Marco Vecellio conferred more honour upon his family, and being the nephew, the pupil, and intimate companion of the great Vecellio in his travels, received the title of Marco di Tiziano. In simple composition and mechanism of the art, he was a good disciple of his master; but he had not the genius to inspire his figures and interest the eye of the spectator, like his great contemporary. He was, nevertheless, esteemed worthy of the honour of ornamenting several chambers of the Venetian senate, with history pieces and portraits of saints that are yet preserved. Some of his altarpieces, likewise, still exist at Venice, in Trevigi, and in the Friuli; while one of his large pictures, adorning a parish church at Cadore, the native place of the Vecellj, has more particularly elicited the highest commendations. In this appears the Crucifixion, represented in the midst, with two histories of S. Catherine, _V. M._, her controversy, and her martyrdom, supporting either side. Tiziano Vecellio, called, to distinguish him from the former, Tizianello, was the son of Marco, whose name I include with those of the other Vecellj, in order to avoid recurring to a family of artists which ought to be made known and described in full. This last artist flourished about the beginning of the seventeenth century, when mannerism began its innovations upon Venetian painting. And those specimens of him possessed by Venice, at the Patriarchal church, at the Servi, and elsewhere, exhibit him in a very opposite taste to that of his predecessors, with larger forms, but less imposing; a full and free pencil, but destitute of softness of hand; so powerful is the influence of reigning example over family descent and education. In portraits, nevertheless, and in heads, very capriciously varied and ornamented, I find him to be in much esteem among artists.