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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. 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."
There lived, then, in the March of Treviso and in Lombardy, during a period of many years, Stefano Veronese, Aldigieri da Zevio, Jacopo Davanzo of Bologna, Sebeto da Verona, Jacobello de Flore, Guerriero da Padova, Giusto, Girolamo Campagnola and his son Giulio, and Vincenzio Bresciano; Vittore, Sebastiano, and Lazzaro Scarpaccia, Venetians; Vincenzio Catena, Luigi Vivarini, Giovan Battista da Conigliano, Marco Basarini, Giovanetto Cordegliaghi, Il Bassiti, Bartolommeo Vivarini, Giovanni Mansueti, Vittore Bellini, Bartolommeo Montagna of Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many others, of whom there is no need to make mention here.
Finally, in the category of Sacred Art come two well-known pictures, both in public galleries, and both accredited to Giorgione. The first is the "Christ and the Adulteress" of the Glasgow Gallery, the second the "Madonna and Saints" of the Louvre. Many diverse opinions are held about the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
Jacopo Avanzi, a painter of Bologna, shared the work of this hall with Aldigieri, and below the aforesaid pictures he painted two most beautiful Triumphs, likewise in fresco, with so much art and so good a manner, that Girolamo Campagnola declares that Mantegna used to praise them as pictures of the rarest merit.
Undoubtedly, both in the backgrounds to altar-pieces, Holy Families, and Sacred Conversations, and in the landscape drawings of the type so freely copied and adapted by Domenico Campagnola, we find the jagged, naked peaks of the Dolomites aspiring to the heavens.
Passing over, as relatively unimportant, Titian's share in the much-defaced fresco decorations of the Scuola del Carmine, we come now to those more celebrated ones in the Scuola del Santo. Out of the sixteen frescoes executed in 1510-11 by Titian, in concert with Domenico Campagnola and other assistants of less fame, the following three are from the brush of the master himself: St.
What exquisite curves the standing woman presents! how cleverly the drapery continues the beautiful line, which Giorgione takes care not to break by placing the left leg and foot out of sight. How marvellously expressive, nay, how inevitable is the hand of the youth who is playing. Surely neither Campagnola nor any other second-rate artist was capable of such things! Pitti Gallery, Florence
Paolo was summoned to Padua by Donato, when the latter was working there, and at the entrance of the house of the Vitali he painted some giants in terra-verde, which, as I have found in a Latin letter written by Girolamo Campagnola to Messer Leonico Tomeo, the philosopher, are so beautiful that Andrea Mantegna held them in very great account.
Another man who was held in esteem in the same times was Vincenzio, a painter of Brescia, according to the account of Filarete, as was also Girolamo Campagnola, another Paduan painter, and a disciple of Squarcione. Then Giulio, son of Girolamo, made many beautiful works of painting, illumination, and copper-engraving, both in Padua and in other places.
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