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Updated: June 25, 2025
In its heyday Titian was a frequent visitor here, its owner, Martino d'Anna, a Flemish merchant, being an intimate friend, and Pordenone painted its walls.
Having then arrived in Genoa, he painted a scene there, beside that of Pordenone, in which he succeeded very well, and yet not in such a manner that it could be counted among his best works. But, since the ways of the Court did not please him, being used to a life of freedom, he did not stay very willingly in that place, and, indeed, appeared as if he were stupefied.
Again we owe it to Morelli that this painting, ascribed by Crowe and Cavalcaselle as the Herodias was ascribed to Pordenone, has been with general acceptance classed among the early works of Titian.
That done, he was commissioned to finish the tribune of that church, which Pordenone had left unfinished, wherein he painted in fresco all the life of the Madonna; and although the Prophets and Sibyls that Pordenone executed there, with some children, are beautiful to a marvel, nevertheless Soiaro acquitted himself so well, that the whole of that work appears as if all by one and the same hand.
This retrograde movement he performed with regret; hesitating, and feeling annoyed by the grumbling of the soldiers, because they wished to march to the enemy, and by the hesitation of the generals who dared not offer him advice, he halted on the 15th before the town of Sacile, and on the 16th made an unexpected attack on the Archduke John, who on the previous evening had surprised and beaten the French rearguard at Pordenone, though, as it now appeared, not any better guarded himself.
It was after a public competition between Titian, Palma, and Pordenone, instituted by the Brotherhood of St. Peter Martyr, that the great commission was given to the first-named master. Palma had arrived at the end of his too short career, since he died in this same year, 1828. Of Pordenone's design we get a very good notion from the highly-finished drawing of the Martyrdom of St.
One of the earliest of European travellers in India, Odoric de Pordenone, says: "The province where pepper grows is named Malabar, and in no other part of the world does pepper grow except in this country. Ginger was produced in many parts of the East; in Arabia, India, and China. Precious stones were of almost as much interest to the men of the Middle Ages as were spices.
After the death of Bonifazio, who left unfinished the above-mentioned stories of Christ in the Duomo of Cremona, Giovanni Antonio Licinio of Pordenone, called in Cremona De' Sacchi, finished those stories begun by Bonifazio, painting there in fresco five scenes of the Passion of Christ with a grand manner in the figures, bold colouring, and foreshortenings that have vivacity and force; all which things taught the good method of painting to the Cremonese, and not in fresco only, but likewise in oils, for the reason that in the same Duomo, placed against a pilaster in the centre of the church, is an altar-piece by the hand of Pordenone that is very beautiful.
We now reach the Titians. 1577 and 1580, are good average Sante Conversazioni, the latter is, however, assigned by Mr. Berenson to a pupil. 1581, The Supper at Emmaus, a mature and genuine work; and 1578, the much-admired Virgin and Child with the Rabbit, painted in 1530, next claim our attention. 1593 and 1591 are unknown portraits, the former attributed by Crowe and Cavalcaselle to Pordenone.
They had also procured him the commission for a small picture in the Church of San Giovanni Elemosynario, which they intended him to paint in competition with one representing that saint in his episcopal habits, which had previously been executed there by Titian. But whatever care and pains Pordenone took, he could not equal nor even approach the work of the former.
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