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Updated: May 24, 2025
This Crowe and Cavalcaselle minutely describe, with its prevailing blacks and whites furnished by the robes of the Dominicans, with its sombre, awe-inspiring landscape, in which lurid storm-light is held in check by the divine radiance falling almost perpendicularly from the angels above with its single startling note of red in the hose of the executioner.
This fine portrait was identified by both Crowe and Cavalcaselle and by Morelli as the work of Torbido, and I venture to place the reproduction of it beside that of the "Shepherd" for comparison. It is not easy to pronounce on the technical qualities of either work, for both have suffered from re-touching and discolouring varnish, and the hand of the "Shepherd" is certainly damaged.
That this was by Bellini is more than probable, for the different versions are clearly by different painters of his school. By far the finest is the example which Crowe and Cavalcaselle and Morelli unhesitatingly ascribe to the young Giorgione; this version is, however, considered by Signor Venturi inferior to the one now belonging to Count Lanskeronski in Vienna.
For these notices see Anselmi's monograph, "A proposito della classificazione dei monumenti nazionali nella provincia d'Ancona." Also quoted by Cavalcaselle e Crowe, viii. p. 480. Vasari, iii, 686.
See Perkins's Italian Sculptors, pp. 46, 47. Istoria della Vita e Fatti dell' eccellentissimo Capitano di guerra Bartolommeo Colleoni, scritta per Pietro Spino. Republished, 1859. See Vol. I., Age of the Despots, p. 310, note 2. Crowe and Cavalcaselle, vol. ii. chap, xvi., may be consulted as to the several claims of the two brothers.
The writer is unable to agree with Crowe and Cavalcaselle when they affirm that this Salome is certainly painted by one of the master's followers. The touch is assuredly Titian's own in the very late time, and the canvas, though much slighter and less deliberate in execution than its predecessors, is in some respects more spontaneous, more vibrant in touch.
If we are to accept the tradition that this Allegory, or quasi-allegorical portrait-piece, giving a fanciful embodiment to the pleasures of martial domination, of conjugal love, of well-earned peace and plenty, represents d'Avalos, his consort Mary of Arragon, and their family and a comparison with the well-authenticated portrait of Del Vasto in the Allocution of Madrid does not carry with it entire conviction we must perforce place the Louvre picture some ten years later than do Crowe and Cavalcaselle.
Crowe and Cavalcaselle place "The Circumcision," of the National Gallery, formerly in Volterra, as about the same date as the foregoing; Vischer, presuming that it was painted at the same time with the dated pictures of 1491 still remaining in Volterra, groups it with them; but the similarity of colour and treatment lead me to accept the former theory.
On the opposite side of the doorway is a coloured medallion, representing a man with a turban, who, leaning his back over the frame as though it were a window, seems to be gazing up at the painting above. This, Cavalcaselle suggests, is a portrait of the painter himself; Luzi, however, considers it to be Empedocles.
The next picture on Morelli's list is the "Fête Champêtre" of the Louvre, or, as it is often called, the "Concert." In this endeavour Crowe and Cavalcaselle led the way by suggesting the author was probably an imitator of Sebastiano del Piombo.
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