process of translation into wood-engraving, are not materially at
variance with those in the frescoes of the Scuola del Santo. But the
movement, the spirit of the whole is essentially different. This mighty,
onward-sweeping procession, with Adam and Eve, the Patriarchs, the
Prophets and Sibyls, the martyred Innocents, the great chariot with
Christ enthroned, drawn by the four Doctors of the Church and impelled
forward by the Emblems of the four Evangelists, with a great company of
Apostles and Martyrs following, has all the vigour and elasticity, all
the decorative amplitude that is wanting in the frescoes of the Santo.
It is obvious that inspiration was derived from the _Triumphs_ of
Mantegna, then already so widely popularised by numerous engravings.
Titian and those under whose inspiration he worked here obviously
intended an antithesis to the great series of canvases presenting the
apotheosis of Julius Caesar, which were then to be seen in the not far
distant Mantua. Have we here another pictorial commentary, like the
famous _Cristo detta Moneta,_ with which we shall have to deal
presently, on the "Quod est Caesaris Caesari, quod est Dei Deo," which
was the favourite device of Alfonso of Ferrara and the legend round his
gold coins? The whole question is interesting, and deserves more careful
consideration than can be accorded to it on the present occasion. Hardly
again, until he reached extreme old age, did such an impulse of sacred
passion colour the art of the painter of Cadore as here. In the earlier
section of his life-work the _Triumph of Faith_ constitutes a striking
exception.

[Illustration: _St. Anthony of Padua causing a new-born Infant to speak.
Fresco in the Scuola del Santo, Padua. From a Photograph by Alinari_.]

Passing over, as relatively unimportant, Titian's share in the
much-defaced fresco decorations of the Scuola del Carmine, we come now