al tomb opposite Titian's that was
designed to hold his remains. It is now the tomb of Canova. Why it was
not put to its maker's purpose, I do not know, but to my mind it is a
far finer thing than the Titian monument and worthier of Titian than of
Canova, as indeed Canova would have been the first to admit. But there
was some hitch, and the design was laid in a drawer and not taken out
again until Canova died and certain of his pupils completed it for
himself. Canova was not a Venetian by birth. He was born at Passagno,
near Asolo, in 1757, and was taught the elements of art by his
grandfather and afterwards by a sculptor named Torretto, who recommended
him to the Falier family as a "phenomenon". The Faliers made him their
protege, continued his education in Venice, and when the time was ripe
sent him to Rome, the sculptors' Mecca. In Rome he remained practically
to the end of his life, returning to Venice to die in 1822. It is
possible not too highly to esteem Canova's works, but the man's career
was marked by splendid qualities of industry and purpose and he won
every worldly honour. In private life he practised unremittingly that
benevolence and philanthropy which many Italians have brought to a fine
art.

It is these two tombs which draw most visitors to the Frari; but there
are two pictures here that are a more precious artistic possession. Of
these let us look first at Bellini's altar-piece in the Sacristy. This
work represents the Madonna enthroned, about her being saints and the
little angelic musicians of whom Bellini was so fond. In this work these
musicians are younger than usual; one pipes while the other has a
mandolin. Above them is the Madonna, grave and sweet, with a resolute
little Son standing on her knee. The venerable holy men on either side
have all Bellini's suave benignancy and incapacity for sin: celestial
grandfathers. The whole is set in a very splendid frame. I give a
reproduction opposite page 252, but the colour cannot be suggested.

The other great Frari picture--stronger than this but not more
attractive--is the famous Titian altar-piece, the "Pesaro Madonna". This
is an altar-piece indeed, and in it unite with peculiar success the
world and the spirit. The picture was painted for Jacopo Pesaro, a
member of a family closely associated with this church, as the tombs
will show us. Jacopo, known as "Baffo," is the kneeling figure, and, as
his tonsure indicates, a man of God. He was in fact B