[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 École 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." [26] In connection with this group of works, all of them belonging to the quite early years of the sixteenth century, there should also be mentioned an extraordinarily interesting and as yet little known _Herodias with the head of St. John the Baptist_ by Sebastiano Luciani, bearing the date 1510. This has recently passed into the rich collection of Mr. George Salting. It shows the painter admirably in his purely Giorgionesque phase, the authentic date bearing witness that it was painted during the lifetime of the Castelfranco master. It groups therefore with the great altar-piece by Sebastiano at S. Giovanni Crisostomo in Venice, with Sir Francis Cook's injured but still lovely _Venetian Lady as the Magdalen_ (the same ruddy blond model), and with the four Giorgionesque _Saints_ in the Church of S. Bartolommeo al Rialto. [27] _Die Galerien zu München und Dresden_, p. 74. [28] The _Christ_ of the Pitti Gallery--a bust-figure of the Saviour, relieved against a level far-stretching landscape of the most solemn beauty--must date a good many years after the _Cristo della Moneta_. In both works the beauty of the hand is especially remarkable. The head of the Pitti _Christ_ in its present state might not conclusively proclaim its origin; but the pathetic and intensely significant landscape is one of Titian's loveliest. [29] Last seen in public at the Old Masters' Exhibition of the Royal Academy in 1895.