Born at the Castle of Cador, in Friuli, in 1576; died aged 99. . . . The dead Christ is in its foreshortening worthy of Correggio, and partakes in outline of Michael Angelo. The action of St. John is fully expressive of love and veneration, the hands folded on the breast of Joseph of Arimathea, are finely expressive. All is modesty, solemn repose, and placid harmony. The heads on the right of the picture are portraits of Titian, his wife and his daughter. Every attempt to do justice to this artist is derogatory to the character we would exalt. The great observer of truth, and the familiar friend of nature, gifted with a peculiarly sound judgment, tranquil, penetrative, and decidedly studious of what was true, rather than what was novel and specious, . . . In the number of his figures he is inclined to be moderate, and . . . in colour he is inimitable. No contrasts are to be met with in his compositions that betray a studied effect; no violent action that is not called for by the incident of the story. . . . Affluent and well received at the courts of Rome, Vienna, and Madrid; vigorous in energy and the practice of his pencil to the last, he fell a victim to the plague within a year of completing a century. (On canvass--3 ft. 3 in. by 4 ft. 3 in.) [P. 10.]
Catalogue of Paintings, by the Great Masters, including Specimens of the First Class, of the Italian, Venetian, Spanish, Flemish, Dutch, French, and English Schools. It penetrates the inward recesses of the soul--even surpassing the power and force of eloquence.--Quintillian on the Art of Painting. Boston: Press of John H. Eastburn.