Soldier_[1] in the Giovanelli Palace at Venice, and the so-called _Three Philosophers_ in the Imperial Gallery at Vienna--has in it still a slight flavour of the ripe archaic just merging into full perfection. It was reserved for Titian to give in his early time the fullest development to the Giorgionesque landscape, as in the _Three Ages_ and the _Sacred and Profane Love_. Then all himself, and with hardly a rival in art, he went on to unfold those radiantly beautiful prospects of earth and sky which enframe the figures in the _Worship of Venus_, the _Bacchanal_, and, above all, the _Bacchus and Ariadne_; to give back his impressions of Nature in those rich backgrounds of reposeful beauty which so enhance the finest of the Holy Families and Sacred Conversations. It was the ominous grandeur of the landscape in the _St. Peter Martyr_, even more than the dramatic intensity, the academic amplitude of the figures, that won for the picture its universal fame. The same intimate relation between the landscape and the figures may be said to exist in the late _Jupiter and Antiope (Venere del Pardo)_ of the Louvre, with its marked return to Giorgionesque repose and Giorgionesque communion with Nature; in the late _Rape of Europa_, the bold sweep and the rainbow hues of the landscape in which recall the much earlier _Bacchus and Ariadne_. In the exquisite _Shepherd and Nymph_ of the Imperial Gallery at Vienna--a masterpiece in monotone of quite the last period--the sensuousness of the early Giorgionesque time reappears, even more strongly emphasised; yet it is kept in balance, as in the early days, by the imaginative temperament of the poet, by that solemn atmosphere of mystery, above all, which belongs to the final years of Titian's old age. Thus, though there cannot be claimed for Titian that universality in art and science which the lovers of Leonardo's painting must ever deplore, since it lured him into a thousand side-paths; for the vastness of scope of Michelangelo, or even the all-embracing curiosity of Albrecht Dürer; it must be seen that as a _painter_ he covered more ground than any first-rate master of the sixteenth century. While in more than one branch of the painter's art he stood forth supreme and without a rival, in most others he remained second to none, alone in great pictorial decorations of the monumental order yielding the palm to his younger rivals Tintoretto and Paolo Veronese, who showed themselves more practised and more successfully daring in this particular branch.