contrary, to be perceived that they are painted at many sittings, that
they have been worked upon with the colours so many times as to make the
labour evident; and this method of execution is judicious, beautiful,
astonishing, because it makes the pictures seem living."

No better proof could be given of Vasari's genuine _flair_ and intuition
as a critic of art than this passage. We seem to hear, not the Tuscan
painter bred to regard the style of Michelangelo as an article of faith,
to imitate his sculptural smoothness of finish and that of Angelo
Bronzino, but some intelligent exponent of impressionistic methods,
defending both from attack and from superficial imitation one of the
most advanced of modernists.

Among the sacred works produced in this late time is a _Crucifixion_,
still preserved in a damaged state in the church of S. Domenico at
Ancona. To a period somewhat earlier than that at which we have arrived
may belong the late _Madonna and Child in a Landscape_ which is No.
1113 in the Alte Pinakothek of Munich. The writer follows Giovanni
Morelli in believing that this is a studio picture touched by the
master, and that the splendidly toned evening landscape is all his. He
cannot surely be made wholly responsible for the overgrown and inflated
figure of the divine _Bambino_, so disproportionate, so entirely wanting
in tenderness and charm.

The power of vivid conception, the spontaneous fervour which mark
Titian's latest efforts in the domain of sacred art, are very evident in
the great _St. Jerome_ of the Brera here reproduced. Cima, Basaiti, and
most of the Bellinesques had shown an especial affection for the
subject, and it had been treated too by Lotto, by Giorgione, by Titian
himself; but this is surely as noble and fervent a rendering as Venetian