this section of Titian's life-work, displaying as it does a technique
more facile and accomplished, and a conception of a somewhat higher
individuality. The model is surely the same as that which has served for
the Venus of the _Sacred and Profane Love_, though the picture comes
some years after that piece. Later still comes the so-called _Alfonso
d'Este and Laura Dianti_, as to which something will be said farther on.
Another puzzle is provided by the beautiful "_Noli me tangere_" of the
National Gallery, which must necessarily have its place somewhere here
among the early works. Giorgionesque the picture still is, and most
markedly so in the character of the beautiful landscape; yet the
execution shows an altogether unusual freedom and mastery for that
period. The _Magdalen_ is, appropriately enough, of the same type as the
exquisite, golden blond courtezans--or, if you will, models--who
constantly appear and reappear in this period of Venetian art. Hardly
anywhere has the painter exhibited a more wonderful freedom and subtlety
of brush than in the figure of the Christ, in which glowing flesh is so
finely set off by the white of fluttering, half-transparent draperies.
The canvas has exquisite colour, almost without colours; the only local
tint of any very defined character being the dark red of the Magdalen's
robe. Yet a certain affectation, a certain exaggeration of fluttering
movement and strained attitude repel the beholder a little at first, and
neutralise for him the rare beauties of the canvas. It is as if a wave
of some strange transient influence had passed over Titian at this
moment, then again to be dissipated.

[Illustration: _Madonna and Child, with St. John and St. Anthony Abbot.
Uffizi Gallery, Florence. From a Photograph by Brogi._]

But to turn now once more to the series of our master's Holy Families
and Sacred Conversations which began with _La Zingarella_, and was