dulity of St.
Thomas_, by Cima, in the National Gallery, shows, in a much more
perfunctory fashion, a Christ similarly conceived; and the beautiful
_Man of Sorrows_ in the same collection, still nominally ascribed to
Giovanni Bellini, if not from Cima's own hand, is at any rate from that
of an artist dominated by his influence. When the life-work of the
Conegliano master has been more closely studied in connection with that
of his contemporaries, it will probably appear that he owes very much
less to Bellini than it has been the fashion to assume. The idea of an
actual subordinate co-operation with the _caposcuola_, like that of
Bissolo, Rondinelli, Basaiti, and so many others, must be excluded. The
earlier and more masculine work of Cima bears a definite relation to
that of Bartolommeo Montagna.

[17] The _Tobias and the Angel_ shows some curious points of contact
with the large _Madonna and Child with St. Agnes and St. John_ by
Titian, in the Louvre--a work which is far from equalling the S.
Marciliano picture throughout in quality. The beautiful head of the St.
Agnes is but that of the majestic archangel in reverse; the St. John,
though much younger than the Tobias, has very much the same type and
movement of the head. There is in the Church of S. Caterina at Venice a
kind of paraphrase with many variations of the S. Marciliano Titian,
assigned by Ridolfi to the great master himself, but by Boschini to
Santo Zago (Crowe and Cavalcaselle, vol. ii. p. 432). Here the adapter
has ruined Titian's great conception by substituting his own trivial
archangel for the superb figure of the original (see also a modern copy
of this last piece in the Schack Gallery at Munich). A reproduction of
the Titian has for purposes of comparison been placed at the end of the
present monograph (p. 99).

[18] Vasari places the _Three Ages_ after the first visit to Ferrara,
that is almost as much too late as he places the _Tobias_ of S.
Marciliano too early. He describes its subject as "un pastore ignudo ed
una forese chi li porge certi flauti per che suoni."

[19] From an often-cited passage in the _Anonimo_, describing
Giorgione's great _Venus_ now in the Dresden Gallery, in the year 1525,
when it was in the house of Jeronimo Marcello at Venice, we learn that
it was finished by Titian. The text says: "La tela della Venere nuda,
che dorme ni uno paese con Cupidine, fu de mano de Zorzo da
Castelfranco; ma lo paese e Cupidine furono finiti da