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Apud desidiosissimos ergo videbis quicquid orationum historiarumque est, tecto tenus exstructa loculamenta; jam enim inter balnearia et thermas bibliotheca quoque ut necessarium domus ornamentum expolitur. Ignoscerem plane, si studiorum nimia cupidine oriretur: nunc ista conquisita, cum imaginibus suis descripta et sacrorum opera ingeniorum in speciem et cultum parietum comparantur."
From an often-cited passage in the Anonimo, describing Giorgione's great Venus now in the Dresden Gallery, in the year 1525, when it was in the house of Jeronimo Marcello at Venice, we learn that it was finished by Titian. The text says: "La tela della Venere nuda, che dorme ni uno paese con Cupidine, fu de mano de Zorzo da Castelfranco; ma lo paese e Cupidine furono finiti da Tiziano." The Cupid, irretrievably damaged, has been altogether removed, but the landscape remains, and it certainly shows a strong family resemblance to those which enframe the figures in the Three Ages, Sacred and Profane Love, and the "Noli me tangere" of the National Gallery. The same Anonimo in 1530 saw in the house of Gabriel Vendramin at Venice a Dead Christ supported by an Angel, from the hand of Giorgone, which, according to him, had been retouched by Titian. It need hardly be pointed out, at this stage, that the work thus indicated has nothing in common with the coarse and thoroughly second-rate Dead Christ supported by Child-Angels, still to be seen at the Monte di Piet
Or again, the lines with which he opens the fourth book, weakened as their effect is by what follows them, a tedious enumeration of events showing the power of destiny over human fortunes, are worthy of a great poet: Quid tam sollicitis vitam consumimus annis, Torquemurque metu caecaque cupidine rerum?
It, peradventure, only appertains to that sole all-potent testimony to tell us. "This is, and that is, and not that other." I am plain and heavy, and stick to the solid and the probable, avoiding those ancient reproaches: "Majorem fidem homines adhibent iis, quae non intelligunt; Cupidine humani ingenii libentius obscura creduntur."
In ratibus praetoriarum cohortium manipuli turmaeque adstiterant, antepositis propugnaculis, ex quis catapultae ballistaeque tenderentur: reliqua lacus classiarii tectis navibus obtinebant. Ripas et colles, ac montium edita, in modum theatri multitudo innumera complevit proximis e municipiis, et alii urbe ex ipsa, visendi cupidine aut officio in principem.
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