[17] The _Tobias and the Angel_ shows some curious points of contact with the large _Madonna and Child with St. Agnes and St. John_ by Titian, in the Louvre--a work which is far from equalling the S. Marciliano picture throughout in quality. The beautiful head of the St. Agnes is but that of the majestic archangel in reverse; the St. John, though much younger than the Tobias, has very much the same type and movement of the head. There is in the Church of S. Caterina at Venice a kind of paraphrase with many variations of the S. Marciliano Titian, assigned by Ridolfi to the great master himself, but by Boschini to Santo Zago (Crowe and Cavalcaselle, vol. ii. p. 432). Here the adapter has ruined Titian's great conception by substituting his own trivial archangel for the superb figure of the original (see also a modern copy of this last piece in the Schack Gallery at Munich). A reproduction of the Titian has for purposes of comparison been placed at the end of the present monograph (p. 99). [18] Vasari places the _Three Ages_ after the first visit to Ferrara, that is almost as much too late as he places the _Tobias_ of S. Marciliano too early. He describes its subject as "un pastore ignudo ed una forese chi li porge certi flauti per che suoni." [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 Pietà 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.