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Updated: May 24, 2025
Catena's work seems cold and studied beside the warmth and spontaneity of Giorgione's little panel, which is, indeed, as Crowe and Cavalcaselle assert, "of the most picturesque beauty in distribution, colour, and costume." It must date from before 1500, probably just before the Beaumont "Nativity," and proves how, even at that early time, Giorgione's art was rapidly maturing into full splendour.
From Tomb of Giulinto de' Medici. Michelangelo Cf. Crowe and Cavalcaselle, op. cit. vol. i. p. 127, note 4. Eccellenza della Statua di S. Giorgio di Donatello: Marescotti, 1684.
Crowe and Cavalcaselle rightly consider its execution to be the work of assistants, by reason of the rawness of colour and general coarseness of the painting; yet in composition, and in many of the figures, there is so much of the master's impressive dignity, that I feel compelled to regard the drawing, in parts at least, as his own.
That the pieces of canvas to which reference is here made were new, and not Titian's original work from the brush, was of course well known to those who saw the work as it used to hang in the Accademia. Crowe and Cavalcaselle give indeed the name of a painter of this century who is responsible for them.
Yet five years later Titian is found stating that he is ninety-five, and not eighty-two as we should expect! Perhaps the best comment is made by Crowe and Cavalcaselle, who significantly remark immediately after the last letter: "Titian's appeal to the benevolence of the King of Spain looks like that of a garrulous old gentleman proud of his longevity, but hoping still to live for many years."
The handling is Baccio's own able style, but Sig. Cavalcaselle thinks the influences of Cosimo Roselli are apparent in the low tone and clouded translucent colour; he signed it "Hieronymi Ferrariensis, a Deo missi propheta effigies," a legend which expresses the more than reverence which Baccio cherished for the preacher. This portrait has only lately been identified by its present possessor, Sig.
They have been much damaged. For many years used as a sacristy, the greasy smoke of the incense had so blackened the walls that the frescoes were nearly invisible. The skilful cleaning of Signor Guiseppe Missaghi, at the instigation of Signor Cavalcaselle, has restored to them much of their original beauty, although the colour still remains somewhat obscured.
Crowe and Gavalcaselle, op. cit. vol. ii. p. 124. Crowe and Cavalcaselle, op. cit. vol. ii. p. 77. Crowe and Cavalcaselle, op. cit. vol. ii. p. 81. Mornings in Florence, by John Ruskin.
The importance of this portrait in the history of the Renaissance is discussed, postea, p. 113. ii. 19. This picture was transferred in 1857 from panel to canvas, but is otherwise in fine condition. Morelli, ii. 19, note. Crowe and Cavalcaselle: Titian, p. 425. Gazette des Beaux Arts, 1893, p. 135. It is customary to cite the Prague picture of 1525 as his work.
Crowe and Cavalcaselle state that the whole four perished in the all-devouring conflagration of the Pardo Palace, and put down the Prometheus and Sisyphus of the Prado Gallery as copies by Sanchez Coello. It is difficult to form a definite judgment on canvases so badly hung, so darkened and injured. They certainly look much more like Venetian originals than Spanish copies.
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