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The splendour of the colour in this piece hardly equalled in its happy audacity, save by the Madonna del Coniglio or Vierge au Lapin of the Louvre, would be a theme delightful to dwell upon, did the prescribed limits of space admit of such an indulgence.
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.
The beauty is, all the same, in the conception and in the thing actually seen much less in the actual painting. It is hardly possible to convince oneself, comparing the work with such landscape backgrounds as those in this picture at the National Gallery in the somewhat earlier Madonna del Coniglio, and the gigantic St.
Catherine, a splendid Venetian beauty of no very refined type or emotional intensity. Perfect repose and serenity are the keynote of the conception, which in its luxuriant beauty has little of the power to touch that must be conceded to the more naïve and equally splendid Madonna del Coniglio.
The royal saint of Alexandria is a sister in refined elegance of beauty and costume, as in cunning elaboration of coiffure, to the St. Catherine of the Madonna del Coniglio, and the not dissimilar figure in our own Holy Family with St. Catherine at the National Gallery. The fresco showing St.
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