[45] It is inserted in a Transunto of MSS. belonging to the noble Ernesto Mottensi of Pordenone, communicated to me by the P. D. Michele Turriani Barnabita, extremely skilled in the parchments and ancient memorials of Friuli.
[46] See his work on Venetian Painting, p. 250.
[47] By means of Sig. Ab. Gei, of Cadore, a young man of the most promising abilities, I have obtained notice of an artist belonging to that place, who, from various authorities, is supposed to have been the instructor of the great Titian. It is certain he flourished towards the close of the fifteenth century; nor does there exist accounts of any other artist of Cadore, capable of initiating his countrymen in a knowledge of the art. Three of his pictures in water colours, in the usual style of composition at that time, so frequently described, are yet extant; the first, a fine altarpiece, adorning the parish church at Selva, in which the titular S. Lorenzo, with others, in an upright posture, are seen surrounding the throne of the Virgin; a second, of smaller size, is in the Oratory of Sig. Antonio Zamberlani, in the parish church of Cadore, where the throne appears encompassed with cherubs playing upon instruments; the third, placed at San Bartolommeo of Nabiù, is divided into six compartments; the best, or at least the most free from harshness of manner of the whole. It is inferior, however, in design to Jacopo Bellini, though equal, perhaps, in point of diligence and colouring, and similar in its style. Upon the first he has inscribed, Antonius Rubeus de Cadubrio pinxit; upon the second, Opus Antonii Rubei: but the letter E being defaced, the word looks like Rubli; upon the third is found Antonius Zaudanus (da Zoldo) pinxit. Thus if we combine these inscriptions it will appear that this ancient painter, whom we now place at the head of the artists belonging to that prolific clime, was Antonio Rossi Cadorino.
[48] See Ridolfi. This picture is now in Dresden, and Italy abounds with copies. One of these I saw at S. Saverio di Rimini, inscribed with the name of Titian on the band of the Pharisee, a very beautiful production, and believed by many to be a duplicate rather than a copy. Albert was in Italy in 1495 and in 1506. In Venice, one of his pictures, in the council of the Ten, is cited by Zanetti; it is Jesus Christ shewn to the people; and an altarpiece is also mentioned by Sansovino, placed at S. Bartolommeo, commended both by him and by other writers. (See the Sig. Morelli's Annotations on the Notizia, p. 223.)
[49] Opere, tome i. p. 177.
[50] See his Life of Titian.
[51] See Bottari, Notes to Vasari, in the Life of Titian.
[52] See Idea della Pittura, Edizione Rom. p. 287.
[53] See Passeri.
[54] On the Arts of Design, Discourse, &c.