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 wood, crowning as with native plumes the head of the slanting land; in the middle valley are sheep at pasture; and the wooded slopes, warm with summer and sweet at once with life and sleep, bend and flow either way in fruitful repose, shaped like waves of the sea after a wind, that seem at once to move and to rest, to change and to remain.

Next, a sudden nook or corner of high-lying land in some wild wood, opening at the skirt upon a fresh waste ground, a place of broken banks fringed and feathered with thick grasses full of the wind and the sun; to the right, a land of higher hills, with a city framed and radiant among them. Then comes another such corner of woodland, rocky, strewn with stones curiously notched and veined; and here too infinite summer hills open and recede and melt into further and nearer forms in solid undulation without change, billows of the inland crowned not with foam but with grass, and clothed with trees, not moulded out of mutable water.

Other work of Titian is here besides these seven finished sketches; slighter work, and not in the line of landscape. There is a vision of Virgin and Child appearing in a Thebaid desert to some saint—Anthony apparently, as the typical swine's snout obtrudes itself with a quaint innocent bestial expression. Note also a lovely and vigorous group of Cupids grappling in play with a great hound, which all they can hardly overset; the eager laughing labour of the bare-limbed boys and the gravely gamesome resistance of the beast are things to see and remember, as given by the great master. There are studies too for the famous picture of St. Peter