To this figure of Sacred Love, into which the young painter evidently put his heart, he gave the beautiful and half-pensive face of Violante. Did he intend thus to immortalize her, while he immortalized himself? Very likely. "Sated (Profane) Love sits to the left, her back resolutely turned towards Cupid, her face determined, haughty, but serene; her charms veiled in splendid dress, her very hands concealed in gloves.... A plucked rose fades unheeded by the sated one's side, and a lute lies silent under her elbow.... She seems so grand in her lawns and silks; her bosom is fringed with such delicate cambric; her waist and skirt, so finely draped in satin of gray reflexes; the red girdle, with its jewelled clasp, the rich armlets, the bunch of roses in her gloved hand, all harmonize so perfectly." For the next six or seven years, while Venice was engaged in wars with the French and the Turks, little is known of the young Titian, save that he must have been growing in fame, as he painted the picture of the infamous Cæsar Borgia, the son of Pope Alexander VI., Jacopo da Pesaro, Bishop of Paphos, who had charge of the Papal squadron against the Turks, and other paintings, now lost. The picture of Pesaro was owned by Charles I. of England. In 1825 William I., King of the Netherlands, presented it to the city of Antwerp, where it is highly prized. In 1507 the State of Venice engaged Giorgione to fresco the new Fondaco de' Tedeschi, a large public structure for the use of foreign merchants, which had two halls, eighty rooms, and twenty-six warehouses. A portion of this work was transferred to Titian. Above the portal in the southern face of the building, Titian painted a "Judith," the figure of a woman seated on the edge of a stone plinth, in front of a stately edifice. In her right hand she waves a sword, while with her left foot she tramples on a lifeless head. Two other grand frescos were painted by him, all now despoiled by the northern or "Tramontana" winds. Says one writer, "Whilst Giorgione showed a fervid and original spirit, and opened up a new path, over which he shed a light that was to guide posterity, Titian exhibited in his creations a grander but more equable genius, leaning at first, indeed, on Giorgione's example, but expanding, soon after, with such force and rapidity as to place him in advance of his rival, on an eminence which no later craftsman was able to climb. Titian was characterized by this, that he painted flesh in which the blood appeared to mantle, whilst the art of the painter was merged in the power of a creator.