[Illustration: St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua. From a Photograph by Alinari.]
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. Anthony causes a new-born Infant to speak, testifying to the innocence of its Mother; St. Anthony heals the leg of a Youth; A jealous Husband puts to death his Wife, whom the Saint afterwards restores to life. Here the figures, the composition, the beautiful landscape backgrounds bear unmistakably the trace of Giorgione’s influence. The composition has just the timidity, the lack of rhythm and variety, that to the last marks that of Barbarelli. The figures have his naive truth, his warmth and splendour of life, but not his gilding touch of spirituality to lift the uninspiring subjects a little above the actual. The Nobleman putting to death his Wife is dramatic, almost terrible in its fierce, awkward realism, yet it does not rise much higher in interpretation than what our neighbours would to-day call the drame passionel. The interest is much the same that is aroused in a student of Elizabethan literature by that study of murder, Arden of Feversham, not that higher attraction that he feels—horrors notwithstanding—for The Maid’s Tragedy of Beaumont and Fletcher, or The Duchess of Malfi of Webster.