635. THE "REPOSE."
Titian (Venetian: 1477-1576). See 4.
The subject of this radiantly beautiful picture is the familiar "Repose" of the Holy Family during their flight into Egypt; "perfect serenity and repose" are the keynote of the composition. The introduction of St. John the Baptist, and St. Catherine[157] embracing the Holy Child, and in the distance the angel appearing to the shepherds, serve as the sign-manuals to mark the sacred subject. For the rest it is a simple domestic scene, laid amongst the hills of Titian's country, near Ceneda, on the way to Cadore:—
To this Ceneda scenery I would assign those charming mixtures of woodland and plain,—those sweeping intermingling lines of hill, here broken by a jutting rock, sinking there into the sudden depth of bosky shades,—which are another characteristic of Titian's landscape. The play of light and shade over such a country, throwing out now this, now that, of the billowy ranges as they alternately smiled in sunshine, or frowned in shadow; now printing off a tower or a crag, dark against a far-off flitting gleam, now touching into brightness a cottage or a castle; he specially delighted to record.... It must have been from the village of Caverzano, and within an easy walk from Belluno, that he took the mountain forms, and noted the sublime effect upon them of evening light, introduced in the "Madonna and St. Catherine." The lines of hill and mountain are identical with a record in my sketch-book, and the sharp-pointed hill, almost lost in the rays, is one of the most familiar features in the neighbourhood of Belluno (Gilbert: Cadore, pp. 36, 59).
Mr. Gilbert makes another interesting remark, which may be verified in this picture with its flocks of sheep, as well as in 270, with its farm buildings:
Another characteristic of Titian's landscape, and new in his time, is his perception of its domestic charm—the sweetness of a home landscape. A cottage, a farm, a mill, take the place with him of the temples, towers, and lordly palaces of town-bred painters.... Honest travellers on a country track, or sleeping in the shade; the peasant going forth to labour, or returning with his tools; the high-roofed, quaintly gabled farm, with its nondescript surroundings, and all set snugly on the bosky knoll ... these are his favourite subjects. But they never would have been so to a thorough Venetian. They show us the man of the hills—the breezy, happy hills: the man of many pleasant memories, upon the sward, beside the brook, under the bending boughs: the man who carried no city apprehensions, or city squeamishness to country places, but was at home anywhere under the broad heaven (ibid. p. 60).
The colour-scheme of this masterpiece is worth noting. It is in keeping with the effect of coolness and repose aimed at in the composition. "The dominant chord is composed by the cerulean blues of the heaven and of the Virgin's dress, the deep luscious greens of the landscape and the peculiar pale citron hue, relieved with a crimson girdle, of the robe worn by St. Catherine. With this exception there is not a trace of red in the picture. 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 headgear 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" (Claude Phillips: The Later Work of Titian, p. 10).
This picture, which is signed TICIAN, was formerly in the Sacristy of the Escurial; it has the Escurial mark on the back. A "Madonna with St. Catherine" by Titian is mentioned in a letter of 1530 written by Giacomo Malatesta to Federigo Gonzaga at Mantua. The reference is supposed by Crowe and Cavalcaselle to be to the "Vierge au Lupin" of the Louvre; but it may be to our picture (see Phillips: The Earlier Work of Titian, p. 82 n.).