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Updated: May 24, 2025
Catherine, mentioned in a letter from Giacomo Malatesta to the Marchese Federigo Gonzaga, dated February 1530, was not, as is assumed by Crowe and Cavalcaselle, the Madonna del Coniglio of the Louvre, but the Madonna and Child with St. John the Baptist and St. Catherine, which is No. 635 at the National Gallery.
It was apparently unknown to Morelli, nor is it mentioned by other critics. Morelli, ii. 205. Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in the Gazette des Beaux Arts, 1884, p. 286, rightly admits Giorgione's authorship. This sketch is to be found in Van Dyck's note-book, now in possession of the Duke of Devonshire at Chatsworth.
Both Crowe and Cavalcaselle and M. Georges Lafenestre have called attention to the fact that the detested Borgia Pope died on the 18th of August 1503, and that the work cannot well have been executed after that time. He would have been a bold man who should have attempted to introduce the portrait of Alexander VI. into a votive picture painted immediately after his death!
Fortunately this difficulty grows less and less in dealing with the later works, and the most important of them are generally dated. Where the illustration is given, it becomes unnecessary. Vasari, iii. 691. Vischer, p. 79. Cavalcaselle e Crowe, viii. 507. I have thought it best only to translate those names that are familiar to us in English. Vasari, iii. 685. Cavalcaselle e Crowe, viii. 455.
Crowe and Cavalcaselle, Life and Times of Titian, vol. i. pp. 237-240. On the circular base of the column upon which the warrior-saint rests his foot is the signature "Ticianus faciebat MDXXII." This, taken in conjunction with the signature "Titianus" on the Ancona altar-piece painted in 1520, tends to show that the line of demarcation between the two signatures cannot be absolutely fixed.
As it at present appears, it is broad and solid in execution, rich and brilliant in colour for a fresco, very fairly preserved deserving, in fact, of a much better reputation as regards technique than Crowe and Cavalcaselle have made for it.
If the composition as Crowe and Cavalcaselle assert does more or less resemble that of the famous Agony by Correggio now at Apsley House, nothing could differ more absolutely from the Parmese master's amiable virtuosity than the aged Titian's deep conviction.
Among the peoples of Central Italy it took the place of mosaic in Sicily, Ravenna, and Venice, as the means of communicating ideas by forms to the unlettered laity, and as affording to the artist the widest and the freest sphere for the expression of his thoughts. Crowe and Cavalcaselle. Nothing is more astonishing than the sterility of Genoa and of Rome.
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.
To this we may add that no other painter has ever conceived Humanity with the same stately grandeur and in the same broad spirit. The confident strength of youth, the stern austerity of middle life, the resolute solemnity of old age these are his themes. Signorelli is, before all, the painter of the dignity of human life. Cavalcaselle e Crowe, viii. 424, etc. Ital. Forsch. ii. 333.
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