[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 Tiziano.”  The Cupid, irretrievably damaged, has been altogether removed, but the landscape remains, and it certainly shows a strong family resemblance to those which enframe the figures in the Three Ages, Sacred and Profane Love, and the “Noli me tangere” of the National Gallery.  The same Anonimo in 1530 saw in the house of Gabriel Vendramin at Venice a Dead Christ supported by an Angel, from the hand of Giorgone, which, according to him, had been retouched by Titian.  It need hardly be pointed out, at this stage, that the work thus indicated has nothing in common with the coarse and thoroughly second-rate Dead Christ supported by Child-Angels, still to be seen at the Monte di Pieta of Treviso.  The engraving of a Dead Christ supported by an Angel, reproduced in M. Lafenestre’s Vie et Oeuvre du Titien as having possibly been derived from Giorgione’s original, is about as unlike his work or that of Titian as anything in sixteenth-century Italian art could possibly be.  In the extravagance of its mannerism it comes much nearer to the late style of Pordenone or to that of his imitators.

[20] Jahrbuch der Preussischen Kunstsammlungen, Heft I. 1895.

[21] See also as to these paintings by Giorgione, the Notizia d’ Opere di Disegno, pubblicata da D. Jacopo Morelli, Edizione Frizzoni, 1884.

[22] M. Thausing, Wiener Kunstbriefe, 1884.

[23] Le Meraviglie dell’ Arte.

[24] The original drawing by Titian for the subject of this fresco is to be found among those publicly exhibited at the Ecole des Beaux Arts of Paris.  It is in error given by Morelli as in the Malcolm Collection, and curiously enough M. Georges Lafenestre repeats this error in his Vie et Oeuvre du Titien. The drawing differs so essentially from the fresco that it can only be considered as a discarded design for it.  It is in the style which Domenico Campagnola, in his Giorgionesque-Titianesque phase, so assiduously imitates.

[25] One of the many inaccuracies of Vasari in his biography of Titian is to speak of the St. Mark as “una piccola tavoletta, un S. Marco a sedere in mezzo a certi santi.”