We may believe that Titian never felt perfectly satisfied with fresco-painting as a craft, for when he was given a commission to fresco the halls of the Santo, the confraternity of St. Anthony, patron-saint of Padua, he threw off beautifully composed and spirited drawings, but he left the execution of them chiefly to assistants, among whom the feeble Domenico Campagnola, a painter whom he probably picked up at Padua, is conspicuous. Even where the landscape is best, as in "S. Anthony restoring a Youth," the drawing and composition only make us feel how enchanting the scene would have been in oils on one of Titian's melting canvases. In those frescoes which he executed himself while his interest was still fresh, the "Miracle which grants Speech to an Infant" is the most Giorgionesque. Up to this time he had preserved the straight-cut corsage and the actual dress of his contemporaries, after the practice of Giorgione; he keeps, too, to his companion's plan of design, placing the most important figures upon one plane, close to the frame and behind a low wall or ledge which forms a sort of inner frame and with a distant horizon. In the Paduan frescoes he makes use of this plan, and the straight clouds, the spindly trees, and the youths in gay doublets are all reminiscent of his early comrade, but the group of women to the left in the "Miracle of the Child" shows that Titian is beginning more decidedly to enunciate his own type. The introduction of portraits proves that he was tending to rely largely upon nature, in contradistinction to Giorgione's lyrically improvised figures. He fuses the influence of Giorgione and the influence of Antonello da Messina and the Bellini in a deeper knowledge of life and nature, and he is passing beyond Giorgione in grasp and completeness. When he was able to return to Venice, which he did in 1512, a temporary peace having been concluded with Maximilian, he abandoned the uncongenial medium of fresco for good, and devoted himself to that which admitted of the afterthoughts, the enrichments, the gradual attainment of an exquisite surface, and at this time his works are remarkable for their brilliant gloss and finish. During the next twelve years we may group a number of paintings which, taken in conjunction with those of Giorgione, show the true Venetian School at its most intense, idyllic moment. They are the works of a man in the pride of youth and strength, sane and healthy, an example of the confident, sanguine, joyous temper of his age, capable of embodying its dominant tendencies, of expressing its enjoyment of life, its worldly-mindedness, its love of pleasure, as well as its noble feeling and its grave and magnificent purpose.