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.).
636. "PORTRAIT OF A POET."
Titian; or Palma Vecchio (Bergamese: 1480-1528).
See also (p. xix)
This picture was long ascribed to Titian; then for many years to Palma (of whom, therefore, some notice is here retained); now it has been restored by the officials to Titian. Others believe it to be the work of Giorgione (see below).
Jacopo Palma, the elder (II Vecchio), is one of the most illustrious of the "post-Bellinian School" of painters at Venice. But he was born near Bergamo and "could never entirely lay aside his mountain nature in his works" (see Morelli's German Galleries, pp. 13-18, 24-31, for the best account of Palma's place in art history). He was especially great in the Holy Families, called by the Italians "Sante Conversazioni," in which the figures of sacred story are grouped together in restful attitudes and enframed with blue mountain landscapes. He painted so many of these compositions that Ruskin says—somewhat too sweepingly—that he painted "no profane subject of importance" (Modern Painters, vol. v. pt. ix. ch. iii. § 17). He was also a magnificent painter of female and fancy portraits—a branch of art in which he rivals even Titian. Palma's works are sometimes divided into three manners—the Bellinesque, the Giorgionesque, and the blonde. Among the most famous of his productions are the "Adoration of the Shepherds," in the Louvre; the "Jacob and Rachel," at Dresden; and the altar-piece in St. Sebastiano at Vicenza—"his finest and most perfect work," according to Morelli. His "St. Barbara," in S. Maria Formosa at Venice, is also celebrated. The so-called "Bella da Tiziano," at Rome, and the "Three Sisters," at Dresden, are among the best-known of his portraits.
This fine portrait was formerly supposed to represent Ariosto (1474-1533), who was acquainted with Titian and commemorates him as one "who honours Cadore not less than Sebastiano del Piombo and Raphael honour Venice and Urbino." But the portrait bears little resemblance to the poet as he is known to us by authenticated likenesses. The title "Portrait of a Poet" is based partly on the character of the face, partly on the bush of laurel in the background. The evidence for the ascription to Palma is by no means conclusive (see Notes and Queries, Dec. 28, 1889). Mr. W. Fred Dickes has suggested—ingeniously, if not convincingly—that the portrait is of the famous "Liberator of Italy," Prospero Colonna (1464-1523), painted in 1500, when he was living in temporary retirement as a lay brother in a Benedictine monastery. Prospero is described as "tall in person, ruddy in countenance; his eyes were black, his beard reddish, and the locks of his hair of a chestnut character." The laurel would be appropriate to a victorious captain, no less than to a poet. Mr. Dickes ascribes the portrait to Giorgione (see Magazine of Art, March and April 1893). This ascription is accepted by Mr. Herbert Cook. "The conception is characteristic of Giorgione—the pensive charm, the feeling of reserve, the touch of fanciful imagination in the decorative accessories, but, above all, the extreme refinement.... Where can the like be found in Palma, or even Titian? Titian is more virile in his conception, less lyrical, less fanciful; Palma, infinitely less subtle in characterisation" (Giorgione, p. 84).