ot, or at least did not appear to have
been executed by his hand, he was so much irritated that, in a fit of
senile indignation, he seized his pencil and inscribed upon it,
'Tizianus fecit, fecit.' Still the most experienced judges are agreed
that much may be learned, even from his latest works, in the same manner
as the poets pronounce judgment upon the Odyssey, the product of old
age, but still by Homer."

MONUMENT TO TITIAN.

A monument to Titian, from the studio of the brothers Zandomenghi, was
erected in Venice in 1852; and the civil, ecclesiastical, and military
authorities were present at the ceremony of inauguration. It represents
Titian, surrounded by figures impersonating the Fine Arts; below are
impersonations of the fifteenth and nineteenth centuries. The basement
is adorned with five bas-reliefs, representing as many celebrated
paintings by the great artist.

HORACE VERNET.

Among all the artists of our day, is one standing almost alone, and
singularly characterized in many respects. He is entirely wanting in
that lofty religious character which fills with pureness and beauty the
works of the early masters; he has not the great and impressive
historical qualities of the school of Raffaelle, nor the daring
sublimity of Michael Angelo; he has not the rich luxury of color that
renders the works of the great Venetians so gorgeous, nor even that sort
of striking reality which makes the subjects rendered by the Flemish
masters incomparably life-like. Yet he is rich in qualities deeply
attractive and interesting to the people, especially the French people,
of our own day. He displays an astonishing capacity and rapidity of
execution, an almost unparalleled accuracy of memory, a rare life and
motion on the canvass, a vigorous comprehension of the military tactics
of the time, a wonderful aptitude at rendering the camp and field potent
subjects for the pencil, notwithstanding the regularity of movement,
and the unpicturesque uniformity of costume demanded by the military
science of our day. Before a battle-piece, of Horace Vernet (and only
his battle-pieces are his masterpieces), the crowd stands breathless and
horrified at the terrible and bloody aspect of war; while the military
connoisseur admires the ability and skill of the feats of arms, so
faithfully rendered that he forgets he is not looking at real soldiers
in action. In the landscapes and objects of the foreground or
background, there are not that