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Updated: May 10, 2025
The critic may say he has seen them all before, he knows them off by heart; but then so does he know Raphael's infants, and Botticelli's madonnas, and Fra Angelico's angel trumpeters, and Vecelli's blue hills, and Robusti's doges, and Lionardo's smiling, enigmatic ladies. He does not say he is tired of these, but that is only his eternal affectation.
It will not be safe to put the picture too late in the earlier section of Vecelli's work, though, with all its freshness of inspiration and still youthful passion, it shows a further advance on the Worship of Venus and the Bacchanal, and must be deemed to close the great series inaugurated by the Feast of the Gods of Gian Bellino.
Closer to it, all the same, are the Raffo and the two portraits in the St. Mark of the Salute, and closer still is the supremely fine Jeune Homme au Gant of the Salon Carré, that later production of Vecelli's early time.
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