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Full particulars will be found in Crowe and Cavalcaselle's often-quoted work. Vasari's many manifest errors and disconcerting transpositions in the biography of Titian do not predispose us to give unlimited credence to his account of the strained relations between Giorgione and our painter, to which this particular business is supposed to have given rise.
Since republished in his Study and Criticism of Italian Art, vol. i. p. 85. Titian's posthumous portrait of Caterina is lost. The best known copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the absurdity of regarding this fancy portrait as a true likeness of the long deceased queen. It bears no resemblance whatever to the Buda-Pesth portrait, which is the latest of the group.
A very realistic wax figure that will toddle, shoot a line and play almost any sort of game until you might easily believe it to be genuinely alive. Mr. Oliver Crowe."
Crowe and Cavalcaselle assume that not this picture, but a replica, was the one which found its way into Charles I.'s collection, and was there catalogued by Van der Doort as "the Emperor Charles the Fifth, brought by the king from Spain, being done at length with a big white Irish dog" going afterwards, at the dispersal of the king's effects, to Sir Balthasar Gerbier for £150.
While Crowe looked black in the face, and ran the risk of strangulation under the gripe of this Amazon, Mr. Clarke having disengaged himself of his hat, wig, coat, and waistcoat, advanced in an elegant attitude of manual offence towards the misanthrope, who snatched up a gridiron from the chimney corner, and Discord seemed to clap her sooty wings in expectation of battle.
Here, therefore, the opinions of Crowe and Cavalcaselle are not of so much weight, so it will be necessary to see how far Morelli's views have been confirmed by later writers during the last twenty years. Three portraits figure in Morelli's list one at Berlin, one at Buda-Pesth, and one in the Borghese Gallery at Rome. Berlin Gallery
'I'm often quite lonely, Mr. Rolfe, and as one result of it I'm getting learned. Look at these books. Won't you give me a word of admiration? There was a volume of Crowe and Cavalcaselle, one of Symonds's 'Renaissance', Benvenuto's 'Memoirs' in the original. 'I can't help clinging to the old world, she said sweetly.
If we are to assume with Crowe and Cavalcaselle that the single figure Ecce Homo of the Prado Gallery was the piece taken by the master to Charles V. when, at the bidding of the Emperor, he journeyed to Augsburg, we can only conclude that his design was carried out by pupils or assistants.
While the knight waited impatiently for the expiration of Aurelia's minority, and in the meantime consoled himself with the imperfect happiness arising from her conversation, and those indulgences which the most unblemished virtue could bestow, Captain Crowe projected another plan of vengeance against the conjurer, whose lying oracles had cost him such a world of vexation.
Crowe held me spellbound I was to circle so wistfully, as from that beginning, round the practice of his art, which in spite of these earnest approaches and intentions never on its own part in the least acknowledged our acquaintance; scarcely much more than it was ever to respond, for that matter, to the overtures of the mild aspirant himself, known to my observation long afterwards, in the London years, as the most touchingly resigned of the children of disappointment.
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