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Diximus enim in superioribus materiam et esse causam compositi et formae dependentis ab ilia: ut res ergo dicatur ex nihilo fieri uterque modus causalitatis negari debet; et eodem sensu accipiendum est illud axioma, ut sit verum: Ex nihilo nihil fit, scilicet virtute agentis naturalis et finiti nihil fieri, nisi ex praesupposito subjecto per se concurrente, et ad compositum et ad formam, si utrumque suo modo ab eodem agente fiat.
Diximus enim in superioribus materiam et esse causam compositi et formae dependentis ab illa: ut res ergo dicatur ex nihilo fieri uterque modus causalitatis negari debet; et eodem sensu accipiendum est illud axioma, ut sit verum: Ex nihilo nihil fit, scilicet virtute agentis naturalis et finiti nihil fieri, nisi ex praesupposito subjecto per se concurrente, et ad compositum et ad formam, si utrumque suo modo ab eodem agente fiat.
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
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