The marble parapet again is a feature in Giorgione's work, but not in Titian's.

Between the spotty, whitish wall of German sandbags, quite distinct in the moonlight, and our parapet were two mounds of sandbags about twenty feet apart.

The parapet was a jumbled assortment of sandbags, clay, and old bricks from the neighbouring barn: but we finally got a good sound parapet made, and in about another hour's time had fixed a machine gun, with plenty of ammunition, in a very unattractive position from the Boche point of view.

The parapet, the wavy hair, the high cranium are all so many outward and visible signs of Giorgione's spirit, whilst none but he could have created such magnificent contrasts of colour, such effects of light and shade.

Its parapet is a balustrade carved out of freestone, into the soft substance of which a multitude of persons have engraved their names or initials, many of them now illegible, while others, more deeply cut, are illuminated with fresh green moss.