ever been before him."[63]


FOOTNOTES:

[Footnote 1: "The Earlier Work of Titian," _Portfolio_, October 1897.]

[Footnote 2: According to the catalogue of 1892, this picture was
formerly in the sacristy of the Escorial in Spain. It can only be by an
oversight that it is therein described as "possibly painted there,"
since Titian never was in Spain.]

[Footnote 3: It is especially to be noted that there is not a trace of
red in the picture, save for the modest crimson waistband of the St.
Catherine. Contrary to almost universal usage, it might almost be said
to orthodoxy, the entire draperies of the Virgin are of one intense
blue. Her veil-like head-gear is of a brownish gray, while the St.
Catherine wears a golden-brown scarf, continuing the glories of her
elaborately dressed hair. The audacity of the colour-scheme is only
equalled by its success; no calculated effort at anything unusual being
apparent. The beautiful naked _putto_ who appears in the sky, arresting
the progress of the shepherds, is too trivial in conception for the
occasion. A similar incident is depicted in the background of the much
earlier _Holy Family_, No. 4. at the National Gallery, but there the
messenger angel is more appropriately and more reverently depicted as
full-grown and in flowing garments.]

[Footnote 4: Crowe and Cavalcaselle, vol. i. pp. 396, 397; _Tizian_, von
H. Knackfuss, p. 55.]