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According to Crespi this is what was written: "The overland expedition which left San Diego on the 14th of July, 1769, under the command of Don Gaspar de Portolá, Governor of California, reached the channel of Santa Barbara on the 9th of August, and passed Point Concepcion on the 27th of the same month.
Up-stairs familiar names such as Domenichino, Bassano, Cortona, Crespi, Bellino, Pietra della Vecchia, Allori, Veronese, Maratta, Guido Reni, Romano need not detain us. The catalogue numbers of the Italian school go as high as 628. The Titians, however, are the glory of the Prado. The Spanish school begins at 629, ends at 1,029.
Would the most gentle Miss Verplanck haply part with hers? The price should be what she chose to name. It was no question of money, but of obliging a client whom Crespi could ill afford to disappoint. Emma curtly declined the offer. The St. Michael was valued for personal reasons and was not for sale. Six weeks later came a more insidious suggestion.
In his recently published Life of Titian, Dr. Gronau passes from the consideration of the Cobham Hall picture immediately to that of the "Portrait of a Lady," known as "La Schiavona," in the collection of Signor Crespi in Milan. The connection can be traced even in the details of the treatment and technique.
She received many commissions from many of the sovereigns and most distinguished persons of Europe. She had two sisters, Anna and Barbara, whom, according to Crespi, she instructed in the art, and who possessed considerable talent. Her fame was so great, that after her death not only the works of her sisters, but many of those of her father, were attributed to her.
San Diego was in danger of being abandoned for lack of provisions, for in 1772 Padre Crespí, who was at San Carlos, writes that on the thirtieth of March of that year "the mail reached us with the lamentable news that this Mission of San Diego was to be abandoned for lack of victuals." Serra then sent him with "twenty-two mules, and with them fifteen half-loads of flour" for their succor.
"Quilted sleeves" would no doubt be the tailor's term. It is not quite clear whether the single letter is F or T. See Crowe and Cavalcaselle, p. 201. Gronau: Tizian, p. 21. See, however, note on p. 133. La Galleria Crespi. The documents quoted by Signor Venturi show the signature was there in 1640. When in the Martinengo Gallery at Brescia it bore this name.
Good Father Serra, the founder of the Missions, his friend and brother-priest Father Palou of San Francisco, and their fellow-laborers Crespi and Lasuen, helped in the work of building churches and teaching the Indians. Governor Portola, the first Spanish ruler of Alta California, assisted the Padres, and also found San Francisco Bay.
The transition from the Cobham Hall portrait to the "Lady" in the Crespi Collection is, to my mind, also a natural and proper one. The painter of the one is the painter of the other. Tradition is herein also perfectly consistent, and tradition has in each case a plausible signature to support it. The TITIANVS F. of the former portrait is paralleled by the T.V. i.e.
Finally we see Caterina Cornaro in a bust in the Pourtalès Collection at Berlin, here reproduced, seen full face, as in the Crespi portrait. I know not on what outside authority the identification rests in the case of the bust, but it certainly appears to represent the same lady as in the above-mentioned pictures, and is rightly accepted as such by modern German critics. Crespi Collection, Milan
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