The Earlier Work of Titian by Claude Phillips
page 50 of 100 (50%)
page 50 of 100 (50%)
![]() | ![]() |
|
the first period, and in so far the painting, which cannot be placed
very early among them, constitutes a partial exception in the series. The Virgin is of a more refined and pensive type than in the _Madonna with the Cherries_ of Vienna, or the _Madonna with Saints_, No. 439 in the Louvre, and the divine Bambino less robust in build and aspect. The magnificent St. Anthony is quite Giorgionesque in the serenity tinged with sadness of his contemplative mood. [Illustration: From a photograph by Braün-Clement & Cie. Virgin and Child with Saints.] Last of all in this particular group--another work in respect of which Morelli has played the rescuer--is the _Madonna and Child with four Saints_, No. 168 in the Dresden Gallery, a much-injured but eminently Titianesque work, which may be said to bring this particular series to within a couple of years or so of the _Assunta_--that great landmark of the first period of maturity. The type of the Madonna here is still very similar to that in the _Madonna with the Cherries_. [Illustration: _St. Eustace (or St. Hubert) with the Miracle of the Stag. From a Drawing by Titian in the British Museum._] Apart from all these sacred works, and in every respect an exceptional production, is the world-famous _Cristo della Moneta_ of the Dresden Gallery. As to the exact date to be assigned to this panel among the early works of Titian considerable difficulty exists. For once agreeing with Crowe and Cavalcaselle, Morelli is inclined to disregard the testimony of Vasari, from whose text it would result that it was painted in or after the year 1514, and to place it as far back as 1508. Notwithstanding this weight of authority the writer is strongly |
|