Lafenestre's _Vie et Oeuvre du Titien_ as having possibly been derived
from Giorgione's original, is about as unlike his work or that of Titian
as anything in sixteenth-century Italian art could possibly be. In the
extravagance of its mannerism it comes much nearer to the late style of
Pordenone or to that of his imitators.

[20] _Jahrbuch der Preussischen Kunstsammlungen_, Heft I. 1895.

[21] See also as to these paintings by Giorgione, the _Notizia d' Opere
di Disegno_, pubblicata da D. Jacopo Morelli, Edizione Frizzoni, 1884.

[22] M. Thausing, _Wiener Kunstbriefe_, 1884.

[23] _Le Meraviglie dell' Arte_.

[24] The original drawing by Titian for the subject of this fresco is to
be found among those publicly exhibited at the École des Beaux Arts of
Paris. It is in error given by Morelli as in the Malcolm Collection, and
curiously enough M. Georges Lafenestre repeats this error in his _Vie et
Oeuvre du Titien._ The drawing differs so essentially from the fresco
that it can only be considered as a discarded design for it. It is in
the style which Domenico Campagnola, in his Giorgionesque-Titianesque
phase, so assiduously imitates.

[25] One of the many inaccuracies of Vasari in his biography of Titian
is to speak of the _St. Mark_ as "una piccola tavoletta, un S. Marco a
sedere in mezzo a certi santi."

[26] In connection with this group of works, all of them belonging to
the quite early years of the sixteenth century, there should also be