In his architecture he sometimes availed himself of other works, in particular those of the Rosa, of Brescia; but his perspectives, like that of his picture of the Presentation, are extremely beautiful. He was equalled by none in his landscape; and he was careful not to employ it, like some artists, as a mere embellishment; several artists esteeming themselves so highly in this particular, that they hardly scruple to present us with cypress trees growing out of the sea. But Titian makes his landscape subservient to history, as in that horrific wood, whose dreary aspect adds so much to the solemnity of S. Peter's death; or to give force to his figures, as we perceive them in those pieces where the landscape is thrown into the distance. His natural manner of representing the various effects of light may be best gathered from his Martyrdom of San Lorenzo, belonging to the Jesuits at Venice, in which he displayed such an astonishing diversity in the splendour of fire, in that of torchlights, and in that of a supernatural light, which appears to fall upon the martyr; a picture unfortunately much defaced by age, but of which there is a near imitation or duplicate in the Escurial. He likewise expressed, with the utmost felicity, the time of the day in which the event is supposed to have taken place, and he frequently selected nightfall, drawing forth all its most beautiful attributes for the canvass. From the whole of this it may be inferred that Titian is not to be included in that class of Venetian artists, whose rapidity of hand overpowered their judgment, rendering them somewhat careless and inaccurate; though, at the same time, we must speak of his celerity with some degree of reservation. A freedom of pencil must doubtless be granted to him, and he thus applied it without failing in point of design, to his paintings in fresco, as they are to be seen in Padua, and which, in some measure, compensate us for the loss of those in the Venetian capital. In that city we have nothing of the same kind in preservation, if we except, perhaps, his S. Christopher, adorning the ducal palace; a majestic figure, both in its character and its expression. We are not, however, to look for the same degree of freedom in his pictures in oil. Indeed he was by no means ambitious of displaying it; but rather encountered much painful labour to arrive at a perfect knowledge of his subjects. With this view, after throwing off a rough draught of his intended works, with a certain freedom and resolution, he was in the habit of laying them for some time aside, and again returned to them with an eye prepared to detect every the least defect. The noble Casa Barbarigo, among a fine selection of his most highly finished pictures, preserves, also, a few of these first sketches. It is well known that he underwent extreme labour in the completion of his works, and, at the same time, was very solicitous to conceal the pains he bestowed upon them. Yet in some of his pieces such