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Updated: May 10, 2025
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.
"Il suo torbido ingegno," says Bellori, plunged him into new difficulties; he fought and wounded a noble cavalier, was thrown into prison, from which he escaped almost by a miracle, and fled to Syracuse, where he obtained the favor of the Syracusans by painting a splendid picture of the Santa Morte, for the church of S. Lucia.
See Venetian Painting at the New Gallery. 1895. Unless we are to suppose that Vasari mistook a copy for an original. Francesco Torbido, called "il Moro," born about 1490, and still living in 1545. Vasari states that he actually worked under Giorgione. Signed portraits by him are in the Brera, at Munich, and Naples.
The western side was illumined by the rays of the setting sun, and peaks and glaciers flashed back his golden beams with dazzling radiance. On the south the view was magnificent. Across the wild valley of the Torbido, about two miles distant, rose the volcano of Antuco. The mountain roared like some enormous monster, and vomited red smoke, mingled with torrents of sooty flame.
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