410 Painting in Venice. masterpieces which raised him to the head of the new Venetian School. It would be impossible in a work like the present to give anything like a full account of the numerous works of Titian, which enrich all the great cities of Europe. In his early paintings he followed the style of Bellini, im- pressing it, however, with a power of his own. Of these the Resurrection, above the high altar of S. Nazzaro, in Brescia, is among the most important. More famous is his Christ and the Tribute Money, in the Dresden Gallery, of a somewhat later date, in which the Head of Christ is especially beautiful. Of the large sacred works in the master's completed manner, the Entombment (ab. 1523), in the Louvre, in which the most exquisite truth and beauty of form are combined with dignity of expression and depth of feeling ; the Presentation (ab. 1539), and the Assumption of the Virgin (1516), both in the Academy at Venice; and the Supper at Emmaus, in the Studj Gallery at Naples ; the Christ at Emmaus (ab. 1546), in the Louvre, — are among the principal. Equally famous is the picture of Christ appearing to Mary Magdalen after His Resurrection (known as Noli Me tang ere), in the National Gallery, which also possesses two fine Holy Families. Titian's most celebrated historical works are his Death of 8. Peter Martyr (1528) (Fig. 143), which was formerly the altar- piece in SS. Giovanni e Paolo at Venice, and was destroyed by fire in 1867 ; and the Martyrdom of S. Lawrence, now much injured, in the Jesuits' Church, Venice. The former was especially noted for the beauty of the landscape, in which the most delicate aerial effects of bright twilight were faithfully rendered ; and the latter, for the peculiar results obtained by the meeting of the light from heaven
