to those more celebrated ones in the Scuola del Santo. Out of the
sixteen frescoes executed in 1510-11 by Titian, in concert with Domenico
Campagnola and other assistants of less fame, the following three are
from the brush of the master himself:--_St. Anthony causes a new-born
Infant to speak, testifying to the innocence of its Mother; St. Anthony
heals the leg of a Youth; A jealous Husband puts to death his Wife, whom
the Saint afterwards restores to life._ Here the figures, the
composition, the beautiful landscape backgrounds bear unmistakably the
trace of Giorgione's influence. The composition has just the timidity,
the lack of rhythm and variety, that to the last marks that of
Barbarelli. The figures have his naïve truth, his warmth and splendour
of life, but not his gilding touch of spirituality to lift the
uninspiring subjects a little above the actual. The _Nobleman putting to
death his Wife_ is dramatic, almost terrible in its fierce, awkward
realism, yet it does not rise much higher in interpretation than what
our neighbours would to-day call the _drame passionel._ The interest is
much the same that is aroused in a student of Elizabethan literature by
that study of murder, _Arden of Feversham_, not that higher attraction
that he feels--horrors notwithstanding--for _The Maid's Tragedy_ of
Beaumont and Fletcher, or _The Duchess of Malfi_ of Webster.[24]

[Illustration: _"Noli me tangere." National Gallery. From a Photograph
published by the Autotype Company._]

A convenient date for the magnificent _St. Mark enthroned, with SS.
Sebastian, Roch, Cosmas, and Damianus_, is 1512, when Titian, having
completed his share of the work at the Scuola del Santo, returned to
Venice. True, it is still thoroughly Giorgionesque, except in the
truculent _St. Mark_; but, then, as essentially so were the frescoes
just terminated. The noble altar-piece[25] symbolises, or rather