and Adonis_,
is in the Academy, and one portrait of a Doge, doubtfully ascribed to
Titian, is in the Ducal Palace."

"Then what pictures are here?" asked Bettina, as Mr. Sumner paused.

"His greatest religious paintings, those gorgeous church pictures, most
of which were painted in his youth, are here."

"May I interrupt a moment," queried Barbara, "to ask what you meant when
you said that some of Titian's pictures wrought a revolution in art?"

"This is a good time in which to explain my meaning. Titian's nature was
not devout. You wi