e martyred Innocents, the great chariot with
Christ enthroned, drawn by the four Doctors of the Church and impelled
forward by the Emblems of the four Evangelists, with a great company of
Apostles and Martyrs following, has all the vigour and elasticity, all
the decorative amplitude that is wanting in the frescoes of the Santo.
It is obvious that inspiration was derived from the _Triumphs_ of
Mantegna, then already so widely popularised by numerous engravings.
Titian and those under whose inspiration he worked here obviously
intended an antithesis to the great series of canvases presenting the
apotheosis of Julius Caesar, which were then to be seen in the not far
distant Mantua. Have we here another pictorial commentary, like the
famous _Cristo detta Moneta,_ with which we shall have to deal
presently, on the "Quod est Caesaris Caesari, quod est Dei Deo," which
was the favourite device of Alfonso of Ferrara and the legend round his
gold coins? The whole question is interesting, and deserves more careful
consideration than can be accorded to it on the present occasion. Hardly
again, until he reached extreme old age, did such an impulse of sacred
passion colour the art of the painter of Cadore as here. In the earlier
section of his life-work the _Triumph of Faith_ constitutes a striking
exception.

[Illustration: _St. Anthony of Padua causing a new-born Infant to speak.
Fresco in the Scuola del Santo, Padua. From a Photograph by Alinari_.]

Passing over, as relatively unimportant, Titian's share in the
much-defaced fresco decorations of the Scuola del Carmine, we come now
to those more celebrated ones in the Scuola del Santo. Out of the
sixteen frescoes executed in 1510-11 by Titian, in concert with Domenico
Campagnola and other assistants of less fame, the following three are
from the brush of the master himself:--_St. Anthony causes a new-born
Infant to speak, testifying to the innocence of its Mother; St. Anthony
heals the leg of a Youth; A jealous Husband puts to death his Wife, whom
the Saint afterwards restores to life._ Here the figures, the
composition, the beautiful landscape backgrounds bear unmistakably the
trace of Giorgione's influence. The composition has just the timidity,
the lack of rhythm and variety, that to the last marks that of
Barbarelli. The figures have his naive truth, his warmth and splendour
of life, but not his gilding touch of spirituality to lift the
uninspiring subjects a little above the