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).