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Updated: May 21, 2025
Peter Martyr is, so far as the writer is aware, to be derived from an apparently faithful modern copy by Appert, which hangs in the great hall of the École des Beaux-Arts in Paris. Even through this recent repetition the beholder divines beauties, especially in the landscape, which bring him to silence, and lead him, without further carping, to accept Titian as he is. S. Marciliano, Venice.
The earlier and more masculine work of Cima bears a definite relation to that of Bartolommeo Montagna. The Tobias and the Angel shows some curious points of contact with the large Madonna and Child with St. Agnes and St. John by Titian, in the Louvre a work which is far from equalling the S. Marciliano picture throughout in quality. The beautiful head of the St.
Agnes is but that of the majestic archangel in reverse; the St. John, though much younger than the Tobias, has very much the same type and movement of the head. Vasari places the Three Ages after the first visit to Ferrara, that is almost as much too late as he places the Tobias of S. Marciliano too early.
It will be remembered that Vasari assigns to the Tobias and the Angel in the Church of S. Marciliano at Venice the exact date 1507, describing it, moreover, with greater accuracy than he does any other work by Titian. He mentions even "the thicket, in which is a St. John the Baptist kneeling as he prays to heaven, whence comes a splendour of light."
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