Padua boasted two noble scholars from the hand of Titian; Damiano Mazza, and Domenico Campagnola. The former, however, was rather promised than conferred upon us; dying very young, after producing a single piece deserving of commemoration, in his native place. This was a Ganymede borne away by the Eagle, depicted on an entablature, which, for its exquisite beauty, was attributed to the hand of Titian, and removed from the place. Venice must have been his sphere of action; a few of his pictures remaining in different churches, executed with striking power and relief, if not with much delicacy of hand. The other artist is better known, said to have been of the family of Campagnola, though with no authority for the assertion. He was nephew to the Girolamo mentioned by Vasari among the disciples of Squarcione, and son to that Giulio,[60] whose genius is commended in the Literary History of Tiraboschi, (vol. vi. p. 792) and in the _Storia Pittorica_ of Vasari. He was a fine linguist, miniature painter, and engraver, and the author of several altarpieces, which betray some traces of the ancient style. Domenico's appears more modern, so much so, as to have awakened, it is said, the jealousy of Titian; an honour he enjoyed in common with Bordone, with Tintoret, and other rare artists. And his works give authority to the tradition, not so much in Venice as in Padua, a city for whose embellishment he would appear to have risen up. He painted in fresco, at the college of the Santo, in the style of an able scholar, emulating an incomparable master of his art. His pictures in oil resemble him the nearest of any, as we see in the college of S. M. del Parto, a complete cabinet of his works. He represented on the entablature, the Holy Evangelists, with other saints, in various compartments; and he seems to have aspired to a vastness of design, beyond that of Titian; and to mark the naked parts with a more evident degree of artifice.