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Updated: May 24, 2025
According to the correspondence published by Crowe and Cavalcaselle there were completed for the Spanish King in April 1562 the Poesy of Europa carried by the Bull, and the Christ praying in the Garden, while a Virgin and Child was announced as in progress.
After Albertinelli's death, the Frate soared to greater heights of genius than before. The year 1516 marks the birth of his grandest masterpieces, first the picture in the Pitti Palace called by Cavalcaselle a Resurrection, but which is more truly an allegorical impersonation of the Saviour.
Vasari's simple description is best: "Una donna nuda che dorme, tanto bella che pare viva, insieme con altre figure." Moritz Thausing's Albrecht Dürer, Zweiter Band, p. 14. Crowe and Cavalcaselle, Life and Times of Titian, vol. i. p. 212.
Crowe and Cavalcaselle give good grounds for the assumption that, in order to save appearances, Titian was supposed replacing and covering the battle-piece which already existed in the Great Hall to be presenting the Battle of Spoleto in Umbria, whereas it was clear to all Venetians, from the costumes, the banners, and the landscape, that he meant to depict the Battle of Cadore fought in 1508.
See Venturi, op. cit., and Crowe and Cavalcaselle, Titian, ii. 58. From Das Museum, No. 79. "Unbekannter Meister um 1500. Bildnis der Caterina Cornaro." I am informed the original is now in the possession of the German Ambassador at The Hague, and that a plaster cast is at Berlin. Dr. Gazette des Beaux Arts, 1897, pp. 278-9.
Crowe and Cavalcaselle believe they perceive Bugiardini's hand in it. In 1510 Albertinelli began one of his masterpieces, the Annunciation for the company of S. Zenobio, now in the Belle Arti.
'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.
Two wings of one of the Dijon shrines are still preserved in the museum there, and in these Messrs Crowe and Cavalcaselle observe the characteristics of much that was to follow: "Although Melchior's style was founded on the study of the painters of the Rhine, his composition was similar to the later productions of the Flemish school.
1895 Catalogue. Crowe and Cavalcaselle, ii. 142, and note. Giorgione painted in fresco in the portico of this palace. Zanetti has preserved the record of a figure said to be "Diligence," in his print published in 1760. See Byron's Life and Letters, by Thomas Moore, p. 705. See Berenson's Venetian Painters, illustrated edition. Morelli, ii. 219.
Sebastian, preceding the definitive work, showed the saint tied not to a tree, but to a column, and in it the group of St. Roch and the Angel was replaced by the figures of two archers shooting. Ridolfi, followed in this particular by Crowe and Cavalcaselle, sees in the upturned face of the St. Nicholas a reflection of that of Laocoon in the Vatican group.
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