DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52800#0138
118
ORLEANS COLLECTION.
1523 he was employed by the senate of Venice to
ornament the Sala del gran Consiglio; when he
painted the famous battle of Cadore between the
Venetians and the Imperialists : this grand work
was destroyed by fire, but the composition of it
has been preserved by the print engraved from it
by Fontana.
It was shortly after this time that Titian
was employed to paint his great work of the St.
Peter Martyr, for the church of St. Giovanni di
Paolo, which has always been considered his chef-
d’oeuvre ; his friend and admirer Algarotti asserts
that the most fastidious critic cannot form a
shadow of defect in this composition. It is indeed
admirable, and though composed of very few
figures, they are designed with spirit, full of
action, and marked with a grandeur not to be
surpassed in the works of any master. This grand
picture was carried by the French to Paris, where
it was deposited in the Museum for many years,
and while there, was always regarded as one of
the principal attractions of the gallery.
In a work of so much consequence as the St.
Peter Martyr, and which is painted in his strong
and golden manner, it may be curious here
to know some particulars regarding the mode
which he adopted in painting that great work,
as being interesting, not only to amateurs, but
ORLEANS COLLECTION.
1523 he was employed by the senate of Venice to
ornament the Sala del gran Consiglio; when he
painted the famous battle of Cadore between the
Venetians and the Imperialists : this grand work
was destroyed by fire, but the composition of it
has been preserved by the print engraved from it
by Fontana.
It was shortly after this time that Titian
was employed to paint his great work of the St.
Peter Martyr, for the church of St. Giovanni di
Paolo, which has always been considered his chef-
d’oeuvre ; his friend and admirer Algarotti asserts
that the most fastidious critic cannot form a
shadow of defect in this composition. It is indeed
admirable, and though composed of very few
figures, they are designed with spirit, full of
action, and marked with a grandeur not to be
surpassed in the works of any master. This grand
picture was carried by the French to Paris, where
it was deposited in the Museum for many years,
and while there, was always regarded as one of
the principal attractions of the gallery.
In a work of so much consequence as the St.
Peter Martyr, and which is painted in his strong
and golden manner, it may be curious here
to know some particulars regarding the mode
which he adopted in painting that great work,
as being interesting, not only to amateurs, but