ensions are 0.19 _c._ by 0.15 _c._]

[Footnote 25: Of all Pordenone's exterior decorations executed in Venice
nothing now remains. His only works of importance in the Venetian
capital are the altar-piece in S. Giovanni Elemosinario already
mentioned; the _San Lorenzo Giustiniani_ altar-piece in the Accademia
delle Belle Arti; the magnificent though in parts carelessly painted
_Madonna del Carmelo_ in the same gallery; the vast _St. Martin and St.
Christopher_ in the church of S. Rocco; the _Annunciation_ of S. Maria
degli Angeli at Murano.]

[Footnote 26: No. 108 in the Winter Exhibition at Burlington House in
1896. By Franceschini is no doubt meant Paolo degli Franceschi, whose
portrait Titian is known to have painted. He has been identified among
the figures in the foreground of the _Presentation of the Virgin_.]

[Footnote 27: See a very interesting article, "Vittore Carpaccio--La
Scuola degli Albanesi," by Dr. Gustav Ludwig, in the _Archivio Storico
dell' Arte_ for November-December 1897.]

[Footnote 28: A gigantic canvas of this order is, or rather was, the
famous _Storm_ of the Venetian Accademia, which has for many years past
been dubitatively assigned to Giorgione. Vasari described it as by Palma
Vecchio, stating that it was painted for the Scuola di S. Marco in the
Piazza SS. Giovanni e Paolo, in rivalry with Gian Bellino(!) and
Mansueti, and referring to it in great detail and with a more fervent
enthusiasm than he accords to any other Venetian picture. To the writer,
judging from the parts of the original which have survived, it has long
appeared that this may indeed be after all the right attribution. The
ascription to Giorgione is mainly based on the romantic character of the
invention, which certainly does not answer to anything that we know from
the hand or brain of Palma. But then the learned men who helped
Giorgione and Titian may well have helped him; and the structure of the
thick-set figures in the foreground is absolutely his, as is also the
sunset light on the horizon.]

[Footnote 29: This is an arrangement analogous to that with the aid of
which Tintoretto later on, in the _Crucifixion_ of San Cassiano at
Venice, attains to so sublime an effect. There the spears--not
brandished but steadily held aloft in rigid and inflexible
regularity--strangely heighten the solemn tragedy of the scene.]

[Footnote 30: Crowe and Cavalcaselle, _Life of Titian_, vol. vi. p. 59.]

[Footnote 31: The writer is