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He was buried in the Duomo, on the north side of the choir, and was to have reposed beneath a sumptuous monument made under his own instructions, with frescoes by Taddeo Gaddi and Giuliano d'Arrigo; but something intervened, and Uccello's fresco was used instead, and this, some sixty years ago, was transferred to canvas and moved to the position in which it now is seen.
They also retain a fair knowledge of effect in fresco, tracing the outline on the wet ground, and laying on the color in a thin glue; in some of their later work of this kind that I have seen, the idea of the designer is expressed with much vigor.
"After the death of Rameses," the narrator went on, "we went to Tape, my father and I, to inscribe the hatchments and carve the scene of the Judgment of the Dead in the tomb of the great king. Now, I am my father's only child and have been taught his craft. I have been an apt pupil, and he had no fear in trusting me with the execution of the fresco.
It was not generally adopted till the time of Alexander the Great. Wax was a most essential ingredient, since it prevented the colors from cracking. Encaustic painting was practiced both with the cestrum and the pencil, and the colors were also burnt in. Fresco was used for coloring walls, which were divided into compartments or panels.
Then in the centre he painted in fresco the Ascension of Christ into Heaven; and from the cornice downwards he painted three pictures divided by columns in relief, and executed in perspective.
The babe clings closely to her neck, turning about at the spectator with a glance half shy and half mischievous. His coyness awakens a smile of tender amusement in the gentle, young face above him. The picture has an interesting history. It was originally painted in fresco over the eastern gate of Parma, where Vasari saw and admired it.
It looked perhaps yet more dilapidated than the others, with its hangings of green damask worn by age and resembling the faded moss on ancient trees. The ceiling, however, had remained superb. Within a frieze of gilded and coloured ornaments was a fresco representing the Triumph of Amphitrite, the work of one of Raffaelle's pupils.
It is, indeed, possible that the portable picture or image may be first-rate of its kind, but it is not first-rate because it is portable; nor are Titian's frescoes less than first-rate because they are fixed; nay, very frequently the highest compliment you can pay to a cabinet picture is to say "It is as grand as a fresco."
The first three chapels have little interest, but the two nearest the choir, Cappella Peruzzi and Cappella Bardi, were both painted in fresco by Giotto, his work there being among the best of his paintings.
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.
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