............................... 45

St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49

The Madonna with the Cherries. Imperial Gallery, Vienna............. 51

PAGE
Madonna and Child, with St. John and St. Anthony Abbot. Uffizi Gallery,
Florence......................................................... 53

St. Eustace (or St. Hubert) with the Miracle of the Stag. British
Museum ............................................................ 55

The "Cristo della Moneta." Dresden Gallery......................... 57

Madonna and Child, with four Saints. Dresden Gallery............... 59

A Concert. Probably by Titian. Pitti Palace, Florence.............. 63

Portrait of a Man. Alte Pinakothek, Munich......................... 65

Alessandro de' Medici (so called). Hampton Court................... 67

The Worship of Venus. Prado Gallery, Madrid........................ 71

The Assunta. Accademia delle Belle Arti, Venice.................... 75

The Annunciation. Cathedral at Treviso............................. 79

Bacchus and Ariadne. National Gallery.............................. 81

St. Sebastian. Wing of altar-piece in the Church of SS. Nazzaro e Celso,
Brescia............................................................. 85

La Vierge au Lapin. Louvre......................................... 87

St. Christopher with the Infant Christ. Fresco in the Doge's Palace,
Venice ............................................................ 89

The Madonna di Casa Pesaro. Church of S. Maria dei Frari, Venice... 93

Martyrdom of St. Peter the Dominican............................... 97

Tobias and the Angel. S. Marciliano, Venice........................ 99

THE EARLIER WORK OF TITIAN

INTRODUCTION

There is no greater name in Italian art--therefore no greater in
art--than that of Titian. If the Venetian master does not soar as high
as Leonardo da Vinci or Michelangelo, those figures so vast, so
mysterious, that clouds even now gather round their heads and half-veil
them from our view; if he has not the divine suavity, the perfect
balance, not less of spirit than of answering hand, that makes Raphael
an appearance unique in art, since the palmiest days of Greece; he is
wider in scope, more glowing with the life-blood of humanity, more the
poet-painter of the world and the world's fairest creatures, than any
one of these. Titian is neither the loftiest, the most penetrati