is the Apollo pursuing Daphne, almost ruined by a restorer’s daubing, in the Seminario of the Salute. Of the many frescoes painted on Venetian palaces, especially those on the canal side of the Fondaco dei Tedeschi so eloquently described by Vasari, only a fragment remains, a head, torso and part of the arms, of a female figure. When Evelyn was at Venice in 1645, the frescoes seem to have been in good condition. The plague, or grief at the infidelity of his mistress, brought this great artist to a premature death in 1510. He was born about 1478. Passionately fond of music and song, his whole soul was attuned to impressions of inward and outward beauty. With him, romantic as distinguished from ecclesiastical painting leaps into being. [Illustration: _Alinari, Florence_ S. MARIA MATER DOMINI--S. CRISTINA BY CATENA] Titian (Tiziano Vecellio) is the complementary genius to Giorgione. In him is summed all that the Venetian school promised or attained to. Lacking perhaps the sunny radiance of Giorgione’s temperament, his larger experience of life, his deep, strong nature give him a pathetic insight into the tragedy, as well as the beauty, of existence, so characteristic of great artists and poets. To judge fully of Titian’s life-work one would need to travel over the greater part of Western Europe--to Madrid above all. Venice possesses but a score of his paintings, and these not the very greatest. Early works, attributed by some critics to Giorgione, are the Ecce Homo in the Scuola, and the Christ bearing the Cross, in the Church of S. Rocco. A somewhat later work, St Mark Enthroned, in the Sacristy of the Salute, painted in 1512, for S. Spirito, still bears traces of Giorgione’s influence. The famous Assumption in the Accademia, first of the grand compositions of the later Venetian school and generally regarded as a masterpiece, was painted in 1518. A finer picture, painted in 1526 in the maturity of his power, is the Pesaro Madonna, in the Frari. The beautiful Annunciation in the Scuola di S. Rocco was painted in 1525. The Presentation in the Accademia, now restored to its original position, is a later work, 1538. The Tobias and the Angel, perhaps painted about 1537,[74] in S. Marziale, is a work composed with unusual simplicity and charm. We see the great master in one of his happy moods like a strong man bending to play with his children. In addition to Doge Grimani’s ceremonial portrait there exists an unrestored fresco by his hand in the Ducal Palace. Many sacred subjects were painted late in life. In S. Salvatore are an Annunciation, a finely conceived work, and a Transfiguration, both executed when he was nearing ninety years of age. The grand old fellow died in harness. He failed to finish the Deposition, now in the Accademia, completed by Palma Giovane. “Titian is our standard-bearer,” said Velasquez when he saw him in Venice, and when Vasari was there in 1566 he called on the veteran painter and found him, although