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Vasari, vol. v. p. 163, may be consulted with regard to Mantegna's preference for the ideal of statuary when compared with natural beauty, as the model for a painter. See Crowe and Cavalcaselle's History of Painting in North Italy, vol. i. p. 334, for an account of his antiquarian researches in company with Felice Feliciano.
It would perhaps be unsafe to dogmatise in a case where the material is so slight, but until its genuineness can be disproved by indisputable evidence, the claim to authenticity put forward in the National Gallery catalogue, following Crowe and Cavalcaselle's view, must be allowed. Vienna Gallery
Crowe and Cavalcaselle's theory rested in the main, though not so entirely as Giovanni Morelli appears to have held, on the signature and the early date to be found on a Santa Conversazione, once in the collection of M. Reiset, and now at Chantilly in that of the late Due d'Aumale.
To Crowe and Cavalcaselle's pages the reader must be referred for a detailed and interesting account of Titian's intrigues against the venerable Giovanni Bellini in connection with the Senseria, or office of broker, to the merchants of the Fondaco de' Tedeschi.
It is the less necessary to attempt any such account in these pages dealing as we are chiefly with the work and not primarily with the life of Titian seeing that in Crowe and Cavalcaselle's admirable biography this side of the subject, among many others, is most patiently and exhaustively dealt with.
So that most of the great protagonists of Venetian art during the earlier half of the Cinquecento were born within the short period of eight years between 1477 and 1485. In Crowe and Cavalcaselle's Life and Times of Titian a revolutionary theory, foreshadowed in their Painting in North Italy, was for the first time deliberately put forward and elaborately sustained.
I cannot recommend Vasari's Lives of the Italian Painters entertaining as it is, for so much of each page is taken up by notes of different editors and commentators denying flatly the assertions of the text that to read him for information seems waste of time. Messrs. Crowe and Cavalcaselle's New History of Painting in Italy is the latest English authority. Mr.
Perhaps the elaborate legend inscribed on the paper held by the prelate, including the unusual form of signature "Titianus Vecellius faciebat Venetiis MDLII, mense Julii," may have been the cause that the canvas has attracted an undue share of attention. At p. 218 of Crowe and Cavalcaselle's second volume we get, under date the 11th of October 1552, Titian's first letter to Philip of Spain.
Under the fire of Crowe and Cavalcaselle's destructive criticism, it would require more real courage than I possess to speak of the "Entombment" in the Monte di Piet
The writer is unable to accept Crowe and Cavalcaselle's suggestion that it may be the fine moonlight landscape with St. Jerome in prayer which is now in the Long Gallery of the Louvre. This piece, if indeed it be by Titian, which is by no means certain, must belong to his late time.
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