_Catena_ (Venetian: died 1531).
Of Vincenzo di Biagio, commonly called Catena (possibly from a
partiality for jewellery), little is known, and until recently
little was heard. Modern critics have, however, decided that
he was one of the ablest of the School of Bellini, and have
attributed to him many beautiful works, which have hitherto
borne famous names.[117] He was born at Treviso; his first
master was probably the elder Girolamo da Treviso, but he
must have finished his artistic education in the School of
Bellini. Signed pictures from his hand are to be found in
several of the Venetian churches and elsewhere. He was fond of
introducing a partridge (as here and in 694) and a white poodle
dog (as here) into his pictures, by which they may often be
recognised. An altar-piece, representing S. Cristina in the
church of S. Maria Mater Domini, and another of S. Giustina in
S. Simpliciana are referred to as offering marked analogies
with the work now before us. A letter is extant, dated April
11, 1520, when Raphael was just deceased and Michelangelo
infirm, in which Catena is recommended to be on his guard,
"since danger seems to be impending over all very excellent
painters." He was famous for his portraits; the portrait of
Count Raimund Fugger, specially praised by Vasari, is now at
Berlin. He died in 1531, in which year he made a will leaving
legacies to a number of poor painters, and the greater part
of his substance to the Guild of his art. In his later works
the influence of Giorgione is strongly marked--as here in the
rich full colour of the Kneeling Knight, and in other respects.
"Giorgione," says Mr. Berenson, "created a demand which other
painters were forced to supply. One of them, turning toward the
new in a way that is full of singular charm, gave his later
works all the beauty and softness of the first spring days in
Italy. Upon hearing the title of one of Catena's works in the
National Gallery, _A Warrior Adoring the Infant Christ_, who
could imagine what a treat the picture itself had in store
for him? It is a fragrant summer landscape enjoyed by a few
quiet people, one of whom, in armour, with the glamour of the
Orient about him, kneels at the Virgin's feet, while a romantic
young page holds his horse's bridle. A good instance of the
Giorgionesque way of treating a subject; not for the story, nor
for the display of skill, nor for the obvious feeling, but for
the lovely landscape, for the effects of light and colour, and
for the sweetness of human relations" (_The Venetian Painters
of the Renaissance_, p. 31).
Observe, for the technical merits of this picture, the horse-bridle:
"An example of true painter's work in minor detail; unsurpassable,
but not, by patience and modesty, inimitable" (_Academy Notes_, 1875,
p. 48). As for the subject, the warrior portrayed is nameless. This
is suggestive; it is not a peculiar picture, it is a type of what was
the common method of Venetian portraiture. "An English gentleman,
desiring his portrait, gives probably to the painter a choice of
several actions, in any of which he is willing to be represented.
As for instance, riding his best horse, shooting with his favourite
pointer, manifesting himself in his robes of state on some great
public occasion, meditating in his study, playing with his children,
or visiting his tenants; in any of these or other such circumstances,
he will give the artist free leave to paint him. But in one important
action he would shrink even from the suggestion of being drawn. He will
assuredly not let himself be painted praying. Strangely, this is the
action which, of all others, a Venetian desires to be painted in. If
they want a noble and complete portrait, they nearly all choose to be
painted on their knees" (_Modern Painters_, vol. v. pt. ix. ch. iii.
§ 15). Notice also the little dog in the corner--"one of the little
curly, short-nosed, fringy-pawed things which all Venetian ladies
petted." "The dog is thus constantly introduced by the Venetians (in
Madonna pictures) in order to give the fullest contrast to the highest
tones of human thought and feeling.... But they saw the noble qualities
of the dog too--all his patience, love, and faithfulness ...," and
introduced him into their sacred pictures partly therefore in order
to show that "all the lower creatures, who can love, have passed,
through their love, into the guardianship and guidance of angels"
(_Modern Painters_, vol. v. pt. ix. ch. iii. § 21, ch. vi. § 14; _Fors
Clavigera_, 1877, p. 31).[118]