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+*** START OF THE PROJECT GUTENBERG EBOOK 12307 ***
+
+[Illustration: Art Repro Co.
+
+Madonna & Child with two Saints.
+
+From the painting by Giorgione at Castelfranco.]
+
+
+
+
+GIORGIONE
+
+BY
+
+HERBERT COOK, M.A., F.S.A.
+
+BARRISTER-AT-LAW
+
+
+
+1904
+
+
+
+
+     "Born half-way between the mountains and the sea--that young George
+     of Castelfranco--of the Brave Castle: Stout George they called him,
+     George of Georges, so goodly a boy he was--Giorgione."
+
+     (RUSKIN: _Modern Painters_, vol. V. pt. IX. ch. IX.)
+
+_First Published, November 1900 Second Edition, revised, with new
+Appendix, February 1904._
+
+
+
+
+PREFACE
+
+Unlike most famous artists of the past, Giorgione has not yet found a
+modern biographer. The whole trend of recent criticism has, in his case,
+been to destroy not to fulfil. Yet signs are not wanting that the
+disintegrating process is at an end, and that we have reached the point
+where reconstruction may be attempted. The discovery of documents and
+the recovery of lost pictures in the last few years have increased the
+available material for a more comprehensive study of the artist, and the
+time has come when the divergent results arrived at by independent
+modern inquirers may be systematically arranged, and a reconciliation of
+apparently conflicting views attempted on a psychological basis.
+
+Crowe and Cavalcaselle were the first to examine the subject critically.
+They separated--so far as was then possible (1871)--the real from the
+traditional Giorgione, and their account of his life and works must
+still rank as the nearest equivalent to a modern biography. Morelli, who
+followed in 1877, was in singular sympathy with his task, and has
+written of his favourite master enthusiastically, yet with consummate
+judgment. Among living authorities, Dr. Gronau, Herr Wickhoff, Signor
+Venturi, and Mr. Bernhard Berenson have contributed effectively to the
+elucidation of obscure or disputed points, and the latter writer has
+probably come nearer than anyone to recognise the scope of Giorgione's
+art, and grasp the man behind his work. The monograph by Signor Conti
+and the chapter in Pater's _Renaissance_ may be read for their delicate
+appreciations of the "Giorgionesque"; other contributions on the subject
+will be found in the Bibliography.
+
+It is absolutely necessary for those whose judgment depends upon a study
+of the actual pictures to be constantly registering and adjusting their
+impressions. I have personally seen and studied all the pictures I
+believe to be by Giorgione, with the exception of those at St.
+Petersburg; and many galleries and churches where they hang have been
+visited repeatedly, and at considerable intervals of time. If in the
+course of years my individual impressions (where they deviate from
+hitherto recognised views) fail to stand the test of time, I shall be
+the first to admit their inadequacy. If, on the other hand, they prove
+sound, some of the mists which at present envelop the figure of
+Giorgione will have been dispersed.
+
+H.C.
+
+_November 1900_
+
+
+
+
+NOTE TO THE SECOND EDITION
+
+To this Edition an Appendix has been added, containing--(1) an article
+by the Author on the age of Titian, which was published in the
+_Nineteenth Century_ of January 1902; (2) the translation of a reply by
+Dr. Georg Gronau, published in the _Repertorium für Kunstwissenschaft_;
+(3) a further reply by the Author, published in the same German
+periodical.
+
+The writer wishes to acknowledge his indebtedness to the Editors of the
+_Nineteenth Century_ and of the _Repertorium_ for permission to reprint
+these articles.
+
+A better photograph of the "Portrait of an Unknown Man" at Temple Newsam
+has now been taken (p. 87), and sundry footnotes have been added to
+bring the text up to date.
+
+H. C.
+
+ESHER, _January 1904_.
+
+
+
+
+CONTENTS
+
+LIST OF ILLUSTRATIONS
+
+BIBLIOGRAPHY
+
+
+Chapter    I. GIORGIONE'S LIFE
+
+          II. GIORGIONE'S GENERALLY ACCEPTED WORKS
+
+         III. INTERMEDIATE SUMMARY
+
+          IV. ADDITIONAL PICTURES--PORTRAITS
+
+           V. ADDITIONAL PICTURES--OTHER SUBJECTS
+
+          VI. GIORGIONE'S ART, AND PLACE IN HISTORY
+
+APPENDIX I--DOCUMENTS
+
+APPENDIX II--THE AGE OF TITIAN
+
+CATALOGUE OF WORKS
+
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+Madonna, with SS. Francis and Liberale. _Castelfranco_.
+
+Adrastus and Hypsipyle. _Palazzo Giovanelli, Venice_
+
+Aeneas, Evander, and Pallas. _Vienna Gallery_
+
+The Judgment of Solomon. _Uffizi Gallery_
+
+The Trial of Moses. _Uffizi Gallery_
+
+Christ bearing the Cross. _Collection of Mrs. Gardner, Boston, U.S.A._
+
+Knight of Malta. _Uffizi Gallery_
+
+The Adoration of the Shepherds. _Vienna Gallery_
+
+The Judgment of Solomon. _Collection of Mrs. Ralph Bankes, Kingston
+Lacy_
+
+Portrait of a Young Man. _Berlin Gallery_
+
+Portrait of a Man. _Buda-Pesth Gallery_
+
+Portrait of a Lady. _Borghese Gallery, Rome_
+
+Apollo and Daphne. _Seminario, Venice_
+
+Venus. _Dresden Gallery_
+
+Judith. _Hermitage Gallery, St. Petersburg_
+
+Pastoral Symphony. _Louvre, Paris_
+
+The Three Ages. _Pitti Gallery_
+
+Nymph and Satyr. _Pitti Gallery_
+
+Madonna, with SS. Roch and Francis. _Prado, Madrid_
+
+The Birth of Paris--Copy of a portion. _Buda-Pesth Gallery_
+
+Shepherd Boy. _Hampton Court_
+
+Portrait of a Man. (By Torbido) _Padua Gallery_
+
+The Concert. _Pitti Gallery_
+
+The Adoration of the Magi (or Epiphany). _National Gallery_
+
+Christ bearing the Cross. _Collection of Duke of Devonshire, Chatsworth._
+(Sketch by Vandyck, after the original by Giorgione in S. Rocco, Venice)
+
+Mythological Scenes. Two _Cassone_ pieces _Padua Gallery_
+
+Portrait of "Ariosto". _Collection of the Earl of Darnley, Cobham Hall_
+
+Portrait of Caterina Cornaro. _Collection of Signor Crespi, Milan_
+
+Bust of Caterina Cornaro. _Pourtalès Collection, Berlin_
+
+Portrait of "A Poet". _National Gallery_
+
+Portrait of a Man. _Querini-Stampalia Gallery, Venice_
+
+Portrait of a Man. _Collection of the Hon. Mrs. Meynell-Ingram, Temple
+Newsam_.
+
+Portrait of "Parma, the Physician". _Vienna Gallery_
+
+Orpheus and Eurydice. _Bergamo Gallery_
+
+The Golden Age (?). _National Gallery_
+
+Venus and Adonis. _National Gallery_
+
+Holy Family. _Collection of Mr. Robert Benson, London_
+
+The "Gipsy" Madonna. _Vienna Gallery_
+
+Madonna. _Collection of Mr. Robert Benson, London_
+
+The Adulteress before Christ. _Glasgow Gallery_
+
+Madonna and Saints. _Louvre, Paris_
+
+
+
+
+BIBLIOGRAPHY
+
+
+ANONIMO. "Notizia d'opere di disegno." Ed. Frizzoni. Bologna, 1884.
+_Passim._
+
+_Archivio Storico dell' Arte_ (now _L'Arte_), 1888, p. 47. (See also
+_sub_ Venturi.)
+
+_Art Journal_. 1895. p. 90. (Dr. Richter.)
+
+BERENSON, B. "Venetian Painting at the New Gallery." 1895. (Privately
+printed.) "Venetian Painters of the Renaissance." Third edition, 1897.
+Putnam, London. _Gazette des Beaux Arts_, 1897, p. 279.
+
+BURCKHARDT. "Cicerone." Sixth edition, 1893. (Dr. Bode.)
+
+CONTI, A. "Giorgione, Studio." Florence, 1894.
+
+CROWE AND CAVALCASELLE. "History of Painting in North Italy," vol. ii.
+London, 1871. "Life of Titian." Two vols.
+
+FRY, ROGER. "Giovanni Bellini." London, 1899.
+
+GRONAU, DR. G. _Gazette des Beaux Arts_, 1894, p. 332. _Repertorium für
+Kunstwissenschaft_, xviii. 4, p. 284. "Zorzon da Castelfranco. La sua
+origine, la sua morte, e tomba." Venice, 1894. "Tizian." Berlin, 1900.
+
+LAFENESTRE, G. "La vie et l'oeuvre de Titien." Paris, 1886.
+
+LOGAN, MARY. "Guide to the Italian Pictures at Hampton Court." London,
+1894.
+
+_Magazine of Art_, 1890, pp. 91 and 138. (Sir W. Armstrong.) 1893.
+April. (Mr. W.F. Dickes.)
+
+MORELLI, GIOVANNI. "Italian Painters." Translated by C.J. Ffoulkes.
+London, 1892. Vols. i. and ii. _passim_.
+
+MÃœNTZ, E. "La fin de la Renaissance." Paris.
+
+New Gallery Catalogue of Exhibition of Venetian Art, 1895.
+
+PATER, W. "The Renaissance." Chapter on the School of Giorgione. London,
+1893.
+
+PHILLIPS, CLAUDE. _Gazette des Beaux Arts_, 1884, p. 286. _Magazine of
+Art_, July 1895. "The Picture Gallery of Charles I." (_Portfolio_,
+January 1896). "The Earlier Work of Titian" (_Portfolio_, October 1897).
+_North American Review_, October 1899.
+
+_Repertorium für Kunstwissenschaft_. Bd. xiv. p. 316. (Herr von
+Seidlitz.) Bd. xix. Hft. 6. (Dr. Harck.)
+
+RIDOLFI, C. "Le Maraviglie dell' arte della pittura." Venice, 1648.
+
+Royal Academy. Catalogues of the Exhibitions of Old Masters.
+
+VASARI. "Le Vite." Ed. Sansoni. Florence, 1879. Translation edited by
+Blashfield and Hopkins, with Notes. London, 1897.
+
+VENTURI, ADOLFO. _Archivio Storico dell' Arte_, vi. 409, 412. _L'Arte_,
+1900, p. 24, etc. "La Galleria Crespi in Milano," 1900.
+
+WICKHOFF, F. _Gazette des Beaux Arts_, 1893, p. 135. _Jahrbuch der
+Preussischen Kunstsammlungen_, 1895. Heft i.
+
+ZANETTI, A. "Varie Pitture," etc., with engravings of some fragments
+from the Fondaco de' Tedeschi frescoes, 1760.
+
+
+
+
+
+GIORGIONE
+
+CHAPTER I
+
+GIORGIONE'S LIFE
+
+
+Apart from tradition, very few ascertained facts are known to us as to
+Giorgione's life. The date of his birth is conjectural, there being but
+Vasari's unsupported testimony that he died in his thirty-fourth year.
+Now we know from unimpeachable sources that his death happened in
+October-November 1510,[1] so that, assuming Vasari's statement to be
+correct, Giorgione will have been born in 1477.[2]
+
+The question of his birthplace and origin has been in great dispute.
+Without going into the evidence at length, we may accept with some
+degree of certainty the results at which recent German research has
+arrived.[3] Dr. Gronau's conclusion is that Giorgione was the son (or
+grandson) of a certain Giovanni, called Giorgione of Castelfranco, who
+came originally from the village of Vedelago in the march of Treviso.
+This Giovanni was living at Castelfranco, of which he was a citizen, in
+1460, and there, probably, Giorgione his son (or grandson) was born some
+seventeen years later.
+
+The tradition that the artist was a natural son of one of the great
+Barbarella family, and that in consequence he was called Barbarelli, is
+now shown to be false. This cognomen is first found in 1648, in
+Ridolfi's book, to which, in 1697, the picturesque addition was made
+that his mother was a peasant girl of Vedelago.[4] None of the earlier
+writers or contemporary documents ever allude to such an origin, or
+speak of "Barbarelli," but always of "Zorzon de Castelfrancho," "Zorzi
+da Castelfranco," and the like,[5]
+
+We may take it as certain that Giorgione spent the whole of his short
+life in Venice and the neighbourhood. Unlike Titian, whose busy career
+was marked by constant journeyings and ever fresh incidents, the young
+Castelfrancan passed a singularly calm and uneventful life. Untroubled,
+apparently, by the storm and stress of the political world about him, he
+devoted himself with a whole-hearted simplicity to the advancement of
+his art. Like Leonardo, he early won fame for his skill in music, and
+Vasari tells us the gifted young lute-player was a welcome guest in
+distinguished circles. Although of humble origin, he must have possessed
+a singular charm of manner, and a comeliness of person calculated to
+find favour, particularly with the fair sex. He early found a
+quasi-royal friend and patroness in Caterina Cornaro, ex-Queen of
+Cyprus, whose portrait he painted, and whose recommendation, as I
+believe, secured for him important commissions in the like field. But we
+may leave Giorgione's art for fuller discussion in the following
+chapters, and only note here two outside events which were not without
+importance in the young artist's career.
+
+The one was the visit paid by Leonardo to Venice in the year 1500.
+Vasari tells us "Giorgione had seen certain works from the hand of
+Leonardo, which were painted with extraordinary softness, and thrown
+into powerful relief, as is said, by extreme darkness of the shadows, a
+manner which pleased him so much that he ever after continued to imitate
+it, and in oil painting approached very closely to the excellence of his
+model."[6] This statement has been combated by Morelli, but although
+historical evidence is wanting that the two men ever actually met, there
+is nothing improbable in Vasari's account. Leonardo certainly came to
+Venice for a short time in 1500, and it would be perfectly natural to
+find the young Venetian, then in his twenty-fourth year, visiting the
+great Florentine, long a master of repute, and from him, or from
+"certain works of his," taking hints for his own practice.[7]
+
+The second event of moment to which allusion may here be made was the
+great conflagration in the year 1504, when the Exchange of the German
+Merchants was burnt. This building, known as the Fondaco de' Tedeschi,
+occupying one of the finest sites on the Grand Canal, was rebuilt by
+order of the Signoria, and Giorgione received the commission to decorate
+the façade with frescoes. The work was completed by 1508, and became the
+most celebrated of all the artist's creations. The Fondaco still stands
+to-day, but, alas! a crimson stain high up on the wall is all that
+remains to us of these great frescoes, which were already in decay when
+Vasari visited Venice in 1541.
+
+Other work of the kind--all long since perished--Giorgione undertook
+with success. The Soranzo Palace, the Palace of Andrea Loredano, the
+Casa Flangini, and elsewhere, were frescoed with various devices, or
+ornamented with monochrome friezes.
+
+We know nothing of Giorgione's home life; he does not appear to have
+married, or to have left descendants. Vasari speaks of "his many friends
+whom he delighted by his admirable performance in music," and his death
+caused "extreme grief to his many friends to whom he was endeared by his
+excellent qualities." He enjoyed prosperity and good health, and was
+called Giorgione "as well from the character of his person as for the
+exaltation of his mind."[8]
+
+He died of plague in the early winter of 1510, and was probably buried
+with other victims on the island of Poveglia, off Venice, where the
+lazar-house was situated.[9] The tradition that his bones were removed
+in 1638 and buried at Castelfranco in the family vault of the Barbarelli
+is devoid of foundation, and was invented to round off the story of his
+supposed connection with the family.[10]
+
+NOTES:
+
+[1] See Appendix, where the documents are quoted in full.
+
+[2] Vasari gives 1478 (1477 in his first edition) and 1511 as the years
+of his birth and death. Crowe and Cavalcaselle, and Dr. Bode prefer to
+say "before 1477," a supposition which would make his precocity less
+phenomenal, and help to explain some chronological difficulties (see p.
+66).
+
+[3] _Zorzon da Castelfranco. La sua origine, la sua morte e tomba_, by
+Dr. Georg Gronau. Venice, 1894.
+
+[4] Vide _Repertorium für Kunstwissenschaft_, xix. 2, p. 166. [Dr.
+Gronau.]
+
+[5] It would seem, therefore, desirable to efface the name of Barbarelli
+from the catalogues. The National Gallery, for example, registers
+Giorgione's work under this name.
+
+[6] The translation given is that of Blashfield and Hopkins's edition.
+Bell, 1897.
+
+[7] M. Müntz adduces strong arguments in favour of this view (_La fin de
+la Renaissance_, p. 600).
+
+[8] The name "Giorgione" signifies "Big George." But it seems to have
+been also his father's name.
+
+[9] This visitation claimed no less than 20,000 victims.
+
+[10] See Gronau, _op. cit_. Tradition has been exceptionally busy over
+Giorgione's affairs. The story goes that he died of grief at being
+betrayed by his friend and pupil, Morto da Feltre, who had robbed him of
+his mistress. This is now proved false by the document quoted in the
+Appendix.
+
+
+
+
+CHAPTER II
+
+GENERALLY ACCEPTED WORKS
+
+
+Such, then, very briefly, are the facts of Giorgione's life recorded by
+the older biographers, or known by contemporary documents. Now let us
+turn to his artistic remains, the _disjecta membra_, out of which we may
+reconstruct something of the man himself; for, to those who can
+interpret it aright, a man's work is his best autobiography.
+
+This is especially true in the case of an artist of Giorgione's
+temperament, for his expression is so peculiarly personal, so highly
+charged with individuality, that every product of mental activity
+becomes a revelation of the man himself. People like Giorgione must
+express themselves in certain ways, and these ways are therefore
+characteristic. Some people regard a work of art as something external;
+a great artist, they say, can vary his productions at will, he can paint
+in any style he chooses. But the exact contrary is the truth. The
+greater the artist, the less he can divest himself of his own
+personality; his work may vary in degree of excellence, but not in kind.
+The real reason, therefore, why it is impossible for certain pictures to
+be by Giorgione is, not that they are not _good_ enough for him, but
+that they are not _characteristic_. I insist on this point, because in
+the matter of genuineness the touchstone of authenticity is so often to
+be looked for in an answer to the question: Is this or that
+characteristic? The personal equation is the all-important factor to be
+recognised; it is the connecting link which often unites apparently
+diverse phenomena, and explains what would otherwise appear to be
+irreconcilable.
+
+There is an intimate relation then between the artist and his work, and,
+rightly interpreted, the latter can tell us much about the former.
+
+Let us turn to Giorgione's work. Here we are brought face to face with
+an initial difficulty, the great difficulty, in fact, which has stood so
+much in the way of a more comprehensive understanding of the master, I
+mean, that scarcely anything of his work is authenticated. Three
+pictures alone have never been called in question by contending critics;
+outside this inner ring is more or less debatable ground, and on this
+wider arena the battle has raged until scarcely a shred of the painter's
+work has emerged unscathed. The result has been to reduce the figure of
+Giorgione to a shadowy myth, whose very existence, at the present rate
+at which negative criticism progresses, will assuredly be called in
+question.
+
+If Bacon wrote Shakespeare, then Giorgione can be divided up between a
+dozen Venetian artists, who "painted Giorgione." Fortunately three
+pictures survive which refuse to be fitted in anywhere else except under
+"Giorgione." This is the irreducible minimum, [Greek: _o anankaiotatos_]
+Giorgione, with which we must start.
+
+       *       *       *       *       *
+
+Of the three universally accepted pictures, first and foremost comes the
+Castelfranco altar-piece, according to Mr. Ruskin "one of the two most
+perfect pictures in existence; alone in the world as an imaginative
+representation of Christianity, with a monk and a soldier on either side
+... "[11] This great picture was painted before 1504, when the artist
+was only twenty-seven years of age,[12] a fact which clearly proves that
+his genius must have developed early. For not even a Giorgione can
+produce such a masterpiece without a long antecedent course of training
+and accomplishment. This is not the place to inquire into the nature and
+character of the works which lead up to this altar-piece, for a
+chronological survey ought to follow, not precede, an examination of all
+available material; it is important, nevertheless, to bear in mind that
+quite ten years had been passed in active work ere Giorgione produced
+this masterpiece.
+
+If no other evidence were forthcoming as to the sort of man the painter
+was, this one production of his would for ever stamp him as a person of
+exquisite feeling. There is a reserve, almost a reticence, in the way
+the subject is presented, which indicates a refined mind. An atmosphere
+of serenity pervades the scene, which conveys a sense of personal
+tranquillity and calm. The figures are absorbed in their own thoughts;
+they stand isolated apart, as though the painter wishes to intensify the
+mood of dreamy abstraction. Nothing disquieting disturbs the scene,
+which is one of profound reverie. All this points to Giorgione being a
+man of moods, as we say; a lyric poet, whose expression is highly
+charged with personal feeling, who appeals to the imagination rather
+than to the intellect. And so, as we might expect, landscape plays an
+important part in the composition; it heightens the pictorial effect,
+not merely by providing a picturesque background, but by enhancing the
+mood of serenity and solemn calm. Giorgione uses it as an instrument of
+expression, blending nature and human nature into happy unison. The
+effect of the early morning sun rising over the distant sea is of
+indescribable charm, and invests the scene with a poetic glamour which,
+as Morelli truly remarks, awakens devotional feelings. What must have
+been the effect when it was first painted! for even five modern
+restorations, under which the original work has been buried, have not
+succeeded in destroying the hallowing charm. To enjoy similar effects we
+must turn to the central Italian painters, to Perugino and Raphael;
+certainly in Venetian art of pre-Giorgionesque times the like cannot be
+found, and herein Giorgione is an innovator. Bellini, indeed, before him
+had studied nature and introduced landscape backgrounds into his
+pictures, but more for picturesqueness of setting than as an integral
+part of the whole; they are far less suggestive of the mood appropriate
+to the moment, less calculated to stir the imagination than to please
+the eye. Nowhere, in short, in Venetian art up to this date is a lyrical
+treatment of the conventional altar-piece so fully realised as in the
+Castelfranco Madonna.
+
+Technically, Giorgione proclaims himself no less an innovator. The
+composition is on the lines of a perfect equilateral triangle, a scheme
+which Bellini and the older Venetian artists never adopted.[13] So
+simple a scheme required naturally large and spacious treatment; flat
+surfaces would be in place, and the draperies cast in ample folds.
+Dignity of bearing, and majestic sweep of dress are appropriately
+introduced; the colour is rich and harmonious, the preponderance of
+various shades of green having a soothing effect on the eye. The golden
+glow which doubtless once suffused the whole, has, alas! disappeared
+under cruel restorations, and flatness of tone has inevitably resulted,
+but we may still admire the play of light on horizontal surfaces, and
+the chiaroscuro giving solidity and relief to the figures.
+
+An interesting link with Bellini is seen in the S. Francis, for the
+figure is borrowed from that master's altar-piece of S. Giobbe (now in
+the Venice Academy). Bellini's S. Francis had been painted seventeen or
+eighteen years before, and now we find Giorgione having recourse to the
+older master for a pictorial motive. But, as though to assert his
+independence, he has created in the S. Liberale a type of youthful
+beauty and manliness which in turn became the prototype of subsequent
+knightly figures. Palma Vecchio, Mareschalco, and Pennacchi all borrowed
+it for their own use, a proof that Giorgione's altar-piece acquired an
+early celebrity.[14]
+
+[Illustration: _Anderson photo. Giovanelli Palace, Venice_
+
+ADRASTUS AND HYPSIPYLE]
+
+Exquisite feeling is equally conspicuous in the other two works
+universally ascribed to Giorgione. These are the "Adrastus and
+Hypsipyle," in the collection of Prince Giovanelli, in Venice, and
+the "Aeneas, Evander, and Pallas," in the gallery at Vienna.[15]
+
+"The Giovanelli Figures," or "The Stormy Landscape, with the Soldier and
+the Gipsy," as the picture has been commonly called since the days of
+the Anonimo, who so described it in 1530, is totally unlike anything
+that Venetian art of the pre-Giorgionesque era has to show. The painted
+myth is a new departure, the creation of Giorgione's own brain, and as
+such, is treated in a wholly unconventional manner. His peculiarly
+poetical nature here finds full scope for display, his delicacy, his
+refinement, his sensitiveness to the beauties of the outside world, find
+fitting channels through which to express themselves. With what a spirit
+of romance Giorgione has invested his picture! So exquisitely personal
+is the mood, that the subject itself has taken his biographers nearly
+four centuries to decipher! For the artist, it must be noted, does not
+attempt to illustrate a passage of an ancient writer; very probably,
+nay, almost certainly, he had never read the _Thebaid_ of Statius,
+whence comes the story of Adrastus and Hypsipyle; the subject would have
+been suggested to him by some friend, a student of the Classics, and
+Giorgione thereupon dressed the old Greek myth in Venetian garb, just as
+Statius had done in the Latin.[16] The story is known to us only at
+second hand, and we are at liberty to choose Giorgione's version in
+preference to that of the Roman poet; each is an independent translation
+of a common original, and certainly Giorgione's is not the less
+poetical. He has created a painted lyric which is not an illustration
+of, but a parallel presentation to the written poem of Statius.
+
+Technically, the workmanship points to an earlier period than the
+Castelfranco Madonna, and there is an exuberance of fancy which points
+to a youthful origin. The figures are of slight and graceful build, the
+composition easy and unstudied, with a tendency to adopt a triangular
+arrangement in the grouping, the apex being formed by the storm scene,
+to which the eye thus naturally reverts. The figures and the landscape
+are brought into close relation by this subtle scheme, and the picture
+becomes, not figures with landscape background, but landscape with
+figures.
+
+The reproduction unduly exaggerates the contrasts of light and shade,
+and conveys little of the mellowness and richness of atmospheric effect
+which characterise the original. Unlike the brilliance of colouring in
+the Castelfranco picture, dark reds, browns, and greens here give a
+sombre tone which is accentuated by the dullness of surface due to old
+varnishes.
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_
+
+AENEAS, EVANDER, AND PALLAS]
+
+"The Three Philosophers," or "The Chaldean Sages," as the picture at
+Vienna has long been strangely named, shows the artist again treating a
+classical story in his own fantastic way. Virgil has enshrined in verse
+the legend of the arrival of the Trojan Aeneas in Italy,[17] and
+Giorgione depicts the moment when Evander, the aged seer-king, and his
+son Pallas point out to the wanderer the site of the future Capitol.
+Again we find the same poetical presentation, not representation, of a
+legendary subject, again the same feeling for the beauties of nature.
+How Giorgione has revelled in the glories of the setting sun, the long
+shadows of the evening twilight, the tall-stemmed trees, the moss-grown
+rock! The figures are but a pretext, we feel, for an idyllic scene,
+where the story is subordinated to the expression of sensuous charm.
+
+This work was seen by the Anonimo in 1525, in the house of Taddeo
+Contarini at Venice. It was then believed to have been completed by
+Sebastiano del Piombo, Giorgione's pupil. If so,--and there is no valid
+reason to doubt the statement,--Giorgione left unfinished a picture on
+which he was at work some years before his death, for the style clearly
+indicates that the artist had not yet reached the maturity of his later
+period. The figures still recall those of Bellini, the modelling is
+close and careful, the forms compact, and reminiscent of the
+quattrocento. It is noticeable that the type of the Pallas is identical
+with that of S. John Baptist in Sebastiano's early altar-piece in S.
+Giovanni Crisostomo at Venice, but it would be unwise to dramatise on
+the share (if any) which the pupil had in completing the work of his
+master. The credit of invention must indubitably rest with Giorgione,
+but the damage which the picture has sustained through neglect and
+repainting in years gone by, renders certainty of discrimination between
+the two hands a matter of impossibility.
+
+The colouring is rich and varied; the orange horizon, the distant blue
+hill, and the pale, clear evening light, with violet-tinted clouds, give
+a wonderful depth behind the dark tree-trunks. The effect of the
+delicate leaves and feathery trees at the edge of the rock, relieved
+against the pale sky, is superb. A spirit of solemnity broods over the
+scene, fit feeling at so eventful a moment in the history of the past.
+
+The composition, which looks so unstudied, is really arranged on the
+usual triangular basis. The group of figures on the right is balanced on
+the left by the great rock--the future Capitol--(which is thus brought
+prominently into notice), and the landscape background again forms the
+apex. The added depth and feeling for space shows how Giorgione had
+learnt to compose in three dimensions, the technical advance over the
+"Adrastus and Hypsipyle" indicating a period subsequent to that picture,
+though probably anterior to the Castelfranco altar-piece.
+
+       *       *       *       *       *
+
+We have now taken the three universally accepted Giorgiones; how are we
+to proceed in our investigations? The simplest course will be to take
+the pictures acknowledged by those modern writers who have devoted most
+study to the question, and examine them in the light of the results to
+which we have attained. Those writers are Crowe and Cavalcaselle, who
+published their account of Giorgione in 1871, and Morelli, who wrote in
+1877. Now it is notorious that the results at which these critics
+arrived are often widely divergent, but a great deal too much has been
+made of the differences and not enough of the points of agreement.
+As a matter of fact, Morelli only questions three of the thirteen
+Giorgiones accepted definitely by Crowe and Cavalcaselle. Leaving these
+three aside for the moment, we may take the remaining ten (three of
+which we have already examined), and after deducting three others in
+English collections to which Morelli does not specifically refer, we are
+left with four more pictures on which these rival authorities are
+agreed.
+
+[Illustration: _Alinari photo. Uffizi Gallery, Florence_
+
+THE JUDGMENT OF SOLOMON]
+
+These are the two small works in the Uffizi, representing the "Judgment
+of Solomon" and the "Trial of Moses," the "Knight of Malta," also in the
+Uffizi, and the "Christ bearing the Cross," till lately in the Casa
+Loschi at Vicenza, and now belonging to Mrs. Gardner of Boston, U.S.A.
+
+The two small companion pictures in the Uffizi, The "Judgment of
+Solomon" and the "Trial of Moses," or "Ordeal by Fire," as it is also
+called, connect in style closely with the "Adrastus and Hypsipyle." They
+are conceived in the same romantic strain, and carried out with scarcely
+less brilliance and charm. The story, as in the previous pictures, is
+not insisted upon; the biblical episode and the rabbinical legend are
+treated in the same fantastic way as the classic myth. Giovanni Bellini
+had first introduced this lyric conception in his treatment of the
+mediaeval allegory, as we see it in his picture, also in the Uffizi,
+hanging near the Giorgiones; all three works were originally together in
+the Medici residence of Poggio Imperiale, and there can be little doubt
+are intimately related in origin to one another. Bellini's latest
+biographer, Mr. Roger Fry, places this Allegory about the years 1486-8,
+a date which points to a very early origin for the other two.[18] For
+it is extremely likely that the young Giorgione was inspired by his
+master's example, and that he may have produced his companion pieces as
+early as 1493. With this deduction Morelli is in accord: "In character
+they belong to the fifteenth century, and may have been painted by
+Giorgione in his sixteenth or eighteenth year."[19]
+
+Here, then, is a clue to the young artist's earliest predilections. He
+fastens eagerly upon that phase of Bellini's art to which his own poetic
+temperament most readily responds. But he goes a step further than his
+master. He takes his subjects not from mediaeval romances, but from the
+Bible or rabbinical writings, and actually interprets them also in this
+new and unorthodox way. So bold a departure from traditional usage
+proves the independence and originality of the young painter. These two
+little pictures thus become historically the first-fruits of the
+neo-pagan spirit which was gradually supplanting the older
+ecclesiastical thought, and Giorgione, once having cast conventionalism
+aside, readily turns to classical mythology to find subjects for the
+free play of fancy. The "Adrastus and Hypsipyle" thus follows naturally
+upon "The Judgment of Solomon" and "Trial of Moses," and the pages of
+Virgil, Ovid, Statius, and Valerius Flaccus--all treasure-houses of
+golden legend--yield subjects suggestive of romance. The titles of some
+of these _poesie_, as they were called, are preserved in the pages of
+Ridolfi.[20]
+
+[Illustration: _Alinari photo. Uffizi Gallery, Florence_
+
+THE TRIAL OF MOSES]
+
+The tall and slender figures, the attitudes, and the general
+_mise-en-scène_ vividly recall the earlier style of Carpaccio, who was
+at this very time composing his delightful fairy tales of the "Legend of
+S. Ursula."[21] Common to both painters is a gaiety and love of beauty
+and colour. There is also in both a freedom and ease, even a homeliness
+of conception, which distinguishes their work from the pageant pictures
+of Gentile Bellini, whose "Corpus Christi Procession" was produced two
+or three years later, in 1496.[21] But Giorgione's art is instinct with
+a lyrical fancy all his own, the story is subordinated to the mood of
+the moment, and he is much more concerned with the beauty of the scene
+than with its dramatic import.
+
+The repainted condition of "The Judgment of Solomon" has led some good
+judges to pronounce it a copy. It certainly lacks the delicacy that
+distinguishes its companion piece, but may we not--with Crowe and
+Cavalcaselle and Morelli--register it rather as a much defaced original?
+
+So far as we have at present examined Giorgione's pictures, the trend of
+thought they display has been mostly in the direction of secular
+subjects. The two early examples just described show that even where the
+subject is quasi-religious, the revolutionary spirit made itself felt;
+but it would be perfectly natural to find the young artist also
+following his master Giambellini in the painting of strictly sacred
+subjects. No better example could be found than the "Christ bearing the
+Cross," the small work which has recently left Italy for America. We are
+told by the Anonimo that there was in his day (1525) a picture by
+Bellini of this subject, and it is remarkable that four separate
+versions exist to-day which, without being copies of one another, are so
+closely related that the existence of a common original is a legitimate
+inference. That this was by Bellini is more than probable, for the
+different versions are clearly by different painters of his school. By
+far the finest is the example which Crowe and Cavalcaselle and Morelli
+unhesitatingly ascribe to the young Giorgione; this version is, however,
+considered by Signor Venturi inferior to the one now belonging to Count
+Lanskeronski in Vienna.[22] Others who, like the writer, have seen both
+works, agree with the older view, and regard the latter version, like
+the others at Berlin and Rovigo, as a contemporary repetition of
+Bellini's lost original.[23]
+
+[Illustration: _Anderson photo. Collection of Mrs. Gardner, Boston,
+U.S.A._
+
+CHRIST BEARING THE CROSS]
+
+Characteristic of Giorgione is the abstract thought, the dreaminess of
+look, the almost furtive glance. The minuteness of finish reminds us of
+Antonello, and the turn of the head suggests several of the latter's
+portraits. The delicacy with which the features are modelled, the
+high forehead, and the lighting of the face are points to be noted, as
+we shall find the same characteristics elsewhere.
+
+[Illustration: _Alinari photo_] _[Uffizi Gallery, Florence_
+
+THE KNIGHT OF MALTA]
+
+The "Knight of Malta," in the Uffizi, is a more mature work, and reveals
+Giorgione to us as a portrait painter of remarkable power. The
+conception is dignified, the expression resolute, yet tempered by that
+look of abstract thought which the painter reads into the faces of his
+sitters. The hair parted in the middle, and brought down low at the
+sides of the forehead, was peculiarly affected by the Venetian gentlemen
+of the day, and this style seems to have particularly pleased Giorgione,
+who introduces it in many other pictures besides portraits. The oval of
+the face, which is strongly lighted, is also characteristic. This work
+shows no direct connection with Bellini's portraiture, but far more with
+that which we are accustomed to associate with the names of Titian and
+Palma. It dates probably from the early part of the sixteenth century,
+at a time when Giorgione was breaking with the older tradition which had
+strictly limited portraiture to the representation of the head only, or
+at most to the bust. The hand is here introduced, though Giorgione feels
+still compelled to account for its presence by introducing a rosary of
+large beads. In later years, as we shall see, the expressiveness of the
+human hand _per se_ will be recognised; but Giorgione already feels its
+significance in portraiture, and there is not one of his portraits which
+does not show this.[24]
+
+The list of Giorgione's works now numbers seven; the next three to be
+discussed are those that Crowe and Cavalcaselle added on their own
+account, but about which Morelli expressed no opinion. Two are in
+English private collections, the third in the National Gallery. This is
+the small "Knight in Armour," said to be a study for the figure of S.
+Liberale in the Castelfranco altar-piece. The main difference is that in
+the latter the warrior wears his helmet, whilst in the National Gallery
+example he is bareheaded. By some this little figure is believed to be a
+copy, or repetition with variations, of Giorgione's original, but it
+must honestly be confessed that absolutely no proof is forthcoming in
+support of this view. The quality of this fragment is unquestionable,
+and its very divergence from the Castelfranco figure is in its favour.
+It would perhaps be unsafe to dogmatise in a case where the material is
+so slight, but until its genuineness can be disproved by indisputable
+evidence, the claim to authenticity put forward in the National Gallery
+catalogue, following Crowe and Cavalcaselle's view, must be allowed.
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_
+
+THE ADORATION OF THE SHEPHERDS]
+
+The two remaining pictures definitely placed by Crowe and Cavalcaselle
+among the authentic productions of Giorgione are the "Adoration of the
+Shepherds," belonging to Mr. Wentworth Beaumont, and the "Judgment of
+Solomon," in the possession of Mr. Ralph Bankes at Kingston Lacy,
+Dorsetshire. The former (of which an inferior replica with differences
+of landscape exists in the Vienna Gallery) is one of the most poetically
+conceived representations of this familiar subject which exists. The
+actual group of figures forms but an episode in a landscape of the most
+entrancing beauty, lighted by the rising sun, and wrapped in a soft
+atmospheric haze. The landscapes in the two little Uffizi pictures are
+immediately suggested, yet the quality of painting is here far superior,
+and is much closer in its rendering of atmospheric effects to the
+"Adrastus and Hypsipyle." The figures, on the other hand, are weak, very
+unequal in size, and feebly expressed, except the Madonna, who has
+charm. The lights and shadows are treated in a masterly way, and
+contrasts of gloom and sunlight enhance the solemnity of the scene. The
+general tone is rich and full of subdued colour.
+
+Now if the name of Giorgione be denied this "Nativity," to which of the
+followers of Bellini are we to assign it?--for the work is clearly of
+Bellinesque stamp. The name of Catena has been proposed, but is now no
+longer seriously supported.[25] If for no other reason, the colour
+scheme is sufficient to exclude this able artist, and, versatile as he
+undoubtedly was, it may be questioned whether he ever could have
+attained to the mellowness and glow which suffuse this picture. The
+latest view enunciated[26] is that "we are in the presence of a painter
+as yet anonymous, whom in German fashion we might provisionally name
+'The Master of the Beaumont "Adoration."'" Now this system of labelling
+certain groups of paintings showing common characteristics is all very
+well in cases where the art history of a particular school or period is
+wrapt in obscurity, and where few, if any, names have come down to us,
+but in the present instance it is singularly inappropriate. To begin
+with, this anonymous painter is the author, so it is believed, of only
+three works, this "Adoration," the "Epiphany," in the National Gallery,
+No. 1160, and a small "Holy Family," belonging to Mr. Robert Benson in
+London, for all three works are universally admitted to be by the same
+hand. Next, this anonymous painter must have been a singularly refined
+and poetical artist, a master of brilliant colour, and an accomplished
+chiaroscurist. Truly a _deus ex machina_! Next you have to find a
+vacancy for such a phenomenon in the already crowded lists of Bellini's
+pupils and followers, as if there were not more names than enough
+already to fully account for every Bellinesque production.[27] No, this
+is no question of compromise, of the dragging to light some hitherto
+unknown genius whose identity has long been merged in that of bigger
+men, but it is the recognition of the fact that the greater comprises
+the less. Admitting, as we may, that these three pictures are inferior
+in "depth, significance, cohesion, and poetry" (!) to the Castelfranco
+"Madonna," there is nothing to show that they are not characteristic of
+Giorgione, that they do not form part of a consistent whole. As a matter
+of fact, this "Adoration of the Shepherds" connects very well with the
+early _poésie_ already discussed. There is some opposition between the
+sacred theme and Giorgione's natural dislike to tell a mere story; but
+he has had to conform to traditional methods of representation, and the
+feeling of restraint is felt in the awkward drawing of the figures, and
+their uneven execution. That he felt dissatisfied with this portion of
+the work, the drawing at Windsor plainly shows, for the figures appear
+here in a different position, as if he had tried to recast his scheme.
+
+Some may object that the drawing of the shepherd is atrocious, and that
+the figures are of disproportionate sizes. Such failings, they say,
+cannot be laid to a great master's charge. This is an appeal to the old
+argument that it is not _good_ enough, whereas the true test lies in the
+question, Is it _characteristic_? Of Giorgione it certainly is a
+characteristic to treat each figure in a composition more or less by
+itself; he isolates them, and this conception is often emphasised by an
+outward disparity of size. The relative disproportion of the figures in
+the Castelfranco altar-piece, and of those of Aeneas and Evander in the
+Vienna picture can hardly be denied, yet no one has ever pleaded this as
+a bar to their authenticity. Instances of this want of cohesion, both in
+conception and execution, between the various figures in a scene could
+be multiplied in Giorgione's work, no more striking instance being found
+than in the great undertaking he left unfinished--the large "Judgment of
+Solomon," next to be discussed. Moreover, eccentricities of drawing are
+not uncommon in his work, as a reference to the "Adrastus and
+Hypsipyle," and later works, like the "Fête Champêtre" (of the Louvre),
+will show.
+
+I have no hesitation, therefore, in recognising this "Adoration of the
+Shepherds" as a genuine work of Giorgione, and, moreover, it appears to
+be the masterpiece of that early period when Bellini's influence was
+still strong upon him.
+
+The Vienna replica, I believe, was also executed by Giorgione himself.
+Until recent times, when an all too rigorous criticism condemned it to
+be merely a piece of the "Venezianische Schule um 1500" (which is
+correct as far as it goes),[28] it bore Giorgione's name, and is so
+recorded in an inventory of the year 1659. It differs from the Beaumont
+version chiefly in its colouring, which is silvery and of delicate
+tones. It lacks the rich glow, and has little of that mysterious glamour
+which is so subtly attractive in the former. The landscape is also
+different. We must be on our guard, therefore, against the view that it
+is merely a copy; differences of detail, especially in the landscape,
+show that it is a parallel work, or a replica. Now I believe that these
+two versions of the "Nativity" are the two pictures of "La Notte," by
+Giorgione, to which we have allusion in a contemporary document.[29] The
+description, "Una Notte," obviously means what we term "A Nativity"
+(Correggio's "Heilige Nacht" at Dresden is a familiar instance of the
+same usage), and the difference in quality between the two versions is
+significantly mentioned. It seems that Isabella d'Este, the celebrated
+Marchioness of Mantua, had commissioned one of her agents in Venice to
+procure for her gallery a picture by Giorgione. The agent writes to his
+royal mistress and tells her (October 1510) that the artist is just
+dead, and that no such picture as she describes--viz. "Una Nocte"[A]--is
+to be found among his effects. However, he goes on, Giorgione did paint
+two such pictures, but these were not for sale, as they belonged to two
+private owners who would not part with them. One of these pictures was
+of better design and more highly finished than the other, the latter
+being, in his opinion, not perfect enough for the royal collection. He
+regrets accordingly that he is unable to obtain the picture which the
+Marchioness requires.
+
+If my conjecture be right, we have in the Beaumont and Vienna
+"Nativities" the only two pictures of Giorgione to which allusion is
+made in an absolutely contemporary document, and they thus become
+authenticated material with which to start a study of the master.
+
+The next picture, which Crowe and Cavalcaselle accept without question,
+is the large "Judgment of Solomon," belonging to Mr. Bankes at Kingston
+Lacy. The scene is a remarkable one, conceived in an absolutely unique
+way; Solomon is here posed as a Roman Praetor giving judgment in the
+Atrium, supported on each side by onlookers attired in fanciful costume
+of the Venetian period, or suggestive of classical models. It is the
+strangest possible medley of the Bellinesque and the antique, knit
+together by harmonious colouring and a clever grouping of figures in a
+triangular design. As an interpretation of a dramatic scene it is
+singularly ineffective, partly because it is unfinished, some of the
+elements of the tragedy being entirely wanting, partly because of an
+obvious stageyness in the action of the figures taking part in the
+scene. There is a want of dramatic unity in the whole; the figures are
+introduced in an accidental way, and their relative proportion is not
+accurately preserved; the executioner, for example, is head and
+shoulders larger than anyone else, whilst the two figures standing on
+the steps of Solomon's throne are in marked contrast. The one with the
+shield, on the left, is as monumental as one of Bramante's creations,
+the old gentleman with the beard, on the right, is mincing and has no
+shoulders. Solomon himself appears as a young man of dark complexion, in
+an attitude of self-contained determination; the way his hands rest on
+the sides of the throne is very expressive. His drapery is cast in
+curious folds of a zig-zag character, following the lines of the
+composition, whilst the dresses of the other personages fall in broad
+masses to the ground. The light and shade are cleverly handled, and the
+spaciousness of the scene is enhanced by the rows of columns and the
+apse of mosaics behind Solomon's head. The painter was clearly versed in
+the laws of perspective, and indicates depth inwards by placing the
+figures behind one another on a tesselated pavement or on the receding
+steps of the throne, giving at the same time a sense of atmospheric
+space between one figure and another. The colour scheme is delightful,
+full-toned orange and red alternating with pale blues, olive green, and
+delicate pink, the contrasts so subdued by a clever balance of light and
+shade as to harmonise the whole in a delicate silvery key.
+
+[Illustration: _Dixon photo. Collection of Mr. Ralph Bankes,
+Kingston-Lacey, England_
+
+THE JUDGMENT OF SOLOMON (Unfinished)]
+
+The unfinished figure of the executioner evidently caused the artist
+much trouble, for _pentimenti_ are frequent, and other outlines can be
+distinctly traced through the nude body. The effect of this clumsy
+figure is far from satisfactory; the limbs are not articulated
+distinctly; moreover, the balance of the whole composition is seriously
+threatened by the tragedy being enacted at the side instead of in the
+middle. The artist appears to have felt this difficulty so much that he
+stopped short at this point; at any rate, the living child remains
+unrepresented, nor is there any second child such as is required to
+illustrate the story. It looks as though the scheme was not carefully
+worked out before commencing, and that the artist found himself in
+difficulties at the last, when he had to introduce the dramatic motive,
+which apparently was not to his taste.
+
+Now, all this fits in exactly with what we know of Giorgione's
+temperament; lyrical by nature, he would shrink from handling a great
+dramatic scene, and if such a task were imposed upon him he would
+naturally treat three-fourths of the subject in his own fantastic way,
+and do his best to illustrate the action required in the remaining part.
+The result would be (what might be expected) forced or stagey, and the
+action rhetorical, and that is exactly what has happened in this
+"Judgment of Solomon."
+
+It is a natural inference that, supposing Giorgione to be the painter,
+he would never have selected such a subject of his own free will to be
+treated, as this is, on so large a scale. There may be, therefore,
+something in the suggestion which Crowe and Cavalcaselle make that this
+may be the large canvas ordered of Giorgione for the audience chamber
+of the Council, "for which purpose," they add, "the advances made to him
+in the summer of 1507 and in January 1508 show that the work he had
+undertaken was of the highest consequence."[30]
+
+Be this as it may, the picture was in Venice, in the Casa Grimani di
+Santo Ermagora,[31] in Ridolfi's day (1646), and that writer specially
+mentions the unfinished executioner. It passed later into the
+Marescalchi Gallery at Bologna, where it was seen by Lord Byron (1820),
+and purchased at his suggestion by his friend Mr. Bankes, in whose
+family it still remains.[32]
+
+It will be gathered from what I have written that Giorgione and no other
+is, in my opinion, the author of this remarkable work. Certain of the
+figures are reminiscent of those by him elsewhere--e.g. the old man with
+the beard is like the Evander in the Vienna picture, the young man next
+the executioner resembles the Adrastus in the Giovanelli figures, and
+the young man stooping forward next to Solomon recurs in the "Three
+Ages," in the Pitti, which Morelli considered to be by Giorgione. The
+most obvious resemblances, however, are to be found in the Glasgow
+"Adulteress before Christ," a work which several modern critics assign
+to Cariani, although Dr. Bode, Sir Walter Armstrong, and others,
+maintain it to be a real Giorgione. Consistently enough, those who
+believe in Cariani's authorship in the one case, assert it in the
+other,[33] and as consistently I hold that both are by Giorgione. It is
+conceivable that Cariani may have copied Giorgione's types and
+attitudes, but it is inconceivable to me that he can have so entirely
+assimilated Giorgione's temperament to which this "Judgment of Solomon"
+so eloquently witnesses. Moreover, let no one say that Cariani executed
+what Giorgione designed, for, in spite of its imperfect condition, the
+technique reveals a painter groping his way as he works, altering
+contours, and making corrections with his brush; in fact, it has all the
+spontaneity which characterises an original creation.
+
+The date of its execution may well have been 1507-8, perhaps even
+earlier; at any rate, we must not argue from its unfinished state that
+the painter's death prevented completion, for the style is not that of
+Giorgione's last works. Rather must we conclude that, like the "Aeneas
+and Evander," and several other pictures yet to be mentioned, Giorgione
+stopped short at his work, unwilling to labour at an uncongenial task
+(as, perhaps, in the present case), or from some feeling of
+dissatisfaction at the result, nay, even despair of ever realising his
+poetical conceptions.
+
+To this important trait in Giorgione's character further reference will
+be made when all the available material has been examined; suffice it
+for the moment that this "Judgment of Solomon" is to me a most _typical_
+example of the great artist's work, a revelation alike of his weaknesses
+as of his powers.
+
+Following our method of investigation we will next consider the
+pictures which Morelli accredits to Giorgione over and above the seven
+already discussed, wherein he concurs with Crowe and Cavalcaselle. These
+are twelve in number, and include some of the master's finest works,
+some of them unknown to the older authorities, or, at any rate,
+unrecorded by them. Here, therefore, the opinions of Crowe and
+Cavalcaselle are not of so much weight, so it will be necessary to see
+how far Morelli's views have been confirmed by later writers during the
+last twenty years.
+
+Three portraits figure in Morelli's list--one at Berlin, one at
+Buda-Pesth, and one in the Borghese Gallery at Rome.
+
+[Illustration: _Hanfstängl photo. Berlin Gallery_
+
+PORTRAIT OF A YOUNG MAN]
+
+First, as to the Berlin "Portrait of a Young Man," which, when Morelli
+wrote, belonged to Dr. Richter, and was afterwards acquired for the
+Berlin Gallery. "In it we have one of those rare portraits such as only
+Giorgione, and occasionally Titian, were capable of producing, highly
+suggestive, and exercising over the spectator an irresistible
+fascination."[34] Such are the great critic's enthusiastic words, and no
+one surely to-day would be found to gainsay them. We may note the
+characteristic treatment of the hair, the thoughtful look in the eyes,
+and the strong light on the face in contrast to the dark frame of hair,
+points which this portrait shares in common with the "Knight of Malta"
+in the Uffizi. Particularly to be noticed, however, is the parapet on
+which the fingers of one hand are visible, and the mysterious letters
+VV.[35] Allusion has already been made to the growing practice in
+Venetian art of introducing the hand as a significant feature in
+portrait painting, and here we get the earliest indications of this
+tendency in Giorgione; for this portrait certainly ante-dates the
+"Knight of Malta." It would seem to have been painted quite early in the
+last decade of the fifteenth century, when Bellini's art would still be
+the predominant influence over the young artist.
+
+It is but a step onward to the next portrait, that of a young man, in
+the Gallery at Buda-Pesth, but the supreme distinction which marks this
+wonderful head stamps it as a masterpiece of portraiture. Venetian art
+has nothing finer to show, whether for its interpretative qualities, or
+for the subtlety of its execution. Truly Giorgione has here foreshadowed
+Velasquez, whose silveriness of tone is curiously anticipated; yet the
+true Giorgionesque quality of magic is felt in a way that the impersonal
+Spaniard never realised. Only those who have seen the original can know
+of the wonderful atmospheric background, with sky, clouds, and hill-tops
+just visible. The reproduction, alas! gives no hint of all this. Nor can
+one appreciate the superb painting of the black quilted dress, with its
+gold braid, or of the shining black hair, confined in a brown net. The
+artist must have been in keen sympathy with this melancholy figure, for
+the expression is so intense that, as Morelli says, "he seems about to
+confide to us the secret of his life."[36]
+
+Several points claim our attention. First, the parapet has an almost
+illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the
+young man's name. Further, we may notice the recurrence of the letter V
+on a black device, and there is a second curious black tablet, which,
+however, has nothing on it. Between the two is a circle with a device of
+three heads in one surrounded by a garland of flowers. No satisfactory
+explanation of these symbols can be offered, but if the second black
+tablet had originally another V, we might conclude that these letters
+were in some mysterious way connected with Giorgione, as they appear
+also on the Berlin portrait. I shall be able to show that another
+instance of this double V exists on yet another portrait by
+Giorgione.[37]
+
+Finally, the expressiveness of the human hand is here fully realised.
+This feature alone points to a later date than the "Knight of Malta,"
+and considerably after the still earlier Berlin portrait. The consummate
+mastery of technique, moreover, indicates that Giorgione has here
+reached full maturity, so that it would be safe to place this portrait
+about the year 1508.
+
+[Illustration: _Buda-Pesth Gallery_
+
+PORTRAIT OF A MAN]
+
+Signor Venturi ("La Galleria Crespi") ascribes this portrait to Licinio.
+This is one of those inexplicable perversions of judgment to which even
+the best critics are at times liable. In _L'Arte_, 1900, p. 24, the same
+writer mentions that a certain Antonio Broccardo, son of Marino, made
+his will in 1527, and that the same name occurs among those who
+frequented the University of Bologna in 1525. There is nothing to
+prevent Giorgione having painted this man's portrait when younger.
+
+[Illustration: _Anderson photo. Borghese Gallery, Rome_
+
+PORTRAIT OF A LADY]
+
+The third portrait in Morelli's list has not had the same friendly
+reception at the hands of later critics as the preceding two have had.
+This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose
+discovery by Morelli is so graphically described in a well-known
+passage.[38] And in truth it must be confessed that the authorship of
+this portrait is not at first sight quite so evident as in the other
+cases; nevertheless I am firmly convinced that Morelli saw further than
+his critics, and that his intuitive judgment was in this instance
+perfectly correct.[39] The simplicity of conception, the intensity of
+expression, the pose of the figure alike proclaim the master, whose
+characteristic touch is to be seen in the stone ledge, the fancy
+head-dress, the arrangement of hair, and the modelling of the features.
+The presence of the hands is characteristically explained by the
+handkerchief stretched tight between them, the action being expressive
+of suppressed excitement: "She stands at a window ... gazing out with a
+dreamy, yearning expression, as if seeking to descry one whom she
+awaits."
+
+Licinio, whose name has been proposed as the painter, did indeed follow
+out this particular vein of Giorgione's portraiture, so that "Style of
+Licinio" is not an altogether inapt attribution; but there is just that
+difference of quality between the one man's work and the other, which
+distinguishes any great man from his followers, whether in literature or
+in art. How near (and yet how far!) Licinio came to his great prototype
+is best seen in Lady Ashburton's "Portrait of a Young Man,"[40] but that
+he could have produced the Borghese "Lady" presupposes qualities he
+never possessed. "To Giorgione alone was it given to produce portraits
+of such astonishing simplicity, yet so deeply significant, and capable,
+by their mystic charm, of appealing to our imagination in the highest
+degree."[41]
+
+The actual condition of this portrait is highly unsatisfactory, and is
+adduced by some as a reason for condemning it. Yet the spirit of the
+master seems still to breathe through the ruin, and to justify Morelli's
+ascription, if not the enthusiastic language in which he writes.
+
+[Illustration: _Anderson photo. Seminario, Venice_
+
+APOLLO AND DAPHNE]
+
+With the fourth addition on Morelli's list we pass into a totally
+different sphere of art--the decoration of _cassoni_, and other pieces
+of furniture. We have seen Giorgione at work on legendary stories or
+classic myths, creating out of these materials pages of beauty and
+romance in the form of easel paintings, and now we have the same thing
+as applied art--that is, art used for purely decorative purposes. The
+"Apollo and Daphne" in the Seminario at Venice was probably a panel of a
+_cassone_; but although intended for so humble a place, it is instinct
+with rare poetic feeling and beauty. Unfortunately it is in such a bad
+state that little remains of the original work, and Giorgione's touch
+is scarcely to be recognised in the damaged parts. Nevertheless, his
+spirit breathes amidst the ruin, and modern critics have recognised the
+justice of Morelli's view, rather than that of Crowe and Cavalcaselle,
+who suggested Schiavone as the "author."[42] And, indeed, a comparison
+with the "Adrastus and Hypsipyle" is enough to show a common origin,
+although, as we might expect, the same consummate skill is scarcely to
+be found in the _cassone_ panel as in the easel picture. There is a rare
+daintiness, however, in these graceful figures, so essentially
+Giorgionesque in their fanciful presentation, the young Apollo, a
+lovely, fair-haired boy, pursuing a maiden with flowing tresses, whose
+identity with Daphne is only to be recognised by the laurel springing
+from her fingers. The story is but an episode in a sylvan scene, where
+other figures, in quaint costumes, seem to be leading an idyllic
+existence, untroubled by the cares of life, and utterly unconcerned at
+the strange event passing before their eyes.
+
+From the "Apollo and Daphne" it is an easy transition to the "Venus,"
+that great discovery which we owe to Morelli, and now universally
+recognised by modern critics. The one point on which Morelli did not,
+perhaps, lay sufficient stress, is the co-operation in this work of
+Titian with Giorgione, for here we have an additional proof that the
+latter left some of his work unfinished. It is a fair inference that
+Titian completed the Cupid (now removed), and that he had a hand in
+finishing the landscape; the Anonimo, indeed, states as much, and
+Ridolfi confirms it, and this view is officially adopted in the latest
+edition of the Dresden Catalogue. The style points to Giorgione's
+maturity, though scarcely to the last years of his life; for, in spite
+of the freedom and breadth of treatment in the landscape, there is a
+restraint in the figure, and a delicacy of form which points to a period
+preceding, rather than contemporary with, the Louvre "Concert" and
+kindred works, where the forms become fuller and rounder, and the
+feeling more exuberant.
+
+It would be mere repetition, after all that has been written on the
+Dresden "Venus," to enlarge on the qualities of refinement and grace
+which characterise the fair form of the sleeping goddess. One need but
+compare it with Titian's representations of the same subject, and still
+more with Palma's versions at Dresden and Cambridge, or with Cariani's
+"Venus" at Hampton Court, to see the classic purity of form, the ideal
+loveliness of Giorgione's goddess.[43] It is no mere accident that she
+alone is sleeping, whilst they solicit attention. Giorgione's conception
+is characteristic in that he endeavours to avoid any touch of realism
+abhorrent to his nature, which was far more sensitive than that of
+Palma, Cariani, or even Titian.
+
+[Illustration: _Hanfstängl photo_. Dresden Gallery
+
+VENUS]
+
+The extraordinary beauty and subtlety of the master's "line" is
+admirably shown. He has deliberately forgone anatomical precision in
+order to accentuate artistic effect. The splendour of curve, the beauty
+of unbroken contour, the rhythm and balance of composition is attained
+at a cost of academic correctness; but the long-drawn horizontal lines
+heighten the sense of repose, and the eye is soothed by the sinuous
+undulations of landscape and figure. The artistic effect is further
+enhanced by the relief of exquisite flesh tones against the rich crimson
+drapery, and although the atmospheric glow has been sadly destroyed by
+abrasion and repainting, we may still feel something of the magic charm
+which Giorgione knew so well how to impart.
+
+This "Venus" is the prototype of all other Venetian versions; it is in
+painting what the "Aphrodite" of Praxiteles was in sculpture, a perfect
+creation of a master mind.
+
+Scarcely less wonderful than the "Venus," and even surpassing it in
+solemn grandeur of conception, is the "Judith" at St. Petersburg.
+Morelli himself had never seen the original, and includes it in his list
+with the reservation that it might be an old copy after Giorgione, and
+not the original. It would be presumptuous for anyone not familiar with
+the picture to decide the point, but I have no hesitation in following
+the judgment of two competent modern critics, both of whom have recently
+visited St. Petersburg, and both of whom have decided unhesitatingly in
+favour of its being an original by Giorgione. Dr. Harck has written
+enthusiastically of its beauty. "Once seen," he says, "it can never be
+forgotten; the same mystic charm, so characteristic of the other great
+works of Giorgione, pervades it; ... it bears on the face of it the
+stamp of a great master."[44] Even more decisive is the verdict of Mr.
+Claude Phillips.[45] "All doubts," he says, "vanish like sun-drawn mist
+in the presence of the work itself; the first glance carries with it
+conviction, swift and permanent. In no extant Giorgione is the golden
+glow so well preserved, in none does the mysterious glamour from which
+the world has never shaken itself free, assert itself in more
+irresistible fashion.... The colouring is not so much Giorgionesque as
+Giorgione's own--a widely different thing.... Wonderful touches which
+the imitative Giorgionesque painter would not have thought of are the
+girdle, a mauve-purple now, with a sharply emphasised golden fringe, and
+the sapphire-blue jewel in the brooch. Triumphs of execution, too, but
+not in the broad style of Venetian art in its fullest expansion, are the
+gleaming sword held in so dainty and feminine a fashion, and the flowers
+which enamel the ground at the feet of the Jewish heroine." This
+"Judith," after passing for many years under the names of Raphael and
+Moretto,[46] is now officially recognised as Giorgione's work, an
+identification first made by the late Herr Penther, the keeper of the
+Vienna Academy, whom Morelli quotes.
+
+The conception is wholly Giorgionesque, the mood one of calm
+contemplation, as this lovely figure stands lost in reverie, with eyes
+cast down, gazing on the head on which her foot is lightly laid. The
+head and sword proclaim her story, they are symbols of her mission, else
+she had been taken for an embodiment of feminine modesty and gentle
+submissiveness.[47]
+
+[Illustration: _Braun photo. Hermitage Gallery, St. Petersburg_
+
+JUDITH]
+
+Characteristic of the master is the introduction of the great
+tree-trunk, conveying a sense of grandeur and solemn mystery to the
+scene; characteristic, too, is the distant landscape, the splendid glow
+of which evokes special praise from the writers just mentioned. Again we
+find the parapet, or ledge, with its flat surface on which the play of
+light can be caught, and again the same curious folds, broken and
+crumpled, such as are seen on Solomon's robe in the Kingston Lacy
+picture, and somewhat less emphatically in the Castelfranco "Madonna."
+
+Consistent, moreover, with that weakness we have already noticed
+elsewhere, is the design of the leg and foot, the drawing of which is
+far from impeccable. That the execution in this respect is not equal to
+the supreme conception of the whole, is no valid reason for the belief
+that this "Judith" is only a copy of a lost original, a belief that
+could apparently only be held by those who have never stood before the
+picture itself.[48] But even in the reproduction this "Judith" stands
+confessed as the most impressive of all Giorgione's single figures, and
+it may well rank as the masterpiece of the earlier period immediately
+preceding the Castelfranco picture of about 1504, to which in style it
+closely approximates.
+
+The next picture on Morelli's list is the "Fête Champêtre" of the
+Louvre, or, as it is often called, the "Concert." This lovely "Pastoral
+Symphony" (which appears to me a more suitable English title) is by no
+means universally regarded as a creation of Giorgione's hand and brain,
+and several modern critics have been at pains to show that Campagnola,
+or some other Venetian imitator of the great master, really produced
+it.[49] In this endeavour Crowe and Cavalcaselle led the way by
+suggesting the author was probably an imitator of Sebastiano del Piombo.
+But all this must surely seem to be heresy when we stand before the
+picture itself, thrilled by the gorgeousness of its colour, by the
+richness of the paradise" in which the air is balmy, and the landscape
+ever green; where life is a pastime, and music the only labour; where
+groves are interspersed with meadows and fountains; where nymphs sit
+playfully on the grass, or drink at cool springs."[50] Was ever such a
+gorgeous idyll? In the whole range of painted poetry can the like be
+found?
+
+[Illustration: _Braun photo. Louvre, Paris_
+
+A PASTORAL SYMPHONY]
+
+Yet let us be more precise in our analysis. Granted that the scene is
+one eminently adapted to Giorgione's poetic temperament, is the
+execution analogous to that which we have found in the preceding
+examples? No one will deny, I suppose, that there is a difference
+between the intensely refined forms of the Venus, or the earlier
+Hypsipyle, or the Daphne, and the coarser nudes in the Louvre picture.
+No one will deny a certain carelessness marks the delineation of form,
+no one will gainsay a frankly sensuous charm pervades the scene, a
+feeling which seems at first sight inconsistent with that reticence and
+modesty so conspicuous elsewhere. Yet I think all this is perfectly
+explicable on the basis of natural evolution. Exuberance of feeling is
+the logical outcome of a lifetime spent in an atmosphere of lyrical
+thought, and certainly Giorgione was not the sort of man to control
+those natural impulses, which grew stronger with advancing years. Both
+traditions of his death point in this direction; and, unless I am
+mistaken, the quality of his art, as well as its character, reflects
+this tendency. In his later years, 1508-10, he attains indeed a
+magnificence and splendour which dazzles the eye, but it is at the cost
+of that feeling of restraint which gives the earlier work such exquisite
+charm. In such a work as the Louvre "Concert," Giorgio has become
+Giorgione; he is riper in experience and richer in feeling, and his art
+assumes a corresponding exuberance of style, his forms become larger,
+his execution grows freer. Nay, more, that strain of carelessness is not
+wanting which so commonly accompanies such evolutions of character. And
+so this "Pastoral Symphony" becomes a characteristic production--that
+is, one which a man of Giorgione's temperament would naturally produce
+in the course of his developing. Peculiar, however, to an artist of
+genius is the subtlety of composition, which is held together by
+invisible threads, for nowhere else, perhaps, has Giorgione shown a
+greater mastery of line. The diagonal line running from behind the nude
+figure on the left down to the foot so cunningly extended of the seated
+youth, is beautifully balanced by the line which is formed by the seated
+figure of the woman. The artist has deliberately emphasised this line by
+the curious posture of the legs. The figure, indeed, does not sit at
+all, but the balance of the composition is the better assured. What
+exquisite curves the standing woman presents! how cleverly the drapery
+continues the beautiful line, which Giorgione takes care not to break by
+placing the left leg and foot out of sight. How marvellously expressive,
+nay, how _inevitable_ is the hand of the youth who is playing. Surely
+neither Campagnola nor any other second-rate artist was capable of such
+things!
+
+[Illustration: _Alinari photo. Pitti Gallery, Florence_
+
+THE THREE AGES OF MAN]
+
+The eighth picture cited by Morelli as, in his opinion, a genuine
+Giorgione, is the so-called "Three Ages of Man," in the Pitti at
+Florence--a damaged picture, but parts of which, as he says, "are still
+so splendid and so thoroughly Giorgionesque that I venture to ascribe it
+without hesitation to Giorgione."[51] The three figures are grouped
+naturally, and are probably portraits from life. The youth in the centre
+we have already met in the Kingston Lacy "Judgment of Solomon"; the man
+on the right recurs in the "Family Concert" at Hampton Court, and is
+strangely like the S. Maurice in the signed altar-piece at Berlin by
+Luzzi da Feltre.[52] But like though they be in type, in quality the
+heads in the "Three Ages" are immensely superior to those in the Berlin
+picture. The same models may well have served Giorgione and his friend
+and pupil Luzzi, or, as he is generally called, Morto da Feltre. A
+recent study of the few authenticated works by this feeble artist still
+at Feltre, his native place, forces me to dissent from the opinion that
+the Pitti "Three Ages" is the work of his hand.[53] Still less do I
+hold with the view that Lotto is the author.[54] Here, again, I believe
+Morelli saw further than other critics, and that his attribution is the
+right one. The simplicity, the apparently unstudied grouping, the
+refinement of type, the powerful expression, are worthy of the master;
+the play of light on the faces, especially on that of the youth, is most
+characteristic, and the peculiar chord of colour reveals a sense of
+originality such as no imitator would command. Unless I am mistaken, the
+man on the right is none other than the Aeneas in the Vienna picture,
+and his hand with the pointing forefinger is such as we see two or three
+times over in the "Judgment of Solomon" and elsewhere. Certainly here it
+is awkwardly introduced, obviously to bring the figure into direct
+relation with the others; but Giorgione is by no means always supreme
+master of natural expression, as the hands in the "Adrastus and
+Hypsipyle" and Vienna pictures clearly show.
+
+Here, for the first time, we meet Giorgione in those studies of human
+nature which are commonly called "conversation pieces," or
+"concerts"--natural groups of generally three people knit together by
+some common bond, which is usually music in one form or another. It is
+not the idyll of the "Pastoral Symphony," but akin to it as an
+expression of some exquisite moment of thought or feeling, an ideal
+instant "in which, arrested thus, we seem to be spectators of all the
+fulness of existence, and which is like some consummate extract or
+quintessence of life."[55] No one before Giorgione's time had painted
+such ideas, such poems without articulated story; and to have reached
+this stage of development presupposes a familiarity with set subjects
+such as a classic myth or mediaeval romance would offer for treatment.
+And so this "Three Ages" dates from his later years.
+
+[Illustration: _Anderson photo. Pitti Gallery, Florence_
+
+NYMPH AND SATYR]
+
+Another picture in the Pitti was also recognised by Morelli as
+Giorgione's work--"The Nymph pursued by a Satyr." Modern criticism seems
+undecided on the justice of this view, some writers inclining to the
+belief that this is a Giorgionesque production of Dosso Dossi, others
+preserving a discreet silence, or making frank avowal of their inability
+to decide. Nevertheless, I venture to agree with Morelli that "we have
+all the characteristics of an early (?) work of Giorgione--the type of
+the nymph with the low forehead, the charming arrangement of the hair
+upon the temples, the eyes placed near together, and the hand with
+tapering fingers."[56] The oval of the face recalls the "Knight of
+Malta," the high cranium and treatment of the hair such as we find in
+the Dresden "Venus" and elsewhere. The delicacy of modelling, the beauty
+of the features are far beyond Dosso's powers, who, brilliant artist as
+he sometimes was, was of much coarser fibre than the painter of these
+figures. The difference of calibre between the two is well illustrated
+by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone"
+in the Modena Gallery, or with those uncouth productions, also in the
+Pitti, the "S. John Baptist" and the "Bambocciate."[57] Were the
+repaints removed, I think all doubts as to the authorship would be set
+at rest, and the "Nymph and Satyr" would take its place among the
+slighter and more summary productions of Giorgione's brush.
+
+[Illustration: _Laurent_ photo. Prado Gallery, Madrid
+
+MADONNA AND SAINTS]
+
+Only one sacred subject figures in the additions made by Morelli to the
+list of genuine Giorgiones. This is the small altar-piece at Madrid,
+with Madonna seated between S. Francis and S. Roch. Traditionally
+accredited to Pordenone, it has now received official recognition as a
+masterpiece of Giorgione, an attribution that, so far as I am aware, no
+one has seriously contested.[58] And, indeed, it is hard to conceive
+wherein any objection could possibly lie, for it is a typical creation
+of the master, _usque ad unguem_. Not only in types, colour, light and
+shade, and particularly in feeling, is the picture characteristic, but
+it again shows the artist leaving work unfinished, and again reveals the
+fact that the work grew in conception as it was actually being painted.
+I mean that the whole figure of S. Roch has been painted in over the
+rest, and that the S. Francis has also probably been introduced
+afterwards. I have little doubt that originally Giorgione intended to
+paint a simple Madonna and Child, and afterwards extended the scheme.
+The composition of three figures, practically in a row, is moreover most
+unusual, and contrary to that triangular scheme particularly favoured by
+the master, whereas the lovely sweep of Madonna's dress by itself
+creates a perfect design on a triangular basis. A great artist is here
+revealed, one whose feeling for line is so intense that he wilfully
+casts the drapery in unnatural folds in order to secure an artistic
+triumph. The working out of the dress within this line has yet to be
+done, the folds being merely suggested, and this task has been left
+whilst forwarding other parts. The freedom of touch and thinness of
+paint indicates how rapidly the artist worked. There is little
+deliberation apparent: indeed, the effect is that of hasty
+improvisation. Velasquez could not have painted the stone on which S.
+Roch rests his foot with greater precision or more consummate mastery;
+the delicacy of flesh tints is amazing. The bit of landscape behind S.
+Roch (invisible in the reproduction), with its stately tree trunk rising
+solitary beside the hanging curtain, strikes a note of romance, fit
+accompaniment to the bizarre figure of the saint in his orange jerkin
+and blue leggings. How mysterious, too, is S. Francis!--rapt in his own
+thoughts, yet strangely human.
+
+[Illustration: _Buda-Pesth Gallery_
+
+COPY OF A PORTION OF GIORGIONE'S "BIRTH OF PARIS"]
+
+We have now examined ten of the twelve pictures added, on Morelli's
+initiative, to the list of genuine works, and we have found very little,
+if any, serious opposition on the part of later writers to his views.
+Not so, however, with regard to the remaining two pictures. The first of
+these is a fragment in the gallery of Buda-Pesth, representing two
+figures in a landscape. All modern critics are agreed that Morelli has
+here mistaken an old copy after Giorgione for an original, a mistake we
+may readily pardon in consideration of the successful identification he
+has made of these figures with the Shepherds, in the composition seen
+and described by the Anonimo in 1525 as the "Birth of Paris," by
+Giorgione. This identification is fully confirmed by the engraving made
+by Th. von Kessel for the _Theatrum Pictorium_, which shows how these
+two figures are placed in the composition. Where, as in the present
+case, the original is missing, even a partial copy is of great value,
+for in it we can see the mind, if not the hand, of the great master. The
+Anonimo tells us this "Birth of Paris" was one of Giorgione's early
+works, a statement worthy of credence from the still Bellinesque stamp
+and general likeness of one of the Shepherds to the "Adrastus" in the
+Giovanelli picture. In pose, type, arrangement of hair, and in landscape
+this fragment is thoroughly Giorgionesque, and we have, moreover, those
+most characteristic traits, the pointing forefinger, and the unbroken
+curve of outline. The execution is, however, raw and crude, and entirely
+wanting in the magic quality of the master's own touch.[59]
+
+[Illustration: _Dixon photo. Hampton Court Palace Gallery_
+
+THE SHEPHERD BOY.]
+
+Finally, on Morelli's list figures the "Shepherd" at Hampton Court, for
+the genuineness of which the critic would not absolutely vouch, as he
+had only seen it in a bad light. Perhaps no picture has been so strongly
+championed by an enthusiastic writer as has been this "Shepherd" by Mr.
+Berenson, who strenuously advocates its title to genuineness.[60]
+Nevertheless, several modern authorities remain unconvinced in presence
+of the work itself. The conception is unquestionably Giorgione's own,
+as we may see from a picture now in the Vienna Gallery, where this head
+is repeated in a representation of the young David holding the head of
+Goliath. The Vienna picture is, however, but a copy of a lost original
+by Giorgione, the existence of which is independently attested by
+Vasari.[61] Now, the question naturally arises, What relation does the
+Hampton Court "Shepherd" bear to this "David," Giorgione's lost
+original? It is possible, of course, that the master repeated himself,
+merely transforming the David into a Shepherd, or _vice versâ_, and it
+is equally possible that some other and later artist adapted Giorgione's
+"David" to his own end, utilising the conception that is, and carrying
+it out in his own way. Arguing purely _a priori_, the latter possibility
+is the more likely, inasmuch as we know Giorgione hardly ever repeats a
+figure or a composition, whereas Titian, Cariani, and other later
+Venetian artists freely adopted Giorgione's ideas, his types, and his
+compositions for their own purposes. Internal evidence appears to me,
+moreover, to confirm this view, for the general style of painting seems
+to indicate a later period than 1510, the year of Giorgione's death. The
+flimsy folds, in particular, are not readily recognisable as the
+master's own. A comparison with a portrait in the Gallery of Padua
+reveals, particularly in this respect, striking resemblances. This fine
+portrait was identified by both Crowe and Cavalcaselle and by Morelli as
+the work of Torbido, and I venture to place the reproduction of it
+beside that of the "Shepherd" for comparison. It is not easy to
+pronounce on the technical qualities of either work, for both have
+suffered from re-touching and discolouring varnish, and the hand of the
+"Shepherd" is certainly damaged. Yet, whilst admitting that the evidence
+is inconclusive, I cannot refrain from suggesting Torbido's name as
+possible author of the "Shepherd," the more so as we know he carefully
+studied and formed his style upon Giorgione's work.[62] It is at least
+conceivable that he took Giorgione's "David with the Head of Goliath,"
+and by a simple, and in this case peculiarly appropriate,
+transformation, changed him into a shepherd boy holding a flute.
+
+We have now taken all the pictures which either Crowe and Cavalcaselle
+or Morelli, or both, assign to Giorgione himself. There still remain,
+however, three or four works to be mentioned where these authorities
+hold opposite views which require some examination.
+
+First and foremost comes the "Concert" in the Pitti Gallery, a work
+which was regarded by Crowe and Cavalcaselle not only as a genuine
+example of Giorgione's art, but as "not having its equal in any period
+of Giorgione's practice. It gives," they go on, "a just measure of his
+skill, and explains his celebrity."[63] Morelli, on the contrary, holds:
+"It has unfortunately been so much damaged by a restorer that little
+enough remains of the original, yet from the form of the hands and of
+the ear, and from the gestures of the figures, we are led to infer that
+it is not a work of Giorgione, but belongs to a somewhat later period.
+If the repaint covering the surface were removed we should, I think,
+find that it is an early work by Titian."[64] Where Morelli hesitated
+his followers have decided, and accordingly, in Mr. Berenson's list, in
+Mr. Claude Phillips' "Life of Titian," and in the latest biography on
+that master, published by Dr. Gronau, we find the "Concert" put down to
+Titian. On the other hand, Dr. Bode, Signor Conti in his monograph on
+Giorgione, M. Müntz, and the authorities in Florence support the
+traditional view that the "Concert" is a masterpiece of Giorgione.
+
+[Illustration: _Alinari photo. Pitti Gallery, Florence_
+
+THE CONCERT]
+
+Which view is the right one? To many this may appear an academic
+discussion of little value, for, _ipso facto_, the quality of the work
+is admitted by all. The picture is a fine thing, in spite of its
+imperfect condition, and what matter whether Titian or Giorgione be the
+author? But to this sort of argument it may be said that until we do
+know what is Giorgione's work and what is not, it is impossible to gauge
+accurately the nature and scope of his art, or to reach through that
+channel the character of the artist behind his work. In the case of
+Giorgione and Titian, the task of drawing the dividing line is one of
+unusual difficulty, and a long and careful study of the question has
+convinced me that this will have to be done in a way that modern
+criticism has not yet attempted. From the very earliest days the two
+have been so inextricably confused that it will require a very
+exhaustive re-examination of all the evidence in the light of modern
+discoveries, documentary and pictorial, coupled, I am afraid, with the
+recognition of the fact that much modern criticism on this point has
+been curiously at fault. This is neither the time nor the place to
+discuss the question of Titian's early work, but I feel sure that this
+chapter of art history has yet to be correctly written.[65] One of the
+determining factors in the discussion will be the authorship of the
+Pitti "Concert," for our estimate of Giorgione or Titian must be
+coloured appreciably by the recognition of such an epoch-making picture
+as the work of one or the other.
+
+It is, therefore, peculiarly unfortunate that the two side figures in
+this wonderful group are so rubbed and repainted as almost to defy
+certainty of judgment. In conception and spirit they are typically
+Giorgionesque, and Morelli, I imagine, would scarcely have made the bold
+suggestion of Titian's authorship but for the central figure of the
+young monk playing the harpsichord. This head stands out in grand
+relief, being in a far purer state of preservation than the rest, and we
+are able to appreciate to some extent the extraordinarily subtle
+modelling of the features, the clear-cut contours, the intensity of
+expression. The fine portrait in the Louvre, known as "L'homme au gant,"
+an undoubted early work of Titian, is singularly close in character and
+style, as was first pointed out by Mr. Claude Phillips,[66] and it was
+this general reminiscence, more than points of detail in an admittedly
+imperfect work that seemingly induced Morelli to suggest Titian's name
+as possible author of the "Concert." Nevertheless, I cannot allow this
+plausible comparison to outweigh other and more vital considerations.
+The subtlety of the composition, the bold sweep of diagonal lines, the
+way the figure of the young monk is "built up" on a triangular design,
+the contrasts of black and white, are essentially Giorgione's own. So,
+too, is the spirit of the scene, so telling in its movement, gesture,
+and expression. Surely it is needless to translate all that is most
+characteristic of Giorgione in his most personal expression into a
+"Giorgionesque" mood of Titian. No, let us admit that Titian owed much
+to his friend and master (more perhaps than we yet know), but let us not
+needlessly deprive Giorgione of what is, in my opinion at least, the
+great creation of his maturer years, the Pitti "Concert." I am inclined
+to place it about 1506-7, and to regard it as the earliest and finest
+expression in Venetian art of that kind of genre painting of which we
+have already studied another, though later example, "The Three Ages" (in
+the Pitti). The second work where Crowe and Cavalcaselle hold a
+different view from Morelli is a "Portrait of a Man" in the Gallery of
+Rovigo (No. 11). The former writers declare that it, "perhaps more than
+any other, approximates to the true style of Giorgione."[67] With such
+praise sounding in one's ears it is somewhat of a shock to discover that
+this "grave and powerfully wrought creation" is a miniature 7 by 6
+inches in size. Such an insignificant fragment requires no serious
+consideration; at most it would seem only to be a reduced copy after
+some lost original. Morelli alludes to it as a copy after Palma, but one
+may well doubt whether he is not referring to another portrait in the
+same gallery (No. 123). Be that as it may, this "Giorgione" miniature
+is sadly out of place among genuine pieces of the master.[68]
+
+[Illustration: _Hanfstängl photo. National Gallery, London_
+
+THE ADORATION OF THE MAGI]
+
+One other picture, of special interest to English people, is in dispute.
+By Crowe and Cavalcaselle "The Adoration of the Magi," now in the
+National Gallery (No. 1160), is attributed to the master himself; by
+Morelli it was assigned to Catena.[69] This brilliant little panel is
+admittedly by the same hand that painted the Beaumont "Adoration of the
+Shepherds," and yet another picture presently to be mentioned. We have
+already agreed to the propriety of attribution in the former case; it
+follows, therefore, that here also Giorgione's name is the correct one,
+and his name, we are glad to see, has recently been placed on the label
+by the Director of the Gallery.
+
+This beautiful little panel, which came from the Leigh Court Collection,
+under Bellini's name, has much of the depth, richness, and glow which
+characterises the Beaumont picture, although the latter is naturally
+more attractive, owing to the wonderful landscape and the more elaborate
+chiaroscuro. The figures are Bellinesque, yet with that added touch of
+delicacy and refinement which Giorgione always knows how to impart. The
+richness of colouring, the depth of tone, the glamour of the whole is
+far superior to anything that we can point to with certainty as Catena's
+work; and no finer example of his "Giorgionesque" phase is to be found
+than the sumptuous "Warrior adoring the Infant Christ," which hangs
+close by, whilst his delicate little "S. Jerome in his Study," also in
+the same room, challenges comparison. Catena's work seems cold and
+studied beside the warmth and spontaneity of Giorgione's little panel,
+which is, indeed, as Crowe and Cavalcaselle assert, "of the most
+picturesque beauty in distribution, colour, and costume."[70] It must
+date from before 1500, probably just before the Beaumont "Nativity," and
+proves how, even at that early time, Giorgione's art was rapidly
+maturing into full splendour.
+
+The total list of genuine works so far amounts to but twenty-three. Let
+us see if we can accept a few others which later writers incline to
+attribute to the master. I propose to limit the survey strictly to those
+pictures which have found recognised champions among modern critics of
+repute, for to challenge every "Giorgione" in public and private
+collections would be a Herculean task, well calculated to provoke an
+incredulous smile!
+
+[Illustration: _Dixon photo. Duke of Devonshire's Collection,
+Chatsworth_
+
+PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S "CHRIST BEARING THE
+CROSS," IN THE CHURCH OF S. ROCCO, VENICE]
+
+Mr. Berenson, in his _Venetian Painters_, includes two other pictures in
+an extremely exclusive list of seventeen genuine Giorgiones. These are
+both in Venice, "The Christ bearing the Cross" (in S. Rocco), and "The
+Storm calmed by S. Mark" (in the Academy). The question whether or no we
+are to accept the former of these pictures has its origin in a curious
+contradiction of Vasari, who, in the first edition of his Lives (1550),
+names Giorgione as the painter, whilst in the second (1565), he assigns
+the authorship to Titian. Later writers follow the latter statement, and
+to this day the local guides adhere to this tradition. That the
+attribution to Giorgione, however, was still alive in 1620-5, is proved
+by the sketch of the picture made by the young Van Dyck during his visit
+to Italy, for he has affixed Giorgione's name to it, and not that of
+Titian.[71] I am satisfied that this tradition is correct. Giorgione,
+and not Titian, painted the still lovely head of Christ, and Giorgione,
+not Titian, drew the arm and hand of the Jew who is dragging at the
+rope. Characteristic touches are to be seen in the turn of the head, the
+sloping axis of the eyes, and especially the fine oval of the face, and
+bushy hair. This is the type of Giorgione's Christ; "The Tribute Money"
+(at Dresden) shows Titian's. Unfortunately the panel has lost all its
+tone, all its glow, and most of its original colour, and we can scarcely
+any longer admire the picture which, in Vasari's graphic language, "is
+held in the highest veneration by many of the faithful, and even
+performs miracles, as is frequently seen"; and again (in his _Life of
+Titian_), "it has received more crowns as offerings than have been
+earned by Titian and Giorgione both, through the whole course of their
+lives."
+
+The other picture included by Mr. Berenson in his list is the large
+canvas in the Venice Academy, with "The Storm calmed by S. Mark."
+According to this critic it is a late work, finished, in small part, by
+Paris Bordone. In my opinion, it would be far wiser to withhold
+definite judgment in a case where a picture has been so entirely
+repainted. Certainly, in its present state, it is impossible to
+recognise Giorgione's touch, whilst the glaring red tones of the flesh
+and the general smeariness of the whole render all enjoyment out of
+question. I am willing to admit that the conception may have been
+Giorgione's, although even then it would stand alone as evidence of an
+imagination almost Michelangelesque in its _terribilità._ Zanetti (1760)
+was the first to connect Giorgione's name with this canvas, Vasari
+bestowing inordinate praise upon it as the work of Palma Vecchio! It
+only remains to add that this is the companion piece to the well-known
+"Fisherman presenting the Ring to the Doge," by Paris Bordone, which
+also hangs in the Venice Academy. Both illustrate the same legend, and
+both originally hung in the Scuola di S. Marco.
+
+[Illustration: _Anderson photo. Padua Gallery_
+
+FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES]
+
+Finally, two _cassone_ panels in the gallery at Padua have been
+acclaimed by Signor Venturi as the master's own,[72] and with that view
+I am entirely agreed. The stories represented are not easily
+determinable (as is so often the case with Giorgione), but probably
+refer to the legends of Adonis.[73] The splendour of colour, the lurid
+light, the richness of effect, are in the highest degree impressive.
+What artist but Giorgione would have so revelled in the glories of the
+evening sunset, the orange horizon, the distant blue hills? The same
+gallery affords several instances of similar decorative pieces by
+other Venetian artists which serve admirably to show the great gulf
+fixed in quality between Giorgione's work and that of the Schiavones,
+the Capriolis, and others who imitated him.[74]
+
+NOTES:
+
+[11] Oxford Lecture, reported in the _Pall Mall Gazette_, Nov. 10, 1884.
+
+[12] See _postea_, p. 63.
+
+[13] Bellini adopted it later in his S. Giov. Crisostomo altar-piece of
+1513.
+
+[14] All the more surprising is it that it receives no mention from
+Vasari, who merely states that the master worked at Castelfranco.
+
+[15] I unhesitatingly adopt the titles recently given to these pictures
+by Herr Franz Wickhoff (_Jahrbuch der Preussischen Kunstsammlungen_,
+Heft. i. 1895), who has at last succeeded in satisfactorily explaining
+what has puzzled all the writers since the days of the Anonimo.
+
+[16] Statius: _Theb_. iv. 730 _ff_. See p. 135.
+
+[17] _Aen._ viii. 306-348.
+
+[18] Fry: _Giovanni Bellini_, p. 39.
+
+[19] ii. 214.
+
+[20] Ridolfi mentions the following as having been painted by
+Giorgione:--"The Age of Gold," "Deucalion and Pyrrha," "Jove hurling
+Thunderbolts at the Giants," "The Python," "Apollo and Daphne," "Io
+changed into a Cow," "Phaeton, Diana, and Calisto," "Mercury stealing
+Apollo's Arms," "Jupiter and Pasiphae," "Cadmus sowing the Dragon's
+Teeth," "Dejanira raped by Nessus," and various episodes in the life of
+Adonis.
+
+[21] In the Venice Academy.
+
+[22] _Archivio, Anno VI_., where reproductions of the two are given side
+by side, _fasc_. vi. p. 412.
+
+[23] The Berlin example (by the Pseudo-Basaiti) is reproduced in the
+Illustrated Catalogue of the recent exhibition of Renaissance Art at
+Berlin; the Rovigo version (under Leonardo's name!) is possibly by
+Bissolo.
+
+Two other repetitions exist, one at Stuttgart, the other in the
+collection of Sir William Farrer. (Venetian Exhibition, New Gallery,
+1894, No. 76.)
+
+[24] Gentile Bellini's three portraits in the National Gallery (Nos.
+808, 1213, 1440) illustrate this growing tendency in Venetian art; all
+three probably date from the first years of the sixteenth century.
+Gentile died in 1507.
+
+[25] Berenson: _Venetian Painters_, 3rd edition.
+
+[26] _Daily Telegraph_, December 29th, 1899.
+
+[27] Even the so-called Pseudo-Basaiti has been separated and
+successfully diagnosed.
+
+[28] 1895 Catalogue.
+
+[29] See Appendix, where the letters are printed in full.
+
+[30] Crowe and Cavalcaselle, ii. 142, and note.
+
+[31] Giorgione painted in fresco in the portico of this palace. Zanetti
+has preserved the record of a figure said to be "Diligence," in his
+print published in 1760.
+
+[32] See Byron's _Life and Letters_, by Thomas Moore, p. 705.
+
+[33] See Berenson's _Venetian Painters_, illustrated edition.
+
+[34] Morelli, ii. 219.
+
+[35] See p. 32 for a possible explanation of these letters.
+
+[36] ii. 218
+
+[37] It has been suggested to me by Dr. Williamson that the letters may
+possibly be intended for ZZ (=Zorzon). In old MSS. the capital Z is
+sometimes made thus _[closed V]_ or _V._
+
+[38] i. 248.
+
+[39] The methods by which he arrived at his conclusion are strangely at
+variance with those he so strenuously advocates, and to which the name
+of Morellian has come to be attached.
+
+[40] Reproduced in _Venetian Art at the New Gallery_, under Giorgione's
+name, but unanimously recognised as a work of Licinio.
+
+[41] i. 249.
+
+[42] Dr. Bode and Signor Venturi both recognise it as Giorgione's work.
+
+[43] To what depths of vulgarity the Venetian School could sink in later
+times, Palma Giovane's "Venus" at Cassel testifies.
+
+[44] _Repertorium für Kunstwissenschaft_. 1896. xix. Band. 6 Heft.
+
+[45] _North American Review_, October 1899.
+
+[46] It was photographed by Braun with this attribution.
+
+[47] Catena has adopted this Giorgionesque conception in his "Judith" in
+the Querini-Stampalia Gallery in Venice.
+
+[48] See _Gazette des Beaux Arts_, 1897, tom, xviii. p. 279.
+
+[49] See _Gazette des Beaux Arts_, 1893, tom. ix. p. 135 (Prof.
+Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and _Repertorium für
+Kunstwissenschaft_, tom. xiv. p. 316 (Herr von Seidlitz).
+
+[50] Crowe and Cavalcaselle, ii. 147.
+
+[51] ii. 217.
+
+[52] Dr. Gronau points this out in _Rep_. xviii. 4, p. 284.
+
+[53] See _Guide to the Italian Pictures_ at Hampton Court, by Mary
+Logan, 1894.
+
+[54] Official Catalogue, and Crowe and Cavalcaselle, ii. 502.
+
+[55] Pater: _The Renaissance_, p. 158.
+
+[56] ii. 219.
+
+[57] The execution of this grotesque picture is probably due to Girolamo
+da Carpi, or some other assistant of Dosso.
+
+[58] Crowe and Cavalcaselle, ii. 292, unaccountably suggested Francesco
+Vecellio (!) as the author.
+
+[59] The subject is derived from a passage in the _De Divinitate_ of
+Cicero, as Herr Wickhoff has pointed out.
+
+[60] See _Venetian Painting at the New Gallery_. 1895.
+
+[61] Unless we are to suppose that Vasari mistook a copy for an
+original.
+
+[62] Francesco Torbido, called "il Moro," born about 1490, and still
+living in 1545. Vasari states that he actually worked under Giorgione.
+Signed portraits by him are in the Brera, at Munich, and Naples. Palma
+Vecchio also deserves serious consideration as possible author of the
+"Shepherd Boy."
+
+[63] Crowe and Cavalcaselle, ii. 144.
+
+[64] Morelli, ii. 212.
+
+[65] See Appendix, p. 123.
+
+[66] Quoted by Morelli, ii. 212, note.
+
+[67] Crowe and Cavalcaselle, ii. 155.
+
+[68] Crowe and Cavalcaselle also cite a portrait in the Casa Ajata at
+Crespano; as I have never seen this piece I cannot discuss it. It was
+apparently unknown to Morelli, nor is it mentioned by other critics.
+
+[69] Morelli, ii. 205.
+
+[70] Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in the
+_Gazette des Beaux Arts_, 1884, p. 286, rightly admits Giorgione's
+authorship.
+
+[71] This sketch is to be found in Van Dyck's note-book, now in
+possession of the Duke of Devonshire at Chatsworth. It is here
+reproduced, failing an illustration of the original picture, which the
+authorities in Venice decline to have made. (A good reproduction has now
+(1903) been made by Anderson of Rome.)
+
+[72] _Archivio Storico_, vi. 409.
+
+[73] Ridolfi tells us Giorgione painted, among a long list of decorative
+pieces, "The Birth of Adonis," "Venus and Adonis embracing," and "Adonis
+killed by the Boar." It is possible he was alluding to these very
+_cassone_ panels.
+
+[74] The other important additions made by Signor Venturi in his recent
+volume, _La Galleria Crespi_, are alluded to _in loco_, further on. I am
+delighted to find some of my own views anticipated in a wholly
+independent fashion.
+
+
+
+
+CHAPTER III
+
+
+INTERMEDIATE SUMMARY
+
+It is necessary for anyone who seeks to recover the missing or
+unidentified works of an artist like Giorgione, first to define his
+conception of the artist based upon a study of acknowledged materials.
+The preceding chapter has been devoted to a survey of the best
+authenticated pictures, the evidence for the genuineness of which is, as
+we have seen, largely a matter of personal opinion. Nevertheless there
+is, on the whole, a unanimity of judgment sufficient to warrant our
+drawing several inferences as to the general character of Giorgione's
+work, and to attempt a chronological arrangement of the twenty-six
+pictures here accepted as genuine.
+
+The first and most obvious fact then to be noted is the amazing variety
+of subjects handled by the master. Religious paintings, whether
+altar-pieces or easel pictures of a devotional character, are
+interspersed with mediaeval allegories, genre subjects, decorative
+_cassone_ panels, portraiture, and purely lyrical "Fantasiestücke,"
+corresponding somewhat with the modern "Landscape with Figures." Truly
+an astonishing range! Giorgione, as we have seen, could not have been
+more than eighteen years in active practice, yet in that short time he
+gained successes in all these various fields. His many-sidedness shows
+him to have been a man of wide sympathies, whilst the astonishing
+rapidity of his development testifies to the precocity of his talent.
+His versatility and his precocity are, in fact, the two most prominent
+characteristics to be borne in mind in judging his art, for much that
+appears at first sight incongruous, if not utterly irreconcilable, can
+be explained on this basis. For versatility and precocity in an artist
+are qualities invariably attended by unevenness of workmanship, as we
+see in the cases of Keats and Schubert, who were gifted with the lyrical
+temperament and powers of expression in poetry and music in
+corresponding measure to Giorgione in painting. It would show want of
+critical acumen to expect from Keats the consistency of Milton, or that
+Schubert should keep the unvarying high level of Beethoven, and it is
+equally unreasonable to exact from Giorgione the uniform excellence
+which characterises Titian. I do not propose at this point to work out
+the comparison between the painter, the musician, and the poet; this
+must be reserved until the final summing-up of Giorgione as artist, when
+we have examined all his work. But this point I do insist on, that from
+the very nature of things Giorgione's art is, and must be, uneven, that
+whilst at times it reaches sublime heights, at other times it attains to
+a level of only average excellence.
+
+And so the criticism which condemns a picture claiming to be Giorgione's
+because "it is not _good_ enough for him," does not recognise the truth
+that for all that it may be _characteristic_, and, consequently,
+perfectly authentic. Modern criticism has been apt to condemn because
+it has expected too much; let us not blind our eyes to the weaknesses,
+even to the failures of great men, who, if they lose somewhat of the
+hero in our eyes, win our sympathy and our love the more for being
+human.
+
+I have spoken of Giorgione's versatility, his precocity, and the natural
+inequality of his work. There is another characteristic which commonly
+exists when these qualities are found united, and that is
+Productiveness. Giorgione, according to all analogy, must have produced
+a mass of work. It is idle to assert, as some modern writers have done,
+that at the utmost his easel pictures could have been but few, because
+most of his short life was devoted to painting frescoes, which have
+perished. It is true that Giorgione spent time and energy over fresco
+painting, and from the very publicity of such work as the frescoes on
+the Fondaco de' Tedeschi, he came to be widely known in this direction,
+but it is infinitely probable that his output in other branches was
+enormous. The twenty-six pictures we have already accepted, plus the
+lost frescoes, cannot possibly represent the sum-total of his artistic
+activities, and to say that everything else has disappeared is, as I
+shall try to show, not correct. We know, moreover, from the Anonimo (who
+was almost Giorgione's contemporary) that many pictures existed in his
+day which cannot now be traced,[75] and if we add these and some of the
+others cited by Vasari and Ridolfi (without assuming that every one was
+a genuine example), it goes to prove that Giorgione did paint a good
+number of easel pictures. But the evidence of the twenty-six themselves
+is conclusive. They illustrate so many different phases, they stand
+sometimes so widely apart, that intermediate links are necessarily
+implied. Moreover, as Giorgione's influence on succeeding artists is
+allowed by all writers, a considerable number of his easel pictures must
+have been in circulation, from which these imitators drew inspiration,
+for he certainly never kept, as Bellini did, a body of assistants and
+pupils to hand on his teaching, and disseminate his style.
+
+Productiveness must then have been a feature of his art, and as so few
+pictures have as yet come to be accepted as genuine, the majority must
+have perished or been lost to sight for the time. That much yet remains
+hidden away in private possession I am fully persuaded, especially in
+England and in Italy, and one day we may yet find the originals of the
+several old copies after Giorgione which I enumerate elsewhere.[76] In
+some cases I believe I have been fortunate enough to detect actually
+missing originals, and occasionally restore to Giorgione pieces that
+parade under Titian's name. Much, however, yet remains to be done, and
+the research work now being systematically conducted in the Venetian
+archives by Dr. Gustav Ludwig and Signor Pietro Paoletti may yield rich
+results in the discovery of documents relating to the master himself,
+which may help us to identify his productions, and possibly confirm some
+of the conjectures I venture to make in the following chapters.[77]
+
+But before proceeding to examine other pictures which I am persuaded
+really emanate from Giorgione himself, let us attempt to place in
+approximate chronological order the twenty-six works already accepted as
+genuine, for, once their sequence is established, we shall the more
+readily detect the lacunae in the artist's evolution, and so the more
+easily recognise any missing transitional pieces which may yet exist.
+
+The earliest stage in Giorgione's career is naturally marked by
+adherence to the teaching and example of his immediate predecessors.
+However precocious he may have been, however free from academic
+training, however independent of the tradition of the schools, he
+nevertheless clearly betrays an artistic dependence, above all, on
+Giovanni Bellini. The "Christ bearing the Cross" and the two little
+pictures in the Uffizi are direct evidence of this, and these,
+therefore, must be placed quite early in his career. We should not be
+far wrong in dating them 1493-5. Carpaccio's influence is also apparent,
+as we have already noticed, and through this channel Giorgione's art
+connects with the more archaic style of Gentile Bellini, Giovanni's
+elder brother. Thus in him are united the quattrocentist tradition and
+the fresher ideals of the cinquecento, which found earliest expression
+in Giambellini's Allegories of about 1486-90. The poetic element in
+these works strongly appealed to Giorgione's sensitive nature, and we
+find him developing this side of his art in the Beaumont "Adoration,"
+and the National Gallery "Epiphany," both of which are clearly early
+productions. But there is a gap of a few years between the Uffizi
+pictures and the London ones, for the latter are maturer in every way,
+and it is clear that the interval must have been spent in constant
+practice. Yet we cannot point with certainty to any of the other
+pictures in our list as standing midway in development, and here it is
+that a lacuna exists in the artist's career. Two or three years,
+possibly more, remain unaccounted for, just at a period, too, when the
+young artist would be most impressionable. I am inclined to think that
+he may have painted the "Birth of Paris" during these years, but we have
+only the copy of a part of the composition to go by, and the statement
+of the Anonimo that the picture was one of Giorgione's early works.
+
+The "Adrastus and Hypsipyle" must also be a youthful production prior to
+1500, and in the direction of portraiture we have the Berlin "Young
+Man," which, for reasons already given, must be placed quite early. It
+is not possible to assign exact dates to any of these works, all that
+can be said with any certainty is that they fall within the last decade
+of the fifteenth century, and illustrate the rapid development of
+Giorgione's art up to his twenty-fourth year.
+
+A further stage in his evolution is reached in the Castelfranco
+"Madonna," the first important undertaking of which we have some record.
+Tradition connects the painting of this altar-piece with an event of the
+year 1504, the death of the young Matteo Costanzo, whose family, so it
+is said, commissioned Giorgione to paint a memorial altar-piece, and
+decorate the family chapel at Castelfranco with frescoes. Certain it is
+that the arms of the Costanzi appear in the picture, but the evidence
+which connects the commission with the death of Matteo seems to rest
+mainly on his alleged likeness to the S. Liberale in the picture, a
+theory, we may remark, which is quite consistent with Matteo being still
+alive. Considering the extraordinary rapidity of the artist's
+development, it would be more natural to place the execution of this
+work a year or two earlier than 1504, but, in any case, we may accept it
+as typical of Giorgione's style in the first years of the century. The
+"Judith" (at St. Petersburg), as we have already seen, probably
+immediately precedes it, so that we get two masterpieces approximately
+dated.
+
+In the field of portraiture Giorgione must have made rapid strides from
+the very first. Vasari states that he painted the portraits of the great
+Consalvo Ferrante, and of one of his captains, on the occasion of their
+visit to the Doge Agostino Barberigo. Now this event presumably took
+place in 1500,[78] so that, at that early date, he seems already to have
+been a portrait painter of repute. Confirmatory evidence of this is
+furnished by the statement of Ridolfi, that Giorgione took the portrait
+of Agostino Barberigo himself.[79] Now the Doge died in 1500, so that if
+Giorgione really painted him, he could not have been more than
+twenty-three years of age at the time, an extraordinarily early age to
+have been honoured with so important a commission; this fact certainly
+presupposes successes with other patrons, whose portraits Giorgione must
+have taken during the years 1495-1500. I hope to be able to identify two
+or three of these, but for the moment we may note that by 1500
+Giorgione was a recognised master of portraiture. The only picture on
+our list likely to date from the period 1500-1504 is the "Knight of
+Malta," the "Young Man" (at Buda-Pesth) being later in execution.[80]
+
+From 1504 on, the rapid rate of progress is more than fully maintained.
+Only six years remain of the artist's short life, yet in that time he
+rose to full power, and anticipated the splendid achievements of
+Titian's maturity some forty years later. First in order, probably, come
+the "Venus" (Dresden) and the "Concert" (Pitti), both showing
+originality of conception and mastery of handling. The date of the
+frescoes on the Fondaco de' Tedeschi is known to be 1507-8,[81] but, as
+nothing remains but a few patches of colour in one spot high up over the
+Grand Canal, we have no visible clue to guide us in our estimate of
+their artistic worth. Vasari's description, and Zanetti's engraving of a
+few fragments (done in 1760, when the frescoes were already in decay),
+go to prove that Giorgione at this period studied the antique,
+"commingling statuesque classicism and the flesh and blood of real
+life."[82]
+
+At this period it is most probable we must place the "Judgment of
+Solomon" (at Kingston Lacy), possibly, as I have already pointed out,
+the very work commissioned by the State for the audience chamber of the
+Council, on which, as we know from documents, Giorgione was engaged in
+1507 and 1508. It was never finished, and the altogether exceptional
+character of the work places it outside the regular course of the
+artist's development. It was an ambitious venture in an unwonted
+direction, and is naturally marked and marred by unsatisfactory
+features. Giorgione's real powers are shown by the "Pastoral Symphony"
+(in the Louvre), and the "Portrait of the Young Man" (at Buda-Pesth),
+productions dating from the later years 1508-10. The "Three Ages" (in
+the Pitti) may also be included, and if Giorgione conceived and even
+partly executed the "Storm calmed by S. Mark" (Venice Academy), this
+also must be numbered among his last works.
+
+Morelli states: "It was only in the last six years of his short life
+(from about 1505-11) that Giorgione's power and greatness became fully
+developed."[83] I think this is true in the sense that Giorgione was
+ever steadily advancing towards a fuller and riper understanding of the
+world, that his art was expanding into a magnificence which found
+expression in larger forms and richer colour, that he was acquiring
+greater freedom of touch, and more perfect command of the technical
+resources of his art. But sufficient stress is not laid, I think, upon
+the masterly achievement of the earlier times; the tendency is to refer
+too much to later years, and not recognise sufficiently the prodigious
+precocity before 1500. One is tempted at times to question the accuracy
+of Vasari's statement that Giorgione died in his thirty-fourth year,
+which throws his birth back only to 1477. Some modern writers disregard
+this statement altogether, and place his birth "before 1477."[84] Be
+this as it may, it does not alter the fact that by 1500 Giorgione had
+already attained in portraiture to the highest honours, and in this
+sphere, I believe, he won his earliest successes. My object in the
+following chapter will be to endeavour to point out some of the very
+portraits, as yet unidentified, which I am persuaded were produced by
+Giorgione chiefly in these earlier years, and thus partly to fill some
+of the lacunae we have found in tracing his artistic evolution.
+
+NOTES:
+
+[75] A list of these is given at p. 138.
+
+[76] _Vide_ List of Works, pp. 124-137.
+
+[77] The results of these archivistic researches are being published in
+the _Repertorium für Kunstwissenschaft_.
+
+[78] For the evidence, see _Magazine of Art_, April 1893.
+
+[79] Meravig, i. 126.
+
+[80] Vasari saw Giorgione's portrait of the succeeding Doge Leonardo
+Loredano (1501-1521).
+
+[81] See Crowe and Cavalcaselle, ii. 141.
+
+[82] Crowe and Cavalcaselle, _ibid_.
+
+[83] ii. 213. We now know that he died in 1510.
+
+[84] Crowe and Cavalcaselle, ii. 119. Bode: _Cicerone_.
+
+
+
+CHAPTER IV
+
+
+ADDITIONAL PICTURES--PORTRAITS
+
+Vasari, in his _Life of Titian_, in the course of a somewhat confused
+account of the artist's earliest years, tells us how Titian, "having
+seen the manner of Giorgione, early resolved to abandon that of Gian
+Bellino, although well grounded therein. He now, therefore, devoted
+himself to this purpose, and in a short time so closely imitated
+Giorgione that his pictures were sometimes taken for those of that
+master, as will be related below." And he goes on: "At the time when
+Titian began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait of a gentleman of the Barberigo family
+who was his friend, and this was considered very beautiful, the
+colouring being true and natural, and the hair so distinctly painted
+that each one could be counted, as might also the stitches[85] in a
+satin doublet, painted in the same work; in a word, it was so well and
+carefully done, that it would have been taken for a picture by
+Giorgione, if Titian had not written his name on the dark ground." Now
+the statement that Titian began to imitate Giorgione at the age of
+eighteen is inconsistent with Vasari's own words of a few paragraphs
+previously: "About the year 1507, Giorgione da Castel Franco, not being
+satisfied with that mode of proceeding (i.e. 'the dry, hard, laboured
+manner of Gian Bellino, which Titian also acquired'), began to give to
+his works an unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian now
+devoted himself to this purpose," etc. In 1507 Titian was thirty years
+old,[86] not eighteen, so that both statements cannot be correct. Now it
+is highly improbable that Titian had already discarded the manner of
+Bellini as early as 1495, at the age of eighteen, and had so identified
+himself with Giorgione that their work was indistinguishable.
+Everything, on the contrary, points to Titian's evolution being anything
+but rapid; in fact, so far as records go, there is no mention of his
+name until he painted the façade of the Fondaco de' Tedeschi in company
+with Giorgione in 1507. It is infinitely more probable that Vasari's
+first statement is the more reliable--viz. that Titian began to adopt
+Giorgione's manner about the year 1507, and it follows, therefore, that
+the portrait of the gentleman of the Barberigo family, if by Titian,
+dates from this time, and not 1495.
+
+[Illustration: _Dixon photo. Collection of the Earl of Darnley, Cobham
+Hall_
+
+PORTRAIT OF A GENTLEMAN]
+
+Now there is a picture in the Earl of Darnley's Collection at Cobham
+Hall which answers pretty closely to Vasari's description. It is a
+supposed portrait of Ariosto by Titian, but it is as much unlike the
+court poet of Ferrara as the portrait in the National Gallery (No. 636)
+which, with equal absurdity, long passed for that of Ariosto, a name now
+wisely removed from the label. This magnificent portrait at Cobham was
+last exhibited at the Old Masters in 1895, and the suggestion was then
+made that it might be the very picture mentioned by Vasari in the
+passage quoted above.[87] I believe this ingenious suggestion is
+correct, and that we have in the Cobham "Ariosto" the portrait of one of
+the Barberigo family said to have been painted by Titian in the manner
+of Giorgione. "Thoroughly Giorgionesque," says Mr. Claude Phillips, in
+his _Life of Titian_, "is the soberly tinted yet sumptuous picture in
+its general arrangement, as in its general tone, and in this respect it
+is the fitting companion and the descendant of Giorgione's 'Antonio
+Broccardo' at Buda-Pesth, of his 'Knight of Malta' at the Uffizi. Its
+resemblance, moreover, is, as regards the general lines of the
+composition, a very striking one to the celebrated Sciarra
+'Violin-Player,' by Sebastiano del Piombo.... The handsome, manly head
+has lost both subtlety and character through some too severe process of
+cleaning, but Venetian art has hardly anything more magnificent to show
+than the costume, with the quilted sleeve of steely, blue-grey satin,
+which occupies so prominent a place in the picture." Its Giorgionesque
+character is therefore recognised by this writer, as also by Dr. Georg
+Gronau, in his recent _Life of Titian_ (p. 21), who significantly
+remarks, "Its relation to the 'Portrait of a Young Man' by Giorgione, at
+Berlin, is obvious."
+
+It is a pity that both these discerning writers of the modern school
+have not gone a little further and seen that the picture before them is
+not only Giorgionesque, but by Giorgione himself. The mistake of
+confusing Titian and Giorgione is as old as Vasari, who, _misled by the
+signature_, naïvely remarks, "It would have been taken for a picture by
+Giorgione if Titian had not written his name on the dark ground (in
+ombra)." _Hinc illae lacrimae!_ Let us look into this question of
+signatures, the ultimate and irrevocable proof in the minds of the
+innocent that a picture must be genuine. Titian's methods of signing his
+well-authenticated works varied at different stages of his career. The
+earliest signature is always "Ticianus," and this is found on works
+dating down to 1522 (the "S. Sebastian" at Brescia). The usual signature
+of the later time is "Titianus," probably the earliest picture with it
+being the Ancona altar-piece of 1520. "Tician" is found only twice. Now,
+without necessarily condemning every signature which does not accord
+with this practice, we must explain any apparent irregularity, such, for
+instance, as the "Titianus F." on the Cobham Hall picture. This form of
+signature points to the period after 1520, a date manifestly
+inconsistent with the style of painting. But there is more than this to
+arouse suspicion. The signature has been painted over another, or
+rather, the F. (= fecit)[88] is placed over an older V, which can still
+be traced. A second V appears further to the right. It looks as if
+originally the balustrade only bore the double V, and that "Titianus F."
+were added later. But it was there in Vasari's day (1544), so that we
+arrive at the interesting conclusion that Titian's signature must have
+been added between 1520 and 1544--that is, in his own lifetime. This
+singular fact opens up a new chapter in the history of Titian's
+relationship to Giorgione, and points to practices well calculated to
+confuse historians of a later time, and enhance the pupil's reputation
+at the expense of the deceased master. Not that Titian necessarily
+appropriated Giorgione's work, and passed it off as his own, but we know
+that on the latter's death Titian completed several of his unfinished
+pictures, and in one instance, we are told, added a Cupid to Giorgione's
+"Venus." It may be that this was the case with the "Ariosto," and that
+Titian felt justified in adding his signature on the plea of something
+he did to it in after years; but, explain this as we may, the important
+point to recognise is that in all essential particulars the "Ariosto" is
+the creation not of Titian, but of Giorgione. How is this to be proved?
+It will be remembered that when discussing whether Giorgione or Titian
+painted the Pitti "Concert," the "Giorgionesque" qualities of the work
+were so obvious that it seemed going out of the way to introduce
+Titian's name, as Morelli did, and ascribe the picture to him in a
+Giorgionesque phase. It is just the same here. The conception is
+typically Giorgione's own, the thoughtful, dreamy look, the turn of the
+head, the refinement and distinction of this wonderful figure alike
+proclaim him; whilst in the workmanship the quilted satin is exactly
+paralleled by the painting of the dress in the Berlin and Buda-Pesth
+portraits. Characteristic of Giorgione but not of Titian, is the oval of
+the face, the construction of the head, the arrangement of the hair.
+Titian, so far as I am aware, never introduces a parapet or ledge into
+his portraits, Giorgione nearly always does so; and finally we have the
+mysterious VV which is found on the Berlin portrait, and
+(half-obliterated) on the Buda-Pesth "Young Man." In short, no one would
+naturally think of Titian were it not for the misleading signature, and
+I venture to hope competent judges will agree with me that the proofs
+positive of Giorgione's authorship are of greater weight than a
+signature which--for reasons given--is not above suspicion.[89]
+
+Before I leave this wonderful portrait of a gentleman of the Barberigo
+family (so says Vasari), a word as to its date is necessary. The
+historian tells us it was painted by Titian at the age of eighteen.
+Clearly some tradition existed which told of the youthfulness of the
+painter, but may we assume that Giorgione was only eighteen at the time?
+That would throw the date back to 1495. Is it possible he can have
+painted this splendid head so early in his career? The freedom of
+handling, and the mastery of technique certainly suggests a rather later
+stage, but I am inclined to believe Giorgione was capable of this
+accomplishment before 1500. The portrait follows the Berlin "Young Man,"
+and may well take its place among the portraits which, as we have seen,
+Giorgione must have painted during the last decade of the century prior
+to receiving his commission to paint the Doge. And in this connection it
+is of special interest to find the Doge was himself a Barberigo. May we
+not conclude that the success of this very portrait was one of the
+immediate causes which led to Giorgione obtaining so flattering a
+commission from the head of the State?
+
+I mentioned incidentally that four repetitions of the "Ariosto" exist,
+all derived presumably from the Cobham original. We have a further
+striking proof of the popularity of this style of portraiture in a
+picture belonging to Mr. Benson, exhibited at the Venetian Exhibition,
+New Gallery, 1894-5, where the painter, whoever he may be, has
+apparently been inspired by Giorgione's original. The conception is
+wholly Giorgionesque, but the hardness of contour and the comparative
+lack of quality in the touch betrays another and an inferior hand.
+Nevertheless the portrait is of great interest, for could we but imagine
+it as fine in execution as in conception we should have an original
+Giorgione portrait before us. The features are curiously like those of
+the Barberigo gentleman.
+
+       *       *       *       *       *
+
+In his recently published _Life of Titian_, Dr. Gronau passes from the
+consideration of the Cobham Hall picture immediately to that of the
+"Portrait of a Lady," known as "La Schiavona," in the collection of
+Signor Crespi in Milan. In his opinion these two works are intimately
+related to one another, and of them he significantly writes thus: "The
+influence of Giorgione upon Titian" (to whom he ascribes both portraits)
+"is evident. The connection can be traced even in the details of the
+treatment and technique. The separate touches of light on the
+gold-striped head-dress which fastens back the lady's beautiful dark
+hair, the variegated scarf thrown lightly round her waist, the folds of
+the sleeves, the hand with the finger-tips laid on the parapet: all
+these details might indicate the one master as well as the other."[90]
+
+The transition from the Cobham Hall portrait to the "Lady" in the Crespi
+Collection is, to my mind, also a natural and proper one. The painter of
+the one is the painter of the other. Tradition is herein also perfectly
+consistent, and tradition has in each case a plausible signature to
+support it. The TITIANVS F. of the former portrait is paralleled by the
+T.V.--i.e. Titianus Vecellio, or Titianus Veneziano of the latter.[91] I
+have already dealt at some length with the question of the former
+signature, which appears to have been added actually during Titian's
+lifetime; in the present instance the letters appear almost, if not
+quite, coeval with the rest of the painting, and were undoubtedly
+intended for Titian's signature. The cases, therefore, are so far
+parallel, and the question naturally arises, Did Titian really have any
+hand in the painting of this portrait? Signor Venturi[92] strongly
+denies it; to him the T.V. matters nothing, and he boldly proclaims
+Licinio the author.
+
+I confess the matter is not thus lightly to be disposed of; there is no
+valid reason to doubt the antiquity of the inscription, which, on the
+analogy of the Cobham Hall picture, may well have been added in
+Titian's own lifetime, and for the same reason that I there
+suggested--viz. that Titian had in some way or other a hand in the
+completion, or may be the alteration, of his deceased master's work.[93]
+For it is my certain conviction that the painter of the Crespi "Lady" is
+none other than Giorgione himself.
+
+Before, however, discussing the question of authorship, it is a matter
+of some moment to be able to identify the lady represented. An old
+tradition has it that this is Caterina Cornaro, and, in my judgment,
+this is perfectly correct.[94] Fortunately, we possess several
+well-authenticated likenesses of this celebrated daughter of the
+Republic. She had been married to the King of Cyprus, and after his
+death had relinquished her quasi-sovereign rights in favour of Venice.
+She then returned home (in 1489) and retired to Asolo, near
+Castelfranco, where she passed a quiet country life, enjoying the
+society of the poets and artists of the day, and reputed for her
+kindliness and geniality. Her likeness is to be seen in three
+contemporary paintings:--
+
+1. At Buda-Pesth, by Gentile Bellini, with inscription.
+
+2. In the Venice Academy, also by Gentile Bellini, who introduces her
+and her attendant ladies kneeling in the foreground, to the left, in his
+well-known "Miracle of the True Cross," dated 1500.
+
+3. In the Berlin Gallery, by Jacopo de' Barbari, where she appears
+kneeling in a composition of the "Madonna and Child and Saints."
+
+[Illustration: _From a print. Pourtalès Collection, Berlin_
+
+MARBLE BUST OF CATERINA CORNARO]
+
+Finally we see Caterina Cornaro in a bust in the Pourtalès Collection at
+Berlin, here reproduced,[95] seen full face, as in the Crespi portrait.
+I know not on what outside authority the identification rests in the
+case of the bust, but it certainly appears to represent the same lady as
+in the above-mentioned pictures, and is rightly accepted as such by
+modern German critics.[96]
+
+[Illustration: _Anderson photo. Crespi Collection, Milan_
+
+PORTRAIT OF CATERINA CORNARO]
+
+To my eyes, we have the same lady in the Crespi portrait. Mr. Berenson,
+unaware of the identity, thus describes her:[97] "Une grande dame
+italienne est devant nous, éclatante de santé et de magnificence,
+énergique, débordante, pleine d'une chaude sympathie, source de vie et
+de joie pour tous ceux qui l'entourent, et cependant réfléchie,
+pénétrante, un peu ironique bien qu'indulgente."
+
+Could a better description be given to fit the character of Caterina
+Cornaro, as she is known to us in history? How little likely, moreover,
+that tradition should have dubbed this homely person the ex-Queen of
+Cyprus had it not been the truth!
+
+Now, if my contention is correct, chronology determines a further point.
+Caterina died in 1510, so that this likeness of her (which is clearly
+taken from life) must have been done in or before the first decade of
+the sixteenth century.[98] This excludes Licinio and Schiavone (both of
+whom have been suggested as the artist), for the latter was not even
+born, and the former--whose earliest known picture is dated 1520--must
+have been far too young in 1510 to have already achieved so splendid a
+result. Palma is likewise excluded, so that we are driven to choose
+between Titian and Giorgione, the only two Venetian artists capable of
+such a masterpiece before 1510.
+
+As to which of these two artists it is, opinions--so far as any have
+been published--are divided. Yet Dr. Gronau, who claims it for Titian,
+admits in the same breath that the hand is the same as that which
+painted the Cobham Hall picture and the Pitti "Concert," a judgment in
+which I fully concur. Dr. Bode[99] labels it "Art des Giorgione."
+Finally, Mr. Berenson, with rare insight proclaimed the conception and
+the spirit of the picture to be Giorgione's.[100] But he asserts that
+the execution is not fine enough to be the master's own, and would rank
+it--with the "Judith" at St. Petersburg--in the category of contemporary
+copies after lost originals. This view is apparently based on the
+dangerous maxim that where the execution of a picture is inferior to the
+conception, the work is presumably a copy. But two points must be borne
+in mind, the actual condition of the picture, and the character of the
+artist who painted it. Mr. Berenson has himself pointed out
+elsewhere[101] that Giorgione, "while always supreme in his conceptions,
+did not live long enough to acquire a perfection of draughtsmanship and
+chiaroscuro equally supreme, and that, consequently, there is not a
+single universally accepted work of his which is absolutely free from
+the reproaches of the academic pedant." Secondly, the surface of this
+portrait has lost its original glow through cleaning, and has suffered
+other damage, which actually debarred Crowe and Cavalcaselle (who saw
+the picture in 1877) from pronouncing definitely upon the authorship.
+The eyes and flesh, they say,[102] were daubed over, the hair was new,
+the colour modern. A good deal of this "restoration" has since been
+removed, but the present appearance of the panel bears witness to the
+harsh treatment suffered years ago. Nevertheless, the original work is
+before us, and not a copy of a lost original, and Mr. Berenson's
+enthusiastic praise ought to be lavished on the actual picture as it
+must have appeared in all its freshness and purity. "Je n'hésiterais
+pas," he declares,[103] "à le proclamer le plus important des portraits
+du maître, un chef-d'oeuvre ne le cédant à aucun portrait d'aucun pays
+ou d'aucun temps."
+
+And certainly Giorgione has created a masterpiece. The opulence of
+Rubens and the dignity of Titian are most happily combined with a
+delicacy and refinement such as Giorgione alone can impart. The intense
+grasp of character here displayed, the exquisite _intimité_, places this
+wonderful creation of his on the highest level of portraiture. There is
+far less of that moody abstraction which awakens our interest in most of
+his portraits, but much greater objective truth, arising from that
+perfect sympathy between artist and sitter, which is of the first
+importance in portrait-painting. History tells us of the friendly
+encouragement the young Castelfrancan received at the hands of this
+gracious lady, and he doubtless painted this likeness of her in her
+country home at Asolo, near to Castelfranco, and we may well imagine
+with what eagerness he acquitted himself of so flattering a commission.
+Vasari tells us that he saw a portrait of Caterina, Queen of Cyprus,
+painted by Giorgione from the life, in the possession of Messer Giovanni
+Cornaro. I believe that picture to be the very one we are now
+discussing.[104] The documents quoted by Signor Venturi[105] do not go
+back beyond 1640, so that it is, of course, impossible to prove the
+identity, but the expression "from the life" (as opposed to Titian's
+posthumous portrait of her) applies admirably to our likeness. What a
+contrast to the formal presentation of the queenly lady, crown and
+jewels and all, that Gentile Bellini has left us in his portrait of her
+now at Buda-Pesth!--and in that other picture of his where she is seen
+kneeling in royal robes, with her train of court ladies, as though
+attending a state function! How Giorgione has penetrated through all
+outward show, and revealed the charm of manner, the delightful
+_bonhomie_ of his royal patroness!
+
+We are enabled, by a simple calculation of dates, to fix approximately
+the period when this portrait was painted. Gentile Bellini's picture of
+"The Miracle of the True Cross" is dated 1500--that is, when Caterina
+Cornaro was forty-six years old (she was born in 1454). In Signor
+Crespi's picture she appears, if anything, younger in appearance, so
+that, at latest, Giorgione painted her portrait in 1500. Thus, again, we
+arrive at the same conclusion, that the master distinguished himself
+very early in his career in the field of portraiture, and the similarity
+in style between this portrait and the Cobham Hall one is accounted for
+on chronological grounds. All things considered, it is very probable
+that this portrait was his earliest real success, and proved a passport
+to the favourable notice of the fashionable society of Venice, leading
+to the commission to paint the Doge, and the Gran Signori, who visited
+the capital in the year 1500. That Giorgione was capable of such an
+achievement before his twenty-fourth year constitutes, we may surely
+admit, his strongest right to the title of Genius.[106]
+
+The Barberigo gentleman and the Caterina Cornaro are comparatively
+unfamiliar, owing to their seclusion in private galleries. Not so the
+third portrait, which hangs in the National Gallery, and which, in my
+opinion, should be included among Giorgione's authentic productions.
+This is No. 636, "Portrait of a Poet," attributed to Palma Vecchio; and
+the catalogue continues: "This portrait of an unknown personage was
+formerly ascribed to Titian, and supposed to represent Ariosto; it has
+long since been recognised as a fine work by Palma." I certainly do not
+know by whom this portrait was first recognised as such, but as the
+transformation was suddenly effected one day under the late Sir Frederic
+Burton's _regime_, it is natural to suppose he initiated it. No one
+to-day would be found, I suppose, to support the older view, and the
+rechristening certainly received the approval of Morelli;[107] modern
+critics apparently acquiesce without demur, so that it requires no
+little courage to dissent from so unanimous an opinion. I confess,
+therefore, it was no small satisfaction to me to find the question had
+been raised by an independent inquirer, Mr. Dickes, who published in the
+_Magazine of Art_, 1893, the results of his investigations, the
+conclusion at which he arrived being that this is the portrait of
+Prospero Colonna, Liberator of Italy, painted by Giorgione in the year
+1500.
+
+Briefly stated, the argument is as follows:--
+
+I. (1) The person represented closely resembles
+       Prospero Colonna (1464-1523), whose authentic
+       likeness is to be seen--
+
+       (_a_) In an engraving in Pompilio Totti's
+            "Ritratti et Elogie di Capitani illustri.
+            Rome, 1635."
+
+       (_b_) In a bust in the Colonna Gallery, Rome.
+
+       (_c_) In an engraving in the "Columnensium
+            Procerum" of the Abbas Domenicus
+            de Santis. Rome, 1675.
+
+(All three are reproduced in the article in question.)
+
+[Illustration: _Hanfstängl photo. National Gallery, London_.
+
+PORTRAIT OF A MAN]
+
+    (2) The description of Prospero Colonna, given
+        by Pompilio Totti (in the above book)
+        tallies with our portrait.
+
+    (3) The accessories in the picture confirm the
+        identity--e.g. the St Andrew's Cross, or
+        saltire, is on the Colonna family banner;
+        the bay, emblem of victory, is naturally
+        associated with a great captain; the rosary
+        may refer to the fact of Prospero's residence
+        as lay brother in the monastery of the
+        Olivetani, near Fondi, which was rebuilt
+        by him in 1500.
+
+II. Admitting the identity of person, chronology
+        determines the probable date of the execution
+        of this portrait, for Prospero visited
+        Venice presumably in the train of Consalvo
+        Ferrante in 1500. He was then thirty-six
+        years of age.
+
+III. Assuming this date to be correct, no other Venetian
+        artist but Giorgione was capable of producing
+        so fine and admittedly "Giorgionesque"
+        a portrait at so early a date.
+
+IV. Internal evidence points to Giorgione's authorship.
+
+It will be seen that the logic employed is identical with that by which
+I have tried to establish the identity of Signor Crespi's picture. In
+the present case, I should like to insist on the fourth consideration
+rather than on the other points, iconographical or chronological, and
+see how far our portrait bears on its face the impress of Giorgione's
+own spirit.
+
+The conception, to begin with, is characteristic of him--the pensive
+charm, the feeling of reserve, the touch of fanciful imagination in the
+decorative accessories, but, above all, the extreme refinement. All this
+very naturally fits the portrait of a poet, and at a time when it was
+customary to label every portrait with a celebrated name, what more
+appropriate than Ariosto, the court poet of Ferrara? But this dreamy
+reserve, this intensity of suppressed feeling is characteristic of all
+Giorgione's male portraits, and is nowhere more splendidly expressed
+than in this lovely figure. 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. Both are
+below the level of Giorgione in refinement; neither ever made of a
+portrait such a thing of sheer beauty as this. If this be Palma's work,
+it stands alone, not only far surpassing his usual productions in
+quality, but revealing him in a wholly new phase; it is a difference not
+of degree, but of kind.
+
+[Illustration: _Anderson photo. Querini-Stampalia Collection, Venice_
+
+PORTRAIT OF A MAN (Unfinished)]
+
+Positive proofs of Giorgione's hand are found in the way the hair is
+rendered--that lovely dark auburn hair so often seen in his work,--in
+the radiant oval of the face, contrasting so finely with the shadows,
+which are treated exactly as in the Cobham picture, only that here the
+chiaroscuro is more masterly, in the delicate modelling of the features,
+the pose of the head, and in the superb colour of the whole. In short,
+there is not a stroke that does not reveal the great master, and no
+other, and it is incredible that modern criticism has not long ago
+united in recognising Giorgione's handiwork.[10
+8]
+
+The date suggested--1500--is also consistent with our own deductions as
+to Giorgione's rapid development, and the distinguished character of his
+sitter--if it be Prospero Colonna--is quite in keeping with the vogue
+the artist was then enjoying, for it was in this very year, it will be
+remembered, that he painted the Doge Agostino Barberigo.
+
+I therefore consider that Mr. Dickes' brilliant conjectures have much to
+support them, and, so far as the authorship is concerned, I
+unhesitatingly accept the view, which he was the first to express, that
+Giorgione, and no other, is the painter. Our National Collection
+therefore boasts, in my opinion, a masterpiece of his portraiture.
+
+If it were not that Morelli, Mr. Berenson and others have recognised in
+the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
+Venice, the same hand as in the National Gallery picture, one might well
+hesitate to claim it for Giorgione, so repainted is its present
+condition. I make bold, however, to include it in my list, and the more
+readily as Signor Venturi definitely assigns it to Giorgione himself,
+whose name, moreover, it has always borne. This unfinished portrait is,
+despite its repaint, extraordinarily attractive, the rich browns and
+reds forming a colour-scheme of great beauty. It cannot compare,
+however, in quality with our National Gallery highly-finished example,
+to which it is also inferior in beauty of conception. These two
+portraits illustrate the variableness of the painter; both were probably
+done about the same time--the one seemingly _con amore_, the other left
+unfinished, as though the artist or his sitter were dissatisfied.
+Certainly the cause could not have been Giorgione's death, for the style
+is obviously early, probably prior to 1500.
+
+The view expressed by Morelli[109] that this may be a portrait of one of
+the Querini family, who were Palma's patrons, has nothing tangible to
+support it, once Palma's authorship is contested. But the unimaginative
+Palma was surely incapable of such things as this and the National
+Gallery portrait!
+
+[Illustration: Collection of the Honourable Mrs. Meynell-Ingram, Temple
+Newsam, Leeds
+
+PORTRAIT OF A MAN]
+
+England boasts, I believe, yet another magnificent original Giorgione
+portrait, and one that is probably totally unfamiliar to connoisseurs.
+This is the "Portrait of an Unknown Man," in the possession of the Hon.
+Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
+ill-executed print of it was published in the _Magazine of Art_, April
+1893, where it was attributed to Titian. Its Giorgionesque character is
+apparent at first glance, and I venture to hope that all those who may
+be fortunate enough to study the original, as I have done, will
+recognise the touch of the great master himself. Its intense expression,
+its pathos, the distant look tinged with melancholy, remind us at once
+of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
+its modelling vividly recalls the central figure of the Pitti "Concert,"
+the painting of sleeve and gloves is like that in the National Gallery
+and Querini-Stampalia portraits just discussed. The general pose is most
+like that of the Borghese "Lady." The parapet, the wavy hair, the
+high cranium are all so many outward and visible signs of Giorgione's
+spirit, whilst none but he could have created such magnificent contrasts
+of colour, such effects of light and shade. This is indeed Giorgione,
+the great master, the magician who holds us all fascinated by his
+wondrous spell.
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_
+
+PORTRAIT OF A MAN]
+
+Last on the list of portraits which I am claiming as Giorgione's, and
+probably latest in date of execution, comes the splendid so-called
+"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
+describe it: "This masterly portrait is one of the noblest creations of
+its kind, finished with a delicacy quite surprising, and modelled with
+the finest insight into the modulations of the human flesh....
+Notwithstanding, the touch and the treatment are utterly unlike
+Titian's, having none of his well-known freedom and none of his
+technical peculiarities. Yet if asked to name the artist capable of
+painting such a likeness, one is still at a loss. It is considered to be
+identical with the portrait mentioned by Ridolfi as that of 'Parma' in
+the collection of B. della Nave (Merav., i. 220); but this is not
+proved, nor is there any direct testimony to show that it is by Titian
+at all."[110]
+
+Herr Wickhoff[111] goes a step further. He says: "Un autre portrait qui
+porte le nom de Titien est également l'une des oeuvres les plus
+remarquables du Musée. On prétend qu'il représente le 'Médecin du
+Titien, Parma'; mais c'est là une pure invention, imaginée par un ancien
+directeur du Musée, M. Rosa, et admise de confiance par ses successeurs.
+M. Rosa avait été amené à la concevoir par la lecture d'un passage de
+Ridolfi. Le costume suffirait à lui seul, pourtant, pour la démentir:
+c'est le costume officiel d'un sénateur vénitien, et qui par suite ne
+saurait avoir été porté par un médecin. Le tableau est incontestablement
+de la même main que les deux 'Concerts' du Palais Pitti et du Louvre,
+qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
+tableaux au Giorgione, c'est à lui aussi qu'il faut attribuer le
+portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
+Palais Pitti au Titien, il faut approuver l'attribution actuelle de
+notre portrait au même maître." I am glad that Herr Wickhoff recognises
+the same hand in all three works. I am sorry that in his opinion this
+should be Domenico Campagnola's. I have already referred to this opinion
+when discussing the Louvre "Concert," and must again emphatically
+dissent from this view. Campagnola, as I know him in his pictures and
+frescoes at Padua,--the only authenticated examples by which to judge
+him,[112]--was utterly inadequate to such tasks. The grandeur and
+dignity of the Vienna portrait is worthy of Titian, whose virility
+Giorgione more nearly approaches here than anywhere else. But I agree
+with the verdict of Crowe and Cavalcaselle that his is not the hand that
+painted it, and believe that the author of the Temple Newsam "Man" also
+produced this portrait, probably a few years later, at the close of his
+career.
+
+NOTES:
+
+[85] Or "points" (_punte_). The translation is that used by Blashfield
+and Hopkins, vol. iv. 260.
+
+[86] Assuming he was born in 1477, which is by no means certain.
+
+[87] Dr. Richter in the _Art Journal_, 1895, p. 90. Mr. Claude Phillips,
+in his _Earlier Work of Titian_, p. 58, note, objects that Vasari's
+"giubone di raso inargentato" is not the superbly luminous steel-grey
+sleeve of this "Ariosto," but surely a vest of satin embroidered with
+silver. I think we need not examine Vasari's casual descriptions quite
+so closely; "a doublet of silvered satin wherein the stitches could be
+counted" is fairly accurate. "Quilted sleeves" would no doubt be the
+tailor's term.
+
+[88] It is not quite clear whether the single letter is F or T.
+
+[89] A curious fact, which corroborates my view, is that the four old
+copies which exist are all ascribed to Giorgione (at Vicenza, Brescia,
+and two lately in English collections). See Crowe and Cavalcaselle, p.
+201.
+
+[90] Gronau: _Tizian_, p. 21.
+
+[91] See, however, note on p. 133.
+
+[92] _La Galleria Crespi_.
+
+[93] The documents quoted by Signor Venturi show the signature was there
+in 1640.
+
+[94] When in the Martinengo Gallery at Brescia (1640) it bore this name.
+See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58.
+
+[95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis
+der Caterina Cornaro_." I am informed the original is now in the
+possession of the German Ambassador at The Hague, and that a plaster
+cast is at Berlin.
+
+[96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtalès
+acquired this bust at Asolo.
+
+[97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901)
+republished in his _Study and Criticism of Italian Art_, vol. i. p. 85.
+
+[98] Titian's posthumous portrait of Caterina is lost. The best known
+copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the
+absurdity of regarding this fancy portrait as a true likeness of the
+long deceased queen. It bears no resemblance whatever to the Buda-Pesth
+portrait, which is the latest of the group.
+
+[99] _Cicerone_, sixth edition.
+
+[100] _Gazette des Beaux Arts_, 1897, pp. 278-9.
+
+[101] _Venetian Painting at the New Gallery_, 1895, p. 41.
+
+[102] _Titian_, ii. 58.
+
+[103] _Gazette des Beaux Arts, loc cit_.
+
+[104] _Life of Giorgione_. The letters T.V. either were added after
+1544, or Vasari did not interpret them as Titian's signature.
+
+[105] _La Galleria Crespi, op. cit_.
+
+[106] The importance of this portrait in the history of the Renaissance
+is discussed, _postea_, p. 113.
+
+[107] ii. 19.
+
+[108] This picture was transferred in 1857 from panel to canvas, but is
+otherwise in fine condition.
+
+[109] Morelli, ii. 19, note.
+
+[110] Crowe and Cavalcaselle: _Titian_, p. 425.
+
+[111] _Gazette des Beaux Arts_, 1893, p. 135.
+
+[112] It is customary to cite the Prague picture of 1525 as his work.
+The clumsy signature CAM was probably intended for Campi, the real
+author, and its genuineness is not above suspicion. It is a curious
+_quid pro quo_.
+
+
+
+
+CHAPTER V
+
+
+ADDITIONAL PICTURES OTHER THAN PORTRAITS
+
+I have now pointed out six portraits which, in my opinion, should be
+included in the roll of genuine Giorgiones. No doubt others will, in
+time, be identified, but I leave this fascinating quest to pass to the
+consideration of other paintings illustrating a different phase of the
+master's art.[113]
+
+We know that the romantic vein in Giorgione was particularly strong,
+that he naturally delighted in producing fanciful pictures where his
+poetic imagination could find full play; we have seen how the classic
+myth and the mediaeval romance afforded opportunities for him to indulge
+his fancy, and we have found him adapting themes derived from these
+sources to the decoration of _cassoni_, or marriage chests. Another
+typical example of this practice is afforded by his "Orpheus and
+Eurydice," in the gallery at Bergamo, a splendid little panel, probably,
+like the "Apollo and Daphne" in the Seminario at Venice, intended as a
+decorative piece of applied art. Although bearing Giorgione's name by
+tradition, modern critics have passed it by presumably on the ground
+that "it is not good enough,"--that fatal argument which has thrown dust
+in the eyes of the learned. As if the artist would naturally expend as
+much care on a trifle of this kind as on the Castelfranco altar-piece,
+or the Dresden "Venus"! Yet what greater beauty of conception, what more
+poetic fancy is there in the "Apollo and Daphne" (which is generally
+accepted as genuine) than in this little "Orpheus and Eurydice"? Nay,
+the execution, which is the point contested, appears to me every whit as
+brilliant, and in preservation the latter piece has the advantage. Not a
+touch but what can be paralleled in a dozen other works--the feathery
+trees against the luminous sky, the glow of the horizon, the splendid
+effects of light and shadow, the impressive grandeur of the wild
+scenery, the small figures in mid-distance, even the cast of drapery and
+shape of limbs are repeated elsewhere. Let anyone contrast the delicacy
+and the glow of this little panel with several similar productions of
+the Venetian school hanging in the same gallery, and the gulf that
+separates Giorgione from his imitators will, I think, be apparent.
+
+[Illustration: _Taramelli photo. Bergamo Gallery_ ORPHEUS AND EURYDICE]
+
+In the same category must be ranked two very small panels in the Gallery
+at Padua (Nos. 42 and 43), attributed with a query to Giorgione. These
+are apparently fragments of some decorative series, of which the other
+parts are missing. The one represents "Leda and the Swan," the other a
+mythological subject, where a woman is seated holding a child, and a
+man, also seated, holds flowers. The latter recalls one of the figures
+in the National Gallery "Epiphany." The charm of these fragments lies in
+the exquisite landscapes, which, in minuteness of finish and loving
+care, Giorgione has nowhere surpassed. The gallery at Padua is thus, in
+my opinion, the possessor of four genuine examples of Giorgione's skill
+as a decorator, for we have already mentioned the larger _cassone_
+pieces[114] (Nos. 416 and 417).
+
+Of greater importance is the "Unknown Subject," in the National Gallery
+(No. 1173), a picture which, like so many others, has recently been
+taken from Giorgione, its author, and vaguely put down to his "School."
+But it is time to protest against such needless depreciation!
+
+In spite of abrasion, in spite of the loss of glow, in spite of much
+that disfigures, nay disguises, the master's own touch, I feel confident
+that Giorgione and no other produced this beautiful picture.[115] Surely
+if this be only school work, we are vainly seeking a mythical master, an
+ideal who never could have existed. What more dainty figures, what more
+delicate hues, what more exquisite feeling could one look for than is
+here to be found? True, the landscape has been renovated, true, the
+Giorgionesque depth and richness is gone, the mellow glow of the
+"Epiphany," which hangs just below, is sadly wanting, but who can deny
+the charm of the picturesque scenery, which vividly recalls the
+landscape backgrounds elsewhere in the master's own work, who can fail
+to admire the natural and unstudied grouping of the figures, the
+artlessness of the whole, the loving simplicity with which the painter
+has done his work? All is spontaneous; the spirit is not that of a
+laborious imitator, painfully seeking "effects" from another's
+inspiration; sincerity and naïveté are too apparent for this to be the
+work of any but a quite young artist, and one whose style is so
+thoroughly "Giorgionesque" as to be none other than the young Giorgione
+himself. In my opinion this is one of his earliest essays into the
+region of romance, painted probably before his twenty-first year,
+betraying, like the little legendary pictures in the Uffizi, a strong
+affinity with Carpaccio.[116]
+
+[Illustration: _Hanfstängl photo. Na. nal Gallery, London_
+
+? THE GOLDEN AGE]
+
+As to the subject many conjectures have been made: Aristotle surrounded
+by emblems illustrating the objects with which his philosophy was
+concerned, an initiation into some mystic rite, the poet musing in
+sadness on the mysteries of life, the philosopher imparting wisdom to
+the young, etc. etc. I believe Giorgione is simply giving us a poetical
+rendering of "The Golden Age," where, like Plato's philosopher-king, the
+seer all-wise and all-powerful holds sway, before whom the arts and
+sciences do homage; in this earthly paradise even strange animals live
+in happy harmony, and all is peace. Such a theme would well have suited
+Giorgione's temperament, and Ridolfi actually tells us that this very
+subject was taken by Giorgione from the pages of Ovid, and adapted by
+him to his own ends.[117] But whether this represents "The Golden Age,"
+or some other allegory or classic story, the picture is completely
+characteristic of all that is most individual in Giorgione, and I
+earnestly hope the slur now cast upon its character by the misleading
+label will be speedily removed.[118] For the public believes more in the
+labels it reads, than the pictures it sees.
+
+Finally, in the "Venus disarming Cupid," of the Wallace collection, we
+have, in my opinion, the wreck of a once splendid Giorgione. In the
+recent re-arrangement of the Gallery, this picture, which used to hang
+in an upstairs room, and was practically unknown, has been hung
+prominently on the line, so that its beauties, and, alas! its defects,
+can be plainly seen. The outlines are often distorted and blurred, the
+Cupid has become monstrous, the delicacy of the whole effaced by
+ill-usage and neglect. Yet the splendour of colour, the cast of drapery,
+the flow of line, proclaims the great master himself. There is no room,
+moreover, for such a mythical compromise as that which is proposed by
+the catalogue, "It stands midway in style between Giorgione and Titian
+in his Giorgionesque phase." No better instance could be adduced of the
+fallacy of perfection implied in the minds of most critics at the
+mention of Giorgione's name; yet if we accept the Louvre "Concert," if
+we accept the Hermitage "Judith," why dispute Giorgione's claim on the
+ground of "weakness of construction"? This "Venus and Cupid" is vastly
+inferior in quality to the Dresden "Venus,"--let us frankly admit
+it,--but it is none the less characteristic of the artist, who must not
+be judged by the standard of his exceptional creations, but by that of
+his normal productions.[119]
+
+[Illustration: _Hanfstängl photo. National Gallery, London_ VENUS AND
+ADONIS]
+
+Just such another instance of average merit is afforded by the "Venus
+and Adonis" of the National Gallery (No. 1123), from which, had not an
+artificial standard of excellence been falsely raised, Giorgione's name
+would never have been removed. I am happily not the first to call
+attention to the propriety of the old attribution, for Sir Edward
+Poynter claims that the same hand that produced the Louvre "Concert" is
+also responsible for the "Venus and Adonis."[120] I fully share this
+opinion. The figures, with their compactly built and rounded limbs, are
+such as Giorgione loved to model, the sweep of draperies and the
+splendid line indicate a consummate master, the idyllic landscape
+framing episodes from the life of Adonis is just such as we see in the
+Louvre picture and elsewhere, the glow and splendour of the whole reveal
+a master of tone and colouring. Some good judges would give the work to
+the young Titian, but it appears too intimately "Giorgionesque" to be
+his, although I admit the extreme difficulty in drawing the line of
+division. Passages in the "Sacred and Profane Love" of the Borghese
+Gallery are curiously recalled, but the National Gallery picture is
+clearly the work of a mature and experienced hand, and not of any young
+artist. In my opinion it dates from about 1508, and illustrates the
+later phase of Giorgione's art as admirably as do the "Epiphany" (No.
+1160) and the "Golden Age" (No. 1173) his earliest style. Between these
+extremes fall the "Portrait" (No. 636), and the "S. Liberale" (No. 269),
+the National Gallery thus affording unrivalled opportunity for studying
+the varying phases of the great Venetian master at different stages of
+his career.
+
+       *       *       *       *       *
+
+We may now pass from the realm of "fancy" subjects to that of sacred
+art--that is, to the consideration of the "Madonnas," "Holy Families,"
+and "Santa Conversazione" pictures, other than those already described.
+The Beaumont "Adoration of the Shepherds," with its variant at Vienna,
+the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony and
+S. Roch," and the Castelfranco altar-piece are the only instances so far
+of Giorgione's sacred art, yet Vasari tells us that the master "in his
+youth painted very many beautiful pictures of the Virgin."
+
+This statement is on the face of it likely enough, for although the
+young Castelfrancan early showed his independence of tradition and his
+preference for the more modern phases of Bellini's art, it is extremely
+probable he was also called upon to paint some smaller devotional
+pieces, such, for instance, as "The Christ bearing the Cross," lately in
+the Casa Loschi at Vicenza.[121] It is noteworthy, all the same, that
+scarcely any "Madonna" picture exists to which his name still attaches,
+and only one "Holy Family," so far as I am aware, is credibly reputed to
+be his work. This is Mr. Benson's little picture, in all respects a
+worthy companion to the Beaumont and National Gallery examples. There is
+even a purer ring about this lovely little "Holy Family," a child-like
+sincerity and a simplicity which is very touching, while for sheer
+beauty of colour it is more enjoyable than either of the others. It may
+not have the depth of tone and mastery of chiaroscuro which make the
+Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
+and daintiness of treatment it is not surpassed by any other of
+Giorgione's works. In its obvious defects, too, it is as thoroughly
+characteristic; it is needless to repeat here what I said when
+discussing the Beaumont and Vienna "Adoration"; the reader who compares
+the reproductions will readily see the same features in both works. Mr.
+Benson's little picture has this additional interest, that more than
+either of its companion pieces it points forward to the Castelfranco
+"Madonna" in the bold sweep of the draperies, the play of light on
+horizontal surfaces, and the exquisite gaiety of its colour.
+
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_ THE "GIPSY" MADONNA]
+
+In claiming this picture for Giorgione I am claiming nothing new, for
+his name, in spite of modern critics, has here persistently survived.
+Not so with a group of three Madonnas, one of which has for at least two
+centuries borne Titian's name, another which passes also for a work of
+the same painter, whilst the third was claimed by Crowe and
+Cavalcaselle again for Titian, partly on the analogy of the
+first-mentioned one.[122] The first is the so-called "Gipsy Madonna" in
+the Vienna Gallery, the second is a "Madonna" in the Bergamo Gallery,
+and the third is a "Madonna" again in Mr. Benson's collection.
+
+I am happily not the first to identify the "Gipsy Madonna" as
+Giorgione's work, for it requires no little courage to tilt at what has
+been unquestioningly accepted as "the earliest known Madonna of Titian."
+I am indebted, therefore, to Signor Venturi for the lead,[123] although
+I have the satisfaction of feeling that independent study of my own had
+already brought me to the same conclusion.
+
+Of course, all modern writers have recognised the "Giorgionesque"
+elements in this supposed Titian. "In the depth, strength, and richness
+of the colour-chord, in the atmospheric spaciousness and charm of the
+landscape background, in the breadth of the draperies, it is already,"
+says Mr. Claude Phillips,[124] "Giorgionesque." Yet, he goes on, the
+Child is unlike Giorgione's type in the Castelfranco and Madrid
+pictures, and the Virgin has a less spiritualised nature than
+Giorgione's Madonnas in the same two pictures. On the other hand, Dr.
+Gronau, Titian's latest biographer, declares[125] that the thoughtful
+expression ("der tief empfundene Ausdruck") of the Madonna is
+essentially Giorgionesque. Morelli, with peculiar insight, protested
+against its being considered a very _early_ work of Titian, basing his
+protest on the advanced nature of the landscape, which, he says,[126]
+"must have been painted six or eight years later than the end of the
+fifteenth century." But even he fell into line with Crowe and
+Cavalcaselle in ascribing the picture to Titian, failing to see that all
+difficulties of chronology and discrepancies of judgment between himself
+and the older historians could be reconciled on the hypothesis of
+Giorgione's authorship. For Giorgione, as Morelli rightly saw, developed
+far more rapidly than Titian, so that a Titian landscape of, say, 1506-8
+(if any such exist!) would correspond with one by Giorgione of, say,
+1500. I agree with Crowe and Cavalcaselle and those writers who date
+back the "Gipsy Madonna" to the end of the fifteenth century, but I must
+emphatically support Signor Venturi in his claim that Giorgione is the
+author.
+
+Before, however, looking at internal evidence to prove this contention,
+we may note that another example of the same composition exists in the
+Gallery of Rovigo, identical save for a cartellino on which is inscribed
+TITIANVS. To Crowe and Cavalcaselle this was evidence to confirm
+Titian's claim to be the painter of what they considered the original
+work--viz. the Vienna picture, of which the Rovigo example was, in their
+opinion, a later copy. A careful examination, however, of the latter
+picture has convinced me that they were curiously right and curiously
+wrong. That the Rovigo work is posterior to the Vienna one is, I think,
+patent to anyone conversant with Venetian painting, but why should the
+one bear Titian's name on an apparently authentic cartellino, and not
+the other? The simple and straightforward explanation appears the
+best--viz. that the Rovigo picture is actually by Titian, who has taken
+the Vienna picture (which I attribute to Giorgione) as his model and
+directly repeated it. The qualities of the work are admirable, and
+worthy of Titian, and I venture to think this "Madonna" would long ago
+have taken its rightful place among the pictures of the master had it
+not hung in a remote provincial gallery little visited by travellers,
+and in such a dark corner as to escape detection. The form TITIANVS
+points to a period after 1520,[127] when Giorgione had been some years
+dead, so that it was not unnatural that in after times the credit of
+invention rested with the author of the signed picture, and that his
+name came gradually to be attached also to the earlier example. The
+engraving of Meyssen (_circa_ 1640) thus bears Titian's name, and both
+engraving and the repetition at Rovigo are now adduced as evidence of
+Titian's authorship of the Vienna "Gipsy Madonna."
+
+But is there any proof that Titian ever copied or repeated any other
+work of Giorgione? There is, fortunately, one great and acknowledged
+precedent, the "Venus" in the Tribune of the Uffizi, which is _directly_
+taken from Giorgione's Dresden "Venus," The accessories, it is true, are
+different, but the nude figures are line for line identical.[128] Other
+painters, Palma, Cariarli, and Titian, elsewhere, derived inspiration
+from Giorgione's prototype, but Titian actually repeats the very figure
+in this "Venus"; so that there is nothing improbable in my contention
+that Titian also repeated Giorgione's "Gipsy Madonna," adding his
+signature thereto, to the confusion and confounding of later
+generations.
+
+[Illustration: _Dixon photo. Collection of Mr. R.H. Benson, London_
+
+MADONNA AND CHILD]
+
+It is worthy of note that not a single "Madonna and Child" by Titian
+exists, except the little picture in Mr. Mond's collection, painted
+quite in the artist's old age. Titian invariably paints "Madonna and
+Saints," or a "Holy Family," so that the three Madonna pictures I am
+claiming for Giorgione are marked off by this peculiarity from the bulk
+of Titian's work. This in itself is not enough to disqualify Titian, but
+it is a factor in that cumulative proof by which I hope Giorgione's
+claim may be sustained. The marble parapet again is a feature in
+Giorgione's work, but not in Titian's. But the most convincing evidence
+to those who know the master lies in the composition, which forms an
+almost equilateral triangle, revealing Giorgione's supreme sense of
+beauty in line. The splendid curves made by the drapery, the pose of the
+Child, so as to obtain the same unbroken sweep of line, reveals the
+painter of the Dresden "Venus." The painting of the Child's hand over
+the Madonna's is precisely as in the Madrid picture, where, moreover,
+the pose of the Child is singularly alike. The folds of drapery on the
+sleeve recur in the same picture, the landscape with the small figure
+seated beneath the tree is such as can be found in any Giorgione
+background. The oval of the face and the delicacy of the features are
+thoroughly characteristic, as is the spirit of calm reverie and tender
+simplicity which Giorgione has breathed into his figures.
+
+The second and third Madonna pictures--viz. the one at Bergamo, and its
+counterpart in Mr. Benson's collection--appear to be somewhat later in
+date of execution, but reveal many points in common with the "Gipsy
+Madonna." The beauty of line is here equally conspicuous; the way the
+drapery is carried out beyond the elbow so as to form one long unbroken
+curve, the triangular composition, the marble parapet, are so many
+proofs of Giorgione's hand. Moreover, we find in Mr. Benson's picture
+the characteristic tree-trunks, so suggestive of solemn grandeur,[129]
+and the striped scarf,[130] so cunningly disposed to give more flowing
+line and break the stiffness of contour.
+
+The Bergamo picture closely resembles Mr. Benson's "Madonna," from
+which, indeed, it varies chiefly in the pose of the Child (whose left
+leg here sticks straight out), whilst the landscape is seen on the left
+side, and there are no tree-trunks. I cannot find that any writer has
+made allusion to this little gem, which hangs high up on the end wall of
+the Lochis section of the gallery (No. 232); I hope others will examine
+this new-found work at a less inconvenient height, as I have done, and
+that their opinion will coincide with mine that the same hand painted
+the Benson "Madonna," and that that hand is Giorgione's.
+
+Before quitting the subject of the "Madonna and Child," another example
+may be alluded to, about which it would be unwise to express any decided
+opinion founded only on a study of the photograph. This is a picture at
+St. Petersburg, to which Mr. Claude Phillips first directed
+attention,[131] stating his then belief that it might be a genuine
+Giorgione. After a recent visit to St. Petersburg, however, he has seen
+fit to register it as a probable copy after a lost original by the
+master, on the ground that "it is not fine enough in execution."[132]
+This, as I have often pointed out, is a dangerous test to apply in
+Giorgione's case, and so the authenticity of this "Madonna" may still be
+left an open question.
+
+Finally, in the category of Sacred Art come two well-known pictures,
+both in public galleries, and both accredited to Giorgione. The first is
+the "Christ and the Adulteress" of the Glasgow Gallery, the second the
+"Madonna and Saints" of the Louvre. Many diverse opinions are held about
+the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
+It is asserted by some that the same hand painted the Kingston Lacy
+"Judgment of Solomon," but that it is not the hand of Giorgione, and
+finally--to come to the view which I believe is the correct one--Dr.
+Bode and Sir Walter Armstrong[133] both believe that Giorgione is the
+painter.
+
+[Illustration: _Hanfstängl photo. Glasgow Gallery_ THE ADULTERESS
+BEFORE CHRIST]
+
+The whole difficulty, as it seems to me, arises from the deep-rooted
+misapprehension in the minds of most critics of the character of
+Giorgione's art. In their eyes, he is something so perfect as to be
+incapable of producing anything short of the ideal. He could never have
+drawn so badly, he never could have composed so awkwardly, he never
+could have been so inexpressive!--such is the usual criticism. I have
+elsewhere insisted upon the unevenness which invariably characterises
+the productions of men who are gifted with a strong artistic
+temperament, and in Giorgione's case, as I believe, this is particularly
+true. The Glasgow picture is but one instance of many where, if
+correctness of drawing, perfection of composition, and inevitableness of
+expression are taken as final tests, the verdict must go against the
+painter. He either failed in these cases to come up to the standard
+reached elsewhere, or he is not the painter. Modern negative criticism
+generally adopts the latter solution, with the result that not a score
+of pictures pass muster, and the virtues of these chosen few are so
+extolled as to make it all but impossible to see the reverse of the
+medal. But those who accept the "Judith" at St. Petersburg, the Louvre
+"Concert," the Beaumont "Adoration of the Shepherds" (to name only three
+examples where the drawing is strange), cannot consistently object to
+admit the Glasgow "Christ and the Adulteress" into the fold. Nay, if
+gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
+brilliancy of technique are qualities which go to make up great
+painting, then the Glasgow picture must take high rank, even in a school
+where such qualities found their grandest expression.
+
+[Illustration: _The Louvre, Paris_
+
+MADONNA AND SAINTS]
+
+Comparisons of detail may be noted, such as the resemblance in posture
+and type of the Accuser with the S. Roch of the Madrid picture, the
+figure of the Adulteress with that of the False Mother in the Kingston
+Lacy picture, the pointing forefingers, the typical landscape, the cast
+of the draperies, details which the reader can find often repeated
+elsewhere. But it is in the treatment of the subject that the most
+characteristic features are revealed. The artist was required--we know
+not why--to paint this dramatic scene; he had to produce a "set piece,"
+where action and graphic representation was urgently needed. How little
+to his taste! How uncongenial the task! The case is exactly paralleled
+by the "Judgment of Solomon," the only other dramatic episode Giorgione
+appears to have attempted, and the result in each case is the same--no
+real dramatic unity, but an accidental arrangement of the figures, with
+rhetorical action. The want of repose in the Christ offends, the
+stageyness of the whole repels. How different when Giorgione worked _con
+amore_! For it seems this composition gave him much trouble. Of this we
+have a most interesting proof in an almost contemporary Venetian version
+of the same subject, where the scheme has been recast. This picture
+belongs to Sir Charles Turner, in London, and, so far as
+intelligibleness of composition goes, may be said to be an improvement
+on the Glasgow version. It is highly probable that this painting derives
+from some alternative drawing for the original picture. That the Glasgow
+version acquired some celebrity we have further proof in an almost exact
+copy (with one more figure added on the right), which hangs in the
+Bergamo Gallery under Cariani's name, a painting which, in all respects,
+is utterly inferior to the original.[134]
+
+The "Christ and the Adulteress," then, becomes for us a revelation of
+the painter's nature, of his methods and aims; but, with all its
+technical excellences, shall we not also frankly recognise the
+limitations of his art?[135]
+
+The "Madonna and Saints" of the Louvre, which persistently bears
+Giorgione's name, in spite of modern negative criticism, is marked by a
+lurid splendour of colour and a certain rough grandeur of expression,
+well calculated to jar with any preconceived notion of Giorgionesque
+sobriety or reserve. Yet here, if anywhere, we get that _fuoco
+Giorgionesco_ of which Vasari speaks, that intensity of feeling,
+rendered with a vivacity and power to which the artist could only have
+attained in his latest days. In this splendid group there is a masculine
+energy, a fulness of life, and a grandeur of representation which
+carries _le grand style_ to its furthest limits, and if Giorgione
+actually completed the picture before his death, he anticipated the full
+splendour of the riper Renaissance. To him is certainly due the general
+composition, with its superb lines, its beautiful curves, its majestic
+and dignified postures, its charming sunset background, to him is
+certainly due the splendid chiaroscuro and magic colour-chord; but it
+becomes a question whether some of the detail was not actually finished
+by Giorgione's pupil, Sebastiano del Piombo.[136] The drawing, for
+instance, of the hands vividly suggests his help, the type of S. Joseph
+in the background reminds us of the figure of S. Chrysostom in
+Sebastiano's Venice altar-piece, while the S. Catherine recalls the
+Angel in Sebastiano's "Holy Family" at Naples. If this be the case, we
+here have another instance of the pupil finishing his master's work, and
+this time probably after his death, for, as already pointed out, the
+"Evander and Aeneas" (at Vienna) must have been left by Giorgione
+well-nigh complete at an earlier stage than the year of his death.
+
+That Sebastiano stood in close relation to his master, Giorgione, is
+evidenced not only by Vasari's statement, but by the obvious dependence
+of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque
+models. Moreover, the "Violin Player," formerly in the Sciarra Palace,
+at once reminds us of the "Barberigo" portrait at Cobham, while the
+"Herodias with the Head of John Baptist," dated 1510, now in the
+collection of Mr. George Salting, shows conclusively how closely related
+were the two painters in the last year of Giorgione's life. Sebastiano
+was twenty-five years of age in 1510, and appears to have worked under
+Giorgione for some time before removing to Rome, which he did on, or
+shortly before, his master's death. His departure left Titian, his
+associate under Giorgione, master of the field; he, too, had a hand in
+finishing some of the work left incomplete in the atelier, and his
+privilege it became to continue the Giorgionesque tradition, and to
+realise in utmost perfection in after years the aspirations and ideals
+so brilliantly anticipated by the young genius of Castelfranco.[137]
+
+NOTES:
+
+[113] The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of
+Cordova, Giovanni Borgherini and his tutor, Luigi Crasso, and others,
+are mentioned as having sat to Giorgione for their portraits. Modern
+criticism has recently distributed several "Giorgionesque" portraits in
+English collections among Licinio, Lotto, and even Polidoro! But this
+disintegrating process may be, and has been, carried too far.
+
+[114] Two more small works may be mentioned which may tentatively be
+ascribed to Giorgione. "The Two Musicians," in the Glasgow Gallery
+(recently transferred to Campagnola), and a "Sta. Justina" (known to me
+only from a photograph), which has passed lately into the collection of
+Herr von Kauffmann at Berlin.
+
+Signor Venturi (_L'Arte_, 1900) has just acquired for the National
+Gallery in Rome a "St. George slaying the Dragon." Judging only from the
+photograph, I should say he is correct in his identification of this as
+Giorgione's work. It seems to be akin to the "Apollo and Daphne," and
+"Orpheus and Eurydice."
+
+[115] I am pleased to find Signor Venturi has anticipated my own
+conclusion in his recently published _La Galleria Crespi_.
+
+[116] Mr. Cosmo Monkhouse (_In the National Gallery_, p. 223) has
+already rightly recognised the same hand in this picture and in the
+"Epiphany" hanging just below.
+
+[117] Meravig, i. 124.
+
+[118] By a happy accident the new "Giorgione" label, intended for the
+"Epiphany," No. 1160, was for some time affixed to No. 1173.
+
+[119] When in the Orleans Gallery the picture was engraved under
+Giorgione's name by de Longueil and Halbon.
+
+[120] New illustrated edition of the National Gallery Catalogue, 1900.
+
+[121] Now in America, in Mrs. Gardner's Collection.
+
+[122] Crowe and Cavalcaselle: _Titian_, i. p. III. This picture was then
+at Burleigh House.
+
+[123] See _La Galleria Crespi_, 1900.
+
+[124] _The Earlier Work of Titian_ p. 24. _Portfolio_, October 1897.
+
+[125] _Tizian_, p. 16.
+
+[126] Morelli, ii. 57, note.
+
+[127] See _antea_, p. 71.
+
+[128] With the exception of the right arm, which Titian has let fall,
+instead placing it behind the head of the sleeping goddess. The effect
+of the beautiful curve is thereby lost, and Titian shows himself
+Giorgione's inferior in quality of line.
+
+[129] As in the "Aeneas and Evander" (Vienna), the "Judith" (St.
+Petersburg), the Madrid "Madonna and Saints," etc.
+
+[130] As in the "Caterina Cornare" of the Crespi collection at Milan.
+
+[131] _Magazine of Art_. July 1895.
+
+[132] _North American Review_. October 1899.
+
+[133] _Magazine of Art_, 1890, pp. 91 and 138.
+
+[134] The small divergencies of detail in the dress of the "Adulteress,"
+etc., are just such as an imitator might have ventured to make. The hand
+and arm of the Christ have, however, been altered for the better.
+
+[135] This is the first time in Venetian art that the subject appears.
+It is frequently found later.
+
+[136] Cariani is by some made responsible for the whole picture. A
+comparison with an authentic example hanging (in the new arrangement of
+the Long Gallery), close by, ought surely to convince the advocates of
+Cariani of their mistake.
+
+[137] Morto da Feltre is mentioned by Vasari as having assisted
+Giorgione in the decoration of the Fondaco de' Tedeschi. This was in
+1508. Otherwise, we know of no pupils or assistants employed by the
+master, a fact which goes to show that his influence was felt, not so
+much through any personal teaching, as through his work.
+
+
+
+
+CHAPTER VI
+
+GIORGIONE'S ART, AND PLACE IN HISTORY
+
+
+The examination in detail of all those pictures best entitled, on
+internal evidence, to rank as genuine productions of Giorgione has
+incidentally revealed to us much that is characteristic of the man
+himself. We started with the axiom that a man's work is his best
+autobiography, and where, as in Giorgione's case, so little historical
+or documentary record exists, such indications of character as may be
+gleaned from a study of his life's work become of the utmost value. _Le
+style c'est l'homme_ is a saying eminently applicable in cases where, as
+with Giorgione, the personal element is strongly marked. The subject, as
+we have seen over and over again, is so highly charged with the artist's
+mood, with his individual feelings and emotions, that it becomes
+unrecognisable as mere illustration, and the work passes by virtue of
+sheer inspiration into the higher realms of creative art. Such fusion of
+personality and subject is the characteristic of lyrical art, and in
+this domain Giorgione is a supreme master. His genius, as Morelli
+rightly pointed out, is essentially lyrical in contradistinction to
+Titian's, which is essentially dramatic. Take the epithets that we have
+constantly applied to his pictures in the course of our survey, and see
+how they bear out this statement--epithets such as romantic, fantastic,
+picturesque, gay, or again, delicate, refined, sensitive, serene, and
+the like; these bear witness to qualities of mind where the keynote is
+invariably exquisite feeling. Giorgione was, in fact, what is commonly
+called a poet-painter, gifted with the artistic temperament to an
+extraordinary degree, essentially impulsive, a man of moods. It is
+inevitable that such a man produces work of varying merit; inequality
+must be a characteristic feature of his art. In less fortunate
+circumstances than those in which Giorgione was placed, such
+temperaments as his become peevish, morose, morbid; but his lines were
+cast in pleasant places, and his moods were healthy, joyous, and serene.
+He does not concern himself with the tragedy of life, with its pathos or
+its disappointments. In his two renderings of "Christ bearing the
+Cross"[138]--the only instances we have of his portrayal of the Man of
+Sorrows--he appeals more to our sense of the dignity of humanity, and to
+the nobility of the Christ, than to our tenderer sympathies. How
+different from the pathetic Pietàs of his master, Giambellini! This
+shrinking from pain and sorrow, this dislike to the representation of
+suffering is, however, as much due to the natural gaiety and elasticity
+of youth as to the happy accident of his surroundings. We must never
+forget that Giorgione's whole achievement was over at an age when some
+men's life-work has hardly begun. The eighteen years of his activity
+were what we sometimes call the years of promise, and he must not be
+judged as we judge a Titian or a Michel Angelo. He is the wonderful
+youth, full of joyous aspirations, gilding all he touches with the
+radiance of his spirit. His pictures, suffused with a golden glow, are
+the reflection of his sunny life; the vividness and intensity of his
+passion are expressed in the gorgeousness of his colours.
+
+I have elsewhere dwelt upon the precocity of Giorgione's talent, with
+its accompanying qualities of versatility, inequality, and
+productiveness, and I have pointed out the analogous phenomena in music
+and poetry. Giorgione, Schubert, and Keats are alike in temperament and
+quality of expression. They are curiously alike in the shortness of
+their lives,[139] and the fever-heat of their production. But they are
+strangely distinct in the manner of their lives. The disparity of
+outward circumstances accounts for the healthy tone of Giorgione's art,
+when contrasted with the morbid utterances of Keats. Schubert suffered
+privations and poverty, and his song was wrung from him alike at moments
+of inspiration and of necessity. But Giorgione is all aglow with natural
+energy; he suffered no restraints, nor is his art forced or morbid.
+Confine his spirit, check the play of his fancy, set him a task
+prescribed by convention or hampered by conditions, and you get proof of
+the fretfulness, the impatience of restraint which the artist felt. The
+"Judgment of Solomon" and "The Adulteress before Christ," the only two
+"set" pieces he ever attempted, eloquently show how he fell short when
+struggling athwart his genius. For to register a fact was utterly
+foreign to his nature; he records an impression, frankly surrendering
+his spirit to the sense of joy and beauty. He is not seldom incoherent,
+and may even grow careless, but in power of imagination and exuberance
+of fancy he is always supreme.
+
+In one respect, however, Giorgione shows himself a greater than Schubert
+or Keats. He has a profounder insight into human nature in its varying
+aspects than either the musician or the poet. He is less a visionary,
+because his experience of men and things is greater than theirs; his
+outlook is wider, he is less self-centred. This power of grasping
+objective truth naturally shows itself most readily in the portraits he
+painted, and it was due to the force of circumstances, as I believe,
+that this faculty was trained and developed. Had Giorgione lived aloof
+from the world, had not his natural reticence and sensitiveness been
+dominated by outside influences, he might have remained all his life
+dreaming dreams, and seeing visions, a lyric poet indeed, but not a
+great and living, influence in his generation. Yet such undoubtedly he
+was, for he effected nothing short of a revolution in the contemporary
+art of Venice. Can the same be said of Schubert or Keats? The truth is
+that Giorgione had opportunities of studying human nature such as the
+others never enjoyed; fortune smiled upon him in his earliest years, and
+he found himself thrust into the society of the great, who were eager to
+sit to him for their portraits. How the young Castelfrancan first
+achieved such distinction is not told us by the historians, but I have
+ventured to connect his start in life with the presence of the ex-Queen
+of Cyprus, Caterina Cornaro, at Asolo, near Castelfranco; I think it
+more than probable that her patronage and recommendation launched the
+young painter on his successful career in Venice. Certain it is that he
+painted her portrait in his earlier days, and if, as I have sought to
+prove, Signor Crespi's picture is the long-lost portrait of the great
+lady, we may well understand the instant success such an achievement
+won.
+
+Here, if anywhere, we get Giorgione's great interpretative qualities,
+his penetration into human nature, his reading of character. It is an
+astonishing thing for one so young to have done, explicable
+psychologically on the existence of a lively sympathy between the great
+lady and the poet-painter. Had we other portraits of the fair sex by
+Giorgione, I venture to think we should find in them his reading of the
+human soul even more plainly evidenced than in the male portraits we
+actually possess.[140] For it is clear that the artist was
+"impressionable," and he would have given us more sympathetic
+interpretations of the fair sex than those which Titian has left us. The
+so-called "Portrait of the Physician Parma" (at Vienna) is another
+instance of Giorgione's grasp of character, the virility and suppressed
+energy being admirably seized, the conception approaching more nearly to
+Titian's in its essential dignity than is usually the case with
+Giorgione's portraits. It is a matter of more regret, therefore, that
+the likenesses of the Doges Agostino Barberigo and Leonardo Loredano are
+missing, for in them we might have had specimens of work comparable to
+the Caterina Cornaro, which, in my opinion at all events, is Giorgione's
+masterpiece of portraiture.
+
+I have given reasons elsewhere for dating this portrait at latest 1500.
+It is probably anterior by a few years to the close of the century. This
+deduction, if correct, has far-reaching consequences: it becomes
+actually the first _modern_ portrait ever painted, for it is the
+earliest instance of a portrait instinct with the newer life of the
+Renaissance. And this brings us to the question: What was Giorgione's
+relation to that great awakening of the human spirit which we call the
+Renaissance? Mr. Berenson answers the question thus: "His pictures are
+the perfect reflex of the Renaissance at its height."[141] If this be
+taken to mean that Giorgione _anticipated_ the aspirations and ideals of
+the riper Renaissance, I think we may acquiesce in the phrase; but that
+the onward movement of this great revival coincided only with the
+artist's years, and culminated at his death, is not historically
+correct. The wave had not reached its highest point by the year 1510,
+and Titian was yet to rise to a fuller and grander expression of the
+human soul. But Giorgione may rightly be called the Herald of the
+Renaissance, not only by virtue of the position he holds in Venetian
+painting, but by priority of appearance on the wider horizon of Italian
+Art.
+
+Let us take the four great representative exponents of Italian Art at
+its best, Raphael, Correggio, Leonardo, and Michel Angelo.
+Chronologically, Giorgione precedes Raphael and Correggio, though
+Leonardo and Michel Angelo were born before him.[142] But had either of
+the latter proclaimed a new order of things as early as 1495? Michel
+Angelo was just twenty years old, and he had not yet carved his "Pietà"
+for S. Peter's. Leonardo, a man of forty-three, had not completed his
+"Cenacolo," and the "Mona Lisa" would not be created for another five or
+six years. Giorgione's "Caterina Cornaro," therefore, becomes the first
+masterpiece of the earlier Renaissance, and proclaims a revolution in
+the history of portraiture. In Venice itself we have only to look at the
+contemporary portraits by Alvise Vivarini and Gentile Bellini, and at
+the slightly earlier busts by Antonello da Messina, to see what a world
+of difference in feeling and interpretation there is between them and
+Giorgione's portraits. What a splendid array of artistic triumphs must
+have sprung up around this masterpiece! The Cobham portrait and the
+National Gallery "Poet" are alone left us in much of their pristine
+splendour, but what of the lost portraits of the great Consalvo and of
+the Doge Agostino Barberigo, both of which must date from the year 1500?
+
+Giorgione is then the Herald of the Renaissance, and never did genius
+arise in more fitting season. It was the right psychological moment for
+such a man, and Giorgione "painted pictures so perfectly in touch with
+the ripened spirit of the Renaissance that they met with the success
+which those things only find that at the same moment wake us to the
+full sense of a need and satisfy it."[143] This is the secret of his
+overwhelming influence on succeeding painters in Venice,--not, indeed,
+on his direct pupil Sebastiano del Piombo, and on his friend and
+associate Titian (who may fairly be called his pupil), but on such
+different natures as Lotto, Palma, Bonifazio, Bordone, Pordenone,
+Cariani, Romanino, Dosso Dossi, and a host of smaller men. The School of
+Giorgione numbers far more adherents than even the School of Leonardo,
+or the School of Raphael, not because of any direct teaching of the
+master, but because the "Giorgionesque" spirit was abroad, and the taste
+of the day required paintings like Giorgione's to satisfy it. But as no
+revolution can be effected without a struggle, and as there are
+invariably people opposed to any reform, whether in art or in anything
+else, we need not be surprised to find the academic faction, represented
+by the aged Giambellini and his pupils, resisting the progress of the
+Newer Art. In Giorgione's own lifetime, the exact measure of the
+opposition is not easy to gauge, but it bore fruit a few years later in
+the machinations of the official Bellinesque party to keep Titian out of
+the Ducal Palace when he was seeking State recognition,[144]
+Nevertheless, Giambellini, even at his age, found it advisable to
+modulate into the newer key, as may be seen in his "S. Giovanni
+Crisostomo enthroned," where not only is the conception lyrical and the
+treatment romantic, but the actual composition is on the lines of the
+essentially Giorgionesque equilateral triangle. This great altar-piece
+was painted three years after Giorgione's death, and no more splendid
+testimonial to the young painter's genius could be found than in the
+forced homage thus paid to his memory by the octogenarian
+Giambellini.[145]
+
+We have already, in the course of our survey of Giorgione's pictures,
+noted the points wherein he was an initiator. "Genre subjects," and
+"Landscape with figures," as we should say nowadays, found in him their
+earliest exponent. Before him artists had, indeed, painted figures with
+a landscape background, but the perfect blend of Nature and human nature
+was his achievement. This was accomplished by artistic means of the
+simplest, yet irresistibly subtle in their appeal. The quality of line
+and the sensuousness of colour nowhere cast their spells over us more
+strangely than in Giorgione's pictures, and by these means he wrought
+"effects" such as no artist has surpassed. In these purely pictorial
+qualities he is supreme, and claims place with the few quintessential
+artists of the world; to him may be applied by analogy the phrase that
+Liszt applied to Schubert, "Le musicien le plus poète que jamais."
+
+As an instrument of expression, then, colour is used by Giorgione more
+naturally and effectively than it is by any of the Venetian painters. It
+appeals directly to our senses, like rare old stained glass, and seems
+to be of the very essence of the object itself. An engraving or
+photograph after such a picture as the Louvre "Pastoral Symphony" fails
+utterly to convey the sense of exhilaration one feels in presence of
+the actual painting, simply because the tonic effect of the colour is
+wholly wanting. The golden shimmer of light, the vibration of the air,
+the saturation of atmosphere with pure colour are not only ingredients
+in, but are of the very essence of the creation. It has been well said
+that almost literally the chief colour on Giorgione's palette was
+sunlight.[146] His masterly treatment of light and shadow, in which he
+was scarcely Leonardo's inferior, enabled him to make use of rich and
+full-bodied colours, which are never gaudy, as sometimes with Bonifazio,
+or pretty, as with Catena and lesser artists. Nor is he decorative in
+the way that Veronese excels, or lurid like Tintoretto. Compared with
+Titian it is as though his colour-chord sounded in seven sharps, whilst
+the former strikes the key of C natural. A full rich green frequently
+occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a
+deep crimson, contrasting with pure white drapery, or with golden
+flesh-tints, is also characteristic. In the painting of the nude he
+gives us real flesh and blood; his "Venus" has not the supernatural
+radiance that Correggio can give his ethereal beings (Giorgione, by the
+way, never painted an angel, so far as we know), but she glows with
+actual life, the blood is pulsing through the veins, she is very real.
+And in this connection we may notice the extraordinary skill with which
+Giorgione conveys a sense of texture; his painting of rich brocades, and
+more especially quilted stuffs and satiny folds, cannot be surpassed
+even by a Terburg.
+
+The quality of line in his work makes itself felt in many ways. Beauty
+of contour and unbroken continuity of curve is obtained sometimes by
+sacrificing literal accuracy; a structurally impossible position--as the
+seated nude figure in the Louvre picture--is deliberately adopted to
+heighten the effect of line or the balance of composition. The Dresden
+"Venus," if she arose, would appear of strange proportions; but
+expressiveness is enhanced by the long flowing contours of the body, so
+suggestive of repose. We may notice also the emphasis obtained by
+parallelism; for example, the line of the left arm of the "Venus"
+follows the curve of the body, a trick which may be often seen in folds
+of drapery. This picture also illustrates a device to retain continuity
+of line; the right foot is hidden away so as not to interfere with the
+contour. Exactly the same thing may be seen in the standing figure in
+the Louvre "Pastoral Symphony." The trick of making a grand sweep from
+the top of the head downwards is usually found in the Madonna pictures,
+where a cunningly placed veil carries the line usually to the sloping
+shoulders, or else outwards to the point of the elbow, thus introducing
+the triangular scheme to which Giorgione was particularly partial.
+
+But the question remains, What is Giorgione's position among the world's
+great men? Is he intellectually to be ranked with the Great Thinkers of
+all time? Can he aspire to the position which Titian occupies? I fear
+not Beethoven is infinitely greater than Schubert, Shakespeare than
+Keats, and so, though in lesser degree, is Titian than Giorgione. I say
+in lesser degree, because the young poet-painter had something of that
+profound insight into human nature, something of that wide outlook on
+life, something of that universal sympathy, and something of that vast
+influence which distinguishes the greatest intellects of all, and this
+it is which lessens the distance between him and Titian. Yet Titian is
+the greater man, for he is "the highest and completest expression of his
+own age."[147]
+
+Nevertheless, in that narrower sphere of the great painters, who
+proclaimed the glad tidings of Liberty when the Spirit of Man awoke from
+Mediaevalism, may we not add yet a fifth voice to the four-part harmony
+of Raphael, Correggio, Leonardo, and Michel Angelo, the voice of
+Giorgione, the wondrous youth, "the George of Georges," who heralded the
+Renaissance of which we are the heirs?
+
+NOTES:
+
+[138] In the Church of San Rocco, Venice, and in Mrs. Gardner's
+Collection in America.
+
+[139] Keats died at the age of twenty-five; Schubert was thirty-one;
+Giorgione thirty-three.
+
+[140] The ruined condition of the Borghese "Lady" prevents any just
+appreciation of the interpretative qualities.
+
+[141] _Venetian Painters_, p. 30.
+
+[142] Leonardo, 1452-1519; Michel Angelo, 1475-1564; Giorgione,
+1477-1510; Raphael, 1483-1520; Correggio, 1494-1534. Correggio, Raphael,
+and Giorgione died at the ages of forty, thirty-seven, and thirty-three
+years respectively. Those whom the gods love die young!
+
+[143] Berenson: _Venetian Painters_, p. 29. I should prefer to
+substitute "ripening" for "ripened."
+
+[144] Fry: _Giovanni Bellini_, p. 44.
+
+[145] In S. Giovanni Crisostomo, Venice. It dates from 1513.
+
+[146] Mary Logan: _Guide to the Italian Pictures at Hampton Court_, p.
+13.
+
+[147] Berenson: _Venetian Painters_, p. 48.
+
+
+
+
+
+APPENDIX I
+
+
+DOCUMENTS
+
+The following correspondence between Isabella d'Este, Marchioness of
+Mantua, and her agent Albano in Venice, is reprinted from the _Archivio
+Storico dell' Arte_, 1888, p. 47 (article by Sig. Alessandro Luzio):--
+
+     "Sp. Amice noster charissime; Intendemo che in le cose et heredità
+     de Zorzo da Castelfrancho pictore se ritrova una pictura de una
+     nocte, molto bella et singulare; quando cossì fusse,
+     desideraressimo haverla, però vi pregamo che voliati essere cum
+     Lorenzo da Pavia et qualche altro che habbi judicio et designo, et
+     vedere se l'è cosa excellente, et trovando de sì operiati il megio
+     del m'co m. Carlo Valerio, nostro compatre charissimo, et de chi
+     altro vi parerà per apostar questa pictura per noi, intendendo il
+     precio et dandone aviso. Et quando vi paresse de concludere il
+     mercato, essendo cosa bona, per dubio non fusse levata da altri,
+     fati quel che ve parerà: chè ne rendemo certe fareti cum ogni
+     avantagio e fede et cum bona consulta. Ofteremone a vostri piaceri
+     ecc.
+
+     "Mantua xxv. oct MDX."
+
+The agent replies a few days later--
+
+     "Ill'ma et Exc'ma M'a mia obser'ma
+
+     "Ho inteso quanto mi scrive la Ex. V. per una sua de xxv. del
+     passatto, facendome intender haver inteso ritrovarsi in le cosse et
+     eredità del q. Zorzo de Castelfrancho una pictura de una notte,
+     molto bella et singulare; che essendo cossì si deba veder de
+     haverla.
+
+     "A che rispondo a V. Ex. che ditto Zorzo morì più dì fanno da
+     peste, et per voler servir quella ho parlato cum alcuni mei amizi,
+     che havevano grandissime praticha cum lui, quali me affirmano non
+     esser in ditta heredità tal pictura. Ben è vero che ditto Zorzo ne
+     feze una a m. Thadeo Contarini, qual per la informatione ho autta
+     non è molto perfecta sichondo vorebe quela. Un'altra pictura de la
+     nocte feze ditto Zorzo a uno Victorio Becharo, qual per quanto
+     intendo è de meglior desegnio et meglio finitta che non è quella
+     del Contarini. Ma esso Becharo, al presente non si atrova in questa
+     terra, et sichondo m'è stato afirmatto nè l'una nè l'altra non sono
+     da vendere per pretio nesuno; però che li hanno fatte fare per
+     volerle godere per loro; sichè mi doglio non poter satisfar al
+     dexiderio de quella ecc.
+
+     "Venetijs viii Novembris 1510.
+
+     "Servitor
+
+     "THADEUS ALBANUS."
+
+From this letter we learn definitely (1) that Giorgione died in
+October-November 1510; (2) that he died of the plague.
+
+I have pointed out in the text that the above description of the two
+pictures "de una notte" corresponds with the actual Beaumont and Vienna
+"Nativities," or "Adoration of the Shepherds," in which I recognise the
+hand of Giorgione.
+
+       *       *       *       *       *
+
+The following is the only existing document in Giorgione's own
+handwriting. It was published by Molmenti in the _Bollettino delle
+Arti_, anno ii. No. 2, and reprinted by Conti, p. 50:--
+
+     "El se dichiara per el presente come el clarissimo Messer Aluixe di
+     Sesti die a fare a mi Zorzon de Castelfrancho quatro quadri in
+     quadrato con le geste di Daniele in bona pictura su telle, et li
+     telleri sarano soministrati per dito m. Aluixe, il quale doveva
+     stabilir la spexa di detti quadri quando serano compidi et di sua
+     satisfatione entro il presente anno 1508.
+
+     "Io Zorzon de Castelfrancho di mia man scrissi la presente in
+     Venetia li 13 febrar 1508."
+
+Whether or no Giorgione ever completed these four square canvases with
+the story of Daniel is unknown. There is no trace of any such pictures
+in modern times.
+
+
+
+
+APPENDIX II
+
+DID TITIAN LIVE TO BE NINETY-NINE YEARS OLD?
+
+_Reprinted from the "Nineteenth Century" Jan_. 1902
+
+
+There is something fascinating in the popular belief that Titian, the
+greatest of all Venetian painters, reached the patriarchal age of
+ninety-nine years, and was actively at work up to the day of his death.
+The text-books love to tell us the story of the great unfinished "Pietà"
+with its pathetic inscription:
+
+    Quod Titianus inchoatum reliquit
+    Palma reverenter absolvit
+    Deoq. dicavit opus;
+
+and traveller, guide-book in hand, and moralist, philosophy in head,
+alike muse upon a phenomenon so startlingly at variance with common
+experience.[148]
+
+But, sentiment aside, is there any historical evidence that Titian ever
+worked at his art in his hundredth year? that he even attained such a
+venerable age? The answer is of wider consequence than the mere question
+implies, for on the correct determination of Titian's own chronology
+depends the history of the development of the entire Venetian school of
+painting in the early years of the sixteenth century. I say _early_,
+because it is the date of Titian's birth, and not that of his death,
+which I shall endeavour to fix; the latter event is known beyond
+possibility of doubt to have occurred in August 1576. The question,
+therefore, to consider is, what justification, if any, is there for the
+universal belief that Titian was born in 1476-7, just a hundred years
+previously?
+
+Anyone, I think, who has ever looked into the history of Titian's career
+must have been struck by the fact that for the first thirty-five years
+of his life (according to the usual chronology) there is absolutely no
+documentary record relating to him, whether in the Venetian archives or
+elsewhere. Not a single letter, not a single contract, not a single
+mention of his name occurs from which we can so much as affirm his
+existence before the year 1511.
+
+On the 2nd of December in that year "Io tician di Cador Dpñtore" gives a
+receipt for money paid him on completion of some frescoes at Padua, and
+from this date on there are frequent letters and documents in existence
+right down to 1576, the year of his death. Is it not somewhat strange
+that the first thirty-five years of his life (as is commonly believed)
+should be a total blank so far as records go? The fact becomes the more
+inexplicable when we find that during these early years some of his
+finest work is alleged to have been executed, and he must--if we accept
+the chronology of his biographers--have been well known to and highly
+esteemed by his contemporaries.[149] Moreover, it is not for want of
+diligent search amongst the archives that nothing has been found, for
+Italian and German students have alike sought, but in vain, to discover
+any documentary evidence relating to his career before 1511.
+
+The absence of any such trustworthy record has had its natural result.
+Conjecture has run riot, and no two writers are agreed on the subject of
+the nature and development of Titian's earlier art. This is the second
+disquieting fact which any careful student has to face. Messrs. Crowe
+and Cavalcaselle, Titian's most exhaustive biographers,[150] have filled
+up the first thirty-five years of his career in their own way, but their
+chronology has found no favour with later writers, such as Mr. Claude
+Phillips in England[151] or Dr. Georg Gronau in Germany,[152] both of
+whom have arrived at independent conclusions. Morelli again had his
+theories on the subject, and M. Lafenestre[153] has his, and the
+ordinary gallery catalogue is usually content to state inaccurate facts
+without further ado.
+
+Now, if all these conscientious writers arrive at results so widely
+divergent, either their logic or their data must be wrong! One and all
+assume that Titian lived into his hundredth year, and, therefore, was
+born in 1476-7; and starting with this theory as a fact, they have tried
+to fit in Vasari's account as best they can, and each has found a
+different solution of the problem. There is only one way out of this
+chaos of conjectures--we must see what is the evidence for the
+"centenarian" tradition, and if it can be shown that Titian was really
+born later than 1476-7, then the silence of all records about him during
+an alleged period of thirty-five years will become at once more
+intelligible, and we may be able to explain some of the other anomalies
+which at present confront Titian's biographers.
+
+I propose to take the evidence in strictly chronological order.
+
+The oldest contemporary account of Titian's career is furnished by
+Lodovico Dolce in his _L'Aretino, o dialogo della pittura_, which was
+published at Venice in 1557. Dolce knew Titian personally, and wrote his
+treatise just at the time when the painter was at the zenith of his
+fame. He is our sole authority for certain incidents of Titian's early
+career: it will be well, therefore, to quote in full the opening
+paragraphs of his narrative:
+
+"Being born at Cadore of honourable parents, he was sent when a child of
+nine years old by his father to Venice to the house of his father's
+brother ... in order that he might be put under some proper master to
+study painting; his father having perceived in him even at that tender
+age strong marks of genius towards the art.... His uncle directly
+carried the child to the house of Sebastiano, father of the
+_gentilissìmo_ Valerio and of Francesco Zuccati (distinguished masters
+of the art of mosaic, by them brought to that perfection in which we now
+see the best pictures) to learn the principles of the art. From them he
+was removed to Gentile Bellini, brother of Giovanni, but much inferior
+to him, who at that time was at work with his brother in the Grand
+Council-Chamber. But Titian, impelled by Nature to greater excellence
+and perfection in his art, could not endure following the dry and
+laboured manner of Gentile, but designed with boldness and expedition.
+Whereupon Gentile told him he would make no progress in painting,
+because he diverged so much from the old style. Thereupon Titian left
+the stupid _(goffo)_ Gentile, and found means to attach himself to
+Giovanni Bellini; but not perfectly pleased with his manner, he chose
+Giorgio da Castel Franco. Titian then drawing and painting with
+Giorgione, as he was called, became in a short time so accomplished in
+art, that when Giorgione was painting the façade of the Fondaco de'
+Tedeschi, or Exchange of the German Merchants, which looks towards the
+Grand Canal, Titian was allotted the other side which faces the
+market-place, being at the time scarcely twenty years old. Here he
+represented a Judith of wonderful design and colour, so remarkable,
+indeed, that when the work came to be uncovered, it was commonly thought
+to be the work of Giorgione, and all the latter's friends congratulated
+him as being by far the best thing he had produced. Whereupon Giorgione,
+in great displeasure, replied that the work was from the hand of his
+pupil, who showed already how he could surpass his master, and, what was
+more, Giorgione shut himself up for some days at home, as if in despair,
+seeing that a young man knew more that he did."
+
+Fortunately, the exact date can be fixed when the frescoes on the
+Fondaco de' Tedeschi were painted, for we have original records
+preserved from which we learn the work was begun in 1507 and completed
+towards the close of 1508.[154] If Titian, then, was "scarcely twenty
+years old" in 1507-8, he must have been born in 1488-9. Dolce
+particularly emphasises his youthfulness at the time, calling him _un
+giovanetto_, a phrase he twice applies to him in the next paragraph,
+when he is describing the famous altar-piece of the 'Assunta,' the
+commission for which, as we know from other sources, was given in 1516.
+
+"Not long afterwards he was commissioned to paint a large picture for
+the High Altar of the Church of the Frati Minori, where Titian, quite a
+young man _(pur giovanetto)_, painted in oil the Virgin ascending to
+Heaven.... This was the first public work which he painted in oil, and
+he did it in a very short time, and while still a young man _(e
+giovanetto)_."
+
+This phrase could hardly be applied to a man over thirty, so that
+Titian's birth cannot reasonably be dated before 1486 or so, and is much
+more likely to fall later. The previous deduction that it was 1488-9 is
+thus further strengthened.
+
+The evidence, then, of Dolce, writing in 1557, is clear and consistent:
+Titian was born in 1488-9. Now let us see what is stated by Vasari, who
+is the next oldest authority.
+
+The first edition of the _Lives_ appeared in 1550--that is, just prior
+to Dolce's _Dialogue_--but a revised and enlarged edition appeared in
+1568, in which important evidence occurs as to Titian's age. After
+enumerating certain pictures by the great Venetian, Vasari adds:
+
+"(_a_) All these works, with many others which I omit, to avoid
+prolixity, have been executed up to the present age of our artist, which
+is above seventy-six years.... In the year 1566, when Vasari, the writer
+of the present history, was at Venice, he went to visit Titian, as one
+who was his friend, and found him, although then very old, still with
+the pencil in his hand, and painting busily."[155]
+
+According to Vasari, then, Titian was "above seventy-six years" when the
+second edition of the _Lives_ was written, and as from the explicit
+nature of the evidence this must have been between 1566, when he visited
+Venice, and January 1568, when his book was published, it follows that
+Titian was "above seventy-six years" in 1566-7--in other words, that he
+was born 1489-90.
+
+Still confining ourselves to Vasari, we find two other passages bearing
+on the question:
+
+"(_b_) Titian was born in the year 1480 at Cadore.[156]
+
+"(_c_) About the year 1507 Giorgione da Castel Franco began to give to
+his works unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian early
+resolved to abandon that of Gian Bellino, although well grounded
+therein. He now, therefore, devoted himself to this purpose, and in a
+short time so closely imitated Giorgione that his pictures were
+sometimes taken for those of that master.... At the time when Titian
+began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait," etc.[157]
+
+This passage (_c_) makes Titian "not more than eighteen about the year
+1507," and fixes the date of his birth as 1489-90, therein agreeing with
+the previous deduction at which we arrived when examining the passage in
+Vasari's second edition. Thus in two places out of three Vasari is
+consistent in fixing 1489-90 as the date. How, then, explain (_b_),
+which explicitly gives 1480?
+
+Anyone conversant with Vasari's inaccuracies will hardly be surprised to
+find that this statement is dismissed by all Titian's biographers as
+manifestly a mistake. Moreover, it is inconsistent with the two passages
+just quoted, and either they are wrong or 1480 is a misprint for 1489.
+Now, from the nature of the evidence recorded by Vasari, it cannot be a
+matter for any doubt which is the more trustworthy statement. On the one
+hand, he speaks as an eye-witness of Titian's old age, and is careful to
+record the exact year he visited Venice and the age of the painter; on
+the other hand, he makes a bald statement which he certainly cannot have
+verified, and which is inconsistent with his own experience! In any
+case, in Vasari's text the evidence is two to one in favour of 1489-90
+as the right date, and thus we come to the agreeable conclusion that our
+two oldest authorities, Dolce and Vasari, are at one in fixing Titian's
+birth between 1488 and 1490--in other words, about 1489.
+
+So far, then, all is clear, and as we know from later and indisputable
+evidence that Titian died in 1576, it follows that he only attained the
+age of eighty-seven and not ninety-nine. Whence, then, comes the story
+of the ninety-nine years? From none other than Titian himself, and to
+this piece of evidence we must next turn, following out a strict
+chronological order.
+
+In 1571--that is, three years after Vasari's second edition was
+published--Titian addresses a letter to Philip the Second of Spain in
+these terms:[158]
+
+     "Most potent and invincible King,--I think your Majesty will have
+     received by this the picture of 'Lucretia and Tarquin' which was to
+     have been presented by the Venetian Ambassador. I now come with
+     these lines to ask your Majesty to deign to command that I should
+     be informed as to what pleasure it has given. The calamities of the
+     present times, in which every one is suffering from the continuance
+     of war, force me to this step, and oblige me at the same time to
+     ask to be favoured with some kind proof of your Majesty's grace, as
+     well as with some assistance from Spain or elsewhere, since I have
+     not been able for years past to obtain any payment either from the
+     Naples grant, or from my ordinary pension. The state of my affairs
+     is indeed such that I do not know how to live in this my old age,
+     devoted as it entirely is to the service of your Catholic Majesty,
+     and to no other. Not having for eighteen years past received a
+     _quattrino_ for the paintings which I delivered from time to time,
+     and of which I forward a list by this opportunity to the secretary
+     Perez, I feel assured that your Majesty's infinite clemency will
+     cause a careful consideration to be made of the services of an old
+     servant of the age of ninety-five, by extending to him some
+     evidence of munificence and liberality. Sending two prints of the
+     design of the Beato Lorenzo, and most humbly recommending myself,
+
+     "I am Your Catholic Majesty's
+
+     "most devoted, humble servant,
+
+     "TITIANO VECELLIO.
+
+     "From Venice, the 1st of August, 1571."
+
+Here, then, is Titian himself, in the year 1571, declaring that he is
+ninety-five years of age--in other words, dating his birth back to
+1476--that is, some thirteen years earlier than Dolce and Vasari imply
+was the case. A flagrant discrepancy of evidence! In similar strain he
+thus addresses the king again five years later:[159]
+
+     "Your Catholic and Royal Majesty,--The infinite benignity with
+     which your Catholic Majesty--by natural habit--is accustomed to
+     gratify all such as have served and still serve your Majesty
+     faithfully, enboldens me to appear with the present (letter) to
+     recall myself to your royal memory, in which I believe that my old
+     and devoted service will have kept me unaltered. My prayer is this:
+     twenty years have elapsed and I have never had any recompense for
+     the many pictures sent on divers occasions to your Majesty; but
+     having received intelligence from the Secretary Antonio Perez of
+     your Majesty's wish to gratify me, and having reached a great old
+     age not without privations, I now humbly beg that your Majesty will
+     deign, with accustomed benevolence, to give such directions to
+     ministers as will relieve my want. The glorious memory of Charles
+     the Fifth, your Majesty's father, having numbered me amongst his
+     familiar, nay, most faithful servants, by honouring me beyond my
+     deserts with the title of _cavaliere_, I wish to be able, with the
+     favour and protection of your Majesty--true portrait of that
+     immortal emperor--to support as it deserves the name of a
+     cavaliere, which is so honoured and esteemed in the world; and that
+     it may be known that the services done by me during many years to
+     the most serene house of Austria have met with grateful return, to
+     spend what remains of my days in the service of your Majesty. For
+     this I should feel the more obliged, as I should thus be consoled
+     in my old age, whilst praying to God to concede to your Majesty a
+     long and happy life with increase of his divine grace and
+     exaltation of your Majesty's Kingdom. In the meanwhile I expect
+     from the royal benevolence of your Majesty the fruits of the favour
+     I desire, with due reverence and humility, and kissing your sacred
+     hands,
+
+     "I am Your Catholic Majesty's
+
+     "most humble and devoted servant,
+
+     "TITIANO VECELLIO.
+
+     "From Venice, the 27th of February, 1576."
+
+This is the last letter we have of Titian, who died in August of this
+year, according to his own showing, in his hundredth year.
+
+Now what reliance can be placed on this statement? On the one hand, we
+have the evidence of two independent writers, Dolce and Vasari, both
+personally acquainted with Titian, and both agreeing by inference that
+the date of his birth was about 1489. Both had ample opportunity to get
+at the truth, and Vasari is particularly explicit in recording the exact
+date when he visited Titian in Venice and the age the painter had then
+reached. Yet five years later Titian is found stating that he is
+ninety-five, and not eighty-two as we should expect! Perhaps the best
+comment is made by Crowe and Cavalcaselle, who significantly remark
+immediately after the last letter: "Titian's appeal to the benevolence
+of the King of Spain looks like that of a garrulous old gentleman proud
+of his longevity, but hoping still to live for many years."[160]
+Exactly! The occasion could well be improved by a little timely
+exaggeration well calculated to appeal to the sympathies and "infinite
+benignity" of the monarch, and if, when the writer had actually reached
+the respectable age of eighty-two, he wrote himself down as ninety-five,
+who would gainsay him? It added point to his appeal--that was the chief
+thing--and as to accuracy, well, Titian was not the man to be
+over-scrupulous when his own interests were involved. But even though
+the statement were not deliberately made to heighten the effect of an
+appeal, we must in any case make allowances for the natural proneness to
+exaggerate their age which usually characterises men of advanced years,
+so that any _ex parte_ statement of this kind must be received with due
+caution. Where, moreover, as in the present case, we have evidence of a
+directly contradictory kind furnished by independent witnesses, whose
+declarations in this respect are presumably disinterested, such _ex
+parte_ statements are on the face of them unreliable. The balance of
+evidence in this case appears to rest on the side of the older
+historians, Dolce and Vasari, whose statements, as I hold, are in the
+circumstances more reliable than the picturesque exaggeration of a man
+of advanced years.
+
+I claim, therefore, that any account of Titian's life based solely on
+such flimsy evidence as to his age as is found in this letter to Philip
+the Second is, to say the least, open to grave doubt. The whole
+superstructure raised by modern writers on this uncertain foundation is
+full of flaws and incongruities, and I am fully persuaded the future
+historian will have to begin _de novo_ in any attempt at a chronological
+reconstruction of Titian's career. The gap of thirty-five years down to
+1511 may prove after all less by twelve or thirteen years than people
+think, so that the young Titian naturally enough first emerges into view
+at the age of twenty-two and not thirty-five.
+
+But we must not anticipate results, for there is still the evidence of
+the later writers of the seventeenth century to consider. Two of these
+declare that Titian was born in 1477. The first of these, Tizianello, a
+collateral descendant of the great painter, published his little
+_Compendio_ in 1622, wherein he gives a sketchy and imperfect biography;
+the other, Ridolfi, repeats the date in his _Meraviglie dell' Arte_,
+published in 1648. The latter writer is notoriously unreliable in other
+respects, and it is quite likely this is merely an instance of copying
+from Tizianello, whose unsupported statement is chiefly of value as
+showing that the "centenarian" theory had started within fifty years of
+Titian's death. But again we ask: Why should the evidence of a
+seventeenth-century writer be preferred to the personal testimony of
+those who actually knew Titian himself, especially when Vasari gives us
+precise information with which Dolce's independent account is in perfect
+agreement? No doubt the great age to which Titian certainly attained was
+exaggerated in the next generation after his death, but it is a
+remarkable fact that the contemporary eulogies, mostly in poetic form,
+which appeared on the occasion of his decease, do not allude to any such
+phenomenal longevity.[161]
+
+Nevertheless, Ridolfi's statement that Titian was born in 1477 is
+commonly quoted as if there were no better and earlier evidence in
+existence, and, indeed, it is a matter of surprise that conscientious
+modern biographers have not looked more carefully at the original
+authorities instead of being content to follow tradition, and I must
+earnestly plead for a reconsideration of the question of Titian's age by
+the future historians of Venetian painting.[162]
+
+If, as I believe, Titian was born in or about 1489 instead of 1476-7,
+it follows that he must have been Giorgione's junior by at least twelve
+years--a most important deduction--and it also follows that he cannot
+have produced any work of consequence before, say, 1505, at the age of
+sixteen, and he will have died at eighty-seven and not in his hundredth
+year. The alteration in date would help to explain the silence of all
+records about him before 1511, when he would have been only twenty-two
+and not thirty-five years old; it would fully account for his name not
+being mentioned by Dürer in his famous letter of 1506, wherein he refers
+to the painters of Venice, and it would equally account for the absence
+of his name from the commission to paint the Fondaco frescoes in 1507-8,
+for he would have been employed simply as Giorgione's young assistant.
+The fact that in 1511 he signs himself simply "Io tician di Cador
+Dpñtore" and not _Maestro_ would be more intelligible in a young man of
+twenty-two than in an accomplished master of thirty-five, and the
+character of his letter addressed to the Senate in 1513 would be more
+natural to an ambitious aspirant of twenty-four than to a man in his
+maturity of thirty-seven.[163]
+
+Such are some of the obvious results of a change of date, but the larger
+question as to the development of Titian's art must be left to the
+future historian, for the importance of fixing a date lies in the
+application thereof.[164] HERBERT COOK.
+
+
+THE DATE OF TITIAN'S BIRTH
+
+_Reply by Dr. Georg Gronau. Translated from the "Repertorium für
+Kunstwissenschaft," vol. xxiv., 6th part_
+
+
+In the January number of the _Nineteenth Century_ appears an article by
+Herbert Cook under the title, "Did Titian live to be Ninety-Nine Years
+Old?" The interrogation already suggests that the author comes to a
+negative conclusion. It is, perhaps, not without interest to set forth
+the reasons advanced by the English connoisseur and to submit them to
+adverse criticism.
+
+(Here follows an abstract of the article.)
+
+The reasoning, as will have been seen, is not altogether free from
+doubt. It has been usual hitherto in historical investigations to call
+in question the assertions of a man about his own life only when
+thoroughly weighty reasons justified such a course. Is the evidence of a
+Dolce and of a Vasari so free from all objection that it outweighs
+Titian's personal statement? Before answering this question it should be
+pointed out that we possess two further statements of contemporary
+writers on the subject of Titian's age, statements which have escaped
+the notice of Mr. Cook. One is to be found in a letter from the Spanish
+Consul in Venice, Thomas de Cornoga, to Philip II., dated 8th December
+1567 (published in the very important work by Zarco del Valle[165]).
+After informing the king of Titian's usual requests on the subject of
+his pension, and so on, he continues: "y con los 85 annos de su edad
+servira à V.M. hasta la muerte."
+
+Somewhere, then, in the very year in which Titian, according to Vasari,
+was "above seventy-six years of age," he seems to have been
+eighty-five, according to the report of another and quite independent
+witness, and if so, he would have been born about 1482.
+
+We have then three definite statements:
+
+Vasari (1566 or 1567) says "over 76"
+The Consul (1567)      "      "85"
+Titian himself (1571)  "      "95"
+
+This new information, instead of helping us, only serves to make still
+greater confusion.
+
+The other piece of evidence not mentioned by Mr. Cook was written only a
+few years after Titian's death. Borghini says in his _Riposo_, 1584:
+"Mori ultimamente di vecchiezza (!not, then, of the plague?), essendo
+d'età d'anni 98 o 99, l'anno 1576." ... This is the first time that the
+traditional statement as to the master's age appears in literature. In
+this state of things it is worth while to look closer into the evidence
+of Dolce and Vasari to see if they are not after all the most
+trustworthy witnesses.
+
+It is always held to be a mistake to take rather vague statements quite
+literally, as Mr. Cook has done, and to build thereon further
+conclusions. When Dolce says that Titian painted with Giorgione at the
+Fondaco, "non avendo egli allora appena venti anni," he is only trying
+to make out that his hero, here as everywhere, was a most unusual person
+(the whole dialogue is a glorification of the master). For the same
+reason he makes the following remark, which we can absolutely prove to
+be false:--the Assumption (he says) "fu la prima opera pubblica, che a
+olio facesse." Now at least one work of Titian's was, then, already to
+be seen in a public place--viz. the "St. Mark Enthroned, with Four
+Saints," in Santo Spirito, afterwards removed to the sacristy of the
+Salute. In other points, too, Dolce can be convicted of small errors and
+misrepresentations, partly on literary grounds, partly due to his desire
+to enhance the praise of Titian.
+
+Vasari, again, should only be cited as witness when he speaks of works
+of art which he has actually seen. In such a case, apart from slips, he
+is always a trustworthy guide. Directly, however, he goes into
+biographical details or questions of chronology accuracy becomes nearly
+always a secondary matter. Titian's biography offers an excellent and
+most instructive example of this. Vasari mentions first the birth and
+upbringing of the boy, then he speaks of Giorgione and the Fondaco
+frescoes, and goes on: "dopo la quale opera fece un quadro grande che
+oggi è nella salla di messer Andrea Loredano.... Dopo in casa di messer
+Giovanni D'Anna ... fece il suo ritratto ...; ed un quadro di Ecce Homo,
+..." and he goes on, "L'anno poi 1507...." If it had not been that one
+of these pictures, once in the possession of Giovanni D'Anna, had been
+preserved (now in the Vienna Gallery), and that it bears in a
+conspicuous place the date 1543, it would be recorded in all biographies
+of Titian that he painted in 1507 an "Ecce Homo" for this Giovanni
+D'Anna.
+
+If one goes further into Vasari's account we read that Titian published
+his "Triumph of Faith" in 1508. "Dopo condottosi Tiziano a Vicenza,
+dipinse a fresco sotto la loggetta ... il giudizio di Salamone. Appresso
+tomato a Venezia, dipinse la facciata de' Grimani; e in Padoa nella
+chiesa di Sant' Antonio alcune storie ... de fatti di quel santo: e in
+quella di Santo Spirito fece ... un San Marco a sedere in mezzo a certi
+Santi." We now know on documentary evidence that the Vicenza fresco
+(which was destroyed later) dated from 1521, and similarly that the
+frescoes at Padua were painted in 1511, whilst the date of the S. Mark
+picture may be fixed with probability at 1504.
+
+These examples prove how inexact Vasari is here once more. But it may be
+objected, supposing that he is inaccurate in statements which refer
+back, can he not be in the right in a case where he comes back, so to
+speak, straight from visiting Titian and writes down his observation
+about the master's actual age? To be sure; but when we find that so many
+other similar notices of Vasari are wrong, even those that refer to
+people whom he personally knew, we lose faith altogether. In turning
+over the leaves of the sixth volume of the Sansoni edition of Vasari, in
+which only his contemporaries, some of them closely connected, too, with
+him, are spoken of, we find the following incorrect statements:--
+
+P.  99. Tribolo was 65 years old (in reality only 50).
+P. 209. Bugiardini died at 75 (really 79).
+P. 288. Pontormo at 65 (he died actually in his 63rd year).
+P. 564. Giovanni da Udine at 70 (really 77).
+
+A still more glaring instance is to be found when Vasari not only makes
+misstatements about his own life but is actually out by several years in
+giving his own age. One and the same event--viz. his journey with
+Cardinal Passerini to Florence--is given in his own autobiography to the
+year 1524, in the "Life of Salviati," to the year 1523, and in the "Life
+of Michael Angelo" to 1525. When he speaks of himself in the same
+passage in the "Life of Salviati" as the "putto, che allora non aveva
+più di nove anni," he is making a mistake of at least three years in his
+own age. And not less delightful is it to read in the "Life of Giovanni
+da Udine": "Giorgio Vasari, giovinetto di diciotto anni, quando serviva
+il duca Alessandro de' Medici suo primo signore l'anno 1535." We are
+obviously not dealing with Messer Giorgio's strongest point, for, as a
+matter of fact, he was at that time twenty-four years of age! The same
+false statement of age is found again in his own biography (vii. p. 656,
+with the variation, "poco piú di diciotto anni").
+
+But I think these instances suffice to prove how little one dare build
+on such assertions of Vasari. Who dare say if Titian was really only
+seventy-six in 1566 when the Aretine visited him?
+
+And now a few remarks on the other points raised by Mr. Cook. As a
+fact, it is an astonishing thing that we have no documentary evidence
+about Titian before 1511; but does he not share this fate with very many
+of his great countrymen, with Bellini, Giorgione, Sebastiano, and
+others? An unfriendly chance has left us entirely in the dark as to the
+early years of nearly all the great Venetian painters. That Dürer makes
+no mention of Titian's name in his letters gives no cause for surprise,
+for even the most celebrated of the younger artists, Giorgione, is not
+alluded to, and of all those with Bellini, whose fame outshone even then
+that of all others, only Barbari is mentioned. That Titian's name does
+not occur in the documents about the Fondaco frescoes may be due to the
+fact that Giorgione alone was commissioned to undertake the frescoes for
+the magistrates, and that the latter painter in his turn brought his
+associate Titian into the work.
+
+Mr. Cook says that Titian still signed himself in 1511 "Dipintore"
+instead of "Maestro." I am not aware whether in this respect definite
+regulations or customs were usual in Venice.[166] At any rate, the
+painter is still described in official documents as late as 1518 as "ser
+Tizian depentor" (Lorenzi, "Monumenti," No. 366), when, even according
+to Mr. Cook's theory, he must have been thirty years old; and he is
+actually so called in 1528 (_ibid_. No. 403), after appearing in several
+intermediate documents as "maestro" (Nos. 373, 377). If this argument,
+however, proves unsound, the last point--viz. that the well-known
+petition to the senate in 1513 reads more like that of a man of
+twenty-four than one of thirty-seven--must be left to the hypothesis of
+individual conjecture.
+
+Must we really close these very long inquiries by confessing they are
+beyond our ken? It almost seems so. For, with regard to the testimony
+afforded by family documents, Dr. Jacobi (whose labours were utilised by
+Crowe and Cavalcaselle) so conscientiously examined all that is left,
+that a discovery in this direction is not to be looked for. Is the
+statement of Tizianello that Titian's year of birth was 1477 to be
+rejected without further question when we remember that, as a relative
+of the painter, he could have had in 1622 access to documents possibly
+since lost?
+
+Under these circumstances the only thing left to do is to question the
+works of Titian. Of these, two can be dated, not indeed with certainty,
+but with some degree of probability: the dedicatory painting of the
+Bishop of Pesaro with the portrait of Alexander VI. of 1502-03, and the
+picture of St. Mark, already mentioned, of the year 1504. Both are, to
+judge by the style, clearly early works, and both can be connected with
+definite historical events of the years just mentioned. That these
+paintings, however, could be the work of a fourteen- to fifteen-year-old
+artist Mr. Cook will also admit to be impossible.
+
+Much, far too much, in the story of Venetian painting must, for want of
+definite information, be left to conjecture; and however unsatisfactory
+it is, we must make the confession that we know as little about the date
+of the birth of the greatest of the Venetians as we know of Giorgione's,
+Sebastiano's, Palma's, and the rest. But supposing all of a sudden
+information turned up giving us the exact date of Titian's birth, would
+the picture of the development of Venetian painting be any the different
+for it? In no wise. The relation to one another of the individual
+artists of the younger generation is so clearly to be read in each man's
+work, that no external particulars, however interesting they might be on
+other grounds, could make the smallest difference. Titian's relations
+with Giorgione especially could not be otherwise represented than has
+been long determined, and that whether Titian was born in 1476, 1477,
+1480, or even two or three years later.[167] GEORG GRONAU.
+
+
+WHEN WAS TITIAN BORN?
+
+_Reply to Dr. Gronau. Reprinted from "Repertorium für
+Kunstwissenschaft," vol. xxv., parts 1 and 2_
+
+
+I must thank Dr. Georg Gronau for his very fair reply, published in
+these pages[168] (to my article in the _Nineteenth Century_ on the
+subject of Titian's age[169]). He has also most kindly pointed out two
+pieces of contemporary evidence which had escaped my notice, and
+although neither of these passages is conclusive proof one way or the
+other, they deserve to be reckoned with in arriving at a decision.
+
+Dr. Gronau formulates the evidence shortly thus:
+
+Vasari in 1566 or 1567 says Titian is over 76
+The Spanish Consul in 1567 "       "       85
+Titian himself in 1571     " he is "       95
+
+and he adds that this new piece of evidence--viz. the letter of the
+Spanish Consul to King Philip--instead of helping us, only makes the
+confusion worse.
+
+What then are we to think when yet another--a fourth--contemporary
+statement turns up, differing from any of the three just quoted? Yet
+such a letter exists, and I am happy in my turn to point out this fresh
+piece of evidence, in the hope that instead of making the confusion
+worse, it will help us to arrive at some decision.
+
+On October the 15th, 1564, Garcia Hernandez, Envoy in Venice from King
+Philip II., writes to the King his master that Titian begged that His
+Majesty would condescend to order that he should be paid what was due to
+him from the court and from Milan.... For the rest the painter was in
+fine condition, and quite capable of work, and this was the time, if
+ever, to get "other things" from him, as according to some people who
+knew him, Titian was about ninety years old, though he did not show it,
+and for money everything was to be had of him.[170]
+
+In 1564 then the Spanish Envoy writes that Titian was said to be about
+ninety. Let us then enlarge Dr. Gronau's table by this additional
+statement, and further complete it by including the earliest piece of
+evidence, the statement of Dolce in 1557 that Titian was scarcely twenty
+when he worked at the Fondaco de' Tedeschi frescoes (1507-8). The year
+of Titian's birth thus works out:
+
+Writing in 1557,     Dolce makes out Titian was born about 1489
+  "      " 1566-7,   Vasari      "        "         "      1489
+  "      " 1564,     Spanish Envoy        "         "      1474
+  "      " 1567,     Spanish Consul       "         "      1482
+  "      " 1571,     Titian himself       "         "      1476
+
+Now it is curious to notice that the last three statements are all made
+in letters to King Philip, either by Titian himself, or at his request
+by the Spanish agents.
+
+It is curious to notice these statements as to Titian's great age occur
+in begging letters.[171]
+
+It is curious to notice they are mutually contradictory.
+
+What are we to conclude?
+
+Surely that the Spanish Envoy, the Spanish Consul, and Titian himself,
+out of their own mouths stand convicted of inconsistency of statement,
+and further that they betray an identical motive underlying each
+representation--viz. an appeal _ad misericordiam._
+
+Before, however, contrasting the value of the evidence as found in these
+Spanish letters with the evidence as found in Dolce and Vasari, let us
+note two points in these letters.
+
+Garcia Hernandez, the Spanish Envoy, writes: "According to some people
+who knew him, Titian was about ninety years old, though he did not show
+it." Now, if Titian was really about ninety in the year 1564, he will
+have lived to the age of one hundred and two, a feat of longevity of
+which no one has ever accused him! Apart, therefore, from the healthy
+scepticism which Hernandez betrays in this letter, we may certainly
+conclude that "some people who knew him" were exaggerating Titian's age.
+
+Secondly, Titian's letter of 1571 says he is ninety-five years old.
+Titian's similar letter of 1576, the year of his death, omits to say he
+is one hundred. Surely a strange omission, considering that he refers to
+his old age three times in this one letter.[172] Does not the second
+letter correct the inexactness of the first? and so Titian's statement
+goes for nothing?
+
+The collective evidence, then, of these Spanish letters amounts to this,
+that, in the words of the Envoy, "for money everything was to be had of
+Titian," and accordingly any statement as to his great age when thus
+made for effect must be treated with the greatest suspicion.
+
+But is the evidence of Dolce and Vasari any more trustworthy? Dr. Gronau
+is at pains to show that both these writers often made mistakes in
+their dates, a fact which no one can dispute. Their very incorrectness
+is the more reason however for trusting them in this instance, for they
+happen to agree about the date of Titian's birth; and, although neither
+of them expressly gives the year 1489, they indicate separate and
+independent events in his life, the one, Dolce, at the beginning, the
+other, Vasari, at the end, which when looked into give the same result.
+
+Moreover, be Dolce ever so anxious to cry up his hero Titian, and make
+him out to have been precocious, and be Vasari ever so inexact in his
+chronology, we must remember that, when both of them wrote, the
+presumption of unusual longevity had not arisen, and that their evidence
+therefore is less likely to be prejudiced in this respect than the
+evidence given in obituary notices, such as occurs in Borghini's
+_Riposo_ of 1584, and in the later writers like Tizianello and Ridolfi.
+
+That Borghini therefore says Titian was ninety-eight or ninety-nine when
+he died, and that Tizianello and Ridolfi, thirty-eight and sixty-four
+years later respectively, put him down at ninety-nine, is by no means
+proof that such was the case. It would seem that there had been some
+speculation before and after Titian's death as to his exact age; that no
+one quite knew for certain; and that Titian with the credulousness of
+old age had come to regard himself as well-nigh a centenarian. Be this
+as it may, I still hold that the evidence of Dolce and Vasari that
+Titian's birth occurred in 1489 is more trustworthy than either the
+evidence found in the three Spanish letters, or the evidence as given in
+the obituary notices of Borghini and others.
+
+One word more. If Titian was born in 1489, instead of 1476-7, it does
+make a great difference in the story of his own career; and, what is
+more, the history of Venetian art in the early sixteenth century, as it
+centres round Giorgione, Palma, and Titian, will have to be carefully
+reconsidered.
+
+HERBERT COOK.
+
+NOTES:
+
+[148] The picture now hangs in the Academia at Venice.
+
+[149] e.g. the "Sacred and Profane Love" (so-called) in the Borghese
+Gallery; the "S. Mark" of the Salute; the "Concert" in the Pitti; the
+"Tribute Money" at Dresden; the "Madonna of the Cherries" at Vienna,
+etc., which one or other of his biographers assign to the years
+1500-1510.
+
+[150] _The Life and Times of Titian_, 2 vols., 1881.
+
+[151] _The Earlier and Later Work of Titian. Portfolio_, October 1897
+and July 1898.
+
+[152] _Tizian_. Berlin, 1901.
+
+[153] _La Vie et l'Oeuvre de Titien_: Paris, 1886.
+
+[154] See Crowe and Cavalcaselle: _Titian_, i. 85. The fact that
+Titian's name does not occur in these records is curious and suggestive.
+
+[155] Ed. _Sansoni_, p. 459. The translation is that of Blashfield and
+Hopkins. Bell, 1897.
+
+[156] _Ibid_. p. 425.
+
+[157] _Ibid_. p. 428.
+
+[158] The translation is that of Crowe and Cavalcaselle. _Titian_, ii.
+391. The original is given by them at p. 538.
+
+[159] Quoted from Crowe and Cavalcaselle.
+
+[160] Crowe and Cavalcaselle. _Titian_, ii. 409.
+
+[161] There is a collection of these in a volume in the British Museum.
+
+[162] Before the discovery of the letter to Philip, Messrs. Crowe and
+Cavalcaselle were quite prepared to admit that Titian was born "after
+1480" (vide _N. Italian Painting_, ii. 119, 120). Unfortunately, they
+took the evidence of the letter as final, but finding themselves
+chronologically in difficulties, they shrewdly remark in their _Titian_,
+i. 38, note: "The writers of these lines thought, and _still think_,
+Titian younger than either Giorgione or Palma. They were, however,
+inclined to transpose Titian's birthday to a later date than 1477,
+rather than put back those of Palma and Giorgione to an earlier period,
+and in this they made a mistake." Perhaps they were not so far wrong
+after all!
+
+[163] For this most amusing letter see Crowe and Cavalcaselle. _Titian_,
+i. p. 153.
+
+[164] The evidence afforded by Titian's own portraits of himself (at
+Berlin and in the Uffizi) is inconclusive, as we do not know the exact
+years they were painted. The portrait at Madrid, painted 1562, might
+represent a man of seventy-three or eighty-six, it is hard to say which.
+But there is a woodcut of 1550 (_vide_ Gronau, p. 164) which surely
+shows Titian at the age of sixty-one rather than seventy-four; and,
+finally, Paul Veronese's great "Marriage at Cana" (in the Louvre), which
+was painted between June 1562 and September 1563, distinctly points to
+Titian being then a man of seventy-four and not eighty-seven. He is
+represented, as is well known, seated in the group of musicians in the
+centre, and playing the contrabasso.
+
+[165] _Jahrbuch der Sammlungen des A.H. Kaiserhauses_, vii. p. 221 _ff_
+1888.
+
+[166] Dr. Ludwig had the kindness to write to me on this subject: "Among
+the thousands of signatures of painters which I have seen I have never
+come across the signature _Maestro_. Of course, someone else can
+describe a painter as Master; he himself always subscribes himself
+_pittor, pictor_, or _depentor_."
+
+[167] Dr. Gronau further points out (in a letter recently sent to the
+writer) that Titian, writing to the emperor in 1545, says: "I should
+have liked to take them (i.e. the paintings) to your Majesty in person,
+but that my age and the length of the journey forbade such a course" (C.
+and C. ii. 103). Writing also in 1548 to Granvella he refers to his
+"vechia vita." Would not such expressions (asks Dr. Gronau) be more
+applicable to a man of sixty-eight and seventy-one respectively than to
+one of only fifty-six and fifty-nine?
+
+[168] XXIV. Band. 6 Heft, p. 457.
+
+[169] January 1902, pp. 123-130.
+
+[170] Quoted from Crowe and Cavalcaselle. II. 344. The Spanish original
+is given at p. 535.
+
+[171] I have quoted Titian's letter in full in the _Nineteenth Century_.
+That of the Spanish Consul is given in the _Jahrbuch der Sammlungen des
+A.H. Kaiserhauses_, vii. p. 221, from which I extract the passage: "El
+dicho Ticiano besa pies y manos de V.M., y suplica umilmente a V.M.
+mande le sea pagado lo que le ha corrido de las pensiones de que V.M. le
+tiene echo merced en Milan y en esa corte, y la trata de Napoles, y con
+los 85 años de su edad servira a V.M. hasta la muerte."
+
+[172] I have quoted this letter also in full in the _Nineteenth
+Century._ I am indebted to M. Salomon Reinach for making this point
+(_Chronique des Arts_, Feb. 15, 1902, p. 53, where he expresses himself
+a convert to my views).
+
+
+
+
+CATALOGUE OF THE WORKS OF GIORGIONE
+
+ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED
+
+AUSTRIA-HUNGARY
+
+
+
+BUDA-PESTH GALLERY.
+
+
+PORTRAIT OF A YOUNG MAN. [No. 94.]
+
+_Esterhazy Collection_. (See p. 31.)
+
+
+TWO FIGURES STANDING. [No. 95.]
+
+Copy of a portion of Giorgione's lost picture of the "Birth of Paris."
+These are the two shepherds. (See p. 46.)
+
+The whole composition was engraved by Th. von Kessel for the _Theatrum
+pictorium_ under Giorgione's name. The original picture was seen and
+described by the Anonimo in 1525.
+
+
+
+VIENNA GALLERY.
+
+
+EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF ROME.
+Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]
+
+Seen by the Anonimo in 1525, in Venice, and said by him to have been
+finished by Sebastiano del Piombo. (See p. 12.)
+
+_Collection of the Archduke Leopold William, and registered in the
+inventory of_ 1659.
+
+
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. x 3 ft. 10 in. [No.
+23.]
+
+Inferior replica by Giorgione of the Beaumont picture in London.
+
+I have sought to identify this piece with the picture "da una Nocte,"
+painted by Giorgione for Taddeo Contarini. (See p. 24 and Appendix,
+where the original document is quoted.)
+
+_From the Collection of the Archduke Leopold William, and registered in
+the inventory of 1659 as a Giorgione._
+
+
+VIRGIN AND CHILD. Wood, 2 ft. 2 in. x 2 ft. 9 in. [No. 176.]
+
+Known as the "Gipsy Madonna," and ascribed to Titian. _Collection of the
+Archduke Leopold William._ (See p. 97.)
+
+
+PORTRAIT OF A MAN. Canvas, 3 ft. 5 in. x 2 ft. 9 in. [No. 167.]
+
+Commonly, though erroneously, called "The Physician Parma," and ascribed
+to Titian.
+
+_Collection of the Archduke Leopold William._ (See p. 87.)
+
+
+DAVID WITH THE HEAD OF GOLIATH. Wood, 2 ft. 2 in. x 2 ft. 6 in. [No.
+21.]
+
+Copy after a lost original, which is thus described by Vasari: "A David
+(which, according to common report, is a portrait of the master himself)
+with long locks, reaching to the shoulders, as was the custom of that
+time, and the colouring is so fresh and animating that the face appears
+to be rather real than painted; the breast is covered with armour, as is
+the arm with which he holds the head of Goliath."
+
+_This picture was at that day in the house of the Patriarch of Aquileia;
+the copy can be traced back to the Collection of the Archduke Leopold
+William at Brussels._ (See p. 48.)
+
+Herr Wickhoff, however, seems to think that, were the repaints removed,
+the Vienna picture might prove to be Giorgione's original painting. See
+Berenson's _Study and Criticism of Italian Art_, vol. i. p. 74, note.
+
+
+
+BRITISH ISLES
+
+
+
+LONDON, NATIONAL GALLERY.
+
+
+ADORATION OF THE MAGI, or THE EPIPHANY. Panel. 12 in. x 2 ft. 8 in. [No.
+1160.]
+
+_From the Leigh Court sale, 1884._ (See p. 53.)
+
+
+UNKNOWN SUBJECT, possibly THE GOLDEN AGE. Panel. 1 ft. 11 in. x 1 ft. 7
+in. [No. 1173.]
+
+Now catalogued as "School of Barbarelli." (See p. 91.) _Purchased in
+1885 at the sale of the Bohn Collection as a Giorgione.
+
+Formerly in the Aldobrandini Palace, Rome, where it was bought by Mr.
+Day for the Marquis of Bristol, but afterwards sold at Christie's to Mr.
+White, and by him for £73.10s. to Bohn._
+
+PORTRAIT OF A MAN, possibly PROSPERO COLONNA. Transposed in 1857 from
+wood to canvas, 2 ft. 8 in. x 2 ft. [No. 636.]
+
+Catalogued as "Portrait of a Poet," by Palma Vecchio.
+
+_Formerly in possession of Mr. Tomline, and purchased in 1860 from M.
+Edmond Beaucousin at Paris._
+
+It was then called the portrait of Ariosto by Titian. (See p. 81.)
+
+A KNIGHT IN ARMOUR, probably S. LIBERALE. Wood, 1 ft. 3 in. x 10 in.
+[No. 269.]
+
+_Formerly in the Collection of Benjamin West, P.R.A., and bequeathed to
+the National Gallery by Mr. Samuel Rogers in 1855._ (See p. 20.)
+
+VENUS AND ADONIS. Canvas, 2 ft. 6 in. x 4 ft. 4 in. [No. 1123.]
+
+Catalogued as "Venetian School," and more recently as "School of
+Giorgione."
+
+_Purchased in 1882 as a Giorgione at the Hamilton Palace sale._ (See p.
+94.)
+
+GLASGOW GALLERY.
+
+THE ADULTERESS BEFORE CHRIST. Canvas, 4 ft. 6 in. x 5 ft. 11 in. [No.
+142.]
+
+_Ex M'Lellan Collection._ (See p. 102.)
+
+TWO MUSICIANS. Panel. 1 ft. 9 in. x 1 ft. 4 in. [No. 143.]
+
+Recently attributed to Campagnola. Said to be Titian and Giorgione,
+playing violin and violoncello. The former attribution to Giorgione is
+probably correct.
+
+_Graham-Gilbert Collection._
+
+New Gallery, Venetian Exhibition, 1895. [No. 99.]
+
+HAMPTON COURT.
+
+SHEPHERD BOY. Canvas, 1 ft. 11 in. x 1 ft. 8 in. [No. 101.]
+
+_From Charles I. Collection_, where it was called a Giorgione. (See p.
+49 for a suggestion as to its possible authorship.)
+
+BUCKINGHAM PALACE.
+
+THREE FIGURES. Half-length; two men, and a woman fainting. Canvas, 2 ft.
+5 in. x 2 ft. 1 in.
+
+Ascribed to Titian, but probably derived from a Giorgione original.
+Other versions are said (C. and C. ii. 149) to have been at the Hague
+and in the Buonarroti Collection at Florence. The London picture is so
+damaged and repainted, although still of splendid colouring, as to
+preclude all certainty of judgment.
+
+_Formerly in Charles I. Collection._
+
+MR. WENTWORTH BEAUMONT'S COLLECTION.
+
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. 6 in. x 2 ft.
+(about).
+
+_From the Gallery of Cardinal Fesch_, and presumably the same as the
+picture in the Collection of James II. I have sought to identify this
+piece with the picture "da una Nocte," painted by Giorgione for Vittorio
+Beccare (See p. 20, and Appendix quoting the original document.)
+
+MR. R.H. BENSON'S COLLECTION.
+
+HOLY FAMILY. Wood, 14 in. x 17 in.
+
+New Gallery, 1895. [No. 148.] (See p. 96.)
+
+MADONNA AND CHILD. Wood, 1 ft. 6 in. x 1 ft. 10 in.
+
+New Gallery, 1895. [No. 1, under Titian's name.] (See p. 101.)
+
+_From the Burghley House Collection._
+
+PORTRAIT OF A MAN. Canvas, 38 in. x 32 in.
+
+Copy of a lost original. Three-quarter length; life-size; standing
+towards right; head facing; hands resting on a column, glove in left;
+black dress, cut square at throat.
+
+New Gallery, 1895. [No. 52, as "Unknown."] (See p. 74.)
+
+COBHAM HALL, THE EARL OF DARNLEY'S COLLECTION.
+
+PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.
+
+Erroneously called Ariosto, and ascribed to Titian.
+
+I have sought to identify this with the "Portrait of a Gentleman" of the
+Barberigo family, said by Vasari to have been painted by Titian at the
+age of eighteen. (See p. 69.)
+
+HERON COURT, THE EARL OF MALMESBURY.
+
+THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.
+
+Copy of an unidentified original, of which other versions are to be
+found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is
+probably a Bolognese repetition of the seventeenth century.
+
+Ridolfi mentions this subject in his list of Giorgione's works.
+
+New Gallery, 1895. [No. 29.]
+
+HERTFORD HOUSE, WALLACE COLLECTION.
+
+VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]
+
+The picture was engraved as a Giorgione when in the Orleans Gallery.
+(See p. 93.)
+
+KENT HOUSE, THE LATE LOUISA LADY ASHBURTON.
+
+TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.
+
+The damaged state precludes any certainty of judgment. The composition
+is that of the Adrastus and Hypsipyle picture; the colouring recalls
+the National Gallery "Golden Age(?)." If an original, it is quite an
+early work. New Gallery, 1895. [No. 147.]
+
+TWO FIGURES (half-lengths), A WOMAN AND A MAN.
+
+Copy after a missing original, and in the style of the figures at
+Oldenburg. (See Venturi, _La Gall. Crespi_.) This or the original was
+engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in
+aedibus Burghesianis asservata.
+
+KINGSTON LACY, COLLECTION OF MR. RALPH BANKES.
+
+THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.
+
+Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa
+Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia,
+colla figura del ministro non finita." Afterwards in the Marescalchi
+Gallery at Bologna, where (1820) it was seen by Lord Byron, who
+especially praised it (vide _Life and Letters_, ed. by Moore, p. 705),
+and at whose suggestion it was purchased by his friend Mr. Bankes. (See
+p. 25.)
+
+Exhibited Royal Academy, 1869.
+
+A PAINTED CEILING.
+
+With four putti climbing over a circular balcony, seen in steep
+perspective, and covered with beautiful vine leaves and flowers. This is
+said to have been painted by Giorgione in the last year of his life
+(1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably
+preserved, and most likely a genuine work.
+
+TEMPLE NEWSAM, COLLECTION OF THE HON. MRS MEYNELL-INGRAM.
+
+PORTRAIT OF A MAN.
+
+Traditionally ascribed to Titian. Just under life-size; he holds a black
+hat. Blue-black silk dress with sleeve of pinky red and golden brown
+gloves. Dark auburn hair. Dark grey marble wall behind. In excellent
+preservation. (See p. 86.)
+
+COLLECTION OF SIR CHARLES TURNER.
+
+THE ADULTERESS BEFORE CHRIST.
+
+A free Venetian repetition, perhaps based on an alternative design for
+the Glasgow picture. (See p. 104.)
+
+
+FRANCE.
+
+LOUVRE.
+
+FÊTE CHAMPÊTRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8 in. x 4 ft. 9 in.
+
+_Said to have been in Charles I. Collection, and sold to Louis XIV. by
+Jabuch._ (See p. 39.)
+
+HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3 ft.
+4 in. x 4 ft. 6 in.
+
+Perhaps left incomplete by Giorgione at his death, and finished by
+Sebastiano del Piombo. (See p. 105.)
+
+_From Charles I. Collection._
+
+
+GERMANY.
+
+BERLIN GALLERY.
+
+PORTRAIT OF A YOUNG MAN.
+
+_Acquired from Dr. Richten_ (See p. 30.)
+
+BERLIN, COLLECTION OF HERR VON KAUFFMANN.
+
+STA. GIUSTINA.
+
+A small seated figure with the unicorn. Recently acquired at Cologne,
+and known to the writer only by photograph and description, but
+tentatively accepted as genuine.
+
+DRESDEN GALLERY.
+
+VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]
+
+Formerly catalogued as a copy by Sassoferrato after Titian. Restored by
+Morelli to Giorgione, and universally accepted as such. Mentioned by the
+Anonimo and Ridolfi, and said to have been completed by Titian. (See p.
+35.)
+
+THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.
+
+Copy after a lost original. C. and C. suggest Girolamo Pennacchi as
+possible author. It bears the Este arms.
+
+_From the Manfrini and Barker Collections._
+
+(See _Gazette des Beaux Arts_, 1884, tom. xxx. p. 223.)
+
+JUDGMENT OF PARIS. Canvas, 1 ft. 9 in. x 2 ft. 3 in.
+
+One of several copies of a lost original. [See under British
+Isles--Heron Court.]
+
+ITALY
+
+BERGAMO, GALLERY.
+
+ORPHEUS AND EURYDICE. Wood, 1 ft. 3 in, x 1 ft. 9 in. [No. 179, Lochis
+section.]
+
+(See p. 89.)
+
+MADONNA AND CHILD. Wood, 1 ft. 3 in. x 1 ft. 6 in. [No. 232, Lochis
+section, as "Titian."]
+
+The composition is very similar to Mr. Benson's "Madonna and Child"
+(_q.v._). (See p. 101.)
+
+THE ADULTERESS BEFORE CHRIST. 4 ft. 11 in. x 7 ft. 3 in. [No. 26,
+Carrara section.]
+
+Later copy, with slight variations, of the Glasgow picture, Ascribed to
+Cariani, and in a dirty state. (See p. 104.)
+
+CASTELFRANCO, DUOMO.
+
+MADONNA AND CHILD ENTHRONED, SS. LIBERALE AND FRANCIS BELOW. Wood, 7 ft.
+6 in. x 4 ft. 10 in.
+
+(See p. 7.)
+
+FLORENCE, PITTI GALLERY.
+
+THE CONCERT. Canvas, 3 ft. 10 in. x 7 ft. 4 in. [No. 185.]
+
+Described by Ridolfi and Boschini.
+
+An old copy is at Hyde Park House, another in the Palazzo Doria, Rome.
+(See p. 49.)
+
+THE THREE AGES. Wood, 3 ft. 8 in. x 5 ft. 4 in. [No. 157.]
+
+By C. and C. ascribed to Lotto, by Morelli to Giorgione.
+
+(See p. 42.)
+
+NYMPH AND SATYR. Canvas. [No. 147.]
+
+(See p. 44.)
+
+FLORENCE, UFFIZI GALLERY.
+
+TRIAL OF MOSES, or ORDEAL BY FIRE. Canvas. Figures one-eighth life-size.
+[No. 621.]
+
+_From Poggio Imperiale._(See p. 15.)
+
+JUDGMENT OF SOLOMON. Companion piece to last. Wood. [No. 630.]
+
+(See p. 15.)
+
+KNIGHT OF MALTA. Canvas. Bust, life-size. [No. 622.]
+
+The letters XXXV probably refer to the man's age. Mr. Dickes (_Magazine
+of Art_, April 1893) thinks he is Stefano Colonna, who died 1548. (See
+p. 19.)
+
+MILAN, CRESPI COLLECTION.
+
+PORTRAIT OF CATERINA CORNARO. Canvas, 3 ft. 11 in. x 3 ft. 2 in.
+
+_From the Alessandro Martinengo Gallery, Brescia (1640), thence to
+Collection Francesco Riccardi, Bergamo, where C. and C. saw it in 1877._
+They state it was engraved in the line series of Sala. It has been known
+traditionally both as Caterina Cornaro and "La Schiavona." (See p. 74.)
+
+In the signature T.V. it is clear that the V represents the last letter
+but one in TITIANVS. The first three letters can just be made out. There
+are many _pentimenti_ on the marble parapet, which seems to have been
+painted over the dress.
+
+PADUA, GALLERY.
+
+Two _cassone_ panels with mythological scenes. Wood, about 4 ft. x 1 ft.
+each. [Nos. 416, 417.]
+
+(See p. 56.)
+
+Two very small panels with mythological scenes, one representing LEDA
+AND THE SWAN. Wood, about 5 in. x 3 in. each. [Nos. 42, 43.]
+
+(See p. 90.)
+
+ROME, BORGHESE GALLERY.
+
+PORTRAIT OF A LADY. Canvas, 3 ft. 2 in. x 2 ft. 6 in.
+
+(See p. 33.)
+
+NATIONAL GALLERY, PAL. CORSINI.
+
+S. GEORGE AND THE DRAGON.
+
+_Recently acquired._
+
+(Tentatively accepted from the photograph. See p. 91.)
+
+ROVIGO, GALLERY.
+
+MADONNA AND CHILD. [NO. 2.]
+
+Repetition by Titian of Giorgione's original at Vienna
+
+(See p. 98.)
+
+A SMALL SEATED FIGURE. DANAE? [No. 156.]
+
+Copy of a missing original.
+
+VENICE, ACADEMY.
+
+STORM AT SEA CALMED BY S. MARK. Wood, 11 ft. 8 in. x 13 ft. 6 in. [No.
+516.]
+
+_From the Scuola di S. Marco_, where it was companion piece to Paris
+Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by
+Zanetti to Giorgione.
+
+Too damaged to admit of definite judgment. (See p. 55.)
+
+THREE FIGURES. Half-lengths; a woman fainting, supported by a man;
+another behind.
+
+Modern copy by Fabris of apparently a missing original. Can this be the
+picture mentioned by C. and C. as in the possession of the King of
+Holland? (C. and C. ii. 149, note.) _Cf_. also, Notes to Sansoni's
+_Vasari_, iv. p. 104. Another version is at Buckingham Palace (_q.v_.),
+but it differs in detail from this copy.
+
+SEMINARIO.
+
+APOLLO AND DAPHNE. _Cassone_ panel. Wood. Small figures, much defaced.
+(See p. 34.)
+
+CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as
+life. About 3 ft. x 2 ft.
+
+Christ clad in pale grey, head turned three-quarters looking out of the
+picture, auburn hair and beard, bears cross. He is dragged forward by an
+elderly man nude to waist. Another man in profile to left. An old man
+with white beard just visible behind Christ. (See p. 54.)
+
+PAL. ALBUZIO. JUDGMENT OF PARIS.
+
+Another version of this subject, of which copies exist at Christiania,
+Lord Malmesbury's, and Dresden.
+
+PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft. 5
+in.
+
+Described by the Anonimo in the house of Gabriel Vendramin (1530). (See
+p. 11.)
+
+Statius (lib. iv. 730 _ff_.) describes how King Adrastus, wandering
+through the woods in search of a spring to quench the thirst of his
+troops, encounters by chance Queen Hypsipyle, who had been driven out of
+Lemnos by the wicked women, who had resolved to slay their husbands, and
+she had taken refuge in the service of the King of Nemea, in capacity
+of nurse.
+
+Ex _Manfrini Palace._
+
+PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6 in.
+square. (See p. 85.)
+
+
+NORWAY.
+
+CHRISTIANIA.
+
+JUDGMENT OF PARIS.
+
+Another version of this subject, of which copies exist at Lord
+Malmesbury's, Dresden, and Venice.
+
+
+RUSSIA.
+
+ST. PETERSBURG, HERMITAGE GALLERY.
+
+JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]
+
+Once ascribed to Raphael, and engraved as such (in 1620), by H.H.
+Quitter, and afterwards by several other artists. Dr. Waagen pronounced
+it to be Moretto's work, and accordingly the name was changed; as such
+Braun has photographed it. It is now officially recognised rightly as a
+Giorgione (_vide_ Catalogue of 1891).
+
+_Brought from Italy to France, and eventually in Crozat's possession_.
+(See p. 37.)
+
+VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]
+
+_Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian_, under
+which name it is still registered. (See p. 102, where Mr. Claude
+Phillips's suggestion that it may be a Giorgione is discussed.)
+
+
+SPAIN.
+
+MADRID, PRADO GALLERY.
+
+MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft. 5
+in. [No. 341.]
+
+_From the Escurial_; restored to Giorgione by Morelli, and now
+officially recognised as his work. (See p. 45.)
+
+
+UNITED STATES.
+
+BOSTON, COLLECTION OF MRS. GARDNER.
+
+CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.
+
+Several variations and repetitions exist. (See p. 18.)
+
+_Till lately in the Casa Loschi at Vicenza._
+
+       *       *       *       *       *
+
+A few drawings by Giorgione meet with general recognition, but, like his
+paintings, they appear to have been unnecessarily restricted by an
+over-anxiety on the part of critics to leave him only the best. E.g. the
+drawing at Windsor for a part of an "Adoration of the Shepherds," is, no
+doubt, a preliminary design for the Beaumont or Vienna pictures. The
+limits of the present book will not allow a discussion on the subject,
+but we may remark that, like all Venetian artists, Giorgione made few
+preliminary sketches, concerning himself less with design and
+composition than with harmony of colour, light and shade, and "effect."
+The engraving by Marcantonio commonly called "The Dream of Raphael," is
+now known to be derived from Giorgione, to whom the subject was
+suggested by a passage in Servius' _Commentary on Virgil_ (lib. iii. v.
+12). (See Wickhoff, loc. cit.)
+
+
+
+
+LIST OF GIORGIONE'S PICTURES CITED BY "THE ANONIMO," AS BEING IN HIS
+DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.[173]
+
+
+CASA TADDEO CONTARINI (1525).
+
+(i) The Three Philosophers (since identified as Aeneas, Evander, and
+Pallas, in the Vienna Gallery),
+
+(ii) Aeneas and Anchises in Hades.
+
+(in) The Birth of Paris. (Since identified by the engraving of Th. von
+Kessel. A copy of the part representing the two shepherds is at
+Buda-Pesth.)
+
+
+CASA JERONIMO MARCELLO (1525).
+
+(i) Portrait of M. Jeronimo armed, showing his back and turning his
+head.
+
+(ii) A nude Venus in a landscape with Cupid. Finished by Titian. (Since
+identified as the Dresden Venus.)
+
+(in) S. Jerome reading.
+
+
+CASA M. ANTON. VENIER (1528).
+
+A soldier armed to the waist.
+
+
+CASA G. VENDRAMIN (1530).
+
+(i) Landscape with soldier and gipsy. (Since identified as the Adrastus
+and Hypsipyle of the Pal. Giovanelli, Venice.)
+
+(ii) The dead Christ on the Tomb, supported by one Angel. Retouched by
+Titian. (This can hardly be the celebrated Pietà in the Monte di Pietà
+at Treviso, as there are here three angels. M. Lafenestre, in his _Life
+of Titian_, reproduces an engraving answering to the above description,
+but it is hard to believe this mannered composition is to be traced back
+to Giorgione.)
+
+CASA ZUANE RAM (1531).
+
+(i) A youth, half-length, holding an arrow.
+
+(ii) Head of a shepherd boy, who holds a fruit.
+
+
+CASA A. PASQUALINO.
+
+(i) Copy of No. (i) just mentioned.
+
+(ii) Head of S. James, with pilgrim staff (or, may be, a copy).
+
+
+CASA ANDREA ODONI (1532).
+
+S. Jerome, nude, seated in a desert by moonlight. Copy after Giorgione.
+
+
+CASA MICHIEL CONTARINI (1543).
+
+A pen drawing of a nude figure in a landscape. The painting of the same
+subject belonged to the Anonimo.
+
+
+CASA PIERO SERVIO (1575).
+
+Portrait of his father.
+
+It is noteworthy that two of the above pieces are cited as copies, from
+which we may infer that Giorgione's productions were already, at this
+early date, enjoying such a vogue as to call for their multiplication at
+the hands of others, and we can readily understand how, in course of
+time, the fabrication of "Giorgiones" became a profitable business.
+
+NOTES:
+
+[173] _Notizie d'opere di disegno_. Ed. Frizzoni. Bologna, 1884.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Giorgione, by Herbert Cook
+
+*** END OF THE PROJECT GUTENBERG EBOOK 12307 ***
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 12307 ***</div>
+
+<br>
+<div style="text-align: center;"><a name="madonna_and_child"></a><img
+ style="width: 512px; height: 764px;"
+ alt="Madonna &amp; Child with two Saints."
+ title="Madonna &amp; Child with two Saints." src="images/drg001.jpg"></div>
+<a name="GIORGIONE"></a>
+<h1>GIORGIONE</h1>
+<h3>BY</h3>
+<h2>HERBERT COOK, M.A., F.S.A.</h2>
+<h3>BARRISTER-AT-LAW</h3>
+<h3><br>
+</h3>
+<h3>1904</h3>
+<br>
+<br>
+<br>
+<hr style="height: 2px; width: 45%;"><br>
+<br>
+<div class="blkquot">
+<p>"Born half-way between the mountains and the sea&#8212;that young George
+of Castelfranco&#8212;of the Brave Castle: Stout George they called him,
+George of Georges, so goodly a boy he was&#8212;Giorgione."</p>
+<p> (RUSKIN: <i>Modern Painters</i>, vol. V. pt. IX. ch. IX.)</p>
+</div>
+<p><i>First Published, November 1900 Second Edition, revised, with new
+Appendix, February 1904.</i></p>
+<hr style="width: 65%;">
+<a name="PREFACE"></a>
+<h2>PREFACE</h2>
+<p>Unlike most famous artists of the past, Giorgione has not yet found
+a
+modern biographer. The whole trend of recent criticism has, in his
+case,
+been to destroy not to fulfil. Yet signs are not wanting that the
+disintegrating process is at an end, and that we have reached the point
+where reconstruction may be attempted. The discovery of documents and
+the recovery of lost pictures in the last few years have increased the
+available material for a more comprehensive study of the artist, and
+the
+time has come when the divergent results arrived at by independent
+modern inquirers may be systematically arranged, and a reconciliation
+of
+apparently conflicting views attempted on a psychological basis.</p>
+<p>Crowe and Cavalcaselle were the first to examine the subject
+critically.
+They separated&#8212;so far as was then possible (1871)&#8212;the real from the
+traditional Giorgione, and their account of his life and works must
+still rank as the nearest equivalent to a modern biography. Morelli,
+who
+followed in 1877, was in singular sympathy with his task, and has
+written of his favourite master enthusiastically, yet with consummate
+judgment. Among living authorities, Dr. Gronau, Herr Wickhoff, Signor
+Venturi, and Mr. Bernhard Berenson have contributed effectively to the
+elucidation of obscure or disputed points, and the latter writer has
+probably come nearer than anyone to recognise the scope of Giorgione's
+art, and grasp the man behind his work. The monograph by Signor Conti
+and the chapter in Pater's <i>Renaissance</i> may be read for their
+delicate
+appreciations of the "Giorgionesque"; other contributions on the
+subject
+will be found in the Bibliography.</p>
+<p>It is absolutely necessary for those whose judgment depends upon a
+study
+of the actual pictures to be constantly registering and adjusting their
+impressions. I have personally seen and studied all the pictures I
+believe to be by Giorgione, with the exception of those at St.
+Petersburg; and many galleries and churches where they hang have been
+visited repeatedly, and at considerable intervals of time. If in the
+course of years my individual impressions (where they deviate from
+hitherto recognised views) fail to stand the test of time, I shall be
+the first to admit their inadequacy. If, on the other hand, they prove
+sound, some of the mists which at present envelop the figure of
+Giorgione will have been dispersed.</p>
+<p>H.C.</p>
+<p><i>November</i> 1900</p>
+<hr style="width: 65%;">
+<a name="NOTE_TO_THE_SECOND_EDITION"></a>
+<h2>NOTE TO THE SECOND EDITION</h2>
+<p>To this Edition an Appendix has been added, containing&#8212;(1) an
+article
+by the Author on the age of Titian, which was published in the
+<i>Nineteenth Century</i> of January 1902; (2) the translation of a
+reply by
+Dr. Georg Gronau, published in the <i>Repertorium f&uuml;r
+Kunstwissenschaft</i>;
+(3) a further reply by the Author, published in the same German
+periodical.</p>
+<p>The writer wishes to acknowledge his indebtedness to the Editors of
+the
+<i>Nineteenth Century</i> and of the <i>Repertorium</i> for permission
+to reprint
+these articles.</p>
+<p>A better photograph of the "Portrait of an Unknown Man" at Temple
+Newsam
+has now been taken (p. 87), and sundry footnotes have been added to
+bring the text up to date.</p>
+<p>H. C.</p>
+<p>ESHER, <i>January</i> 1904.</p>
+<hr style="width: 65%;">
+<a name="CONTENTS"></a>
+<h2>CONTENTS</h2>
+<p><a href="#LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</a></p>
+<p><a href="#BIBLIOGRAPHY">BIBLIOGRAPHY</a></p>
+Chapter I. <a href="#CHAPTER_I">GIORGIONE'S LIFE</a><br>
+<br>
+<span style="margin-left: 5em;">II. <a href="#CHAPTER_II">GIORGIONE'S
+GENERALLY ACCEPTED WORKS</a></span><br>
+<br>
+<span style="margin-left: 4.5em;">III. <a href="#CHAPTER_III">INTERMEDIATE
+SUMMARY</a></span><br>
+<br>
+<span style="margin-left: 5em;">IV. <a href="#CHAPTER_IV">ADDITIONAL
+PICTURES&#8212;PORTRAITS</a></span><br>
+<br>
+<span style="margin-left: 5.5em;">V. <a href="#CHAPTER_V">ADDITIONAL
+PICTURES&#8212;OTHER SUBJECTS</a></span><br>
+<br>
+<span style="margin-left: 5em;">VI. <a href="#CHAPTER_VI">GIORGIONE'S
+ART, AND PLACE IN
+HISTORY</a><br>
+<br>
+</span>
+<p><a href="#APPENDIX_I">APPENDIX I</a>&#8212;DOCUMENTS</p>
+<p><a href="#APPENDIX_II">APPENDIX II</a>&#8212;THE AGE OF TITIAN</p>
+<p><a href="#CATALOGUE_OF_THE_WORKS_OF_GIORGIONE">CATALOGUE OF WORKS</a></p>
+<p><a href="#INDEX">INDEX</a></p>
+<hr style="width: 65%;">
+<a name="LIST_OF_ILLUSTRATIONS"></a>
+<h2>LIST OF ILLUSTRATIONS</h2>
+<p><a href="#madonna_and_child">Madonna, with SS. Francis and Liberale.</a>
+<i>Castelfranco</i>.</p>
+<p><a href="#ADRASTUS_AND_HYPSIPYLE">Adrastus and Hypsipyle.</a> <i>Palazzo
+Giovanelli, Venice</i></p>
+<p><a href="#AENEAS_EVANDER_AND_PALLAS">Aeneas, Evander, and Pallas.</a>
+<i>Vienna Gallery</i></p>
+<p><a href="#THE_JUDGMENT_OF_SOLOMON">The Judgment of Solomon.</a> <i>Uffizi
+Gallery</i></p>
+<p><a href="#THE_TRIAL_OF_MOSES">The Trial of Moses</a>. <i>Uffizi
+Gallery</i></p>
+<p><a href="#CHRIST_BEARING_THE_CROSS">Christ bearing the Cross.</a> <i>Collection
+of Mrs. Gardner, Boston,
+U.S.A.</i></p>
+<p><a href="#THE_KNIGHT_OF_MALTA">Knight of Malta</a>. <i>Uffizi
+Gallery</i></p>
+<p><a href="#THE_ADORATION_OF_THE_SHEPHERDS">The Adoration of the
+Shepherds.</a> <i>Vienna Gallery</i></p>
+<p><a href="#THE_JUDGMENT_OF_SOLOMON_Unfinished">The Judgment of
+Solomon.</a> <i>Collection of Mrs. Ralph Bankes,
+Kingston
+Lacy</i></p>
+<p><a href="#PORTRAIT_OF_A_YOUNG_MAN">Portrait of a Young Man</a>. <i>Berlin
+Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN">Portrait of a Man.</a> <i>Buda-Pesth
+Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_LADY">Portrait of a Lady.</a> <i>Borghese
+Gallery, Rome</i></p>
+<p><a href="#APOLLO_AND_DAPHNE">Apollo and Daphne</a>. <i>Seminario,
+Venice</i></p>
+<p><a href="#VENUS">Venus</a>. <i>Dresden Gallery</i></p>
+<p><a href="#JUDITH">Judith.</a> <i>Hermitage Gallery, St. Petersburg</i></p>
+<p><a href="#A_PASTORAL_SYMPHONY">Pastoral Symphony</a>. <i>Louvre,
+Paris</i></p>
+<p><a href="#THE_THREE_AGES_OF_MAN">The Three Ages.</a> <i>Pitti
+Gallery</i></p>
+<p><a href="#NYMPH_AND_SATYR">Nymph and Satyr.</a> <i>Pitti Gallery</i></p>
+<p><a href="#Madonna_and_saints">Madonna, with SS. Roch and Francis.</a>
+<i>Prado, Madrid</i></p>
+<p><a href="#COPY_OF_A_PORTION_OF_GIORGIONES_BIRTH_OF_PARIS">The Birth
+of Paris&#8212;Copy of a portion.</a> <i>Buda-Pesth Gallery</i></p>
+<p><a href="#THE_SHEPHERD_BOY.">Shepherd Boy.</a> <i>Hampton Court</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_TORBIDO">Portrait of a Man.</a> (By
+Torbido) <i>Padua Gallery</i></p>
+<p><a href="#THE_CONCERT">The Concert.</a> <i>Pitti Gallery</i></p>
+<p><a href="#THE_ADORATION_OF_THE_MAGI">The Adoration of the Magi</a>
+(or Epiphany). <i>National Gallery</i></p>
+<p><a href="#PAGE_OF_VANDYCKS_SKETCH-BOOK">Christ bearing the Cross.</a>
+<i>Collection of Duke of Devonshire,
+Chatsworth.</i>
+(Sketch by Vandyck, after the original by Giorgione in S. Rocco, Venice)</p>
+<p><a href="#FRONTS_OF_TWO_CASSONES">Mythological Scenes. </a>Two <i>Cassone</i>
+pieces <i>Padua Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_GENTLEMAN">Portrait of "Ariosto"</a>. <i>Collection
+of the Earl of Darnley, Cobham
+Hall</i></p>
+<p><a href="#PORTRAIT_OF_CATERINA_CORNARO">Portrait of Caterina Cornaro</a>.
+<i>Collection of Signor Crespi, Milan</i></p>
+<p><a href="#MARBLE_BUST_OF_CATERINA_CORNARO">Bust of Caterina Cornaro.</a>
+<i>Pourtal&egrave;s Collection, Berlin</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_national">Portrait of "A Poet".</a> <i>National
+Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_Unfinished">Portrait of a Man.</a> <i>Querini-Stampalia
+Gallery, Venice</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_meynell">Portrait of a Man.</a> <i>Collection
+of the Hon. Mrs. Meynell-Ingram,
+Temple
+Newsam</i>.</p>
+<p><a href="#PORTRAIT_OF_A_MAN_vienna">Portrait of "Parma, the
+Physician"</a>. <i>Vienna Gallery</i></p>
+<p><a href="#ORPHEUS_AND_EURYDICE">Orpheus and Eurydice.</a> <i>Bergamo
+Gallery</i></p>
+<p><a href="#THE_GOLDEN_AGE">The Golden Age (?)</a>. <i>National
+Gallery</i></p>
+<p><a href="#VENUS_AND_ADONIS">Venus and Adonis.</a> <i>National
+Gallery</i></p>
+<p>Holy Family. <i>Collection of Mr. Robert Benson, London</i></p>
+<p><a href="#THE_GIPSY_MADONNA">The "Gipsy" Madonna. </a><i>Vienna
+Gallery</i></p>
+<p><a href="#MADON_AND_CHILD">Madonna.</a> <i>Collection of Mr.
+Robert Benson, London</i></p>
+<p><a href="#THE_ADULTERESS_BEFORE_CHRIST">The Adulteress before Christ.</a>
+<i>Glasgow Gallery</i></p>
+<p><a href="#MADON_AND_SAINTS">Madonna and Saints</a>. <i>Louvre,
+Paris</i></p>
+<hr style="width: 65%;">
+<a name="BIBLIOGRAPHY"></a>
+<h2>BIBLIOGRAPHY</h2>
+<br>
+<p>ANONIMO. "Notizia d'opere di disegno." Ed. Frizzoni. Bologna, 1884.
+<i>Passim.</i></p>
+<p><i>Archivio Storico dell' Arte</i> (now <i>L'Arte</i>), 1888, p.
+47. (See also
+<i>sub</i> Venturi.)</p>
+<p><i>Art Journal</i>. 1895. p. 90. (Dr. Richter.)</p>
+<p>BERENSON, B. "Venetian Painting at the New Gallery." 1895.
+(Privately
+printed.) "Venetian Painters of the Renaissance." Third edition, 1897.
+Putnam, London. <i>Gazette des Beaux Arts</i>, 1897, p. 279.</p>
+<p>BURCKHARDT. "Cicerone." Sixth edition, 1893. (Dr. Bode.)</p>
+<p>CONTI, A. "Giorgione, Studio." Florence, 1894.</p>
+<p>CROWE AND CAVALCASELLE. "History of Painting in North Italy," vol.
+ii.
+London, 1871. "Life of Titian." Two vols.</p>
+<p>FRY, ROGER. "Giovanni Bellini." London, 1899.</p>
+<p>GRONAU, DR. G. <i>Gazette des Beaux Arts</i>, 1894, p. 332. <i>Repertorium
+f&uuml;r
+Kunstwissenschaft</i>, xviii. 4, p. 284. "Zorzon da Castelfranco. La
+sua
+origine, la sua morte, e tomba." Venice, 1894. "Tizian." Berlin, 1900.</p>
+<p>LAFENESTRE, G. "La vie et l'oeuvre de Titien." Paris, 1886.</p>
+<p>LOGAN, MARY. "Guide to the Italian Pictures at Hampton Court."
+London,
+1894.</p>
+<p><i>Magazine of Art</i>, 1890, pp. 91 and 138. (Sir W. Armstrong.)
+1893.
+April. (Mr. W.F. Dickes.)</p>
+<p>MORELLI, GIOVANNI. "Italian Painters." Translated by C.J. Ffoulkes.
+London, 1892. Vols. i. and ii. <i>passim</i>.</p>
+<p>M&Uuml;NTZ, E. "La fin de la Renaissance." Paris.</p>
+<p>New Gallery Catalogue of Exhibition of Venetian Art, 1895.</p>
+<p>PATER, W. "The Renaissance." Chapter on the School of Giorgione.
+London,
+1893.</p>
+<p>PHILLIPS, CLAUDE. <i>Gazette des Beaux Arts</i>, 1884, p. 286. <i>Magazine
+of
+Art</i>, July 1895. "The Picture Gallery of Charles I." (<i>Portfolio</i>,
+January 1896). "The Earlier Work of Titian" (<i>Portfolio</i>, October
+1897).
+<i>North American Review</i>, October 1899.</p>
+<p><i>Repertorium f&uuml;r Kunstwissenschaft</i>. Bd. xiv. p. 316.
+(Herr von
+Seidlitz.) Bd. xix. Hft. 6. (Dr. Harck.)</p>
+<p>RIDOLFI, C. "Le Maraviglie dell' arte della pittura." Venice, 1648.</p>
+<p>Royal Academy. Catalogues of the Exhibitions of Old Masters.</p>
+<p>VASARI. "Le Vite." Ed. Sansoni. Florence, 1879. Translation edited
+by
+Blashfield and Hopkins, with Notes. London, 1897.</p>
+<p>VENTURI, ADOLFO. <i>Archivio Storico dell' Arte</i>, vi. 409, 412. <i>L'Arte</i>,
+1900, p. 24, etc. "La Galleria Crespi in Milano," 1900.</p>
+<p>WICKHOFF, F. <i>Gazette des Beaux Arts</i>, 1893, p. 135. <i>Jahrbuch
+der
+Preussischen Kunstsammlungen</i>, 1895. Heft i.</p>
+<p>ZANETTI, A. "Varie Pitture," etc., with engravings of some fragments
+from the Fondaco de' Tedeschi frescoes, 1760.</p>
+<hr style="width: 65%;">
+<br>
+<h1><a name="Page_1"></a>GIORGIONE</h1>
+<h2><a name="CHAPTER_I"></a>CHAPTER I</h2>
+<h2>GIORGIONE'S LIFE</h2>
+<br>
+<p>Apart from tradition, very few ascertained facts are known to us as
+to
+Giorgione's life. The date of his birth is conjectural, there being but
+Vasari's unsupported testimony that he died in his thirty-fourth year.
+Now we know from unimpeachable sources that his death happened in
+October-November 1510,<a name="FNanchor_1"></a><a href="#Footnote_1"><sup>[1]</sup></a>
+so that, assuming Vasari's statement to be
+correct, Giorgione will have been born in 1477.<a name="FNanchor_2"></a><a
+ href="#Footnote_2"><sup>[2]</sup></a></p>
+<p>The question of his birthplace and origin has been in great dispute.
+Without going into the evidence at length, we may accept with some
+degree of certainty the results at which recent German research has
+arrived.<a name="FNanchor_3"></a><a href="#Footnote_3"><sup>[3]</sup></a>
+Dr. Gronau's conclusion is that Giorgione was the son (or
+grandson) of a certain Giovanni, called Giorgione of Castelfranco, who
+came originally from the village of Vedelago in the march of Treviso.
+This <a name="Page_2"></a>Giovanni was living at Castelfranco, of
+which he was a citizen, in
+1460, and there, probably, Giorgione his son (or grandson) was born
+some
+seventeen years later.</p>
+<p>The tradition that the artist was a natural son of one of the great
+Barbarella family, and that in consequence he was called Barbarelli, is
+now shown to be false. This cognomen is first found in 1648, in
+Ridolfi's book, to which, in 1697, the picturesque addition was made
+that his mother was a peasant girl of Vedelago.<a name="FNanchor_4"></a><a
+ href="#Footnote_4"><sup>[4]</sup></a> None of the earlier
+writers or contemporary documents ever allude to such an origin, or
+speak of "Barbarelli," but always of "Zorzon de Castelfrancho," "Zorzi
+da Castelfranco," and the like,<a name="FNanchor_5"></a><a
+ href="#Footnote_5"><sup>[5]</sup></a></p>
+<p>We may take it as certain that Giorgione spent the whole of his
+short
+life in Venice and the neighbourhood. Unlike Titian, whose busy career
+was marked by constant journeyings and ever fresh incidents, the young
+Castelfrancan passed a singularly calm and uneventful life. Untroubled,
+apparently, by the storm and stress of the political world about him,
+he
+devoted himself with a whole-hearted simplicity to the advancement of
+his art. Like Leonardo, he early won fame for his skill in music, and
+Vasari tells us the gifted young lute-player was a welcome guest in
+distinguished circles. Although of humble origin, he must have
+possessed
+a singular charm of manner, <a name="Page_3"></a>and a comeliness of
+person calculated to
+find favour, particularly with the fair sex. He early found a
+quasi-royal friend and patroness in Caterina Cornaro, ex-Queen of
+Cyprus, whose portrait he painted, and whose recommendation, as I
+believe, secured for him important commissions in the like field. But
+we
+may leave Giorgione's art for fuller discussion in the following
+chapters, and only note here two outside events which were not without
+importance in the young artist's career.</p>
+<p>The one was the visit paid by Leonardo to Venice in the year 1500.
+Vasari tells us "Giorgione had seen certain works from the hand of
+Leonardo, which were painted with extraordinary softness, and thrown
+into powerful relief, as is said, by extreme darkness of the shadows, a
+manner which pleased him so much that he ever after continued to
+imitate
+it, and in oil painting approached very closely to the excellence of
+his
+model."<a name="FNanchor_6"></a><a href="#Footnote_6"><sup>[6]</sup></a>
+This statement has been combated by Morelli, but although
+historical evidence is wanting that the two men ever actually met,
+there
+is nothing improbable in Vasari's account. Leonardo certainly came to
+Venice for a short time in 1500, and it would be perfectly natural to
+find the young Venetian, then in his twenty-fourth year, visiting the
+great Florentine, long a master of repute, and from him, or from
+"certain works of his," taking hints for his own practice.<a
+ name="FNanchor_7"></a><a href="#Footnote_7"><sup>[7]</sup></a></p>
+<p><a name="Page_4"></a>The second event of moment to which allusion
+may here be made was the
+great conflagration in the year 1504, when the Exchange of the German
+Merchants was burnt. This building, known as the Fondaco de' Tedeschi,
+occupying one of the finest sites on the Grand Canal, was rebuilt by
+order of the Signoria, and Giorgione received the commission to
+decorate
+the fa&ccedil;ade with frescoes. The work was completed by 1508, and
+became the
+most celebrated of all the artist's creations. The Fondaco still stands
+to-day, but, alas! a crimson stain high up on the wall is all that
+remains to us of these great frescoes, which were already in decay when
+Vasari visited Venice in 1541.</p>
+<p>Other work of the kind&#8212;all long since perished&#8212;Giorgione undertook
+with success. The Soranzo Palace, the Palace of Andrea Loredano, the
+Casa Flangini, and elsewhere, were frescoed with various devices, or
+ornamented with monochrome friezes.</p>
+<p>We know nothing of Giorgione's home life; he does not appear to have
+married, or to have left descendants. Vasari speaks of "his many
+friends
+whom he delighted by his admirable performance in music," and his death
+caused "extreme grief to his many friends to whom he was endeared by
+his
+excellent qualities." He enjoyed prosperity and good health, and was
+called Giorgione "as well from the character of his person as for the
+exaltation of his mind."<a name="FNanchor_8"></a><a href="#Footnote_8"><sup>[8]</sup></a></p>
+<p>He died of plague in the early winter of 1510, and was probably
+buried
+with other victims on the island of Poveglia, off Venice, where the
+lazar-house was <a name="Page_5"></a>situated.<a name="FNanchor_9"></a><a
+ href="#Footnote_9"><sup>[9]</sup></a> The tradition that his bones
+were removed
+in 1638 and buried at Castelfranco in the family vault of the
+Barbarelli
+is devoid of foundation, and was invented to round off the story of his
+supposed connection with the family.<a name="FNanchor_10"></a><a
+ href="#Footnote_10"><sup>[10]</sup></a></p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_1"></a><a href="#FNanchor_1">[1]</a>
+<div class="note">
+<p> See Appendix, where the documents are quoted in full.</p>
+</div>
+<a name="Footnote_2"></a><a href="#FNanchor_2">[2]</a>
+<div class="note">
+<p> Vasari gives 1478 (1477 in his first edition) and 1511 as
+the years of his birth and death. Crowe and Cavalcaselle, and Dr. Bode
+prefer to say "before 1477," a supposition which would make his
+precocity less phenomenal, and help to explain some chronological
+difficulties (see p. 66).</p>
+</div>
+<a name="Footnote_3"></a><a href="#FNanchor_3">[3]</a>
+<div class="note">
+<p> <i>Zorzon da Castelfranco. La sua origine, la sua morte e
+tomba</i>, by Dr. Georg Gronau. Venice, 1894.</p>
+</div>
+<a name="Footnote_4"></a><a href="#FNanchor_4">[4]</a>
+<div class="note">
+<p> Vide <i>Repertorium f&uuml;r Kunstwissenschaft</i>, xix. 2, p.
+166.
+[Dr. Gronau.]</p>
+</div>
+<a name="Footnote_5"></a><a href="#FNanchor_5">[5]</a>
+<div class="note">
+<p> It would seem, therefore, desirable to efface the name of
+Barbarelli from the catalogues. The National Gallery, for example,
+registers Giorgione's work under this name.</p>
+</div>
+<a name="Footnote_6"></a><a href="#FNanchor_6">[6]</a>
+<div class="note">
+<p> The translation given is that of Blashfield and Hopkins's
+edition. Bell, 1897.</p>
+</div>
+<a name="Footnote_7"></a><a href="#FNanchor_7">[7]</a>
+<div class="note">
+<p> M. M&uuml;ntz adduces strong arguments in favour of this view
+(<i>La fin de la Renaissance</i>, p. 600).</p>
+</div>
+<a name="Footnote_8"></a><a href="#FNanchor_8">[8]</a>
+<div class="note">
+<p> The name "Giorgione" signifies "Big George." But it seems
+to have been also his father's name.</p>
+</div>
+<a name="Footnote_9"></a><a href="#FNanchor_9">[9]</a>
+<div class="note">
+<p> This visitation claimed no less than 20,000 victims.</p>
+</div>
+<a name="Footnote_10"></a><a href="#FNanchor_10">[10]</a>
+<div class="note">
+<p> See Gronau, <i>op. cit</i>. Tradition has been exceptionally
+busy over Giorgione's affairs. The story goes that he died of grief at
+being betrayed by his friend and pupil, Morto da Feltre, who had robbed
+him of his mistress. This is now proved false by the document quoted in
+the Appendix.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_II"></a>
+<h2><a name="Page_6"></a>CHAPTER II</h2>
+<h2>GENERALLY ACCEPTED WORKS</h2>
+<br>
+<p>Such, then, very briefly, are the facts of Giorgione's life recorded
+by
+the older biographers, or known by contemporary documents. Now let us
+turn to his artistic remains, the <i>disjecta membra</i>, out of which
+we may
+reconstruct something of the man himself; for, to those who can
+interpret it aright, a man's work is his best autobiography.</p>
+<p>This is especially true in the case of an artist of Giorgione's
+temperament, for his expression is so peculiarly personal, so highly
+charged with individuality, that every product of mental activity
+becomes a revelation of the man himself. People like Giorgione must
+express themselves in certain ways, and these ways are therefore
+characteristic. Some people regard a work of art as something external;
+a great artist, they say, can vary his productions at will, he can
+paint
+in any style he chooses. But the exact contrary is the truth. The
+greater the artist, the less he can divest himself of his own
+personality; his work may vary in degree of excellence, but not in
+kind.
+The real reason, therefore, why it is impossible for certain pictures
+to
+be by Giorgione is, not that they are not <i>good</i> enough for him,
+but
+that they are not <i>characteristic</i>. I insist on this point,
+because in
+the matter of genuineness the touchstone of authenticity is so often to
+be looked for <a name="Page_7"></a>in an answer to the question: Is
+this or that
+characteristic? The personal equation is the all-important factor to be
+recognised; it is the connecting link which often unites apparently
+diverse phenomena, and explains what would otherwise appear to be
+irreconcilable.</p>
+<p>There is an intimate relation then between the artist and his work,
+and,
+rightly interpreted, the latter can tell us much about the former.</p>
+<p>Let us turn to Giorgione's work. Here we are brought face to face
+with
+an initial difficulty, the great difficulty, in fact, which has stood
+so
+much in the way of a more comprehensive understanding of the master, I
+mean, that scarcely anything of his work is authenticated. Three
+pictures alone have never been called in question by contending
+critics;
+outside this inner ring is more or less debatable ground, and on this
+wider arena the battle has raged until scarcely a shred of the
+painter's
+work has emerged unscathed. The result has been to reduce the figure of
+Giorgione to a shadowy myth, whose very existence, at the present rate
+at which negative criticism progresses, will assuredly be called in
+question.</p>
+<p>If Bacon wrote Shakespeare, then Giorgione can be divided up between
+a
+dozen Venetian artists, who "painted Giorgione." Fortunately three
+pictures survive which refuse to be fitted in anywhere else except
+under
+"Giorgione." This is the irreducible minimum, &#959; &#945;&#957;&#945;&#947;&#954;&#945;&#953;&#959;&#964;&#945;&#964;&#959;&#962;
+Giorgione, with which we must start.</p>
+<hr style="height: 2px; width: 25%;">
+<p>Of the three universally accepted pictures, first and foremost comes
+the
+Castelfranco altar-piece, according to Mr. Ruskin "one of the two most
+perfect pictures <a name="Page_8"></a>in existence; alone in the world
+as an imaginative
+representation of Christianity, with a monk and a soldier on either
+side
+... "<a name="FNanchor_11"></a><a href="#Footnote_11"><sup>[11]</sup></a>
+This great picture was painted before 1504, when the artist
+was only twenty-seven years of age,<a name="FNanchor_12"></a><a
+ href="#Footnote_12"><sup>[12]</sup></a> a fact which clearly proves
+that
+his genius must have developed early. For not even a Giorgione can
+produce such a masterpiece without a long antecedent course of training
+and accomplishment. This is not the place to inquire into the nature
+and
+character of the works which lead up to this altar-piece, for a
+chronological survey ought to follow, not precede, an examination of
+all
+available material; it is important, nevertheless, to bear in mind that
+quite ten years had been passed in active work ere Giorgione produced
+this masterpiece.</p>
+<p>If no other evidence were forthcoming as to the sort of man the
+painter
+was, this one production of his would for ever stamp him as a person of
+exquisite feeling. There is a reserve, almost a reticence, in the way
+the subject is presented, which indicates a refined mind. An atmosphere
+of serenity pervades the scene, which conveys a sense of personal
+tranquillity and calm. The figures are absorbed in their own thoughts;
+they stand isolated apart, as though the painter wishes to intensify
+the
+mood of dreamy abstraction. Nothing disquieting disturbs the scene,
+which is one of profound reverie. All this points to Giorgione being a
+man of moods, as we say; a lyric poet, whose expression is highly
+charged with personal feeling, who appeals to the imagination rather
+than to the intellect. <a name="Page_9"></a>And so, as we might
+expect, landscape plays an
+important part in the composition; it heightens the pictorial effect,
+not merely by providing a picturesque background, but by enhancing the
+mood of serenity and solemn calm. Giorgione uses it as an instrument of
+expression, blending nature and human nature into happy unison. The
+effect of the early morning sun rising over the distant sea is of
+indescribable charm, and invests the scene with a poetic glamour which,
+as Morelli truly remarks, awakens devotional feelings. What must have
+been the effect when it was first painted! for even five modern
+restorations, under which the original work has been buried, have not
+succeeded in destroying the hallowing charm. To enjoy similar effects
+we
+must turn to the central Italian painters, to Perugino and Raphael;
+certainly in Venetian art of pre-Giorgionesque times the like cannot be
+found, and herein Giorgione is an innovator. Bellini, indeed, before
+him
+had studied nature and introduced landscape backgrounds into his
+pictures, but more for picturesqueness of setting than as an integral
+part of the whole; they are far less suggestive of the mood appropriate
+to the moment, less calculated to stir the imagination than to please
+the eye. Nowhere, in short, in Venetian art up to this date is a
+lyrical
+treatment of the conventional altar-piece so fully realised as in the
+Castelfranco Madonna.</p>
+<p>Technically, Giorgione proclaims himself no less an innovator. The
+composition is on the lines of a perfect equilateral triangle, a scheme
+which Bellini and the older Venetian artists never adopted.<a
+ name="FNanchor_13"></a><a href="#Footnote_13"><sup>[13]</sup></a> So
+<a name="Page_10"></a>simple a scheme required naturally large and
+spacious treatment; flat
+surfaces would be in place, and the draperies cast in ample folds.
+Dignity of bearing, and majestic sweep of dress are appropriately
+introduced; the colour is rich and harmonious, the preponderance of
+various shades of green having a soothing effect on the eye. The golden
+glow which doubtless once suffused the whole, has, alas! disappeared
+under cruel restorations, and flatness of tone has inevitably resulted,
+but we may still admire the play of light on horizontal surfaces, and
+the chiaroscuro giving solidity and relief to the figures.</p>
+<p>An interesting link with Bellini is seen in the S. Francis, for the
+figure is borrowed from that master's altar-piece of S. Giobbe (now in
+the Venice Academy). Bellini's S. Francis had been painted seventeen or
+eighteen years before, and now we find Giorgione having recourse to the
+older master for a pictorial motive. But, as though to assert his
+independence, he has created in the S. Liberale a type of youthful
+beauty and manliness which in turn became the prototype of subsequent
+knightly figures. Palma Vecchio, Mareschalco, and Pennacchi all
+borrowed
+it for their own use, a proof that Giorgione's altar-piece acquired an
+early celebrity.<a name="FNanchor_14"></a><a href="#Footnote_14"><sup>[14]</sup></a></p>
+<p>Exquisite feeling is equally conspicuous in the other two works
+universally ascribed to Giorgione. These are the "Adrastus and
+Hypsipyle," in the collection of Prince Giovanelli, in Venice, and
+the "Aeneas, Evander, and Pallas," in the gallery at Vienna.<a
+ name="FNanchor_15"></a><a href="#Footnote_15"><sup>[15]</sup></a></p>
+<div style="text-align: center;"><a name="ADRASTUS_AND_HYPSIPYLE"></a><img
+ style="width: 305px; height: 379px;" alt="ADRASTUS AND HYPSIPYLE"
+ title="ADRASTUS AND HYPSIPYLE" src="images/drg002.jpg"><a
+ name="Page_11"></a></div>
+<p>"The Giovanelli Figures," or "The Stormy Landscape, with the Soldier
+and
+the Gipsy," as the picture has been commonly called since the days of
+the Anonimo, who so described it in 1530, is totally unlike anything
+that Venetian art of the pre-Giorgionesque era has to show. The painted
+myth is a new departure, the creation of Giorgione's own brain, and as
+such, is treated in a wholly unconventional manner. His peculiarly
+poetical nature here finds full scope for display, his delicacy, his
+refinement, his sensitiveness to the beauties of the outside world,
+find
+fitting channels through which to express themselves. With what a
+spirit
+of romance Giorgione has invested his picture! So exquisitely personal
+is the mood, that the subject itself has taken his biographers nearly
+four centuries to decipher! For the artist, it must be noted, does not
+attempt to illustrate a passage of an ancient writer; very probably,
+nay, almost certainly, he had never read the <i>Thebaid</i> of
+Statius,
+whence comes the story of Adrastus and Hypsipyle; the subject would
+have
+been suggested to him by some friend, a student of the Classics, and
+Giorgione thereupon dressed the old Greek myth in Venetian garb, just
+as
+Statius had done in the Latin.<a name="FNanchor_16"></a><a
+ href="#Footnote_16"><sup>[16]</sup></a> The story is known to us only
+at
+second hand, and we are <a name="Page_12"></a>at liberty to choose
+Giorgione's version in
+preference to that of the Roman poet; each is an independent
+translation
+of a common original, and certainly Giorgione's is not the less
+poetical. He has created a painted lyric which is not an illustration
+of, but a parallel presentation to the written poem of Statius.</p>
+<p>Technically, the workmanship points to an earlier period than the
+Castelfranco Madonna, and there is an exuberance of fancy which points
+to a youthful origin. The figures are of slight and graceful build, the
+composition easy and unstudied, with a tendency to adopt a triangular
+arrangement in the grouping, the apex being formed by the storm scene,
+to which the eye thus naturally reverts. The figures and the landscape
+are brought into close relation by this subtle scheme, and the picture
+becomes, not figures with landscape background, but landscape with
+figures.</p>
+<p>The reproduction unduly exaggerates the contrasts of light and
+shade,
+and conveys little of the mellowness and richness of atmospheric effect
+which characterise the original. Unlike the brilliance of colouring in
+the Castelfranco picture, dark reds, browns, and greens here give a
+sombre tone which is accentuated by the dullness of surface due to old
+varnishes.<br>
+</p>
+<div style="text-align: center;">
+<div style="text-align: center;"><a name="AENEAS_EVANDER_AND_PALLAS"></a></div>
+<img style="width: 363px; height: 332px;"
+ alt="AENEAS, EVANDER, AND PALLAS" title="AENEAS, EVANDER, AND PALLAS"
+ src="images/drg003.jpg"></div>
+ 
+ 
+<p>"The Three Philosophers," or "The Chaldean Sages," as the picture at
+Vienna has long been strangely named, shows the artist again treating a
+classical story in his own fantastic way. Virgil has enshrined in verse
+the legend of the arrival of the Trojan Aeneas in Italy,<a
+ name="FNanchor_17"></a><a href="#Footnote_17"><sup>[17]</sup></a> and
+Giorgione depicts the moment when <a name="Page_13"></a>Evander, the
+aged seer-king, and his
+son Pallas point out to the
+wanderer the site of the future Capitol. Again we find the same
+poetical
+presentation, not representation, of a legendary subject, again the
+same
+feeling for the beauties of nature. How Giorgione has revelled in the
+glories of the setting sun, the long shadows of the evening twilight,
+the tall-stemmed trees, the moss-grown rock! The figures are but a
+pretext, we feel, for an idyllic scene, where the story is subordinated
+to the expression of sensuous charm.
+</p>
+<p>This work was seen by the Anonimo in 1525, in the house of Taddeo
+Contarini at Venice. It was then believed to have been completed by
+Sebastiano del Piombo, Giorgione's pupil. If so,&#8212;and there is no valid
+reason to doubt the statement,&#8212;Giorgione left unfinished a picture on
+which he was at work some years before his death, for the style clearly
+indicates that the artist had not yet reached the maturity of his later
+period. The figures still recall those of Bellini, the modelling is
+close and careful, the forms compact, and reminiscent of the
+quattrocento. It is noticeable that the type of the Pallas is identical
+with that of S. John Baptist in Sebastiano's early altar-piece in S.
+Giovanni Crisostomo at Venice, but it would be unwise to dramatise on
+the share (if any) which the pupil had in completing the work of his
+master. The credit of invention must indubitably rest with Giorgione,
+but the damage which the picture has sustained through neglect and
+repainting in years gone by, renders certainty of discrimination
+between
+the two hands a matter of impossibility.</p>
+<p><a name="Page_14"></a>The colouring is rich and varied; the orange
+horizon, the distant blue
+hill, and the pale, clear evening light, with violet-tinted clouds,
+give
+a wonderful depth behind the dark tree-trunks. The effect of the
+delicate leaves and feathery trees at the edge of the rock, relieved
+against the pale sky, is superb. A spirit of solemnity broods over the
+scene, fit feeling at so eventful a moment in the history of the past.</p>
+<p>The composition, which looks so unstudied, is really arranged on the
+usual triangular basis. The group of figures on the right is balanced
+on
+the left by the great rock&#8212;the future Capitol&#8212;(which is thus brought
+prominently into notice), and the landscape background again forms the
+apex. The added depth and feeling for space shows how Giorgione had
+learnt to compose in three dimensions, the technical advance over the
+"Adrastus and Hypsipyle" indicating a period subsequent to that
+picture,
+though probably anterior to the Castelfranco altar-piece.</p>
+<hr style="height: 2px; width: 25%;">
+<p>We have now taken the three universally accepted Giorgiones; how are
+we
+to proceed in our investigations? The simplest course will be to take
+the pictures acknowledged by those modern writers who have devoted most
+study to the question, and examine them in the light of the results to
+which we have attained. Those writers are Crowe and Cavalcaselle, who
+published their account of Giorgione in 1871, and Morelli, who wrote in
+1877. Now it is notorious that the results at which these critics
+arrived are often widely divergent, but a great deal too much has been
+made of the differences and not enough of the points of agreement.</p>
+<div style="text-align: center;"><a name="THE_JUDGMENT_OF_SOLOMON"></a><img
+ style="height: 419px; width: 308px;" alt="THE JUDGMENT OF SOLOMON"
+ title="THE JUDGMENT OF SOLOMON" src="images/drg004.jpg"></div>
+<p><a name="Page_15"></a>As a matter of fact, Morelli only questions
+three of the thirteen
+Giorgiones accepted definitely by Crowe and Cavalcaselle. Leaving these
+three aside for the moment, we may take the remaining ten (three of
+which we have already examined), and after deducting three others in
+English collections to which Morelli does not specifically refer, we
+are
+left with four more pictures on which these rival authorities are
+agreed.</p>
+<p>These are the two small works in the Uffizi, representing the
+"Judgment
+of Solomon" and the "Trial of Moses," the "Knight of Malta," also in
+the
+Uffizi, and the "Christ bearing the Cross," till lately in the Casa
+Loschi at Vicenza, and now belonging to Mrs. Gardner of Boston, U.S.A.</p>
+<p>The two small companion pictures in the Uffizi, The "Judgment of
+Solomon" and the "Trial of Moses," or "Ordeal by Fire," as it is also
+called, connect in style closely with the "Adrastus and Hypsipyle."
+They
+are conceived in the same romantic strain, and carried out with
+scarcely
+less brilliance and charm. The story, as in the previous pictures, is
+not insisted upon; the biblical episode and the rabbinical legend are
+treated in the same fantastic way as the classic myth. Giovanni Bellini
+had first introduced this lyric conception in his treatment of the
+mediaeval allegory, as we see it in his picture, also in the Uffizi,
+hanging near the Giorgiones; all three works were originally together
+in
+the Medici residence of Poggio Imperiale, and there can be little doubt
+are intimately related in origin to one another. Bellini's latest
+biographer, Mr. Roger Fry, places this Allegory about the years 1486-8,
+a date which points to a very early origin for the <a name="Page_16"></a>other
+two.<a name="FNanchor_18"></a><a href="#Footnote_18"><sup>[18]</sup></a>
+For
+it is extremely likely that the young Giorgione was inspired by his
+master's example, and that he may have produced his companion pieces as
+early as 1493. With this deduction Morelli is in accord: "In character
+they belong to the fifteenth century, and may have been painted by
+Giorgione in his sixteenth or eighteenth year."<a name="FNanchor_19"></a><a
+ href="#Footnote_19"><sup>[19]</sup></a></p>
+<p style="text-align: center;"><img style="width: 313px; height: 423px;"
+ alt="THE TRIAL OF MOSES" title="THE TRIAL OF MOSES"
+ src="images/drg040.jpg"><a name="THE_TRIAL_OF_MOSES"></a><br>
+</p>
+<p>Here, then, is a clue to the young artist's earliest predilections.
+He
+fastens eagerly upon that phase of Bellini's art to which his own
+poetic
+temperament most readily responds. But he goes a step further than his
+master. He takes his subjects not from mediaeval romances, but from the
+Bible or rabbinical writings, and actually interprets them also in this
+new and unorthodox way. So bold a departure from traditional usage
+proves the independence and originality of the young painter. These two
+little pictures thus become historically the first-fruits of the
+neo-pagan spirit which was gradually supplanting the older
+ecclesiastical thought, and Giorgione, once having cast conventionalism
+aside, readily turns to classical mythology to find subjects for the
+free play of fancy. The "Adrastus and Hypsipyle" thus follows naturally
+upon "The Judgment of Solomon" and "Trial of Moses," and the pages of
+Virgil, Ovid, Statius, and Valerius Flaccus&#8212;all treasure-houses of
+golden legend&#8212;yield subjects suggestive of romance. The titles of some
+of these <i>poesie</i>, as they were called, are preserved in the
+pages of
+Ridolfi.<a name="FNanchor_20"></a><a href="#Footnote_20"><sup>[20]</sup></a></p>
+<p>[Illustration: <i>Alinari photo. Uffizi Gallery, Florence</i></p>
+<p>THE TRIAL OF MOSES]</p>
+<p><a name="Page_17"></a>The tall and slender figures, the attitudes,
+and the general
+<i>mise-en-sc&egrave;ne</i> vividly recall the earlier style of
+Carpaccio, who was
+at this very time composing his delightful fairy tales of the "Legend
+of
+S. Ursula."<sup><a href="#Footnote_21">[21]</a></sup> Common to both
+painters is a gaiety and love of beauty
+and colour. There is also in both a freedom and ease, even a homeliness
+of conception, which distinguishes their work from the pageant pictures
+of Gentile Bellini, whose "Corpus Christi Procession" was produced two
+or three years later, in 1496.<a name="FNanchor_21"></a><a
+ href="#Footnote_21"><sup>[21]</sup></a> But Giorgione's art is
+instinct with
+a lyrical fancy all his own, the story is subordinated to the mood of
+the moment, and he is much more concerned with the beauty of the scene
+than with its dramatic import.</p>
+<p style="text-align: left;">The repainted condition of "The Judgment
+of Solomon" has led some good
+judges to pronounce it a copy. It certainly lacks the delicacy that
+distinguishes its companion piece, but may we not&#8212;with Crowe and
+Cavalcaselle and Morelli&#8212;register it rather as a much defaced original?<br>
+<br>
+</p>
+<p style="text-align: center;"><a name="CHRIST_BEARING_THE_CROSS"></a><img
+ style="width: 314px; height: 445px;" alt="CHRIST BEARING THE CROSS"
+ title="CHRIST BEARING THE CROSS"
+ src="images/drg005.jpg"></p>
+<p>So far as we have at present examined Giorgione's pictures, the
+trend of
+thought they display has been mostly in the direction of secular
+subjects. The two early examples just described show that even where
+the
+subject is quasi-religious, the revolutionary spirit made itself felt;
+but it would be perfectly natural to <a name="Page_18"></a>find the
+young artist also
+following his master Giambellini in the painting of strictly sacred
+subjects. No better example could be found than the "Christ bearing the
+Cross," the small work which has recently left Italy for America. We
+are
+told by the Anonimo that there was in his day (1525) a picture by
+Bellini of this subject, and it is remarkable that four separate
+versions exist to-day which, without being copies of one another, are
+so
+closely related that the existence of a common original is a legitimate
+inference. That this was by Bellini is more than probable, for the
+different versions are clearly by different painters of his school. By
+far the finest is the example which Crowe and Cavalcaselle and Morelli
+unhesitatingly ascribe to the young Giorgione; this version is,
+however,
+considered by Signor Venturi inferior to the one now belonging to Count
+Lanskeronski in Vienna.<a name="FNanchor_22"></a><a href="#Footnote_22"><sup>[22]</sup></a>
+Others who, like the writer, have seen both
+works, agree with the older view, and regard the latter version, like
+the others at Berlin and Rovigo, as a contemporary repetition of
+Bellini's lost original.<a name="FNanchor_23"></a><a href="#Footnote_23"><sup>[23]</sup></a></p>
+<p>Characteristic of Giorgione is the abstract thought, the dreaminess
+of
+look, the almost furtive glance. The minuteness of finish reminds us of
+Antonello, and the turn of the head suggests several of the latter's
+portraits. The delicacy with which the features are modelled, <a
+ name="Page_19"></a>the high forehead, and the lighting of the face are
+points to be noted,
+as we shall find the same characteristics elsewhere.</p>
+<div style="text-align: center;"><a name="THE_KNIGHT_OF_MALTA"></a><img
+ style="width: 323px; height: 446px;" alt="THE KNIGHT OF MALTA"
+ title="THE KNIGHT OF MALTA" src="images/drg006.jpg"><br>
+</div>
+<p>The "Knight of Malta," in the Uffizi, is a more mature work, and
+reveals
+Giorgione to us as a portrait painter of remarkable power. The
+conception is dignified, the expression resolute, yet tempered by that
+look of abstract thought which the painter reads into the faces of his
+sitters. The hair parted in the middle, and brought down low at the
+sides of the forehead, was peculiarly affected by the Venetian
+gentlemen
+of the day, and this style seems to have particularly pleased
+Giorgione,
+who introduces it in many other pictures besides portraits. The oval of
+the face, which is strongly lighted, is also characteristic. This work
+shows no direct connection with Bellini's portraiture, but far more
+with
+that which we are accustomed to associate with the names of Titian and
+Palma. It dates probably from the early part of the sixteenth century,
+at a time when Giorgione was breaking with the older tradition which
+had
+strictly limited portraiture to the representation of the head only, or
+at most to the bust. The hand is here introduced, though Giorgione
+feels
+still compelled to account for its presence by introducing a rosary of
+large beads. In later years, as we shall see, the expressiveness of the
+human hand <i>per se</i> will be recognised; but Giorgione already
+feels its
+significance in portraiture, and there is not one of his portraits
+which
+does not show this.<a name="FNanchor_24"></a><a href="#Footnote_24"><sup>[24]</sup></a></p>
+<p><a name="Page_20"></a>The list of Giorgione's works now numbers
+seven; the next three to be
+discussed are those that Crowe and Cavalcaselle added on their own
+account, but about which Morelli expressed no opinion. Two are in
+English private collections, the third in the National Gallery. This is
+the small "Knight in Armour," said to be a study for the figure of S.
+Liberale in the Castelfranco altar-piece. The main difference is that
+in
+the latter the warrior wears his helmet, whilst in the National Gallery
+example he is bareheaded. By some this little figure is believed to be
+a
+copy, or repetition with variations, of Giorgione's original, but it
+must honestly be confessed that absolutely no proof is forthcoming in
+support of this view. The quality of this fragment is unquestionable,
+and its very divergence from the Castelfranco figure is in its favour.
+It would perhaps be unsafe to dogmatise in a case where the material is
+so slight, but until its genuineness can be disproved by indisputable
+evidence, the claim to authenticity put forward in the National Gallery
+catalogue, following Crowe and Cavalcaselle's view, must be allowed.</p>
+<p>The two remaining pictures definitely placed by Crowe and
+Cavalcaselle
+among the authentic productions of Giorgione are the "Adoration of the
+Shepherds," belonging to Mr. Wentworth Beaumont, and the "Judgment of
+Solomon," in the possession of Mr. Ralph Bankes at Kingston Lacy,
+Dorsetshire.</p>
+<div style="text-align: center;"><a
+ name="THE_ADORATION_OF_THE_SHEPHERDS"></a><img
+ style="width: 445px; height: 342px;"
+ alt="THE ADORATION OF THE SHEPHERDS"
+ title="THE ADORATION OF THE SHEPHERDS" src="images/drg007.jpg"></div>
+<p><a name="Page_21"></a>The former (of which an inferior replica with
+differences of landscape
+exists in the Vienna Gallery) is one of the most poetically conceived
+representations of this familiar subject which exists. The actual group
+of figures forms but an episode in a landscape of the most entrancing
+beauty, lighted by the rising sun, and wrapped in a soft atmospheric
+haze. The landscapes in the two little Uffizi pictures are immediately
+suggested, yet the quality of painting is here far superior, and is
+much
+closer in its rendering of atmospheric effects to the "Adrastus and
+Hypsipyle." The figures, on the other hand, are weak, very unequal in
+size, and feebly expressed, except the Madonna, who has charm. The
+lights and shadows are treated in a masterly way, and contrasts of
+gloom
+and sunlight enhance the solemnity of the scene. The general tone is
+rich and full of subdued colour.</p>
+<p>Now if the name of Giorgione be denied this "Nativity," to which of
+the
+followers of Bellini are we to assign it?&#8212;for the work is clearly of
+Bellinesque stamp. The name of Catena has been proposed, but is now no
+longer seriously supported.<a name="FNanchor_25"></a><a
+ href="#Footnote_25"><sup>[25]</sup></a> If for no other reason, the
+colour
+scheme is sufficient to exclude this able artist, and, versatile as he
+undoubtedly was, it may be questioned whether he ever could have
+attained to the mellowness and glow which suffuse this picture. The
+latest view enunciated<a name="FNanchor_26"></a><a href="#Footnote_26"><sup>[26]</sup></a>
+is that "we are in the presence of a painter
+as yet anonymous, whom in German fashion we might provisionally name
+'The Master of the Beaumont "Adoration."'" Now this <a name="Page_22"></a>system
+of labelling
+certain groups of paintings showing common characteristics is all very
+well in cases where the art history of a particular school or period is
+wrapt in obscurity, and where few, if any, names have come down to us,
+but in the present instance it is singularly inappropriate. To begin
+with, this anonymous painter is the author, so it is believed, of only
+three works, this "Adoration," the "Epiphany," in the National Gallery,
+No. 1160, and a small "Holy Family," belonging to Mr. Robert Benson in
+London, for all three works are universally admitted to be by the same
+hand. Next, this anonymous painter must have been a singularly refined
+and poetical artist, a master of brilliant colour, and an accomplished
+chiaroscurist. Truly a <i>deus ex machina</i>! Next you have to find a
+vacancy for such a phenomenon in the already crowded lists of Bellini's
+pupils and followers, as if there were not more names than enough
+already to fully account for every Bellinesque production.<a
+ name="FNanchor_27"></a><a href="#Footnote_27"><sup>[27]</sup></a> No,
+this
+is no question of compromise, of the dragging to light some hitherto
+unknown genius whose identity has long been merged in that of bigger
+men, but it is the recognition of the fact that the greater comprises
+the less. Admitting, as we may, that these three pictures are inferior
+in "depth, significance, cohesion, and poetry" (!) to the Castelfranco
+"Madonna," there is nothing to show that they are not characteristic of
+Giorgione, that they do not form part of a consistent whole. As a
+matter
+of fact, this "Adoration of the Shepherds" connects very well with the
+early <i>po&eacute;sie</i> already discussed. There is some <a
+ name="Page_23"></a>opposition between the
+sacred theme and Giorgione's natural dislike to tell a mere story; but
+he has had to conform to traditional methods of representation, and the
+feeling of restraint is felt in the awkward drawing of the figures, and
+their uneven execution. That he felt dissatisfied with this portion of
+the work, the drawing at Windsor plainly shows, for the figures appear
+here in a different position, as if he had tried to recast his scheme.</p>
+<p>Some may object that the drawing of the shepherd is atrocious, and
+that
+the figures are of disproportionate sizes. Such failings, they say,
+cannot be laid to a great master's charge. This is an appeal to the old
+argument that it is not <i>good</i> enough, whereas the true test lies
+in the
+question, Is it <i>characteristic</i>? Of Giorgione it certainly is a
+characteristic to treat each figure in a composition more or less by
+itself; he isolates them, and this conception is often emphasised by an
+outward disparity of size. The relative disproportion of the figures in
+the Castelfranco altar-piece, and of those of Aeneas and Evander in the
+Vienna picture can hardly be denied, yet no one has ever pleaded this
+as
+a bar to their authenticity. Instances of this want of cohesion, both
+in
+conception and execution, between the various figures in a scene could
+be multiplied in Giorgione's work, no more striking instance being
+found
+than in the great undertaking he left unfinished&#8212;the large "Judgment of
+Solomon," next to be discussed. Moreover, eccentricities of drawing are
+not uncommon in his work, as a reference to the "Adrastus and
+Hypsipyle," and later works, like the "F&ecirc;te Champ&ecirc;tre" (of
+the Louvre),
+will show.</p>
+<p><a name="Page_24"></a>I have no hesitation, therefore, in
+recognising this "Adoration of the
+Shepherds" as a genuine work of Giorgione, and, moreover, it appears to
+be the masterpiece of that early period when Bellini's influence was
+still strong upon him.</p>
+<p>The Vienna replica, I believe, was also executed by Giorgione
+himself.
+Until recent times, when an all too rigorous criticism condemned it to
+be merely a piece of the "Venezianische Schule um 1500" (which is
+correct as far as it goes),<a name="FNanchor_28"></a><a
+ href="#Footnote_28"><sup>[28]</sup></a> it bore Giorgione's name, and
+is so
+recorded in an inventory of the year 1659. It differs from the Beaumont
+version chiefly in its colouring, which is silvery and of delicate
+tones. It lacks the rich glow, and has little of that mysterious
+glamour
+which is so subtly attractive in the former. The landscape is also
+different. We must be on our guard, therefore, against the view that it
+is merely a copy; differences of detail, especially in the landscape,
+show that it is a parallel work, or a replica. Now I believe that these
+two versions of the "Nativity" are the two pictures of "La Notte," by
+Giorgione, to which we have allusion in a contemporary document.<a
+ name="FNanchor_29"></a><a href="#Footnote_29"><sup>[29]</sup></a> The
+description, "Una Notte," obviously means what we term "A Nativity"
+(Correggio's "Heilige Nacht" at Dresden is a familiar instance of the
+same usage), and the difference in quality between the two versions is
+significantly mentioned. It seems that Isabella d'Este, the celebrated
+Marchioness of Mantua, had commissioned one of her agents in Venice to
+procure for her gallery a picture by Giorgione. The agent writes to <a
+ name="Page_25"></a>his
+royal mistress and tells her (October 1510) that the artist is just
+dead, and that no such picture as she describes&#8212;viz. "Una Nocte"&#8212;is
+to be found among his effects. However, he goes on, Giorgione did paint
+two such pictures, but these were not for sale, as they belonged to two
+private owners who would not part with them. One of these pictures was
+of better design and more highly finished than the other, the latter
+being, in his opinion, not perfect enough for the royal collection. He
+regrets accordingly that he is unable to obtain the picture which the
+Marchioness requires.</p>
+<p>If my conjecture be right, we have in the Beaumont and Vienna
+"Nativities" the only two pictures of Giorgione to which allusion is
+made in an absolutely contemporary document, and they thus become
+authenticated material with which to start a study of the master.</p>
+<p>The next picture, which Crowe and Cavalcaselle accept without
+question,
+is the large "Judgment of Solomon," belonging to Mr. Bankes at Kingston
+Lacy. The scene is a remarkable one, conceived in an absolutely unique
+way; Solomon is here posed as a Roman Praetor giving judgment in the
+Atrium, supported on each side by onlookers attired in fanciful costume
+of the Venetian period, or suggestive of classical models. It is the
+strangest possible medley of the Bellinesque and the antique, knit
+together by harmonious colouring and a clever grouping of figures in a
+triangular design. As an interpretation of a dramatic scene it is
+singularly ineffective, partly because it is unfinished, some of the
+elements of the tragedy being entirely wanting, partly because of an
+<a name="Page_26"></a>obvious stageyness in the action of the figures
+taking part in the
+scene. There is a want of dramatic unity in the whole; the figures are
+introduced in an accidental way, and their relative proportion is not
+accurately preserved; the executioner, for example, is head and
+shoulders larger than anyone else, whilst the two figures standing on
+the steps of Solomon's throne are in marked contrast. The one with the
+shield, on the left, is as monumental as one of Bramante's creations,
+the old gentleman with the beard, on the right, is mincing and has no
+shoulders. Solomon himself appears as a young man of dark complexion,
+in
+an attitude of self-contained determination; the way his hands rest on
+the sides of the throne is very expressive. His drapery is cast in
+curious folds of a zig-zag character, following the lines of the
+composition, whilst the dresses of the other personages fall in broad
+masses to the ground. The light and shade are cleverly handled, and the
+spaciousness of the scene is enhanced by the rows of columns and the
+apse of mosaics behind Solomon's head. The painter was clearly versed
+in
+the laws of perspective, and indicates depth inwards by placing the
+figures behind one another on a tesselated pavement or on the receding
+steps of the throne, giving at the same time a sense of atmospheric
+space between one figure and another. The colour scheme is delightful,
+full-toned orange and red alternating with pale blues, olive green, and
+delicate pink, the contrasts so subdued by a clever balance of light
+and
+shade as to harmonise the whole in a delicate silvery key.</p>
+<div style="text-align: center;"><a
+ name="THE_JUDGMENT_OF_SOLOMON_Unfinished"></a><img
+ style="width: 461px; height: 342px;"
+ alt="THE JUDGMENT OF SOLOMON (Unfinished)"
+ title="THE JUDGMENT OF SOLOMON (Unfinished)" src="images/drg008.jpg"><br>
+</div>
+<p>The unfinished figure of the executioner evidently <a name="Page_27"></a>caused
+the artist much trouble, for <i>pentimenti</i> are frequent, and
+other outlines can be distinctly traced through the nude body. The
+effect of this clumsy figure is far from satisfactory; the limbs are
+not
+articulated distinctly; moreover, the balance of the whole composition
+is seriously threatened by the tragedy being enacted at the side
+instead
+of in the middle. The artist appears to have felt this difficulty so
+much that he stopped short at this point; at any rate, the living child
+remains unrepresented, nor is there any second child such as is
+required
+to illustrate the story. It looks as though the scheme was not
+carefully
+worked out before commencing, and that the artist found himself in
+difficulties at the last, when he had to introduce the dramatic motive,
+which apparently was not to his taste.</p>
+<p>Now, all this fits in exactly with what we know of Giorgione's
+temperament; lyrical by nature, he would shrink from handling a great
+dramatic scene, and if such a task were imposed upon him he would
+naturally treat three-fourths of the subject in his own fantastic way,
+and do his best to illustrate the action required in the remaining
+part.
+The result would be (what might be expected) forced or stagey, and the
+action rhetorical, and that is exactly what has happened in this
+"Judgment of Solomon."</p>
+<p>It is a natural inference that, supposing Giorgione to be the
+painter,
+he would never have selected such a subject of his own free will to be
+treated, as this is, on so large a scale. There may be, therefore,
+something in the suggestion which Crowe and Cavalcaselle make that this
+may be the large canvas ordered of <a name="Page_28"></a>Giorgione for
+the audience chamber
+of the Council, "for which purpose," they add, "the advances made to
+him
+in the summer of 1507 and in January 1508 show that the work he had
+undertaken was of the highest consequence."<a name="FNanchor_30"></a><a
+ href="#Footnote_30"><sup>[30]</sup></a></p>
+<p>Be this as it may, the picture was in Venice, in the Casa Grimani di
+Santo Ermagora,<a name="FNanchor_31"></a><a href="#Footnote_31"><sup>[31]</sup></a>
+in Ridolfi's day (1646), and that writer specially
+mentions the unfinished executioner. It passed later into the
+Marescalchi Gallery at Bologna, where it was seen by Lord Byron (1820),
+and purchased at his suggestion by his friend Mr. Bankes, in whose
+family it still remains.<a name="FNanchor_32"></a><a href="#Footnote_32"><sup>[32]</sup></a></p>
+<p>It will be gathered from what I have written that Giorgione and no
+other
+is, in my opinion, the author of this remarkable work. Certain of the
+figures are reminiscent of those by him elsewhere&#8212;e.g. the old man with
+the beard is like the Evander in the Vienna picture, the young man next
+the executioner resembles the Adrastus in the Giovanelli figures, and
+the young man stooping forward next to Solomon recurs in the "Three
+Ages," in the Pitti, which Morelli considered to be by Giorgione. The
+most obvious resemblances, however, are to be found in the Glasgow
+"Adulteress before Christ," a work which several modern critics assign
+to Cariani, although Dr. Bode, Sir Walter Armstrong, and others,
+maintain it to be a real <a name="Page_29"></a>Giorgione. Consistently
+enough, those who
+believe in Cariani's authorship in the one case, assert it in the
+other,<a name="FNanchor_33"></a><a href="#Footnote_33"><sup>[33]</sup></a>
+and as consistently I hold that both are by Giorgione. It is
+conceivable that Cariani may have copied Giorgione's types and
+attitudes, but it is inconceivable to me that he can have so entirely
+assimilated Giorgione's temperament to which this "Judgment of Solomon"
+so eloquently witnesses. Moreover, let no one say that Cariani executed
+what Giorgione designed, for, in spite of its imperfect condition, the
+technique reveals a painter groping his way as he works, altering
+contours, and making corrections with his brush; in fact, it has all
+the
+spontaneity which characterises an original creation.</p>
+<p>The date of its execution may well have been 1507-8, perhaps even
+earlier; at any rate, we must not argue from its unfinished state that
+the painter's death prevented completion, for the style is not that of
+Giorgione's last works. Rather must we conclude that, like the "Aeneas
+and Evander," and several other pictures yet to be mentioned, Giorgione
+stopped short at his work, unwilling to labour at an uncongenial task
+(as, perhaps, in the present case), or from some feeling of
+dissatisfaction at the result, nay, even despair of ever realising his
+poetical conceptions.</p>
+<p>To this important trait in Giorgione's character further reference
+will
+be made when all the available material has been examined; suffice it
+for the moment that this "Judgment of Solomon" is to me a most <i>typical</i>
+example of the great artist's work, a revelation alike of his
+weaknesses
+as of his powers.</p>
+<p><a name="Page_30"></a>Following our method of investigation we will
+next consider the
+pictures which Morelli accredits to Giorgione over and above the seven
+already discussed, wherein he concurs with Crowe and Cavalcaselle.
+These
+are twelve in number, and include some of the master's finest works,
+some of them unknown to the older authorities, or, at any rate,
+unrecorded by them. Here, therefore, the opinions of Crowe and
+Cavalcaselle are not of so much weight, so it will be necessary to see
+how far Morelli's views have been confirmed by later writers during the
+last twenty years.</p>
+<p>Three portraits figure in Morelli's list&#8212;one at Berlin, one at
+Buda-Pesth, and one in the Borghese Gallery at Rome.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_YOUNG_MAN"></a><img
+ style="width: 342px; height: 462px;" alt="PORTRAIT OF A YOUNG MAN"
+ title="PORTRAIT OF A YOUNG MAN" src="images/drg009.jpg"><br>
+</p>
+<p>First, as to the Berlin "Portrait of a Young Man," which, when
+Morelli
+wrote, belonged to Dr. Richter, and was afterwards acquired for the
+Berlin Gallery. "In it we have one of those rare portraits such as only
+Giorgione, and occasionally Titian, were capable of producing, highly
+suggestive, and exercising over the spectator an irresistible
+fascination."<a name="FNanchor_34"></a><a href="#Footnote_34"><sup>[34]</sup></a>
+Such are the great critic's enthusiastic words, and no
+one surely to-day would be found to gainsay them. We may note the
+characteristic treatment of the hair, the thoughtful look in the eyes,
+and the strong light on the face in contrast to the dark frame of hair,
+points which this portrait shares in common with the "Knight of Malta"
+in the Uffizi. Particularly to be noticed, however, is the parapet on
+which the fingers of one <a name="Page_31"></a>hand are visible, and
+the mysterious letters VV.<a name="FNanchor_35"></a><a
+ href="#Footnote_35"><sup>[35]</sup></a> Allusion has
+already been made to the growing practice in Venetian art of
+introducing
+the hand as a significant feature in portrait painting, and here we get
+the earliest indications of this tendency in Giorgione; for this
+portrait certainly ante-dates the "Knight of Malta." It would seem to
+have been painted quite early in the last decade of the fifteenth
+century, when Bellini's art would still be the predominant influence
+over the young artist.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN"></a><img
+ style="width: 342px; height: 462px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg010.jpg"><br>
+</p>
+<p>It is but a step onward to the next portrait, that of a young man,
+in
+the Gallery at Buda-Pesth, but the supreme distinction which marks this
+wonderful head stamps it as a masterpiece of portraiture. Venetian art
+has nothing finer to show, whether for its interpretative qualities, or
+for the subtlety of its execution. Truly Giorgione has here
+foreshadowed
+Velasquez, whose silveriness of tone is curiously anticipated; yet the
+true Giorgionesque quality of magic is felt in a way that the
+impersonal
+Spaniard never realised. Only those who have seen the original can know
+of the wonderful atmospheric background, with sky, clouds, and
+hill-tops
+just visible. The reproduction, alas! gives no hint of all this. Nor
+can
+one appreciate the superb painting of the black quilted dress, with its
+gold braid, or of the shining black hair, confined in a brown net. The
+artist must have been in keen sympathy with this melancholy figure, for
+the expression is so intense that, as Morelli says, "he seems about to
+confide to us the secret of his life."<a name="FNanchor_36"></a><a
+ href="#Footnote_36"><sup>[36]</sup></a></p>
+<p><a name="Page_32"></a>Several points claim our attention. First, the
+parapet has an almost
+illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the
+young man's name. Further, we may notice the recurrence of the letter V
+on a black device, and there is a second curious black tablet, which,
+however, has nothing on it. Between the two is a circle with a device
+of
+three heads in one surrounded by a garland of flowers. No satisfactory
+explanation of these symbols can be offered, but if the second black
+tablet had originally another V, we might conclude that these letters
+were in some mysterious way connected with Giorgione, as they appear
+also on the Berlin portrait. I shall be able to show that another
+instance of this double V exists on yet another portrait by
+Giorgione.<a name="FNanchor_37"></a><a href="#Footnote_37"><sup>[37]</sup></a></p>
+<p>Finally, the expressiveness of the human hand is here fully
+realised.
+This feature alone points to a later date than the "Knight of Malta,"
+and considerably after the still earlier Berlin portrait. The
+consummate
+mastery of technique, moreover, indicates that Giorgione has here
+reached full maturity, so that it would be safe to place this portrait
+about the year 1508.</p>
+<p>Signor Venturi ("La Galleria Crespi") ascribes this portrait to
+Licinio.
+This is one of those inexplicable perversions of judgment to which even
+the best critics are at times liable. In <i>L'Arte</i>, 1900, p. 24,
+the same
+writer mentions that a certain Antonio Broccardo, son of Marino, made
+his will in 1527, and that the same name occurs among those who
+frequented the University of <a name="Page_33"></a>Bologna in 1525.
+There is nothing to prevent Giorgione having painted
+this man's portrait when younger.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_LADY"></a><img
+ style="width: 342px; height: 462px;" alt="PORTRAIT OF A LADY"
+ title="PORTRAIT OF A LADY" src="images/drg011.jpg"><br>
+</p>
+<p>The third portrait in Morelli's list has not had the same friendly
+reception at the hands of later critics as the preceding two have had.
+This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose
+discovery by Morelli is so graphically described in a well-known
+passage.<a name="FNanchor_38"></a><a href="#Footnote_38"><sup>[38]</sup></a>
+And in truth it must be confessed that the authorship of
+this portrait is not at first sight quite so evident as in the other
+cases; nevertheless I am firmly convinced that Morelli saw further than
+his critics, and that his intuitive judgment was in this instance
+perfectly correct.<a name="FNanchor_39"></a><a href="#Footnote_39"><sup>[39]</sup></a>
+The simplicity of conception, the intensity of
+expression, the pose of the figure alike proclaim the master, whose
+characteristic touch is to be seen in the stone ledge, the fancy
+head-dress, the arrangement of hair, and the modelling of the features.
+The presence of the hands is characteristically explained by the
+handkerchief stretched tight between them, the action being expressive
+of suppressed excitement: "She stands at a window ... gazing out with a
+dreamy, yearning expression, as if seeking to descry one whom she
+awaits."</p>
+<p>Licinio, whose name has been proposed as the painter, did indeed
+follow
+out this particular vein of Giorgione's portraiture, so that "Style of
+Licinio" is not an altogether inapt attribution; but there is just that
+difference of quality between the one man's work <a name="Page_34"></a>and
+the other, which
+distinguishes any great man from his followers, whether in literature
+or
+in art. How near (and yet how far!) Licinio came to his great prototype
+is best seen in Lady Ashburton's "Portrait of a Young Man,"<a
+ name="FNanchor_40"></a><a href="#Footnote_40"><sup>[40]</sup></a> but
+that
+he could have produced the Borghese "Lady" presupposes qualities he
+never possessed. "To Giorgione alone was it given to produce portraits
+of such astonishing simplicity, yet so deeply significant, and capable,
+by their mystic charm, of appealing to our imagination in the highest
+degree."<a name="FNanchor_41"></a><a href="#Footnote_41"><sup>[41]</sup></a></p>
+<p>The actual condition of this portrait is highly unsatisfactory, and
+is
+adduced by some as a reason for condemning it. Yet the spirit of the
+master seems still to breathe through the ruin, and to justify
+Morelli's
+ascription, if not the enthusiastic language in which he writes.</p>
+<p style="text-align: center;"><a name="APOLLO_AND_DAPHNE"></a><img
+ style="width: 462px; height: 294px;" alt="APOLLO AND DAPHNE"
+ title="APOLLO AND DAPHNE" src="images/drg012.jpg"><br>
+</p>
+<p>With the fourth addition on Morelli's list we pass into a totally
+different sphere of art&#8212;the decoration of <i>cassoni</i>, and other
+pieces
+of furniture. We have seen Giorgione at work on legendary stories or
+classic myths, creating out of these materials pages of beauty and
+romance in the form of easel paintings, and now we have the same thing
+as applied art&#8212;that is, art used for purely decorative purposes. The
+"Apollo and Daphne" in the Seminario at Venice was probably a panel of
+a
+<i>cassone</i>; but although intended for so humble a place, it is
+instinct
+with rare poetic feeling and beauty. Unfortunately it is in such a bad
+state that little remains of the original work, and <a name="Page_35"></a>Giorgione's
+touch is scarcely to be recognised in the damaged parts.
+Nevertheless, his spirit breathes amidst the ruin, and modern critics
+have recognised the justice of Morelli's view, rather than that of
+Crowe
+and Cavalcaselle, who suggested Schiavone as the "author."<a
+ name="FNanchor_42"></a><a href="#Footnote_42"><sup>[42]</sup></a> And,
+indeed, a comparison with the "Adrastus and Hypsipyle" is enough to
+show
+a common origin, although, as we might expect, the same consummate
+skill
+is scarcely to be found in the <i>cassone</i> panel as in the easel
+picture.
+There is a rare daintiness, however, in these graceful figures, so
+essentially Giorgionesque in their fanciful presentation, the young
+Apollo, a lovely, fair-haired boy, pursuing a maiden with flowing
+tresses, whose identity with Daphne is only to be recognised by the
+laurel springing from her fingers. The story is but an episode in a
+sylvan scene, where other figures, in quaint costumes, seem to be
+leading an idyllic existence, untroubled by the cares of life, and
+utterly unconcerned at the strange event passing before their eyes.</p>
+<p>From the "Apollo and Daphne" it is an easy transition to the
+"Venus,"
+that great discovery which we owe to Morelli, and now universally
+recognised by modern critics. The one point on which Morelli did not,
+perhaps, lay sufficient stress, is the co-operation in this work of
+Titian with Giorgione, for here we have an additional proof that the
+latter left some of his work unfinished. It is a fair inference that
+Titian completed the Cupid (now removed), and that he had a hand in
+finishing the landscape; the Anonimo, indeed, states as much, and
+Ridolfi confirms it, and <a name="Page_36"></a>this view is officially
+adopted in the latest
+edition of the Dresden Catalogue. The style points to Giorgione's
+maturity, though scarcely to the last years of his life; for, in spite
+of the freedom and breadth of treatment in the landscape, there is a
+restraint in the figure, and a delicacy of form which points to a
+period
+preceding, rather than contemporary with, the Louvre "Concert" and
+kindred works, where the forms become fuller and rounder, and the
+feeling more exuberant.</p>
+<p style="text-align: center;"><a name="VENUS"></a><img
+ style="width: 461px; height: 328px;" alt="VENUS" title="VENUS"
+ src="images/drg013.jpg"><br>
+</p>
+<p>It would be mere repetition, after all that has been written on the
+Dresden "Venus," to enlarge on the qualities of refinement and grace
+which characterise the fair form of the sleeping goddess. One need but
+compare it with Titian's representations of the same subject, and still
+more with Palma's versions at Dresden and Cambridge, or with Cariani's
+"Venus" at Hampton Court, to see the classic purity of form, the ideal
+loveliness of Giorgione's goddess.<a name="FNanchor_43"></a><a
+ href="#Footnote_43"><sup>[43]</sup></a> It is no mere accident that
+she
+alone is sleeping, whilst they solicit attention. Giorgione's
+conception
+is characteristic in that he endeavours to avoid any touch of realism
+abhorrent to his nature, which was far more sensitive than that of
+Palma, Cariani, or even Titian.</p>
+<p>The extraordinary beauty and subtlety of the master's "line" is
+admirably shown. He has deliberately forgone anatomical precision in
+order to accentuate artistic effect. The splendour of curve, the beauty
+of unbroken contour, the rhythm and balance of composition is attained
+at a cost of academic correctness; but the long-drawn horizontal lines <a
+ name="Page_37"></a>heighten the sense of repose, and the eye is
+soothed by the sinuous
+undulations of landscape and figure. The artistic effect is further
+enhanced by the relief of exquisite flesh tones against the rich
+crimson
+drapery, and although the atmospheric glow has been sadly destroyed by
+abrasion and repainting, we may still feel something of the magic charm
+which Giorgione knew so well how to impart.</p>
+<p>This "Venus" is the prototype of all other Venetian versions; it is
+in
+painting what the "Aphrodite" of Praxiteles was in sculpture, a perfect
+creation of a master mind.</p>
+<p style="text-align: center;"><a name="JUDITH"></a><img
+ style="width: 248px; height: 507px;" alt="JUDITH" title="JUDITH"
+ src="images/drg014.jpg"><br>
+</p>
+<p>Scarcely less wonderful than the "Venus," and even surpassing it in
+solemn grandeur of conception, is the "Judith" at St. Petersburg.
+Morelli himself had never seen the original, and includes it in his
+list
+with the reservation that it might be an old copy after Giorgione, and
+not the original. It would be presumptuous for anyone not familiar with
+the picture to decide the point, but I have no hesitation in following
+the judgment of two competent modern critics, both of whom have
+recently
+visited St. Petersburg, and both of whom have decided unhesitatingly in
+favour of its being an original by Giorgione. Dr. Harck has written
+enthusiastically of its beauty. "Once seen," he says, "it can never be
+forgotten; the same mystic charm, so characteristic of the other great
+works of Giorgione, pervades it; ... it bears on the face of it the
+stamp of a great master."<a name="FNanchor_44"></a><a
+ href="#Footnote_44"><sup>[44]</sup></a> Even more decisive is the
+verdict of Mr.
+Claude Phillips.<a name="FNanchor_45"></a><a href="#Footnote_45"><sup>[45]</sup></a>
+"All doubts," he says, "vanish <a name="Page_38"></a>like sun-drawn
+mist
+in the presence of the work itself; the first glance carries with it
+conviction, swift and permanent. In no extant Giorgione is the golden
+glow so well preserved, in none does the mysterious glamour from which
+the world has never shaken itself free, assert itself in more
+irresistible fashion.... The colouring is not so much Giorgionesque as
+Giorgione's own&#8212;a widely different thing.... Wonderful touches which
+the imitative Giorgionesque painter would not have thought of are the
+girdle, a mauve-purple now, with a sharply emphasised golden fringe,
+and
+the sapphire-blue jewel in the brooch. Triumphs of execution, too, but
+not in the broad style of Venetian art in its fullest expansion, are
+the
+gleaming sword held in so dainty and feminine a fashion, and the
+flowers
+which enamel the ground at the feet of the Jewish heroine." This
+"Judith," after passing for many years under the names of Raphael and
+Moretto,<a name="FNanchor_46"></a><a href="#Footnote_46"><sup>[46]</sup></a>
+is now officially recognised as Giorgione's work, an
+identification first made by the late Herr Penther, the keeper of the
+Vienna Academy, whom Morelli quotes.</p>
+<p>The conception is wholly Giorgionesque, the mood one of calm
+contemplation, as this lovely figure stands lost in reverie, with eyes
+cast down, gazing on the head on which her foot is lightly laid. The
+head and sword proclaim her story, they are symbols of her mission,
+else
+she had been taken for an embodiment of feminine modesty and gentle
+submissiveness.<a name="FNanchor_47"></a><a href="#Footnote_47"><sup>[47]</sup></a></p>
+<p>Characteristic of the master is the introduction of <a
+ name="Page_39"></a>the great tree-trunk, conveying a sense of grandeur
+and solemn mystery
+to the scene; characteristic, too, is the distant landscape, the
+splendid glow of which evokes special praise from the writers just
+mentioned. Again we find the parapet, or ledge, with its flat surface
+on
+which the play of light can be caught, and again the same curious
+folds,
+broken and crumpled, such as are seen on Solomon's robe in the Kingston
+Lacy picture, and somewhat less emphatically in the Castelfranco
+"Madonna."</p>
+<p>Consistent, moreover, with that weakness we have already noticed
+elsewhere, is the design of the leg and foot, the drawing of which is
+far from impeccable. That the execution in this respect is not equal to
+the supreme conception of the whole, is no valid reason for the belief
+that this "Judith" is only a copy of a lost original, a belief that
+could apparently only be held by those who have never stood before the
+picture itself.<a name="FNanchor_48"></a><a href="#Footnote_48"><sup>[48]</sup></a>
+But even in the reproduction this "Judith" stands
+confessed as the most impressive of all Giorgione's single figures, and
+it may well rank as the masterpiece of the earlier period immediately
+preceding the Castelfranco picture of about 1504, to which in style it
+closely approximates.</p>
+<p style="text-align: center;"><a name="A_PASTORAL_SYMPHONY"></a><img
+ style="width: 396px; height: 340px;" alt="A PASTORAL SYMPHONY"
+ title="A PASTORAL SYMPHONY" src="images/drg015.jpg"><br>
+</p>
+<p>The next picture on Morelli's list is the "F&ecirc;te
+Champ&ecirc;tre" of the
+Louvre, or, as it is often called, the "Concert." This lovely "Pastoral
+Symphony" (which appears to me a more suitable English title) is by no
+means universally regarded as a creation of Giorgione's hand and brain,
+and several modern critics have been at pains to show that Campagnola,
+or some <a name="Page_40"></a>other Venetian imitator of the great
+master, really produced
+it.<a name="FNanchor_49"></a><a href="#Footnote_49"><sup>[49]</sup></a>
+In this endeavour Crowe and Cavalcaselle led the way by
+suggesting the author was probably an imitator of Sebastiano del
+Piombo.
+But all this must surely seem to be heresy when we stand before the
+picture itself, thrilled by the gorgeousness of its colour, by the
+richness of the paradise" in which the air is balmy, and the landscape
+ever green; where life is a pastime, and music the only labour; where
+groves are interspersed with meadows and fountains; where nymphs sit
+playfully on the grass, or drink at cool springs."<a name="FNanchor_50"></a><a
+ href="#Footnote_50"><sup>[50]</sup></a> Was ever such a
+gorgeous idyll? In the whole range of painted poetry can the like be
+found?</p>
+<p>Yet let us be more precise in our analysis. Granted that the scene
+is
+one eminently adapted to Giorgione's poetic temperament, is the
+execution analogous to that which we have found in the preceding
+examples? No one will deny, I suppose, that there is a difference
+between the intensely refined forms of the Venus, or the earlier
+Hypsipyle, or the Daphne, and the coarser nudes in the Louvre picture.
+No one will deny a certain carelessness marks the delineation of form,
+no one will gainsay a frankly sensuous charm pervades the scene, a
+feeling which seems at first sight inconsistent with that reticence and
+modesty so conspicuous elsewhere. Yet I think all this is perfectly
+explicable on the basis of natural evolution. Exuberance <a
+ name="Page_41"></a>of feeling is the logical outcome of a lifetime
+spent in an atmosphere
+of lyrical thought, and certainly Giorgione was not the sort of man to
+control those natural impulses, which grew stronger with advancing
+years. Both traditions of his death point in this direction; and,
+unless
+I am mistaken, the quality of his art, as well as its character,
+reflects this tendency. In his later years, 1508-10, he attains indeed
+a
+magnificence and splendour which dazzles the eye, but it is at the cost
+of that feeling of restraint which gives the earlier work such
+exquisite
+charm. In such a work as the Louvre "Concert," Giorgio has become
+Giorgione; he is riper in experience and richer in feeling, and his art
+assumes a corresponding exuberance of style, his forms become larger,
+his execution grows freer. Nay, more, that strain of carelessness is
+not
+wanting which so commonly accompanies such evolutions of character. And
+so this "Pastoral Symphony" becomes a characteristic production&#8212;that
+is, one which a man of Giorgione's temperament would naturally produce
+in the course of his developing. Peculiar, however, to an artist of
+genius is the subtlety of composition, which is held together by
+invisible threads, for nowhere else, perhaps, has Giorgione shown a
+greater mastery of line. The diagonal line running from behind the nude
+figure on the left down to the foot so cunningly extended of the seated
+youth, is beautifully balanced by the line which is formed by the
+seated
+figure of the woman. The artist has deliberately emphasised this line
+by
+the curious posture of the legs. The figure, indeed, does not sit at
+all, but the balance of the composition <a name="Page_42"></a>is the
+better assured. What
+exquisite curves the standing woman presents! how cleverly the drapery
+continues the beautiful line, which Giorgione takes care not to break
+by
+placing the left leg and foot out of sight. How marvellously
+expressive,
+nay, how <i>inevitable</i> is the hand of the youth who is playing.
+Surely
+neither Campagnola nor any other second-rate artist was capable of such
+things!</p>
+<p style="text-align: center;"><img style="width: 396px; height: 340px;"
+ alt="THE THREE AGES OF MAN" title="THE THREE AGES OF MAN"
+ src="images/drg016.jpg"><a name="THE_THREE_AGES_OF_MAN"></a><br>
+</p>
+<p>The eighth picture cited by Morelli as, in his opinion, a genuine
+Giorgione, is the so-called "Three Ages of Man," in the Pitti at
+Florence&#8212;a damaged picture, but parts of which, as he says, "are still
+so splendid and so thoroughly Giorgionesque that I venture to ascribe
+it
+without hesitation to Giorgione."<a name="FNanchor_51"></a><a
+ href="#Footnote_51"><sup>[51]</sup></a> The three figures are grouped
+naturally, and are probably portraits from life. The youth in the
+centre
+we have already met in the Kingston Lacy "Judgment of Solomon"; the man
+on the right recurs in the "Family Concert" at Hampton Court, and is
+strangely like the S. Maurice in the signed altar-piece at Berlin by
+Luzzi da Feltre.<a name="FNanchor_52"></a><a href="#Footnote_52"><sup>[52]</sup></a>
+But like though they be in type, in quality the
+heads in the "Three Ages" are immensely superior to those in the Berlin
+picture. The same models may well have served Giorgione and his friend
+and pupil Luzzi, or, as he is generally called, Morto da Feltre. A
+recent study of the few authenticated works by this feeble artist still
+at Feltre, his native place, forces me to dissent from the opinion that
+the Pitti "Three Ages" is the work of his hand.<a name="FNanchor_53"></a><a
+ href="#Footnote_53"><sup>[53]</sup></a><a name="Page_43"></a>Still
+less do I hold with the view that Lotto is the author.<a
+ name="FNanchor_54"></a><a href="#Footnote_54"><sup>[54]</sup></a>
+Here,
+again, I believe Morelli saw further than other critics, and that his
+attribution is the right one. The simplicity, the apparently unstudied
+grouping, the refinement of type, the powerful expression, are worthy
+of
+the master; the play of light on the faces, especially on that of the
+youth, is most characteristic, and the peculiar chord of colour reveals
+a sense of originality such as no imitator would command. Unless I am
+mistaken, the man on the right is none other than the Aeneas in the
+Vienna picture, and his hand with the pointing forefinger is such as we
+see two or three times over in the "Judgment of Solomon" and elsewhere.
+Certainly here it is awkwardly introduced, obviously to bring the
+figure
+into direct relation with the others; but Giorgione is by no means
+always supreme master of natural expression, as the hands in the
+"Adrastus and Hypsipyle" and Vienna pictures clearly show.</p>
+<p>Here, for the first time, we meet Giorgione in those studies of
+human
+nature which are commonly called "conversation pieces," or
+"concerts"&#8212;natural groups of generally three people knit together by
+some common bond, which is usually music in one form or another. It is
+not the idyll of the "Pastoral Symphony," but akin to it as an
+expression of some exquisite moment of thought or feeling, an ideal
+instant "in which, arrested thus, we seem to be spectators of all the
+fulness of existence, and which is like some consummate extract or
+quintessence of life."<a name="FNanchor_55"></a><a href="#Footnote_55"><sup>[55]</sup></a>
+<a name="Page_44"></a>No one before Giorgione's time had painted
+such ideas, such poems without articulated story; and to have reached
+this stage of development presupposes a familiarity with set subjects
+such as a classic myth or mediaeval romance would offer for treatment.
+And so this "Three Ages" dates from his later years.</p>
+<p style="text-align: center;"><a name="NYMPH_AND_SATYR"></a><img
+ style="width: 440px; height: 345px;" alt="NYMPH AND SATYR"
+ title="NYMPH AND SATYR" src="images/drg017.jpg"><br>
+</p>
+<p>Another picture in the Pitti was also recognised by Morelli as
+Giorgione's work&#8212;"The Nymph pursued by a Satyr." Modern criticism seems
+undecided on the justice of this view, some writers inclining to the
+belief that this is a Giorgionesque production of Dosso Dossi, others
+preserving a discreet silence, or making frank avowal of their
+inability
+to decide. Nevertheless, I venture to agree with Morelli that "we have
+all the characteristics of an early (?) work of Giorgione&#8212;the type of
+the nymph with the low forehead, the charming arrangement of the hair
+upon the temples, the eyes placed near together, and the hand with
+tapering fingers."<a name="FNanchor_56"></a><a href="#Footnote_56"><sup>[56]</sup></a>
+The oval of the face recalls the "Knight of
+Malta," the high cranium and treatment of the hair such as we find in
+the Dresden "Venus" and elsewhere. The delicacy of modelling, the
+beauty
+of the features are far beyond Dosso's powers, who, brilliant artist as
+he sometimes was, was of much coarser fibre than the painter of these
+figures. The difference of calibre between the two is well illustrated
+by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone"
+in the Modena Gallery, or with those uncouth productions, also in the
+Pitti, the "S. John <a name="Page_45"></a>Baptist" and the
+"Bambocciate."<a name="FNanchor_57"></a><a href="#Footnote_57"><sup>[57]</sup></a>
+Were the repaints removed, I think
+all doubts as to the authorship would be set at rest, and the "Nymph
+and
+Satyr" would take its place among the slighter and more summary
+productions of Giorgione's brush.</p>
+<p style="text-align: center;"><a name="Madonna_and_saints"></a><img
+ style="width: 452px; height: 359px;" alt="MADONNA AND SAINTS"
+ title="MADONNA AND SAINTS" src="images/drg018.jpg"><br>
+</p>
+<p>Only one sacred subject figures in the additions made by Morelli to
+the
+list of genuine Giorgiones. This is the small altar-piece at Madrid,
+with Madonna seated between S. Francis and S. Roch. Traditionally
+accredited to Pordenone, it has now received official recognition as a
+masterpiece of Giorgione, an attribution that, so far as I am aware, no
+one has seriously contested.<a name="FNanchor_58"></a><a
+ href="#Footnote_58"><sup>[58]</sup></a> And, indeed, it is hard to
+conceive
+wherein any objection could possibly lie, for it is a typical creation
+of the master, <i>usque ad unguem</i>. Not only in types, colour,
+light and
+shade, and particularly in feeling, is the picture characteristic, but
+it again shows the artist leaving work unfinished, and again reveals
+the
+fact that the work grew in conception as it was actually being painted.
+I mean that the whole figure of S. Roch has been painted in over the
+rest, and that the S. Francis has also probably been introduced
+afterwards. I have little doubt that originally Giorgione intended to
+paint a simple Madonna and Child, and afterwards extended the scheme.
+The composition of three figures, practically in a row, is moreover
+most
+unusual, and contrary to that triangular scheme particularly favoured
+by
+the master, whereas <a name="Page_46"></a>the lovely sweep of
+Madonna's dress by itself
+creates a perfect design on a triangular basis. A great artist is here
+revealed, one whose feeling for line is so intense that he wilfully
+casts the drapery in unnatural folds in order to secure an artistic
+triumph. The working out of the dress within this line has yet to be
+done, the folds being merely suggested, and this task has been left
+whilst forwarding other parts. The freedom of touch and thinness of
+paint indicates how rapidly the artist worked. There is little
+deliberation apparent: indeed, the effect is that of hasty
+improvisation. Velasquez could not have painted the stone on which S.
+Roch rests his foot with greater precision or more consummate mastery;
+the delicacy of flesh tints is amazing. The bit of landscape behind S.
+Roch (invisible in the reproduction), with its stately tree trunk
+rising
+solitary beside the hanging curtain, strikes a note of romance, fit
+accompaniment to the bizarre figure of the saint in his orange jerkin
+and blue leggings. How mysterious, too, is S. Francis!&#8212;rapt in his own
+thoughts, yet strangely human.</p>
+<p style="text-align: center;"><a
+ name="COPY_OF_A_PORTION_OF_GIORGIONES_BIRTH_OF_PARIS"></a><img
+ style="width: 327px; height: 496px;"
+ alt="COPY OF A PORTION OF GIORGIONE'S &quot;BIRTH OF PARIS&quot;"
+ title="COPY OF A PORTION OF GIORGIONE'S &quot;BIRTH OF PARIS&quot;"
+ src="images/drg019.jpg"><br>
+</p>
+<p>We have now examined ten of the twelve pictures added, on Morelli's
+initiative, to the list of genuine works, and we have found very
+little,
+if any, serious opposition on the part of later writers to his views.
+Not so, however, with regard to the remaining two pictures. The first
+of
+these is a fragment in the gallery of Buda-Pesth, representing two
+figures in a landscape. All modern critics are agreed that Morelli has
+here mistaken an old copy after Giorgione for an original, a mistake we
+may readily pardon in consideration of the successful identification he
+has made of these <a name="Page_47"></a>figures with the Shepherds, in
+the composition seen and described by
+the Anonimo in 1525 as the "Birth of Paris," by Giorgione. This
+identification is fully confirmed by the engraving made by Th. von
+Kessel for the <i>Theatrum Pictorium</i>, which shows how these two
+figures
+are placed in the composition. Where, as in the present case, the
+original is missing, even a partial copy is of great value, for in it
+we
+can see the mind, if not the hand, of the great master. The Anonimo
+tells us this "Birth of Paris" was one of Giorgione's early works, a
+statement worthy of credence from the still Bellinesque stamp and
+general likeness of one of the Shepherds to the "Adrastus" in the
+Giovanelli picture. In pose, type, arrangement of hair, and in
+landscape
+this fragment is thoroughly Giorgionesque, and we have, moreover, those
+most characteristic traits, the pointing forefinger, and the unbroken
+curve of outline. The execution is, however, raw and crude, and
+entirely
+wanting in the magic quality of the master's own touch.<a
+ name="FNanchor_59"></a><a href="#Footnote_59"><sup>[59]</sup></a></p>
+<p style="text-align: center;"><a name="THE_SHEPHERD_BOY."></a><img
+ style="width: 327px; height: 496px;" alt="THE SHEPHERD BOY."
+ title="THE SHEPHERD BOY." src="images/drg020.jpg"><a
+ name="PORTRAIT_OF_A_MAN_TORBIDO"></a><img
+ style="width: 327px; height: 496px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg021.jpg"><br>
+</p>
+<p>Finally, on Morelli's list figures the "Shepherd" at Hampton Court,
+for
+the genuineness of which the critic would not absolutely vouch, as he
+had only seen it in a bad light. Perhaps no picture has been so
+strongly
+championed by an enthusiastic writer as has been this "Shepherd" by Mr.
+Berenson, who strenuously advocates its title to genuineness.<a
+ name="FNanchor_60"></a><a href="#Footnote_60"><sup>[60]</sup></a>
+Nevertheless, several modern authorities remain unconvinced in presence
+of the work itself. The conception <a name="Page_48"></a>is
+unquestionably Giorgione's own,
+as we may see from a picture now in the Vienna Gallery, where this head
+is repeated in a representation of the young David holding the head of
+Goliath. The Vienna picture is, however, but a copy of a lost original
+by Giorgione, the existence of which is independently attested by
+Vasari.<a name="FNanchor_61"></a><a href="#Footnote_61"><sup>[61]</sup></a>
+Now, the question naturally arises, What relation does the
+Hampton Court "Shepherd" bear to this "David," Giorgione's lost
+original? It is possible, of course, that the master repeated himself,
+merely transforming the David into a Shepherd, or <i>vice vers&acirc;</i>,
+and it
+is equally possible that some other and later artist adapted
+Giorgione's
+"David" to his own end, utilising the conception that is, and carrying
+it out in his own way. Arguing purely <i>a priori</i>, the latter
+possibility
+is the more likely, inasmuch as we know Giorgione hardly ever repeats a
+figure or a composition, whereas Titian, Cariani, and other later
+Venetian artists freely adopted Giorgione's ideas, his types, and his
+compositions for their own purposes. Internal evidence appears to me,
+moreover, to confirm this view, for the general style of painting seems
+to indicate a later period than 1510, the year of Giorgione's death.
+The
+flimsy folds, in particular, are not readily recognisable as the
+master's own. A comparison with a portrait in the Gallery of Padua
+reveals, particularly in this respect, striking resemblances. This fine
+portrait was identified by both Crowe and Cavalcaselle and by Morelli
+as
+the work of Torbido, and I venture to place the reproduction of it
+beside that of the "Shepherd" for comparison. It is not easy to
+pronounce on <a name="Page_49"></a>the technical qualities of either
+work, for both have suffered from
+re-touching and discolouring varnish, and the hand of the "Shepherd" is
+certainly damaged. Yet, whilst admitting that the evidence is
+inconclusive, I cannot refrain from suggesting Torbido's name as
+possible author of the "Shepherd," the more so as we know he carefully
+studied and formed his style upon Giorgione's work.<a name="FNanchor_62"></a><a
+ href="#Footnote_62"><sup>[62]</sup></a> It is at least
+conceivable that he took Giorgione's "David with the Head of Goliath,"
+and by a simple, and in this case peculiarly appropriate,
+transformation, changed him into a shepherd boy holding a flute.</p>
+<p>We have now taken all the pictures which either Crowe and
+Cavalcaselle
+or Morelli, or both, assign to Giorgione himself. There still remain,
+however, three or four works to be mentioned where these authorities
+hold opposite views which require some examination.</p>
+<p>First and foremost comes the "Concert" in the Pitti Gallery, a work
+which was regarded by Crowe and Cavalcaselle not only as a genuine
+example of Giorgione's art, but as "not having its equal in any period
+of Giorgione's practice. It gives," they go on, "a just measure of his
+skill, and explains his celebrity."<a name="FNanchor_63"></a><a
+ href="#Footnote_63"><sup>[63]</sup></a> Morelli, on the contrary,
+holds:
+"It has unfortunately been so much damaged by a restorer that little
+enough remains of the original, yet from the form of the hands and of
+the ear, and from the gestures of the figures, we are led to infer that
+it is not a work of Giorgione, <a name="Page_50"></a>but belongs to a
+somewhat later period.
+If the repaint covering the surface were removed we should, I think,
+find that it is an early work by Titian."<a name="FNanchor_64"></a><a
+ href="#Footnote_64"><sup>[64]</sup></a> Where Morelli hesitated
+his followers have decided, and accordingly, in Mr. Berenson's list, in
+Mr. Claude Phillips' "Life of Titian," and in the latest biography on
+that master, published by Dr. Gronau, we find the "Concert" put down to
+Titian. On the other hand, Dr. Bode, Signor Conti in his monograph on
+Giorgione, M. M&uuml;ntz, and the authorities in Florence support the
+traditional view that the "Concert" is a masterpiece of Giorgione.</p>
+<p style="text-align: center;"><a name="THE_CONCERT"></a><img
+ style="width: 384px; height: 347px;" alt="THE CONCERT"
+ title="THE CONCERT" src="images/drg022.jpg"><br>
+</p>
+<p>Which view is the right one? To many this may appear an academic
+discussion of little value, for, <i>ipso facto</i>, the quality of the
+work
+is admitted by all. The picture is a fine thing, in spite of its
+imperfect condition, and what matter whether Titian or Giorgione be the
+author? But to this sort of argument it may be said that until we do
+know what is Giorgione's work and what is not, it is impossible to
+gauge
+accurately the nature and scope of his art, or to reach through that
+channel the character of the artist behind his work. In the case of
+Giorgione and Titian, the task of drawing the dividing line is one of
+unusual difficulty, and a long and careful study of the question has
+convinced me that this will have to be done in a way that modern
+criticism has not yet attempted. From the very earliest days the two
+have been so inextricably confused that it will require a very
+exhaustive re-examination of all the evidence in the light of modern
+discoveries, documentary and pictorial, coupled, I am <a name="Page_51"></a>afraid,
+with the recognition of the fact that
+much modern criticism on
+this point has been curiously at fault. This is neither the time nor
+the
+place to discuss the question of Titian's early work, but I feel sure
+that this chapter of art history has yet to be correctly written.<a
+ name="FNanchor_65"></a><a href="#Footnote_65"><sup>[65]</sup></a>
+One of the determining factors in the discussion will be the authorship
+of the Pitti "Concert," for our estimate of Giorgione or Titian must be
+coloured appreciably by the recognition of such an epoch-making picture
+as the work of one or the other.</p>
+<p>It is, therefore, peculiarly unfortunate that the two side figures
+in
+this wonderful group are so rubbed and repainted as almost to defy
+certainty of judgment. In conception and spirit they are typically
+Giorgionesque, and Morelli, I imagine, would scarcely have made the
+bold
+suggestion of Titian's authorship but for the central figure of the
+young monk playing the harpsichord. This head stands out in grand
+relief, being in a far purer state of preservation than the rest, and
+we
+are able to appreciate to some extent the extraordinarily subtle
+modelling of the features, the clear-cut contours, the intensity of
+expression. The fine portrait in the Louvre, known as "L'homme au
+gant,"
+an undoubted early work of Titian, is singularly close in character and
+style, as was first pointed out by Mr. Claude Phillips,<a
+ name="FNanchor_66"></a><a href="#Footnote_66"><sup>[66]</sup></a> and
+it was
+this general reminiscence, more than points of detail in an admittedly
+imperfect work that seemingly induced Morelli to suggest Titian's name
+as possible author of the "Concert." Nevertheless, I cannot allow this
+plausible comparison to outweigh other and more vital considerations.
+The subtlety of <a name="Page_52"></a>the composition, the bold sweep
+of diagonal lines, the
+way the figure of the young monk is "built up" on a triangular design,
+the contrasts of black and white, are essentially Giorgione's own. So,
+too, is the spirit of the scene, so telling in its movement, gesture,
+and expression. Surely it is needless to translate all that is most
+characteristic of Giorgione in his most personal expression into a
+"Giorgionesque" mood of Titian. No, let us admit that Titian owed much
+to his friend and master (more perhaps than we yet know), but let us
+not
+needlessly deprive Giorgione of what is, in my opinion at least, the
+great creation of his maturer years, the Pitti "Concert." I am inclined
+to place it about 1506-7, and to regard it as the earliest and finest
+expression in Venetian art of that kind of genre painting of which we
+have already studied another, though later example, "The Three Ages"
+(in
+the Pitti). The second work where Crowe and Cavalcaselle hold a
+different view from Morelli is a "Portrait of a Man" in the Gallery of
+Rovigo (No. 11). The former writers declare that it, "perhaps more than
+any other, approximates to the true style of Giorgione."<a
+ name="FNanchor_67"></a><a href="#Footnote_67"><sup>[67]</sup></a> With
+such
+praise sounding in one's ears it is somewhat of a shock to discover
+that
+this "grave and powerfully wrought creation" is a miniature 7 by 6
+inches in size. Such an insignificant fragment requires no serious
+consideration; at most it would seem only to be a reduced copy after
+some lost original. Morelli alludes to it as a copy after Palma, but
+one
+may well doubt whether he is not referring to another portrait in the
+same gallery (No. 123). Be that as it may, this "Giorgione" <a
+ name="Page_53"></a>miniature is sadly out of place among genuine
+pieces of the master.<a name="FNanchor_68"></a><a href="#Footnote_68"><sup>[68]</sup></a></p>
+<p style="text-align: center;"><a name="THE_ADORATION_OF_THE_MAGI"></a><img
+ style="width: 473px; height: 253px;" alt="THE ADORATION OF THE MAGI"
+ title="THE ADORATION OF THE MAGI" src="images/drg023.jpg"><br>
+</p>
+<p>One other picture, of special interest to English people, is in
+dispute.
+By Crowe and Cavalcaselle "The Adoration of the Magi," now in the
+National Gallery (No. 1160), is attributed to the master himself; by
+Morelli it was assigned to Catena.<a name="FNanchor_69"></a><a
+ href="#Footnote_69"><sup>[69]</sup></a> This brilliant little panel is
+admittedly by the same hand that painted the Beaumont "Adoration of the
+Shepherds," and yet another picture presently to be mentioned. We have
+already agreed to the propriety of attribution in the former case; it
+follows, therefore, that here also Giorgione's name is the correct one,
+and his name, we are glad to see, has recently been placed on the label
+by the Director of the Gallery.</p>
+<p>This beautiful little panel, which came from the Leigh Court
+Collection,
+under Bellini's name, has much of the depth, richness, and glow which
+characterises the Beaumont picture, although the latter is naturally
+more attractive, owing to the wonderful landscape and the more
+elaborate
+chiaroscuro. The figures are Bellinesque, yet with that added touch of
+delicacy and refinement which Giorgione always knows how to impart. The
+richness of colouring, the depth of tone, the glamour of the whole is
+far superior to anything that we can point to with certainty as
+Catena's
+work; and no finer example of his "Giorgionesque" phase is to be found
+than the sumptuous "Warrior adoring the <a name="Page_54"></a>Infant
+Christ," which hangs
+close by, whilst his delicate little "S. Jerome in his Study," also in
+the same room, challenges comparison. Catena's work seems cold and
+studied beside the warmth and spontaneity of Giorgione's little panel,
+which is, indeed, as Crowe and Cavalcaselle assert, "of the most
+picturesque beauty in distribution, colour, and costume."<a
+ name="FNanchor_70"></a><a href="#Footnote_70"><sup>[70]</sup></a> It
+must
+date from before 1500, probably just before the Beaumont "Nativity,"
+and
+proves how, even at that early time, Giorgione's art was rapidly
+maturing into full splendour.</p>
+<p>The total list of genuine works so far amounts to but twenty-three.
+Let
+us see if we can accept a few others which later writers incline to
+attribute to the master. I propose to limit the survey strictly to
+those
+pictures which have found recognised champions among modern critics of
+repute, for to challenge every "Giorgione" in public and private
+collections would be a Herculean task, well calculated to provoke an
+incredulous smile!</p>
+<p style="text-align: center;"><a name="PAGE_OF_VANDYCKS_SKETCH-BOOK"></a><img
+ style="width: 321px; height: 474px;"
+ alt="PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S &quot;CHRIST BEARING THE CROSS,&quot; IN THE CHURCH OF S. ROCCO, VENICE"
+ title="PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S &quot;CHRIST BEARING THE CROSS,&quot; IN THE CHURCH OF S. ROCCO, VENICE"
+ src="images/drg024.jpg"><br>
+</p>
+<p>Mr. Berenson, in his <i>Venetian Painters</i>, includes two other
+pictures in
+an extremely exclusive list of seventeen genuine Giorgiones. These are
+both in Venice, "The Christ bearing the Cross" (in S. Rocco), and "The
+Storm calmed by S. Mark" (in the Academy). The question whether or no
+we
+are to accept the former of these pictures has its origin in a curious
+contradiction of Vasari, who, in the first edition of his Lives (1550),
+names Giorgione as the painter, whilst in the second (1565), he assigns
+the authorship to Titian. Later writers follow the latter statement,
+and <a name="Page_55"></a>to this day the local guides adhere to this
+tradition. That the
+attribution to Giorgione, however, was still alive in 1620-5, is proved
+by the sketch of the picture made by the young Van Dyck during his
+visit
+to Italy, for he has affixed Giorgione's name to it, and not that of
+Titian.<a name="FNanchor_71"></a><a href="#Footnote_71"><sup>[71]</sup></a>
+I am satisfied that this tradition is correct. Giorgione,
+and not Titian, painted the still lovely head of Christ, and Giorgione,
+not Titian, drew the arm and hand of the Jew who is dragging at the
+rope. Characteristic touches are to be seen in the turn of the head,
+the
+sloping axis of the eyes, and especially the fine oval of the face, and
+bushy hair. This is the type of Giorgione's Christ; "The Tribute Money"
+(at Dresden) shows Titian's. Unfortunately the panel has lost all its
+tone, all its glow, and most of its original colour, and we can
+scarcely
+any longer admire the picture which, in Vasari's graphic language, "is
+held in the highest veneration by many of the faithful, and even
+performs miracles, as is frequently seen"; and again (in his <i>Life
+of
+Titian</i>), "it has received more crowns as offerings than have been
+earned by Titian and Giorgione both, through the whole course of their
+lives."</p>
+<p>The other picture included by Mr. Berenson in his list is the large
+canvas in the Venice Academy, with "The Storm calmed by S. Mark."
+According to this critic it is a late work, finished, in small part, by
+Paris Bordone. In my opinion, it would be far wiser to <a
+ name="Page_56"></a>withhold
+definite judgment in a case where a picture has been so entirely
+repainted. Certainly, in its present state, it is impossible to
+recognise Giorgione's touch, whilst the glaring red tones of the flesh
+and the general smeariness of the whole render all enjoyment out of
+question. I am willing to admit that the conception may have been
+Giorgione's, although even then it would stand alone as evidence of an
+imagination almost Michelangelesque in its <i>terribilit&agrave;.</i>
+Zanetti (1760)
+was the first to connect Giorgione's name with this canvas, Vasari
+bestowing inordinate praise upon it as the work of Palma Vecchio! It
+only remains to add that this is the companion piece to the well-known
+"Fisherman presenting the Ring to the Doge," by Paris Bordone, which
+also hangs in the Venice Academy. Both illustrate the same legend, and
+both originally hung in the Scuola di S. Marco.</p>
+<p style="text-align: center;"><img style="width: 473px; height: 291px;"
+ alt="FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES"
+ title="FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES"
+ src="images/drg025.jpg"><a
+ name="FRONTS_OF_TWO_CASSONES"></a></p>
+<p>Finally, two <i>cassone</i> panels in the gallery at Padua have
+been
+acclaimed by Signor Venturi as the master's own,<a name="FNanchor_72"></a><a
+ href="#Footnote_72"><sup>[72]</sup></a> and with that view
+I am entirely agreed. The stories represented are not easily
+determinable (as is so often the case with Giorgione), but probably
+refer to the legends of Adonis.<a name="FNanchor_73"></a><a
+ href="#Footnote_73"><sup>[73]</sup></a> The splendour of colour, the
+lurid
+light, the richness of effect, are in the highest degree impressive.
+What artist but Giorgione would have so revelled in the glories of the
+evening sunset, the orange horizon, the distant blue hills? The same
+gallery affords several instances of similar decorative <a
+ name="Page_57"></a>pieces by other Venetian artists which serve
+admirably to show the
+great gulf fixed in quality between Giorgione's work and that of the
+Schiavones, the Capriolis, and others who imitated him.<a
+ name="FNanchor_74"></a><a href="#Footnote_74"><sup>[74]</sup></a></p>
+<p><a name="Page_58"></a><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_11"></a><a href="#FNanchor_11">[11]</a>
+<div class="note">
+<p> Oxford Lecture, reported in the <i>Pall Mall Gazette</i>, Nov.
+10, 1884.</p>
+</div>
+<a name="Footnote_12"></a><a href="#FNanchor_12">[12]</a>
+<div class="note">
+<p> See <i>postea</i>, <a href="#Page_63">p. 63.</a></p>
+</div>
+<a name="Footnote_13"></a><a href="#FNanchor_13">[13]</a>
+<div class="note">
+<p> Bellini adopted it later in his S. Giov. Crisostomo
+altar-piece of 1513.</p>
+</div>
+<a name="Footnote_14"></a><a href="#FNanchor_14">[14]</a>
+<div class="note">
+<p> All the more surprising is it that it receives no mention
+from Vasari, who merely states that the master worked at Castelfranco.</p>
+</div>
+<a name="Footnote_15"></a><a href="#FNanchor_15">[15]</a>
+<div class="note">
+<p> I unhesitatingly adopt the titles recently given to these
+pictures by Herr Franz Wickhoff (<i>Jahrbuch der Preussischen
+Kunstsammlungen</i>, Heft. i. 1895), who has at last succeeded in
+satisfactorily explaining what has puzzled all the writers since the
+days of the Anonimo.</p>
+</div>
+<a name="Footnote_16"></a><a href="#FNanchor_16">[16]</a>
+<div class="note">
+<p> Statius: <i>Theb</i>. iv. 730 <i>ff</i>. See p. 135.</p>
+</div>
+<a name="Footnote_17"></a><a href="#FNanchor_17">[17]</a>
+<div class="note">
+<p> <i>Aen.</i> viii. 306-348.</p>
+</div>
+<a name="Footnote_18"></a><a href="#FNanchor_18">[18]</a>
+<div class="note">
+<p> Fry: <i>Giovanni Bellini</i>, p. 39.</p>
+</div>
+<a name="Footnote_19"></a><a href="#FNanchor_19">[19]</a>
+<div class="note">
+<p> ii. 214.</p>
+</div>
+<a name="Footnote_20"></a><a href="#FNanchor_20">[20]</a>
+<div class="note">
+<p> Ridolfi mentions the following as having been painted by
+Giorgione:&#8212;"The Age of Gold," "Deucalion and Pyrrha," "Jove hurling
+Thunderbolts at the Giants," "The Python," "Apollo and Daphne," "Io
+changed into a Cow," "Phaeton, Diana, and Calisto," "Mercury stealing
+Apollo's Arms," "Jupiter and Pasiphae," "Cadmus sowing the Dragon's
+Teeth," "Dejanira raped by Nessus," and various episodes in the life of
+Adonis.</p>
+</div>
+<a name="Footnote_21"></a><a href="#FNanchor_21">[21]</a>
+<div class="note">
+<p> In the Venice Academy.</p>
+</div>
+<a name="Footnote_22"></a><a href="#FNanchor_22">[22]</a>
+<div class="note">
+<p> <i>Archivio, Anno VI</i>., where reproductions of the two are
+given side by side, <i>fasc</i>. vi. p. 412.</p>
+</div>
+<a name="Footnote_23"></a><a href="#FNanchor_23">[23]</a>
+<div class="note">
+<p> The Berlin example (by the Pseudo-Basaiti) is reproduced
+in the Illustrated Catalogue of the recent exhibition of Renaissance
+Art
+at Berlin; the Rovigo version (under Leonardo's name!) is possibly by
+Bissolo.
+</p>
+<p>Two other repetitions exist, one at Stuttgart, the other in the
+collection of Sir William Farrer. (Venetian Exhibition, New Gallery,
+1894, No. 76.)</p>
+</div>
+<a name="Footnote_24"></a><a href="#FNanchor_24">[24]</a>
+<div class="note">
+<p> Gentile Bellini's three portraits in the National Gallery
+(Nos. 808, 1213, 1440) illustrate this growing tendency in Venetian
+art;
+all three probably date from the first years of the sixteenth century.
+Gentile died in 1507.</p>
+</div>
+<a name="Footnote_25"></a><a href="#FNanchor_25">[25]</a>
+<div class="note">
+<p> Berenson: <i>Venetian Painters</i>, 3rd edition.</p>
+</div>
+<a name="Footnote_26"></a><a href="#FNanchor_26">[26]</a>
+<div class="note">
+<p> <i>Daily Telegraph</i>, December 29th, 1899.</p>
+</div>
+<a name="Footnote_27"></a><a href="#FNanchor_27">[27]</a>
+<div class="note">
+<p> Even the so-called Pseudo-Basaiti has been separated and
+successfully diagnosed.</p>
+</div>
+<a name="Footnote_28"></a><a href="#FNanchor_28">[28]</a>
+<div class="note">
+<p> 1895 Catalogue.</p>
+</div>
+<a name="Footnote_29"></a><a href="#FNanchor_29">[29]</a>
+<div class="note">
+<p> See <a href="#APPENDIX_I">Appendix</a>, where the letters are
+printed in full.</p>
+</div>
+<a name="Footnote_30"></a><a href="#FNanchor_30">[30]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 142, and note.</p>
+</div>
+<a name="Footnote_31"></a><a href="#FNanchor_31">[31]</a>
+<div class="note">
+<p> Giorgione painted in fresco in the portico of this palace.
+Zanetti has preserved the record of a figure said to be "Diligence," in
+his print published in 1760.</p>
+</div>
+<a name="Footnote_32"></a><a href="#FNanchor_32">[32]</a>
+<div class="note">
+<p> See Byron's <i>Life and Letters</i>, by Thomas Moore, p. 705.</p>
+</div>
+<a name="Footnote_33"></a><a href="#FNanchor_33">[33]</a>
+<div class="note">
+<p> See Berenson's <i>Venetian Painters</i>, illustrated edition.</p>
+</div>
+<a name="Footnote_34"></a><a href="#FNanchor_34">[34]</a>
+<div class="note">
+<p> Morelli, ii. 219.</p>
+</div>
+<a name="Footnote_35"></a><a href="#FNanchor_35">[35]</a>
+<div class="note">
+<p> See <a href="#Page_32">p. 32</a> for a possible explanation of
+these letters.</p>
+</div>
+<a name="Footnote_36"></a><a href="#FNanchor_36">[36]</a>
+<div class="note">
+<p> ii. 218</p>
+</div>
+<a name="Footnote_37"></a><a href="#FNanchor_37">[37]</a>
+<div class="note">
+<p> It has been suggested to me by Dr. Williamson that the
+letters may possibly be intended for ZZ (=Zorzon). In old MSS. the
+capital Z is sometimes made thus <b><i>&#394;</i></b> or <b><i>V.</i></b></p>
+</div>
+<a name="Footnote_38"></a><a href="#FNanchor_38">[38]</a>
+<div class="note">
+<p> i. 248.</p>
+</div>
+<a name="Footnote_39"></a><a href="#FNanchor_39">[39]</a>
+<div class="note">
+<p> The methods by which he arrived at his conclusion are
+strangely at variance with those he so strenuously advocates, and to
+which the name of Morellian has come to be attached.</p>
+</div>
+<a name="Footnote_40"></a><a href="#FNanchor_40">[40]</a>
+<div class="note">
+<p> Reproduced in <i>Venetian Art at the New Gallery</i>, under
+Giorgione's name, but unanimously recognised as a work of Licinio.</p>
+</div>
+<a name="Footnote_41"></a><a href="#FNanchor_41">[41]</a>
+<div class="note">
+<p> i. 249.</p>
+</div>
+<a name="Footnote_42"></a><a href="#FNanchor_42">[42]</a>
+<div class="note">
+<p> Dr. Bode and Signor Venturi both recognise it as
+Giorgione's work.</p>
+</div>
+<a name="Footnote_43"></a><a href="#FNanchor_43">[43]</a>
+<div class="note">
+<p> To what depths of vulgarity the Venetian School could sink
+in later times, Palma Giovane's "Venus" at Cassel testifies.</p>
+</div>
+<a name="Footnote_44"></a><a href="#FNanchor_44">[44]</a>
+<div class="note">
+<p> <i>Repertorium f&uuml;r Kunstwissenschaft</i>. 1896. xix. Band. 6
+Heft.</p>
+</div>
+<a name="Footnote_45"></a><a href="#FNanchor_45">[45]</a>
+<div class="note">
+<p> <i>North American Review</i>, October 1899.</p>
+</div>
+<a name="Footnote_46"></a><a href="#FNanchor_46">[46]</a>
+<div class="note">
+<p> It was photographed by Braun with this attribution.</p>
+</div>
+<a name="Footnote_47"></a><a href="#FNanchor_47">[47]</a>
+<div class="note">
+<p> Catena has adopted this Giorgionesque conception in his
+"Judith" in the Querini-Stampalia Gallery in Venice.</p>
+</div>
+<a name="Footnote_48"></a><a href="#FNanchor_48">[48]</a>
+<div class="note">
+<p> See <i>Gazette des Beaux Arts</i>, 1897, tom, xviii. p. 279.</p>
+</div>
+<a name="Footnote_49"></a><a href="#FNanchor_49">[49]</a>
+<div class="note">
+<p> See <i>Gazette des Beaux Arts</i>, 1893, tom. ix. p. 135 (Prof.
+Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and <i>Repertorium
+f&uuml;r
+Kunstwissenschaft</i>, tom. xiv. p. 316 (Herr von Seidlitz).</p>
+</div>
+<a name="Footnote_50"></a><a href="#FNanchor_50">[50]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 147.</p>
+</div>
+<a name="Footnote_51"></a><a href="#FNanchor_51">[51]</a>
+<div class="note">
+<p> ii. 217.</p>
+</div>
+<a name="Footnote_52"></a><a href="#FNanchor_52">[52]</a>
+<div class="note">
+<p> Dr. Gronau points this out in <i>Rep</i>. xviii. 4, p. 284.</p>
+</div>
+<a name="Footnote_53"></a><a href="#FNanchor_53">[53]</a>
+<div class="note">
+<p> See <i>Guide to the Italian Pictures</i> at Hampton Court, by
+Mary Logan, 1894.</p>
+</div>
+<a name="Footnote_54"></a><a href="#FNanchor_54">[54]</a>
+<div class="note">
+<p> Official Catalogue, and Crowe and Cavalcaselle, ii. 502.</p>
+</div>
+<a name="Footnote_55"></a><a href="#FNanchor_55">[55]</a>
+<div class="note">
+<p> Pater: <i>The Renaissance</i>, p. 158.</p>
+</div>
+<a name="Footnote_56"></a><a href="#FNanchor_56">[56]</a>
+<div class="note">
+<p> ii. 219.</p>
+</div>
+<a name="Footnote_57"></a><a href="#FNanchor_57">[57]</a>
+<div class="note">
+<p> The execution of this grotesque picture is probably due to
+Girolamo da Carpi, or some other assistant of Dosso.</p>
+</div>
+<a name="Footnote_58"></a><a href="#FNanchor_58">[58]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 292, unaccountably suggested
+Francesco Vecellio (!) as the author.</p>
+</div>
+<a name="Footnote_59"></a><a href="#FNanchor_59">[59]</a>
+<div class="note">
+<p> The subject is derived from a passage in the <i>De
+Divinitate</i> of Cicero, as Herr Wickhoff has pointed out.</p>
+</div>
+<a name="Footnote_60"></a><a href="#FNanchor_60">[60]</a>
+<div class="note">
+<p> See <i>Venetian Painting at the New Gallery</i>. 1895.</p>
+</div>
+<a name="Footnote_61"></a><a href="#FNanchor_61">[61]</a>
+<div class="note">
+<p> Unless we are to suppose that Vasari mistook a copy for an
+original.</p>
+</div>
+<a name="Footnote_62"></a><a href="#FNanchor_62">[62]</a>
+<div class="note">
+<p> Francesco Torbido, called "il Moro," born about 1490, and
+still living in 1545. Vasari states that he actually worked under
+Giorgione. Signed portraits by him are in the Brera, at Munich, and
+Naples. Palma Vecchio also deserves serious consideration as possible
+author of the "Shepherd Boy."</p>
+</div>
+<a name="Footnote_63"></a><a href="#FNanchor_63">[63]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 144.</p>
+</div>
+<a name="Footnote_64"></a><a href="#FNanchor_64">[64]</a>
+<div class="note">
+<p> Morelli, ii. 212.</p>
+</div>
+<a name="Footnote_65"></a><a href="#FNanchor_65">[65]</a>
+<div class="note">
+<p> See Appendix, <a href="#Page_123">p. 123</a>.</p>
+</div>
+<a name="Footnote_66"></a><a href="#FNanchor_66">[66]</a>
+<div class="note">
+<p> Quoted by Morelli, ii. 212, note.</p>
+</div>
+<a name="Footnote_67"></a><a href="#FNanchor_67">[67]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 155.</p>
+</div>
+<a name="Footnote_68"></a><a href="#FNanchor_68">[68]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle also cite a portrait in the Casa
+Ajata at Crespano; as I have never seen this piece I cannot discuss it.
+It was apparently unknown to Morelli, nor is it mentioned by other
+critics.</p>
+</div>
+<a name="Footnote_69"></a><a href="#FNanchor_69">[69]</a>
+<div class="note">
+<p> Morelli, ii. 205.</p>
+</div>
+<a name="Footnote_70"></a><a href="#FNanchor_70">[70]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in
+the <i>Gazette des Beaux Arts</i>, 1884, p. 286, rightly admits
+Giorgione's
+authorship.</p>
+</div>
+<a name="Footnote_71"></a><a href="#FNanchor_71">[71]</a>
+<div class="note">
+<p> This sketch is to be found in Van Dyck's note-book, now in
+possession of the Duke of Devonshire at Chatsworth. It is here
+reproduced, failing an illustration of the original picture, which the
+authorities in Venice decline to have made. (A good reproduction has
+now
+(1903) been made by Anderson of Rome.)</p>
+</div>
+<a name="Footnote_72"></a><a href="#FNanchor_72">[72]</a>
+<div class="note">
+<p> <i>Archivio Storico</i>, vi. 409.</p>
+</div>
+<a name="Footnote_73"></a><a href="#FNanchor_73">[73]</a>
+<div class="note">
+<p> Ridolfi tells us Giorgione painted, among a long list of
+decorative pieces, "The Birth of Adonis," "Venus and Adonis embracing,"
+and "Adonis killed by the Boar." It is possible he was alluding to
+these
+very <i>cassone</i> panels.</p>
+</div>
+<a name="Footnote_74"></a><a href="#FNanchor_74">[74]</a>
+<div class="note">
+<p> The other important additions made by Signor Venturi in
+his recent volume, <i>La Galleria Crespi</i>, are alluded to <i>in
+loco</i>,
+further on. I am delighted to find some of my own views anticipated in
+a
+wholly independent fashion.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_III"></a>
+<h2>CHAPTER III<br>
+</h2>
+<h2>INTERMEDIATE SUMMARY</h2>
+<p>It is necessary for anyone who seeks to recover the missing or
+unidentified works of an artist like Giorgione, first to define his
+conception of the artist based upon a study of acknowledged materials.
+The preceding chapter has been devoted to a survey of the best
+authenticated pictures, the evidence for the genuineness of which is,
+as
+we have seen, largely a matter of personal opinion. Nevertheless there
+is, on the whole, a unanimity of judgment sufficient to warrant our
+drawing several inferences as to the general character of Giorgione's
+work, and to attempt a chronological arrangement of the twenty-six
+pictures here accepted as genuine.</p>
+<p>The first and most obvious fact then to be noted is the amazing
+variety
+of subjects handled by the master. Religious paintings, whether
+altar-pieces or easel pictures of a devotional character, are
+interspersed with mediaeval allegories, genre subjects, decorative
+<i>cassone</i> panels, portraiture, and purely lyrical
+"Fantasiest&uuml;cke,"
+corresponding somewhat with the modern "Landscape with Figures." Truly
+an astonishing range! Giorgione, as we have seen, could not have been
+more than eighteen years in active practice, yet in that short time he
+gained successes in all these various fields. <a name="Page_59"></a>His
+many-sidedness shows
+him to have been a man of wide sympathies, whilst the astonishing
+rapidity of his development testifies to the precocity of his talent.
+His versatility and his precocity are, in fact, the two most prominent
+characteristics to be borne in mind in judging his art, for much that
+appears at first sight incongruous, if not utterly irreconcilable, can
+be explained on this basis. For versatility and precocity in an artist
+are qualities invariably attended by unevenness of workmanship, as we
+see in the cases of Keats and Schubert, who were gifted with the
+lyrical
+temperament and powers of expression in poetry and music in
+corresponding measure to Giorgione in painting. It would show want of
+critical acumen to expect from Keats the consistency of Milton, or that
+Schubert should keep the unvarying high level of Beethoven, and it is
+equally unreasonable to exact from Giorgione the uniform excellence
+which characterises Titian. I do not propose at this point to work out
+the comparison between the painter, the musician, and the poet; this
+must be reserved until the final summing-up of Giorgione as artist,
+when
+we have examined all his work. But this point I do insist on, that from
+the very nature of things Giorgione's art is, and must be, uneven, that
+whilst at times it reaches sublime heights, at other times it attains
+to
+a level of only average excellence.</p>
+<p>And so the criticism which condemns a picture claiming to be
+Giorgione's
+because "it is not <i>good</i> enough for him," does not recognise the
+truth
+that for all that it may be <i>characteristic</i>, and, consequently,
+perfectly authentic. Modern criticism has been apt <a name="Page_60"></a>to
+condemn because
+it has expected too much; let us not blind our eyes to the weaknesses,
+even to the failures of great men, who, if they lose somewhat of the
+hero in our eyes, win our sympathy and our love the more for being
+human.</p>
+<p>I have spoken of Giorgione's versatility, his precocity, and the
+natural
+inequality of his work. There is another characteristic which commonly
+exists when these qualities are found united, and that is
+Productiveness. Giorgione, according to all analogy, must have produced
+a mass of work. It is idle to assert, as some modern writers have done,
+that at the utmost his easel pictures could have been but few, because
+most of his short life was devoted to painting frescoes, which have
+perished. It is true that Giorgione spent time and energy over fresco
+painting, and from the very publicity of such work as the frescoes on
+the Fondaco de' Tedeschi, he came to be widely known in this direction,
+but it is infinitely probable that his output in other branches was
+enormous. The twenty-six pictures we have already accepted, plus the
+lost frescoes, cannot possibly represent the sum-total of his artistic
+activities, and to say that everything else has disappeared is, as I
+shall try to show, not correct. We know, moreover, from the Anonimo
+(who
+was almost Giorgione's contemporary) that many pictures existed in his
+day which cannot now be traced,<a name="FNanchor_75"></a><a
+ href="#Footnote_75"><sup>[75]</sup></a> and if we add these and some
+of the
+others cited by Vasari and Ridolfi (without assuming that every one was
+a genuine example), it goes to prove that Giorgione did paint a good
+number of easel pictures. But the <a name="Page_61"></a>evidence of
+the twenty-six themselves
+is conclusive. They illustrate so many different phases, they stand
+sometimes so widely apart, that intermediate links are necessarily
+implied. Moreover, as Giorgione's influence on succeeding artists is
+allowed by all writers, a considerable number of his easel pictures
+must
+have been in circulation, from which these imitators drew inspiration,
+for he certainly never kept, as Bellini did, a body of assistants and
+pupils to hand on his teaching, and disseminate his style.</p>
+<p>Productiveness must then have been a feature of his art, and as so
+few
+pictures have as yet come to be accepted as genuine, the majority must
+have perished or been lost to sight for the time. That much yet remains
+hidden away in private possession I am fully persuaded, especially in
+England and in Italy, and one day we may yet find the originals of the
+several old copies after Giorgione which I enumerate elsewhere.<a
+ name="FNanchor_76"></a><a href="#Footnote_76"><sup>[76]</sup></a> In
+some cases I believe I have been fortunate enough to detect actually
+missing originals, and occasionally restore to Giorgione pieces that
+parade under Titian's name. Much, however, yet remains to be done, and
+the research work now being systematically conducted in the Venetian
+archives by Dr. Gustav Ludwig and Signor Pietro Paoletti may yield rich
+results in the discovery of documents relating to the master himself,
+which may help us to identify his productions, and possibly confirm
+some
+of the conjectures I venture to make in the following chapters.<a
+ name="FNanchor_77"></a><a href="#Footnote_77"><sup>[77]</sup></a></p>
+<p><a name="Page_62"></a>But before proceeding to examine other
+pictures which I am persuaded
+really emanate from Giorgione himself, let us attempt to place in
+approximate chronological order the twenty-six works already accepted
+as
+genuine, for, once their sequence is established, we shall the more
+readily detect the lacunae in the artist's evolution, and so the more
+easily recognise any missing transitional pieces which may yet exist.</p>
+<p>The earliest stage in Giorgione's career is naturally marked by
+adherence to the teaching and example of his immediate predecessors.
+However precocious he may have been, however free from academic
+training, however independent of the tradition of the schools, he
+nevertheless clearly betrays an artistic dependence, above all, on
+Giovanni Bellini. The "Christ bearing the Cross" and the two little
+pictures in the Uffizi are direct evidence of this, and these,
+therefore, must be placed quite early in his career. We should not be
+far wrong in dating them 1493-5. Carpaccio's influence is also
+apparent,
+as we have already noticed, and through this channel Giorgione's art
+connects with the more archaic style of Gentile Bellini, Giovanni's
+elder brother. Thus in him are united the quattrocentist tradition and
+the fresher ideals of the cinquecento, which found earliest expression
+in Giambellini's Allegories of about 1486-90. The poetic element in
+these works strongly appealed to Giorgione's sensitive nature, and we
+find him developing this side of his art in the Beaumont "Adoration,"
+and the National Gallery "Epiphany," both of which are clearly early
+productions. But there is a gap of a few years between the Uffizi
+pictures and <a name="Page_63"></a>
+the London ones, for the latter are maturer in every way, and it is
+clear that the interval must have been spent in constant practice. Yet
+we cannot point with certainty to any of the other pictures in our list
+as standing midway in development, and here it is that a lacuna exists
+in the artist's career. Two or three years, possibly more, remain
+unaccounted for, just at a period, too, when the young artist would be
+most impressionable. I am inclined to think that he may have painted
+the
+"Birth of Paris" during these years, but we have only the copy of a
+part
+of the composition to go by, and the statement of the Anonimo that the
+picture was one of Giorgione's early works.</p>
+<p>The "Adrastus and Hypsipyle" must also be a youthful production
+prior to
+1500, and in the direction of portraiture we have the Berlin "Young
+Man," which, for reasons already given, must be placed quite early. It
+is not possible to assign exact dates to any of these works, all that
+can be said with any certainty is that they fall within the last decade
+of the fifteenth century, and illustrate the rapid development of
+Giorgione's art up to his twenty-fourth year.</p>
+<p>A further stage in his evolution is reached in the Castelfranco
+"Madonna," the first important undertaking of which we have some
+record.
+Tradition connects the painting of this altar-piece with an event of
+the
+year 1504, the death of the young Matteo Costanzo, whose family, so it
+is said, commissioned Giorgione to paint a memorial altar-piece, and
+decorate the family chapel at Castelfranco with frescoes. Certain it is
+that the arms of the Costanzi appear in the picture, but the evidence
+which connects the com<a name="Page_64"></a>mission with the death
+of Matteo seems to rest
+mainly on his alleged likeness to the S. Liberale in the picture, a
+theory, we may remark, which is quite consistent with Matteo being
+still
+alive. Considering the extraordinary rapidity of the artist's
+development, it would be more natural to place the execution of this
+work a year or two earlier than 1504, but, in any case, we may accept
+it
+as typical of Giorgione's style in the first years of the century. The
+"Judith" (at St. Petersburg), as we have already seen, probably
+immediately precedes it, so that we get two masterpieces approximately
+dated.</p>
+<p>In the field of portraiture Giorgione must have made rapid strides
+from
+the very first. Vasari states that he painted the portraits of the
+great
+Consalvo Ferrante, and of one of his captains, on the occasion of their
+visit to the Doge Agostino Barberigo. Now this event presumably took
+place in 1500,<a name="FNanchor_78"></a><a href="#Footnote_78"><sup>[78]</sup></a>
+so that, at that early date, he seems already to have
+been a portrait painter of repute. Confirmatory evidence of this is
+furnished by the statement of Ridolfi, that Giorgione took the portrait
+of Agostino Barberigo himself.<a name="FNanchor_79"></a><a
+ href="#Footnote_79"><sup>[79]</sup></a> Now the Doge died in 1500, so
+that if
+Giorgione really painted him, he could not have been more than
+twenty-three years of age at the time, an extraordinarily early age to
+have been honoured with so important a commission; this fact certainly
+presupposes successes with other patrons, whose portraits Giorgione
+must
+have taken during the years 1495-1500. I hope to be able to identify
+two
+or three <a name="Page_65"></a>of these, but for the moment we may
+note that by 1500
+Giorgione was a recognised master of portraiture. The only picture on
+our list likely to date from the period 1500-1504 is the "Knight of
+Malta," the "Young Man" (at Buda-Pesth) being later in execution.<a
+ name="FNanchor_80"></a><a href="#Footnote_80"><sup>[80]</sup></a></p>
+<p>From 1504 on, the rapid rate of progress is more than fully
+maintained.
+Only six years remain of the artist's short life, yet in that time he
+rose to full power, and anticipated the splendid achievements of
+Titian's maturity some forty years later. First in order, probably,
+come
+the "Venus" (Dresden) and the "Concert" (Pitti), both showing
+originality of conception and mastery of handling. The date of the
+frescoes on the Fondaco de' Tedeschi is known to be 1507-8,<a
+ name="FNanchor_81"></a><a href="#Footnote_81"><sup>[81]</sup></a> but,
+as
+nothing remains but a few patches of colour in one spot high up over
+the
+Grand Canal, we have no visible clue to guide us in our estimate of
+their artistic worth. Vasari's description, and Zanetti's engraving of
+a
+few fragments (done in 1760, when the frescoes were already in decay),
+go to prove that Giorgione at this period studied the antique,
+"commingling statuesque classicism and the flesh and blood of real
+life."<a name="FNanchor_82"></a><a href="#Footnote_82"><sup>[82]</sup></a></p>
+<p>At this period it is most probable we must place the "Judgment of
+Solomon" (at Kingston Lacy), possibly, as I have already pointed out,
+the very work commissioned by the State for the audience chamber of the
+Council, on which, as we know from documents, <a name="Page_66"></a>Giorgione
+was engaged in
+1507 and 1508. It was never finished, and the altogether exceptional
+character of the work places it outside the regular course of the
+artist's development. It was an ambitious venture in an unwonted
+direction, and is naturally marked and marred by unsatisfactory
+features. Giorgione's real powers are shown by the "Pastoral Symphony"
+(in the Louvre), and the "Portrait of the Young Man" (at Buda-Pesth),
+productions dating from the later years 1508-10. The "Three Ages" (in
+the Pitti) may also be included, and if Giorgione conceived and even
+partly executed the "Storm calmed by S. Mark" (Venice Academy), this
+also must be numbered among his last works.</p>
+<p>Morelli states: "It was only in the last six years of his short life
+(from about 1505-11) that Giorgione's power and greatness became fully
+developed."<a name="FNanchor_83"></a><a href="#Footnote_83"><sup>[83]</sup></a>
+I think this is true in the sense that Giorgione was
+ever steadily advancing towards a fuller and riper understanding of the
+world, that his art was expanding into a magnificence which found
+expression in larger forms and richer colour, that he was acquiring
+greater freedom of touch, and more perfect command of the technical
+resources of his art. But sufficient stress is not laid, I think, upon
+the masterly achievement of the earlier times; the tendency is to refer
+too much to later years, and not recognise sufficiently the prodigious
+precocity before 1500. One is tempted at times to question the accuracy
+of Vasari's statement that Giorgione died in his thirty-fourth year,
+which throws his birth back only to 1477. Some modern writers <a
+ name="Page_67"></a>disregard
+this statement altogether, and place his birth "before 1477."<a
+ name="FNanchor_84"></a><a href="#Footnote_84"><sup>[84]</sup></a> Be
+this as it may, it does not alter the fact that by 1500 Giorgione had
+already attained in portraiture to the highest honours, and in this
+sphere, I believe, he won his earliest successes. My object in the
+following chapter will be to endeavour to point out some of the very
+portraits, as yet unidentified, which I am persuaded were produced by
+Giorgione chiefly in these earlier years, and thus partly to fill some
+of the lacunae we have found in tracing his artistic evolution.</p>
+<p><a name="Page_68"></a><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_75"></a><a href="#FNanchor_75">[75]</a>
+<div class="note">
+<p> A list of these is given at <a href="#Page_138">p. 138.</a></p>
+</div>
+<a name="Footnote_76"></a><a href="#FNanchor_76">[76]</a>
+<div class="note">
+<p> <i>Vide</i> List of Works, pp. 124-137.</p>
+</div>
+<a name="Footnote_77"></a><a href="#FNanchor_77">[77]</a>
+<div class="note">
+<p> The results of these archivistic researches are being
+published in the <i>Repertorium f&uuml;r Kunstwissenschaft</i>.</p>
+</div>
+<a name="Footnote_78"></a><a href="#FNanchor_78">[78]</a>
+<div class="note">
+<p> For the evidence, see <i>Magazine of Art</i>, April 1893.</p>
+</div>
+<a name="Footnote_79"></a><a href="#FNanchor_79">[79]</a>
+<div class="note">
+<p> Meravig, i. 126.</p>
+</div>
+<a name="Footnote_80"></a><a href="#FNanchor_80">[80]</a>
+<div class="note">
+<p> Vasari saw Giorgione's portrait of the succeeding Doge
+Leonardo Loredano (1501-1521).</p>
+</div>
+<a name="Footnote_81"></a><a href="#FNanchor_81">[81]</a>
+<div class="note">
+<p> See Crowe and Cavalcaselle, ii. 141.</p>
+</div>
+<a name="Footnote_82"></a><a href="#FNanchor_82">[82]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, <i>ibid</i>.</p>
+</div>
+<a name="Footnote_83"></a><a href="#FNanchor_83">[83]</a>
+<div class="note">
+<p> ii. 213. We now know that he died in 1510.</p>
+</div>
+<a name="Footnote_84"></a><a href="#FNanchor_84">[84]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 119. Bode: <i>Cicerone</i>.</p>
+<hr style="height: 2px; width: 65%;"></div>
+<br>
+<h2><a name="CHAPTER_IV"></a>CHAPTER IV</h2>
+<h2>ADDITIONAL PICTURES&#8212;PORTRAITS</h2>
+<p>Vasari, in his <i>Life of Titian</i>, in the course of a somewhat
+confused
+account of the artist's earliest years, tells us how Titian, "having
+seen the manner of Giorgione, early resolved to abandon that of Gian
+Bellino, although well grounded therein. He now, therefore, devoted
+himself to this purpose, and in a short time so closely imitated
+Giorgione that his pictures were sometimes taken for those of that
+master, as will be related below." And he goes on: "At the time when
+Titian began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait of a gentleman of the Barberigo family
+who was his friend, and this was considered very beautiful, the
+colouring being true and natural, and the hair so distinctly painted
+that each one could be counted, as might also the stitches<a
+ name="FNanchor_85"></a><a href="#Footnote_85"><sup>[85]</sup></a> in a
+satin doublet, painted in the same work; in a word, it was so well and
+carefully done, that it would have been taken for a picture by
+Giorgione, if Titian had not written his name on the dark ground." Now
+the statement that Titian began to imitate Giorgione at the age of
+eighteen is inconsistent with Vasari's own <a name="Page_69"></a>words
+of a few paragraphs
+previously: "About the year 1507, Giorgione da Castel Franco, not being
+satisfied with that mode of proceeding (i.e. 'the dry, hard, laboured
+manner of Gian Bellino, which Titian also acquired'), began to give to
+his works an unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian now
+devoted himself to this purpose," etc. In 1507 Titian was thirty years
+old,<a name="FNanchor_86"></a><a href="#Footnote_86"><sup>[86]</sup></a>
+not eighteen, so that both statements cannot be correct. Now it
+is highly improbable that Titian had already discarded the manner of
+Bellini as early as 1495, at the age of eighteen, and had so identified
+himself with Giorgione that their work was indistinguishable.
+Everything, on the contrary, points to Titian's evolution being
+anything
+but rapid; in fact, so far as records go, there is no mention of his
+name until he painted the fa&ccedil;ade of the Fondaco de' Tedeschi in
+company
+with Giorgione in 1507. It is infinitely more probable that Vasari's
+first statement is the more reliable&#8212;viz. that Titian began to adopt
+Giorgione's manner about the year 1507, and it follows, therefore, that
+the portrait of the gentleman of the Barberigo family, if by Titian,
+dates from this time, and not 1495.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_GENTLEMAN"></a><img
+ style="width: 314px; height: 415px;" alt="PORTRAIT OF A GENTLEMAN"
+ title="PORTRAIT OF A GENTLEMAN" src="images/drg026.jpg"><br>
+</p>
+<p>Now there is a picture in the Earl of Darnley's Collection at Cobham
+Hall which answers pretty closely to Vasari's description. It is a
+supposed portrait of Ariosto by Titian, but it is as much unlike the
+court poet of Ferrara as the portrait in the National Gallery (No. 636)
+which, with equal absurdity, long passed for that of Ariosto, a name
+now
+wisely removed <a name="Page_70"></a>from the label. This magnificent
+portrait at Cobham was
+last exhibited at the Old Masters in 1895, and the suggestion was then
+made that it might be the very picture mentioned by Vasari in the
+passage quoted above.<a name="FNanchor_87"></a><a href="#Footnote_87"><sup>[87]</sup></a>
+I believe this ingenious suggestion is
+correct, and that we have in the Cobham "Ariosto" the portrait of one
+of
+the Barberigo family said to have been painted by Titian in the manner
+of Giorgione. "Thoroughly Giorgionesque," says Mr. Claude Phillips, in
+his <i>Life of Titian</i>, "is the soberly tinted yet sumptuous
+picture in
+its general arrangement, as in its general tone, and in this respect it
+is the fitting companion and the descendant of Giorgione's 'Antonio
+Broccardo' at Buda-Pesth, of his 'Knight of Malta' at the Uffizi. Its
+resemblance, moreover, is, as regards the general lines of the
+composition, a very striking one to the celebrated Sciarra
+'Violin-Player,' by Sebastiano del Piombo.... The handsome, manly head
+has lost both subtlety and character through some too severe process of
+cleaning, but Venetian art has hardly anything more magnificent to show
+than the costume, with the quilted sleeve of steely, blue-grey satin,
+which occupies so prominent a place in the picture." Its Giorgionesque
+character is therefore recognised by this writer, as also by Dr. Georg
+Gronau, in his recent <i>Life of Titian</i> (p. 21), <a name="Page_71"></a>who
+significantly remarks, "Its relation to
+the 'Portrait of a Young
+Man' by Giorgione, at Berlin, is obvious."</p>
+<p>It is a pity that both these discerning writers of the modern school
+have not gone a little further and seen that the picture before them is
+not only Giorgionesque, but by Giorgione himself. The mistake of
+confusing Titian and Giorgione is as old as Vasari, who, <i>misled by
+the
+signature</i>, na&iuml;vely remarks, "It would have been taken for a
+picture by
+Giorgione if Titian had not written his name on the dark ground (in
+ombra)." <i>Hinc illae lacrimae!</i> Let us look into this question of
+signatures, the ultimate and irrevocable proof in the minds of the
+innocent that a picture must be genuine. Titian's methods of signing
+his
+well-authenticated works varied at different stages of his career. The
+earliest signature is always "Ticianus," and this is found on works
+dating down to 1522 (the "S. Sebastian" at Brescia). The usual
+signature
+of the later time is "Titianus," probably the earliest picture with it
+being the Ancona altar-piece of 1520. "Tician" is found only twice.
+Now,
+without necessarily condemning every signature which does not accord
+with this practice, we must explain any apparent irregularity, such,
+for
+instance, as the "Titianus F." on the Cobham Hall picture. This form of
+signature points to the period after 1520, a date manifestly
+inconsistent with the style of painting. But there is more than this to
+arouse suspicion. The signature has been painted over another, or
+rather, the F. (= fecit)<a name="FNanchor_88"></a><a href="#Footnote_88"><sup>[88]</sup></a>
+is placed over an older V, which can still
+be traced. A second <a name="Page_72"></a>V appears further to the
+right. It looks as if
+originally the balustrade only bore the double V, and that "Titianus
+F."
+were added later. But it was there in Vasari's day (1544), so that we
+arrive at the interesting conclusion that Titian's signature must have
+been added between 1520 and 1544&#8212;that is, in his own lifetime. This
+singular fact opens up a new chapter in the history of Titian's
+relationship to Giorgione, and points to practices well calculated to
+confuse historians of a later time, and enhance the pupil's reputation
+at the expense of the deceased master. Not that Titian necessarily
+appropriated Giorgione's work, and passed it off as his own, but we
+know
+that on the latter's death Titian completed several of his unfinished
+pictures, and in one instance, we are told, added a Cupid to
+Giorgione's
+"Venus." It may be that this was the case with the "Ariosto," and that
+Titian felt justified in adding his signature on the plea of something
+he did to it in after years; but, explain this as we may, the important
+point to recognise is that in all essential particulars the "Ariosto"
+is
+the creation not of Titian, but of Giorgione. How is this to be proved?
+It will be remembered that when discussing whether Giorgione or Titian
+painted the Pitti "Concert," the "Giorgionesque" qualities of the work
+were so obvious that it seemed going out of the way to introduce
+Titian's name, as Morelli did, and ascribe the picture to him in a
+Giorgionesque phase. It is just the same here. The conception is
+typically Giorgione's own, the thoughtful, dreamy look, the turn of the
+head, the refinement and distinction of this wonderful figure alike
+proclaim him; whilst in the workmanship <a name="Page_73"></a>the
+quilted satin is exactly
+paralleled by the painting of the dress in the Berlin and Buda-Pesth
+portraits. Characteristic of Giorgione but not of Titian, is the oval
+of
+the face, the construction of the head, the arrangement of the hair.
+Titian, so far as I am aware, never introduces a parapet or ledge into
+his portraits, Giorgione nearly always does so; and finally we have the
+mysterious VV which is found on the Berlin portrait, and
+(half-obliterated) on the Buda-Pesth "Young Man." In short, no one
+would
+naturally think of Titian were it not for the misleading signature, and
+I venture to hope competent judges will agree with me that the proofs
+positive of Giorgione's authorship are of greater weight than a
+signature which&#8212;for reasons given&#8212;is not above suspicion.<a
+ name="FNanchor_89"></a><a href="#Footnote_89"><sup>[89]</sup></a></p>
+<p>Before I leave this wonderful portrait of a gentleman of the
+Barberigo
+family (so says Vasari), a word as to its date is necessary. The
+historian tells us it was painted by Titian at the age of eighteen.
+Clearly some tradition existed which told of the youthfulness of the
+painter, but may we assume that Giorgione was only eighteen at the
+time?
+That would throw the date back to 1495. Is it possible he can have
+painted this splendid head so early in his career? The freedom of
+handling, and the mastery of technique certainly suggests a rather
+later
+stage, but I am inclined to believe Giorgione was capable of this
+accomplishment before 1500. The portrait follows the Berlin "Young
+Man,"
+and may well take its place among the portraits <a name="Page_74"></a>which,
+as we have seen,
+Giorgione must have painted during the last decade of the century prior
+to receiving his commission to paint the Doge. And in this connection
+it
+is of special interest to find the Doge was himself a Barberigo. May we
+not conclude that the success of this very portrait was one of the
+immediate causes which led to Giorgione obtaining so flattering a
+commission from the head of the State?</p>
+<p>I mentioned incidentally that four repetitions of the "Ariosto"
+exist,
+all derived presumably from the Cobham original. We have a further
+striking proof of the popularity of this style of portraiture in a
+picture belonging to Mr. Benson, exhibited at the Venetian Exhibition,
+New Gallery, 1894-5, where the painter, whoever he may be, has
+apparently been inspired by Giorgione's original. The conception is
+wholly Giorgionesque, but the hardness of contour and the comparative
+lack of quality in the touch betrays another and an inferior hand.
+Nevertheless the portrait is of great interest, for could we but
+imagine
+it as fine in execution as in conception we should have an original
+Giorgione portrait before us. The features are curiously like those of
+the Barberigo gentleman.</p>
+<hr style="width: 45%;">
+<p>In his recently published <i>Life of Titian</i>, Dr. Gronau passes
+from the
+consideration of the Cobham Hall picture immediately to that of the
+"Portrait of a Lady," known as "La Schiavona," in the collection of
+Signor Crespi in Milan. In his opinion these two works are intimately
+related to one another, and of them he significantly writes thus: "The
+influence of Giorgione upon Titian" (to whom he ascribes both
+portraits)
+"is <a name="Page_75"></a>evident. The connection can be traced even
+in the details of the
+treatment and technique. The separate touches of light on the
+gold-striped head-dress which fastens back the lady's beautiful dark
+hair, the variegated scarf thrown lightly round her waist, the folds of
+the sleeves, the hand with the finger-tips laid on the parapet: all
+these details might indicate the one master as well as the other."<a
+ name="FNanchor_90"></a><a href="#Footnote_90"><sup>[90]</sup></a></p>
+<p>The transition from the Cobham Hall portrait to the "Lady" in the
+Crespi
+Collection is, to my mind, also a natural and proper one. The painter
+of
+the one is the painter of the other. Tradition is herein also perfectly
+consistent, and tradition has in each case a plausible signature to
+support it. The TITIANVS F. of the former portrait is paralleled by the
+T.V.&#8212;i.e. Titianus Vecellio, or Titianus Veneziano of the latter.<a
+ name="FNanchor_91"></a><a href="#Footnote_91"><sup>[91]</sup></a> I
+have already dealt at some length with the question of the former
+signature, which appears to have been added actually during Titian's
+lifetime; in the present instance the letters appear almost, if not
+quite, coeval with the rest of the painting, and were undoubtedly
+intended for Titian's signature. The cases, therefore, are so far
+parallel, and the question naturally arises, Did Titian really have any
+hand in the painting of this portrait? Signor Venturi<a
+ name="FNanchor_92"></a><a href="#Footnote_92"><sup>[92]</sup></a>
+strongly
+denies it; to him the T.V. matters nothing, and he boldly proclaims
+Licinio the author.</p>
+<p>I confess the matter is not thus lightly to be disposed of; there is
+no
+valid reason to doubt the antiquity of the inscription, which, on the
+analogy of the Cobham <a name="Page_76"></a>Hall picture, may well
+have been added in
+Titian's own lifetime, and for the same reason that I there
+suggested&#8212;viz. that Titian had in some way or other a hand in the
+completion, or may be the alteration, of his deceased master's work.<a
+ name="FNanchor_93"></a><a href="#Footnote_93"><sup>[93]</sup></a>
+For it is my certain conviction that the painter of the Crespi "Lady"
+is
+none other than Giorgione himself.</p>
+<p>Before, however, discussing the question of authorship, it is a
+matter
+of some moment to be able to identify the lady represented. An old
+tradition has it that this is Caterina Cornaro, and, in my judgment,
+this is perfectly correct.<a name="FNanchor_94"></a><a
+ href="#Footnote_94"><sup>[94]</sup></a> Fortunately, we possess
+several
+well-authenticated likenesses of this celebrated daughter of the
+Republic. She had been married to the King of Cyprus, and after his
+death had relinquished her quasi-sovereign rights in favour of Venice.
+She then returned home (in 1489) and retired to Asolo, near
+Castelfranco, where she passed a quiet country life, enjoying the
+society of the poets and artists of the day, and reputed for her
+kindliness and geniality. Her likeness is to be seen in three
+contemporary paintings:&#8212;</p>
+<p>1. At Buda-Pesth, by Gentile Bellini, with inscription.</p>
+<p>2. In the Venice Academy, also by Gentile Bellini, who introduces
+her
+and her attendant ladies kneeling in the foreground, to the left, in
+his
+well-known "Miracle of the True Cross," dated 1500.</p>
+<p><a name="Page_77"></a>3. In the Berlin Gallery, by Jacopo de'
+Barbari, where she appears
+kneeling in a composition of the "Madonna and Child and Saints."</p>
+<p style="text-align: center;"><img style="width: 321px; height: 385px;"
+ alt="MARBLE BUST OF CATERINA CORNARO"
+ title="MARBLE BUST OF CATERINA CORNARO" src="images/drg027.jpg"><a
+ name="MARBLE_BUST_OF_CATERINA_CORNARO"></a><a
+ name="PORTRAIT_OF_CATERINA_CORNARO"></a><img
+ style="width: 283px; height: 386px;" alt="PORTRAIT OF CATERINA CORNARO"
+ title="PORTRAIT OF CATERINA CORNARO" src="images/drg028.jpg"><br>
+</p>
+<p>Finally we see Caterina Cornaro in a bust in the Pourtal&egrave;s
+Collection at
+Berlin, here reproduced,<a name="FNanchor_95"></a><a href="#Footnote_95"><sup>[95]</sup></a>
+seen full face, as in the Crespi portrait.
+I know not on what outside authority the identification rests in the
+case of the bust, but it certainly appears to represent the same lady
+as
+in the above-mentioned pictures, and is rightly accepted as such by
+modern German critics.<a name="FNanchor_96"></a><a href="#Footnote_96"><sup>[96]</sup></a></p>
+<p>To my eyes, we have the same lady in the Crespi portrait. Mr.
+Berenson,
+unaware of the identity, thus describes her:<a name="FNanchor_97"></a><a
+ href="#Footnote_97"><sup>[97]</sup></a> "Une grande dame
+italienne est devant nous, &eacute;clatante de sant&eacute; et de
+magnificence,
+&eacute;nergique, d&eacute;bordante, pleine d'une chaude sympathie,
+source de vie et
+de joie pour tous ceux qui l'entourent, et cependant
+r&eacute;fl&eacute;chie,
+p&eacute;n&eacute;trante, un peu ironique bien qu'indulgente."</p>
+<p>Could a better description be given to fit the character of Caterina
+Cornaro, as she is known to us in history? How little likely, moreover,
+that tradition should have dubbed this homely person the ex-Queen of
+Cyprus had it not been the truth!</p>
+<p>Now, if my contention is correct, chronology determines a further
+point.
+Caterina died in 1510, so that <a name="Page_78"></a>this likeness of
+her (which is clearly
+taken from life) must have been done in or before the first decade of
+the sixteenth century.<a name="FNanchor_98"></a><a href="#Footnote_98"><sup>[98]</sup></a>
+This excludes Licinio and Schiavone (both of
+whom have been suggested as the artist), for the latter was not even
+born, and the former&#8212;whose earliest known picture is dated 1520&#8212;must
+have been far too young in 1510 to have already achieved so splendid a
+result. Palma is likewise excluded, so that we are driven to choose
+between Titian and Giorgione, the only two Venetian artists capable of
+such a masterpiece before 1510.</p>
+<p>As to which of these two artists it is, opinions&#8212;so far as any have
+been published&#8212;are divided. Yet Dr. Gronau, who claims it for Titian,
+admits in the same breath that the hand is the same as that which
+painted the Cobham Hall picture and the Pitti "Concert," a judgment in
+which I fully concur. Dr. Bode<a name="FNanchor_99"></a><a
+ href="#Footnote_99"><sup>[99]</sup></a> labels it "Art des Giorgione."
+Finally, Mr. Berenson, with rare insight proclaimed the conception and
+the spirit of the picture to be Giorgione's.<a name="FNanchor_100"></a><a
+ href="#Footnote_100"><sup>[100]</sup></a> But he asserts that
+the execution is not fine enough to be the master's own, and would rank
+it&#8212;with the "Judith" at St. Petersburg&#8212;in the category of contemporary
+copies after lost originals. This view is apparently based on the
+dangerous maxim that where the execution of a picture is inferior to
+the
+conception, the work is <a name="Page_79"></a>presumably a copy. But
+two points must be borne
+in mind, the actual condition of the picture, and the character of the
+artist who painted it. Mr. Berenson has himself pointed out
+elsewhere<a name="FNanchor_101"></a><a href="#Footnote_101"><sup>[101]</sup></a>
+that Giorgione, "while always supreme in his conceptions,
+did not live long enough to acquire a perfection of draughtsmanship and
+chiaroscuro equally supreme, and that, consequently, there is not a
+single universally accepted work of his which is absolutely free from
+the reproaches of the academic pedant." Secondly, the surface of this
+portrait has lost its original glow through cleaning, and has suffered
+other damage, which actually debarred Crowe and Cavalcaselle (who saw
+the picture in 1877) from pronouncing definitely upon the authorship.
+The eyes and flesh, they say,<a name="FNanchor_102"></a><a
+ href="#Footnote_102"><sup>[102]</sup></a> were daubed over, the hair
+was new,
+the colour modern. A good deal of this "restoration" has since been
+removed, but the present appearance of the panel bears witness to the
+harsh treatment suffered years ago. Nevertheless, the original work is
+before us, and not a copy of a lost original, and Mr. Berenson's
+enthusiastic praise ought to be lavished on the actual picture as it
+must have appeared in all its freshness and purity. "Je
+n'h&eacute;siterais
+pas," he declares,<a name="FNanchor_103"></a><a href="#Footnote_103"><sup>[103]</sup></a>
+"&agrave; le proclamer le plus important des portraits
+du ma&icirc;tre, un chef-d'oeuvre ne le c&eacute;dant &agrave; aucun
+portrait d'aucun pays
+ou d'aucun temps."</p>
+<p>And certainly Giorgione has created a masterpiece. The opulence of
+Rubens and the dignity of Titian are most happily combined with a
+delicacy and refinement <a name="Page_80"></a>such as Giorgione alone
+can impart. The intense
+grasp of character here displayed, the exquisite <i>intimit&eacute;</i>,
+places this
+wonderful creation of his on the highest level of portraiture. There is
+far less of that moody abstraction which awakens our interest in most
+of
+his portraits, but much greater objective truth, arising from that
+perfect sympathy between artist and sitter, which is of the first
+importance in portrait-painting. History tells us of the friendly
+encouragement the young Castelfrancan received at the hands of this
+gracious lady, and he doubtless painted this likeness of her in her
+country home at Asolo, near to Castelfranco, and we may well imagine
+with what eagerness he acquitted himself of so flattering a commission.
+Vasari tells us that he saw a portrait of Caterina, Queen of Cyprus,
+painted by Giorgione from the life, in the possession of Messer
+Giovanni
+Cornaro. I believe that picture to be the very one we are now
+discussing.<a name="FNanchor_104"></a><a href="#Footnote_104"><sup>[104]</sup></a>
+The documents quoted by Signor Venturi<a name="FNanchor_105"></a><a
+ href="#Footnote_105"><sup>[105]</sup></a> do not go
+back beyond 1640, so that it is, of course, impossible to prove the
+identity, but the expression "from the life" (as opposed to Titian's
+posthumous portrait of her) applies admirably to our likeness. What a
+contrast to the formal presentation of the queenly lady, crown and
+jewels and all, that Gentile Bellini has left us in his portrait of her
+now at Buda-Pesth!&#8212;and in that other picture of his where she is seen
+kneeling in royal robes, with her train of court ladies, as though
+attending a state function! How Giorgione has penetrated through all
+outward <a name="Page_81"></a>show, and revealed the charm of manner,
+the delightful
+<i>bonhomie</i> of his royal patroness!</p>
+<p>We are enabled, by a simple calculation of dates, to fix
+approximately
+the period when this portrait was painted. Gentile Bellini's picture of
+"The Miracle of the True Cross" is dated 1500&#8212;that is, when Caterina
+Cornaro was forty-six years old (she was born in 1454). In Signor
+Crespi's picture she appears, if anything, younger in appearance, so
+that, at latest, Giorgione painted her portrait in 1500. Thus, again,
+we
+arrive at the same conclusion, that the master distinguished himself
+very early in his career in the field of portraiture, and the
+similarity
+in style between this portrait and the Cobham Hall one is accounted for
+on chronological grounds. All things considered, it is very probable
+that this portrait was his earliest real success, and proved a passport
+to the favourable notice of the fashionable society of Venice, leading
+to the commission to paint the Doge, and the Gran Signori, who visited
+the capital in the year 1500. That Giorgione was capable of such an
+achievement before his twenty-fourth year constitutes, we may surely
+admit, his strongest right to the title of Genius.<a name="FNanchor_106"></a><a
+ href="#Footnote_106"><sup>[106]</sup></a></p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN_national"></a><img
+ style="width: 319px; height: 441px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg029.jpg"><br>
+</p>
+<p>The Barberigo gentleman and the Caterina Cornaro are comparatively
+unfamiliar, owing to their seclusion in private galleries. Not so the
+third portrait, which hangs in the National Gallery, and which, in my
+opinion, should be included among Giorgione's authentic productions.
+This is No. 636, "Portrait of a Poet," attributed to Palma Vecchio; and
+the catalogue continues: "<a name="Page_82"></a>This portrait of an
+unknown personage was
+formerly ascribed to Titian, and supposed to represent Ariosto; it has
+long since been recognised as a fine work by Palma." I certainly do not
+know by whom this portrait was first recognised as such, but as the
+transformation was suddenly effected one day under the late Sir
+Frederic
+Burton's <i>regime</i>, it is natural to suppose he initiated it. No
+one
+to-day would be found, I suppose, to support the older view, and the
+rechristening certainly received the approval of Morelli;<a
+ name="FNanchor_107"></a><a href="#Footnote_107"><sup>[107]</sup></a>
+modern
+critics apparently acquiesce without demur, so that it requires no
+little courage to dissent from so unanimous an opinion. I confess,
+therefore, it was no small satisfaction to me to find the question had
+been raised by an independent inquirer, Mr. Dickes, who published in
+the
+<i>Magazine of Art</i>, 1893, the results of his investigations, the
+conclusion at which he arrived being that this is the portrait of
+Prospero Colonna, Liberator of Italy, painted by Giorgione in the year
+1500.</p>
+<p>Briefly stated, the argument is as follows:&#8212;</p>
+I. [1] The person represented closely resembles<br>
+<span style="margin-left: 3.5em;">Prospero Colonna (1464-1523), whose
+authentic</span><br>
+<span style="margin-left: 3.5em;">likeness is to be seen&#8212;</span><br>
+<br>
+<span style="margin-left: 3.5em;">(<i>a</i>) In an engraving in
+Pompilio Totti's</span><br>
+<span style="margin-left: 6em;">"Ritratti et Elogie di Capitani
+illustri.</span><br>
+<span style="margin-left: 6em;">Rome, 1635."</span><br>
+<br>
+<span style="margin-left: 3.5em;">(<i>b</i>) In a bust in the Colonna
+Gallery, Rome.</span><br>
+<br>
+<span style="margin-left: 3.5em;">(<i>c</i>) In an engraving in the
+"Columnensium</span><br>
+<span style="margin-left: 6em;">Procerum" of the Abbas Domenicus</span><br>
+<span style="margin-left: 6em;">de Santis. Rome, 1675.</span><br>
+<p>(All three are reproduced in the article in question.)</p>
+<a name="Page_83"></a><span style="margin-left: 2em;">[2] The
+description of Prospero
+Colonna, given</span><br>
+<span style="margin-left: 4em;">by Pompilio Totti (in the above book)</span><br>
+<span style="margin-left: 4em;">tallies with our portrait.</span><br>
+<br>
+<span style="margin-left: 2em;">[3] The accessories in the picture
+confirm the</span><br>
+<span style="margin-left: 4em;">identity&#8212;e.g. the St Andrew's Cross, or</span><br>
+<span style="margin-left: 4em;">saltire, is on the Colonna family
+banner;</span><br>
+<span style="margin-left: 4em;">the bay, emblem of victory, is naturally</span><br>
+<span style="margin-left: 4em;">associated with a great captain; the
+rosary</span><br>
+<span style="margin-left: 4em;">may refer to the fact of Prospero's
+residence</span><br>
+<span style="margin-left: 4em;">as lay brother in the monastery of the</span><br>
+<span style="margin-left: 4em;">Olivetani, near Fondi, which was rebuilt</span><br>
+<span style="margin-left: 4em;">by him in 1500.</span><br>
+<br>
+II. Admitting the identity of person, chronology<br>
+<span style="margin-left: 4em;">determines the probable date of the
+execution</span><br>
+<span style="margin-left: 4em;">of this portrait, for Prospero visited</span><br>
+<span style="margin-left: 4em;">Venice presumably in the train of
+Consalvo</span><br>
+<span style="margin-left: 4em;">Ferrante in 1500. He was then thirty-six</span><br>
+<span style="margin-left: 4em;">years of age.</span><br>
+<br>
+III. Assuming this date to be correct, no other Venetian<br>
+<span style="margin-left: 4em;">artist but Giorgione was capable of
+producing</span><br>
+<span style="margin-left: 4em;">so fine and admittedly "Giorgionesque"</span><br>
+<span style="margin-left: 4em;">a portrait at so early a date.</span><br>
+<br>
+IV. Internal evidence points to Giorgione's authorship.<br>
+<p>It will be seen that the logic employed is identical with that by
+which
+I have tried to establish the identity of Signor Crespi's picture. In
+the present case, I should like to insist on the fourth consideration
+rather than on the other points, iconographical or chrono<a
+ name="Page_84"></a>logical, and
+see how far our portrait bears on its face the impress of Giorgione's
+own spirit.</p>
+<p>The conception, to begin with, is characteristic of him&#8212;the pensive
+charm, the feeling of reserve, the touch of fanciful imagination in the
+decorative accessories, but, above all, the extreme refinement. All
+this
+very naturally fits the portrait of a poet, and at a time when it was
+customary to label every portrait with a celebrated name, what more
+appropriate than Ariosto, the court poet of Ferrara? But this dreamy
+reserve, this intensity of suppressed feeling is characteristic of all
+Giorgione's male portraits, and is nowhere more splendidly expressed
+than in this lovely figure. 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. Both are
+below the level of Giorgione in refinement; neither ever made of a
+portrait such a thing of sheer beauty as this. If this be Palma's work,
+it stands alone, not only far surpassing his usual productions in
+quality, but revealing him in a wholly new phase; it is a difference
+not
+of degree, but of kind.</p>
+<p>Positive proofs of Giorgione's hand are found in the way the hair is
+rendered&#8212;that lovely dark auburn hair so often seen in his work,&#8212;in
+the radiant oval of the face, contrasting so finely with the shadows,
+which are treated exactly as in the Cobham picture, only that here the
+chiaroscuro is more masterly, in the delicate modelling of the
+features,
+the pose of the head, and in the superb colour of the whole. In short,
+there is not a stroke that does not reveal the great master, and no
+other, and it is incredible that modern criticism has <a name="Page_85"></a>not
+long ago united in recognising Giorgione's
+handiwork.<a name="FNanchor_108"></a><a href="#Footnote_108"><sup>[108]</sup></a></p>
+<p>The date suggested&#8212;1500&#8212;is also consistent with our own deductions
+as
+to Giorgione's rapid development, and the distinguished character of
+his
+sitter&#8212;if it be Prospero Colonna&#8212;is quite in keeping with the vogue
+the artist was then enjoying, for it was in this very year, it will be
+remembered, that he painted the Doge Agostino Barberigo.</p>
+<p>I therefore consider that Mr. Dickes' brilliant conjectures have
+much to
+support them, and, so far as the authorship is concerned, I
+unhesitatingly accept the view, which he was the first to express, that
+Giorgione, and no other, is the painter. Our National Collection
+therefore boasts, in my opinion, a masterpiece of his portraiture.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN_Unfinished"></a><img
+ style="width: 314px; height: 440px;"
+ alt="PORTRAIT OF A MAN (Unfinished)"
+ title="PORTRAIT OF A MAN (Unfinished)"
+ src="images/drg030.jpg"></p>
+<p>If it were not that Morelli, Mr. Berenson and others have recognised
+in
+the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
+Venice, the same hand as in the National Gallery picture, one might
+well
+hesitate to claim it for Giorgione, so repainted is its present
+condition. I make bold, however, to include it in my list, and the more
+readily as Signor Venturi definitely assigns it to Giorgione himself,
+whose name, moreover, it has always borne. This unfinished portrait is,
+despite its repaint, extraordinarily attractive, the rich browns and
+reds forming a colour-scheme of great beauty. It cannot compare,
+however, in quality with our National Gallery highly-finished example,
+to which it is also inferior in beauty of conception. These <a
+ name="Page_86"></a>two
+portraits illustrate the variableness of the painter; both were
+probably
+done about the same time&#8212;the one seemingly <i>con amore</i>, the other
+left
+unfinished, as though the artist or his sitter were dissatisfied.
+Certainly the cause could not have been Giorgione's death, for the
+style
+is obviously early, probably prior to 1500.</p>
+<p>The view expressed by Morelli<a name="FNanchor_109"></a><a
+ href="#Footnote_109"><sup>[109]</sup></a> that this may be a portrait
+of one of
+the Querini family, who were Palma's patrons, has nothing tangible to
+support it, once Palma's authorship is contested. But the unimaginative
+Palma was surely incapable of such things as this and the National
+Gallery portrait!</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN_meynell"></a><img
+ style="width: 314px; height: 440px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg031.jpg"><a
+ name="PORTRAIT_OF_A_MAN_vienna"></a><img
+ style="width: 311px; height: 440px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg032.jpg"><br>
+</p>
+<p>England boasts, I believe, yet another magnificent original
+Giorgione
+portrait, and one that is probably totally unfamiliar to connoisseurs.
+This is the "Portrait of an Unknown Man," in the possession of the Hon.
+Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
+ill-executed print of it was published in the <i>Magazine of Art</i>,
+April
+1893, where it was attributed to Titian. Its Giorgionesque character is
+apparent at first glance, and I venture to hope that all those who may
+be fortunate enough to study the original, as I have done, will
+recognise the touch of the great master himself. Its intense
+expression,
+its pathos, the distant look tinged with melancholy, remind us at once
+of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
+its modelling vividly recalls the central figure of the Pitti
+"Concert,"
+the painting of sleeve and gloves is like that in the National Gallery
+and Querini-Stampalia portraits just discussed. The general pose is
+most
+like that of the Borghese "Lady." <a name="Page_87"></a>The parapet,
+the wavy hair, the high cranium
+are all so many outward
+and visible signs of Giorgione's spirit, whilst none but he could have
+created such magnificent contrasts of colour, such effects of light and
+shade. This is indeed Giorgione, the great master, the magician who
+holds us all fascinated by his wondrous spell.</p>
+<p>Last on the list of portraits which I am claiming as Giorgione's,
+and
+probably latest in date of execution, comes the splendid so-called
+"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
+describe it: "This masterly portrait is one of the noblest creations of
+its kind, finished with a delicacy quite surprising, and modelled with
+the finest insight into the modulations of the human flesh....
+Notwithstanding, the touch and the treatment are utterly unlike
+Titian's, having none of his well-known freedom and none of his
+technical peculiarities. Yet if asked to name the artist capable of
+painting such a likeness, one is still at a loss. It is considered to
+be
+identical with the portrait mentioned by Ridolfi as that of 'Parma' in
+the collection of B. della Nave (Merav., i. 220); but this is not
+proved, nor is there any direct testimony to show that it is by Titian
+at all."<a name="FNanchor_110"></a><a href="#Footnote_110"><sup>[110]</sup></a></p>
+<p>Herr Wickhoff<a name="FNanchor_111"></a><a href="#Footnote_111"><sup>[111]</sup></a>
+goes a step further. He says: "Un autre portrait qui
+porte le nom de Titien est &eacute;galement l'une des oeuvres les plus
+remarquables du Mus&eacute;e. On pr&eacute;tend qu'il repr&eacute;sente
+le 'M&eacute;decin du
+Titien, Parma'; mais c'est l&agrave; une pure invention,
+imagin&eacute;e par un ancien
+directeur du Mus&eacute;e, M. Rosa, et admise de confiance par ses
+successeurs.
+M. Rosa <a name="Page_88"></a>avait &eacute;t&eacute; amen&eacute;
+&agrave; la concevoir par la lecture d'un passage de
+Ridolfi. Le costume suffirait &agrave; lui seul, pourtant, pour la
+d&eacute;mentir:
+c'est le costume officiel d'un s&eacute;nateur v&eacute;nitien, et qui
+par suite ne
+saurait avoir &eacute;t&eacute; port&eacute; par un m&eacute;decin. Le
+tableau est incontestablement
+de la m&ecirc;me main que les deux 'Concerts' du Palais Pitti et du
+Louvre,
+qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
+tableaux au Giorgione, c'est &agrave; lui aussi qu'il faut attribuer le
+portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
+Palais Pitti au Titien, il faut approuver l'attribution actuelle de
+notre portrait au m&ecirc;me ma&icirc;tre." I am glad that Herr
+Wickhoff recognises
+the same hand in all three works. I am sorry that in his opinion this
+should be Domenico Campagnola's. I have already referred to this
+opinion
+when discussing the Louvre "Concert," and must again emphatically
+dissent from this view. Campagnola, as I know him in his pictures and
+frescoes at Padua,&#8212;the only authenticated examples by which to judge
+him,<a name="FNanchor_112"></a><a href="#Footnote_112"><sup>[112]</sup></a>
+was
+utterly inadequate to such tasks. The grandeur and
+dignity of the Vienna portrait is worthy of Titian, whose virility
+Giorgione more nearly approaches here than anywhere else. But I agree
+with the verdict of Crowe and Cavalcaselle that his is not the hand
+that
+painted it, and believe that the author of the Temple Newsam "Man" also
+produced this portrait, probably a few years later, at the close of his
+career.</p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_85"></a><a href="#FNanchor_85">[85]</a>
+<div class="note">
+<p> Or "points" (<i>punte</i>). The translation is that used by
+Blashfield and Hopkins, vol. iv. 260.</p>
+</div>
+<a name="Footnote_86"></a><a href="#FNanchor_86">[86]</a>
+<div class="note">
+<p> Assuming he was born in 1477, which is by no means
+certain.</p>
+</div>
+<a name="Footnote_87"></a><a href="#FNanchor_87">[87]</a>
+<div class="note">
+<p> Dr. Richter in the <i>Art Journal</i>, 1895, p. 90. Mr. Claude
+Phillips, in his <i>Earlier Work of Titian</i>, p. 58, note, objects
+that
+Vasari's "giubone di raso inargentato" is not the superbly luminous
+steel-grey sleeve of this "Ariosto," but surely a vest of satin
+embroidered with silver. I think we need not examine Vasari's casual
+descriptions quite so closely; "a doublet of silvered satin wherein the
+stitches could be counted" is fairly accurate. "Quilted sleeves" would
+no doubt be the tailor's term.</p>
+</div>
+<a name="Footnote_88"></a><a href="#FNanchor_88">[88]</a>
+<div class="note">
+<p> It is not quite clear whether the single letter is F or
+T.</p>
+</div>
+<a name="Footnote_89"></a><a href="#FNanchor_89">[89]</a>
+<div class="note">
+<p> A curious fact, which corroborates my view, is that the
+four old copies which exist are all ascribed to Giorgione (at Vicenza,
+Brescia, and two lately in English collections). See Crowe and
+Cavalcaselle, p. 201.</p>
+</div>
+<a name="Footnote_90"></a><a href="#FNanchor_90">[90]</a>
+<div class="note">
+<p> Gronau: <i>Tizian</i>, p. 21.</p>
+</div>
+<a name="Footnote_91"></a><a href="#FNanchor_91">[91]</a>
+<div class="note">
+<p> See, however, note on <a href="#Page_133">p. 133</a>.</p>
+</div>
+<a name="Footnote_92"></a><a href="#FNanchor_92">[92]</a>
+<div class="note">
+<p> <i>La Galleria Crespi</i>.</p>
+</div>
+<a name="Footnote_93"></a><a href="#FNanchor_93">[93]</a>
+<div class="note">
+<p> The documents quoted by Signor Venturi show the signature
+was there in 1640.</p>
+</div>
+<a name="Footnote_94"></a><a href="#FNanchor_94">[94]</a>
+<div class="note">
+<p> When in the Martinengo Gallery at Brescia (1640) it bore
+this name. See Venturi, <i>op. cit</i>., and Crowe and Cavalcaselle,
+<i>Titian</i>, ii. 58.</p>
+</div>
+<a name="Footnote_95"></a><a href="#FNanchor_95">[95]</a>
+<div class="note">
+<p> From <i>Das Museum</i>, No. 79. "<i>Unbekannter Meister um</i>
+1500.
+<i>Bildnis der Caterina Cornaro</i>." I am informed the original is now
+in
+the possession of the German Ambassador at The Hague, and that a
+plaster
+cast is at Berlin.</p>
+</div>
+<a name="Footnote_96"></a><a href="#FNanchor_96">[96]</a>
+<div class="note">
+<p> Dr. Bode <i>(Jahrbuch</i>, 1883, p. 144) says that Count
+Pourtal&egrave;s acquired this bust at Asolo.</p>
+</div>
+<a name="Footnote_97"></a><a href="#FNanchor_97">[97]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts</i>, 1897, pp. 278-9. Since (1901)
+republished in his <i>Study and Criticism of Italian Art</i>, vol. i.
+p. 85.</p>
+</div>
+<a name="Footnote_98"></a><a href="#FNanchor_98">[98]</a>
+<div class="note">
+<p> Titian's posthumous portrait of Caterina is lost. The best
+known copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed
+out
+the absurdity of regarding this fancy portrait as a true likeness of
+the
+long deceased queen. It bears no resemblance whatever to the Buda-Pesth
+portrait, which is the latest of the group.</p>
+</div>
+<a name="Footnote_99"></a><a href="#FNanchor_99">[99]</a>
+<div class="note">
+<p> <i>Cicerone</i>, sixth edition.</p>
+</div>
+<a name="Footnote_100"></a><a href="#FNanchor_100">[100]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts</i>, 1897, pp. 278-9.</p>
+</div>
+<a name="Footnote_101"></a><a href="#FNanchor_101">[101]</a>
+<div class="note">
+<p> <i>Venetian Painting at the New Gallery</i>, 1895, p. 41.</p>
+</div>
+<a name="Footnote_102"></a><a href="#FNanchor_102">[102]</a>
+<div class="note">
+<p> <i>Titian</i>, ii. 58.</p>
+</div>
+<a name="Footnote_103"></a><a href="#FNanchor_103">[103]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts, loc cit</i>.</p>
+</div>
+<a name="Footnote_104"></a><a href="#FNanchor_104">[104]</a>
+<div class="note">
+<p> <i>Life of Giorgione</i>. The letters T.V. either were added
+after 1544, or Vasari did not interpret them as Titian's signature.</p>
+</div>
+<a name="Footnote_105"></a><a href="#FNanchor_105">[105]</a>
+<div class="note">
+<p> <i>La Galleria Crespi, op. cit</i>.</p>
+</div>
+<a name="Footnote_106"></a><a href="#FNanchor_106">[106]</a>
+<div class="note">
+<p> The importance of this portrait in the history of the
+Renaissance is discussed, <i>postea</i>, <a href="#Page_113">p. 113.</a></p>
+</div>
+<a name="Footnote_107"></a><a href="#FNanchor_107">[107]</a>
+<div class="note">
+<p> ii. 19.</p>
+</div>
+<a name="Footnote_108"></a><a href="#FNanchor_108">[108]</a>
+<div class="note">
+<p> This picture was transferred in 1857 from panel to
+canvas, but is otherwise in fine condition.</p>
+</div>
+<a name="Footnote_109"></a><a href="#FNanchor_109">[109]</a>
+<div class="note">
+<p> Morelli, ii. 19, note.</p>
+</div>
+<a name="Footnote_110"></a><a href="#FNanchor_110">[110]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle: <i>Titian</i>, p. 425.</p>
+</div>
+<a name="Footnote_111"></a><a href="#FNanchor_111">[111]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts</i>, 1893, p. 135.</p>
+</div>
+<a name="Footnote_112"></a><a href="#FNanchor_112">[112]</a>
+<div class="note">
+<p> It is customary to cite the Prague picture of 1525 as his
+work. The clumsy signature CAM was probably intended for Campi, the
+real
+author, and its genuineness is not above suspicion. It is a curious
+<i>quid pro quo</i>.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_V"></a>
+<h2><a name="Page_89"></a>CHAPTER V<br>
+</h2>
+<h2>ADDITIONAL PICTURES OTHER THAN PORTRAITS</h2>
+<p>I have now pointed out six portraits which, in my opinion, should be
+included in the roll of genuine Giorgiones. No doubt others will, in
+time, be identified, but I leave this fascinating quest to pass to the
+consideration of other paintings illustrating a different phase of the
+master's art.<a name="FNanchor_113"></a><a href="#Footnote_113"><sup>[113]</sup></a></p>
+<p>We know that the romantic vein in Giorgione was particularly strong,
+that he naturally delighted in producing fanciful pictures where his
+poetic imagination could find full play; we have seen how the classic
+myth and the mediaeval romance afforded opportunities for him to
+indulge
+his fancy, and we have found him adapting themes derived from these
+sources to the decoration of <i>cassoni</i>, or marriage chests.
+Another
+typical example of this practice is afforded by his "Orpheus and
+Eurydice," in the gallery at Bergamo, a splendid little panel,
+probably,
+like the "Apollo and Daphne" in the Seminario at Venice, intended as a
+decorative piece of applied art. Although <a name="Page_90"></a>bearing
+Giorgione's name by
+tradition, modern critics have passed it by presumably on the ground
+that "it is not good enough,"&#8212;that fatal argument which has thrown dust
+in the eyes of the learned. As if the artist would naturally expend as
+much care on a trifle of this kind as on the Castelfranco altar-piece,
+or the Dresden "Venus"! Yet what greater beauty of conception, what
+more
+poetic fancy is there in the "Apollo and Daphne" (which is generally
+accepted as genuine) than in this little "Orpheus and Eurydice"? Nay,
+the execution, which is the point contested, appears to me every whit
+as
+brilliant, and in preservation the latter piece has the advantage. Not
+a
+touch but what can be paralleled in a dozen other works&#8212;the feathery
+trees against the luminous sky, the glow of the horizon, the splendid
+effects of light and shadow, the impressive grandeur of the wild
+scenery, the small figures in mid-distance, even the cast of drapery
+and
+shape of limbs are repeated elsewhere. Let anyone contrast the delicacy
+and the glow of this little panel with several similar productions of
+the Venetian school hanging in the same gallery, and the gulf that
+separates Giorgione from his imitators will, I think, be apparent.</p>
+<p style="text-align: center;"><a name="ORPHEUS_AND_EURYDICE"></a><img
+ style="width: 454px; height: 342px;" alt="ORPHEUS AND EURYDICE"
+ title="ORPHEUS AND EURYDICE" src="images/drg033.jpg"><br>
+</p>
+<p>In the same category must be ranked two very small panels in the
+Gallery
+at Padua (Nos. 42 and 43), attributed with a query to Giorgione. These
+are apparently fragments of some decorative series, of which the other
+parts are missing. The one represents "Leda and the Swan," the other a
+mythological subject, where a woman is seated holding a child, and a
+man, also seated, holds flowers. The latter recalls <a name="Page_91"></a>one
+of the figures in the National Gallery
+"Epiphany." The charm of
+these fragments lies in the exquisite landscapes, which, in minuteness
+of finish and loving care, Giorgione has nowhere surpassed. The gallery
+at Padua is thus, in my opinion, the possessor of four genuine examples
+of Giorgione's skill as a decorator, for we have already mentioned the
+larger <i>cassone</i> pieces<a name="FNanchor_114"></a><a
+ href="#Footnote_114"><sup>[114]</sup></a> (Nos. 416 and 417).</p>
+<p>Of greater importance is the "Unknown Subject," in the National
+Gallery
+(No. 1173), a picture which, like so many others, has recently been
+taken from Giorgione, its author, and vaguely put down to his "School."
+But it is time to protest against such needless depreciation!</p>
+<p>In spite of abrasion, in spite of the loss of glow, in spite of much
+that disfigures, nay disguises, the master's own touch, I feel
+confident
+that Giorgione and no other produced this beautiful picture.<a
+ name="FNanchor_115"></a><a href="#Footnote_115"><sup>[115]</sup></a>
+Surely
+if this be only school work, we are vainly seeking a mythical master,
+an
+ideal who never could have existed. What more dainty figures, what more
+delicate hues, what more exquisite feeling could one look for than is
+here to be found? True, the landscape has been renovated, <a
+ name="Page_92"></a>true, the
+Giorgionesque depth and richness is gone, the mellow glow of the
+"Epiphany," which hangs just below, is sadly wanting, but who can deny
+the charm of the picturesque scenery, which vividly recalls the
+landscape backgrounds elsewhere in the master's own work, who can fail
+to admire the natural and unstudied grouping of the figures, the
+artlessness of the whole, the loving simplicity with which the painter
+has done his work? All is spontaneous; the spirit is not that of a
+laborious imitator, painfully seeking "effects" from another's
+inspiration; sincerity and na&iuml;vet&eacute; are too apparent for
+this to be the
+work of any but a quite young artist, and one whose style is so
+thoroughly "Giorgionesque" as to be none other than the young Giorgione
+himself. In my opinion this is one of his earliest essays into the
+region of romance, painted probably before his twenty-first year,
+betraying, like the little legendary pictures in the Uffizi, a strong
+affinity with Carpaccio.<a name="FNanchor_116"></a><a
+ href="#Footnote_116"><sup>[116]</sup></a></p>
+<p style="text-align: center;"><a name="THE_GOLDEN_AGE"></a><img
+ style="width: 317px; height: 417px;" alt="? THE GOLDEN AGE"
+ title="? THE GOLDEN AGE" src="images/drg034.jpg"><br>
+</p>
+<p>As to the subject many conjectures have been made: Aristotle
+surrounded
+by emblems illustrating the objects with which his philosophy was
+concerned, an initiation into some mystic rite, the poet musing in
+sadness on the mysteries of life, the philosopher imparting wisdom to
+the young, etc. etc. I believe Giorgione is simply giving us a poetical
+rendering of "The Golden Age," where, like Plato's philosopher-king,
+the
+seer all-wise and all-powerful holds sway, before whom the arts and
+sciences do homage; in this earthly<br>
+<a name="Page_93"></a>paradise even strange animals live in happy
+harmony, and all is peace.
+Such a theme would well have suited Giorgione's temperament, and
+Ridolfi
+actually tells us that this very subject was taken by Giorgione from
+the
+pages of Ovid, and adapted by him to his own ends.<a name="FNanchor_117"></a><a
+ href="#Footnote_117"><sup>[117]</sup></a> But whether this
+represents "The Golden Age," or some other allegory or classic story,
+the picture is completely characteristic of all that is most individual
+in Giorgione, and I earnestly hope the slur now cast upon its character
+by the misleading label will be speedily removed.<a name="FNanchor_118"></a><a
+ href="#Footnote_118"><sup>[118]</sup></a> For the public
+believes more in the labels it reads, than the pictures it sees.</p>
+<p>Finally, in the "Venus disarming Cupid," of the Wallace collection,
+we
+have, in my opinion, the wreck of a once splendid Giorgione. In the
+recent re-arrangement of the Gallery, this picture, which used to hang
+in an upstairs room, and was practically unknown, has been hung
+prominently on the line, so that its beauties, and, alas! its defects,
+can be plainly seen. The outlines are often distorted and blurred, the
+Cupid has become monstrous, the delicacy of the whole effaced by
+ill-usage and neglect. Yet the splendour of colour, the cast of
+drapery,
+the flow of line, proclaims the great master himself. There is no room,
+moreover, for such a mythical compromise as that which is proposed by
+the catalogue, "It stands midway in style between Giorgione and Titian
+in his Giorgionesque phase." No better instance could be adduced of the
+fallacy of perfection implied in the minds of most <a name="Page_94"></a>critics
+at the
+mention of Giorgione's name; yet if we accept the Louvre "Concert," if
+we accept the Hermitage "Judith," why dispute Giorgione's claim on the
+ground of "weakness of construction"? This "Venus and Cupid" is vastly
+inferior in quality to the Dresden "Venus,"&#8212;let us frankly admit
+it,&#8212;but it is none the less characteristic of the artist, who must not
+be judged by the standard of his exceptional creations, but by that of
+his normal productions.<a name="FNanchor_119"></a><a
+ href="#Footnote_119"><sup>[119]</sup></a></p>
+<p style="text-align: center;"><a name="VENUS_AND_ADONIS"></a><img
+ style="width: 463px; height: 312px;" alt="VENUS AND ADONIS"
+ title="VENUS AND ADONIS" src="images/drg035.jpg"><br>
+</p>
+<p>Just such another instance of average merit is afforded by the
+"Venus
+and Adonis" of the National Gallery (No. 1123), from which, had not an
+artificial standard of excellence been falsely raised, Giorgione's name
+would never have been removed. I am happily not the first to call
+attention to the propriety of the old attribution, for Sir Edward
+Poynter claims that the same hand that produced the Louvre "Concert" is
+also responsible for the "Venus and Adonis."<a name="FNanchor_120"></a><a
+ href="#Footnote_120"><sup>[120]</sup></a> I fully share this
+opinion. The figures, with their compactly built and rounded limbs, are
+such as Giorgione loved to model, the sweep of draperies and the
+splendid line indicate a consummate master, the idyllic landscape
+framing episodes from the life of Adonis is just such as we see in the
+Louvre picture and elsewhere, the glow and splendour of the whole
+reveal
+a master of tone and colouring. Some good judges would give the work to
+the young Titian, but it appears too intimately "Giorgionesque" to be
+his, although I admit the extreme difficulty in drawing the line of
+division. <a name="Page_95"></a>Passages in the "Sacred and Profane
+Love" of
+the Borghese Gallery are
+curiously recalled, but the National Gallery picture is clearly the
+work
+of a mature and experienced hand, and not of any young artist. In my
+opinion it dates from about 1508, and illustrates the later phase of
+Giorgione's art as admirably as do the "Epiphany" (No. 1160) and the
+"Golden Age" (No. 1173) his earliest style. Between these extremes fall
+the "Portrait" (No. 636), and the "S. Liberale" (No. 269), the National
+Gallery thus affording unrivalled opportunity for studying the varying
+phases of the great Venetian master at different stages of his career.</p>
+<hr style="height: 2px; width: 25%;">
+<p>We may now pass from the realm of "fancy" subjects to that of sacred
+art&#8212;that is, to the consideration of the "Madonnas," "Holy Families,"
+and "Santa Conversazione" pictures, other than those already described.
+The Beaumont "Adoration of the Shepherds," with its variant at Vienna,
+the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony
+and
+S. Roch," and the Castelfranco altar-piece are the only instances so
+far
+of Giorgione's sacred art, yet Vasari tells us that the master "in his
+youth painted very many beautiful pictures of the Virgin."</p>
+<p>This statement is on the face of it likely enough, for although the
+young Castelfrancan early showed his independence of tradition and his
+preference for the more modern phases of Bellini's art, it is extremely
+probable he was also called upon to paint some smaller devotional
+pieces, such, for instance, as "The Christ bearing the Cross," lately
+in
+the Casa Loschi at <a name="Page_96"></a>Vicenza.<a name="FNanchor_121"></a><a
+ href="#Footnote_121"><sup>[121]</sup></a> It is noteworthy, all the
+same, that
+scarcely any "Madonna" picture exists to which his name still attaches,
+and only one "Holy Family," so far as I am aware, is credibly reputed
+to
+be his work. This is Mr. Benson's little picture, in all respects a
+worthy companion to the Beaumont and National Gallery examples. There
+is
+even a purer ring about this lovely little "Holy Family," a child-like
+sincerity and a simplicity which is very touching, while for sheer
+beauty of colour it is more enjoyable than either of the others. It may
+not have the depth of tone and mastery of chiaroscuro which make the
+Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
+and daintiness of treatment it is not surpassed by any other of
+Giorgione's works. In its obvious defects, too, it is as thoroughly
+characteristic; it is needless to repeat here what I said when
+discussing the Beaumont and Vienna "Adoration"; the reader who compares
+the reproductions will readily see the same features in both works. Mr.
+Benson's little picture has this additional interest, that more than
+either of its companion pieces it points forward to the Castelfranco
+"Madonna" in the bold sweep of the draperies, the play of light on
+horizontal surfaces, and the exquisite gaiety of its colour.</p>
+<p style="text-align: center;"><a name="THE_GIPSY_MADONNA"></a><img
+ style="width: 394px; height: 339px;" alt="THE &quot;GIPSY&quot; MADONNA"
+ title="THE &quot;GIPSY&quot; MADONNA" src="images/drg036.jpg"><br>
+</p>
+<p>In claiming this picture for Giorgione I am claiming nothing new,
+for
+his name, in spite of modern critics, has here persistently survived.
+Not so with a group of three Madonnas, one of which has for at least
+two
+centuries borne Titian's name, another which passes also for a work of
+the same painter, whilst the <a name="Page_97"></a>third was claimed
+by Crowe and Cavalcaselle
+again for Titian, partly on
+the analogy of the first-mentioned one.<a name="FNanchor_122"></a><a
+ href="#Footnote_122"><sup>[122]</sup></a> The first is the so-called
+"Gipsy Madonna" in the Vienna Gallery, the second is a "Madonna" in the
+Bergamo Gallery, and the third is a "Madonna" again in Mr. Benson's
+collection.</p>
+<p>I am happily not the first to identify the "Gipsy Madonna" as
+Giorgione's work, for it requires no little courage to tilt at what has
+been unquestioningly accepted as "the earliest known Madonna of
+Titian."
+I am indebted, therefore, to Signor Venturi for the lead,<a
+ name="FNanchor_123"></a><a href="#Footnote_123"><sup>[123]</sup></a>
+although
+I have the satisfaction of feeling that independent study of my own had
+already brought me to the same conclusion.</p>
+<p>Of course, all modern writers have recognised the "Giorgionesque"
+elements in this supposed Titian. "In the depth, strength, and richness
+of the colour-chord, in the atmospheric spaciousness and charm of the
+landscape background, in the breadth of the draperies, it is already,"
+says Mr. Claude Phillips,<a name="FNanchor_124"></a><a
+ href="#Footnote_124"><sup>[124]</sup></a> "Giorgionesque." Yet, he
+goes on, the
+Child is unlike Giorgione's type in the Castelfranco and Madrid
+pictures, and the Virgin has a less spiritualised nature than
+Giorgione's Madonnas in the same two pictures. On the other hand, Dr.
+Gronau, Titian's latest biographer, declares<a name="FNanchor_125"></a><a
+ href="#Footnote_125"><sup>[125]</sup></a> that the thoughtful
+expression ("der tief empfundene Ausdruck") of the Madonna is
+essentially Giorgionesque. Morelli, with peculiar in<a name="Page_98"></a>sight,
+protested
+against its being considered a very <i>early</i> work of Titian,
+basing his
+protest on the advanced nature of the landscape, which, he says,<a
+ name="FNanchor_126"></a><a href="#Footnote_126"><sup>[126]</sup></a>
+"must have been painted six or eight years later than the end of the
+fifteenth century." But even he fell into line with Crowe and
+Cavalcaselle in ascribing the picture to Titian, failing to see that
+all
+difficulties of chronology and discrepancies of judgment between
+himself
+and the older historians could be reconciled on the hypothesis of
+Giorgione's authorship. For Giorgione, as Morelli rightly saw,
+developed
+far more rapidly than Titian, so that a Titian landscape of, say,
+1506-8
+(if any such exist!) would correspond with one by Giorgione of, say,
+1500. I agree with Crowe and Cavalcaselle and those writers who date
+back the "Gipsy Madonna" to the end of the fifteenth century, but I
+must
+emphatically support Signor Venturi in his claim that Giorgione is the
+author.</p>
+<p>Before, however, looking at internal evidence to prove this
+contention,
+we may note that another example of the same composition exists in the
+Gallery of Rovigo, identical save for a cartellino on which is
+inscribed
+TITIANVS. To Crowe and Cavalcaselle this was evidence to confirm
+Titian's claim to be the painter of what they considered the original
+work&#8212;viz. the Vienna picture, of which the Rovigo example was, in their
+opinion, a later copy. A careful examination, however, of the latter
+picture has convinced me that they were curiously right and curiously
+wrong. That the Rovigo work is posterior to the Vienna one is, I think,
+patent to anyone conversant with Venetian <a name="Page_99"></a>painting,
+but why should the
+one bear Titian's name on an apparently authentic cartellino, and not
+the other? The simple and straightforward explanation appears the
+best&#8212;viz. that the Rovigo picture is actually by Titian, who has taken
+the Vienna picture (which I attribute to Giorgione) as his model and
+directly repeated it. The qualities of the work are admirable, and
+worthy of Titian, and I venture to think this "Madonna" would long ago
+have taken its rightful place among the pictures of the master had it
+not hung in a remote provincial gallery little visited by travellers,
+and in such a dark corner as to escape detection. The form TITIANVS
+points to a period after 1520,<a name="FNanchor_127"></a><a
+ href="#Footnote_127"><sup>[127]</sup></a> when Giorgione had been some
+years
+dead, so that it was not unnatural that in after times the credit of
+invention rested with the author of the signed picture, and that his
+name came gradually to be attached also to the earlier example. The
+engraving of Meyssen (<i>circa</i> 1640) thus bears Titian's name, and
+both
+engraving and the repetition at Rovigo are now adduced as evidence of
+Titian's authorship of the Vienna "Gipsy Madonna."</p>
+<p>But is there any proof that Titian ever copied or repeated any other
+work of Giorgione? There is, fortunately, one great and acknowledged
+precedent, the "Venus" in the Tribune of the Uffizi, which is <i>directly</i>
+taken from Giorgione's Dresden "Venus," The accessories, it is true,
+are
+different, but the nude figures are line for line identical.<a
+ name="FNanchor_128"></a><a href="#Footnote_128"><sup>[128]</sup></a>
+Other
+painters, <a name="Page_100"></a>Palma, Cariarli, and Titian,
+elsewhere, derived inspiration
+from Giorgione's prototype, but Titian actually repeats the very figure
+in this "Venus"; so that there is nothing improbable in my contention
+that Titian also repeated Giorgione's "Gipsy Madonna," adding his
+signature thereto, to the confusion and confounding of later
+generations.</p>
+<p style="text-align: center;"><a name="MADON_AND_CHILD"></a><img
+ style="width: 394px; height: 341px;" alt="MADONNA AND CHILD"
+ title="MADONNA AND CHILD" src="images/drg037.jpg"><br>
+</p>
+<p>It is worthy of note that not a single "Madonna and Child" by Titian
+exists, except the little picture in Mr. Mond's collection, painted
+quite in the artist's old age. Titian invariably paints "Madonna and
+Saints," or a "Holy Family," so that the three Madonna pictures I am
+claiming for Giorgione are marked off by this peculiarity from the bulk
+of Titian's work. This in itself is not enough to disqualify Titian,
+but
+it is a factor in that cumulative proof by which I hope Giorgione's
+claim may be sustained. The marble parapet again is a feature in
+Giorgione's work, but not in Titian's. But the most convincing evidence
+to those who know the master lies in the composition, which forms an
+almost equilateral triangle, revealing Giorgione's supreme sense of
+beauty in line. The splendid curves made by the drapery, the pose of
+the
+Child, so as to obtain the same unbroken sweep of line, reveals the
+painter of the Dresden "Venus." The painting of the Child's hand over
+the Madonna's is precisely as in the Madrid picture, where, moreover,
+the pose of the Child is singularly alike. The folds of drapery on the
+sleeve recur in the same picture, the landscape with the small figure
+seated beneath <a name="Page_101"></a>the tree is such as can be found
+in any
+Giorgione background. The oval
+of the face and the delicacy of the features are thoroughly
+characteristic, as is the spirit of calm reverie and tender simplicity
+which Giorgione has breathed into his figures.</p>
+<p>The second and third Madonna pictures&#8212;viz. the one at Bergamo, and
+its
+counterpart in Mr. Benson's collection&#8212;appear to be somewhat later in
+date of execution, but reveal many points in common with the "Gipsy
+Madonna." The beauty of line is here equally conspicuous; the way the
+drapery is carried out beyond the elbow so as to form one long unbroken
+curve, the triangular composition, the marble parapet, are so many
+proofs of Giorgione's hand. Moreover, we find in Mr. Benson's picture
+the characteristic tree-trunks, so suggestive of solemn grandeur,<a
+ name="FNanchor_129"></a><a href="#Footnote_129"><sup>[129]</sup></a>
+and the striped scarf,<a name="FNanchor_130"></a><a href="#Footnote_130"><sup>[130]</sup></a>
+so cunningly disposed to give more flowing
+line and break the stiffness of contour.</p>
+<p>The Bergamo picture closely resembles Mr. Benson's "Madonna," from
+which, indeed, it varies chiefly in the pose of the Child (whose left
+leg here sticks straight out), whilst the landscape is seen on the left
+side, and there are no tree-trunks. I cannot find that any writer has
+made allusion to this little gem, which hangs high up on the end wall
+of
+the Lochis section of the gallery (No. 232); I hope others will examine
+this new-found work at a less inconvenient height, as I have done, and
+that their opinion will coincide with <a name="Page_102"></a>mine that
+the same hand painted
+the Benson "Madonna," and that that hand is Giorgione's.</p>
+<p>Before quitting the subject of the "Madonna and Child," another
+example
+may be alluded to, about which it would be unwise to express any
+decided
+opinion founded only on a study of the photograph. This is a picture at
+St. Petersburg, to which Mr. Claude Phillips first directed
+attention,<a name="FNanchor_131"></a><a href="#Footnote_131"><sup>[131]</sup></a>
+stating his then belief that it might be a genuine
+Giorgione. After a recent visit to St. Petersburg, however, he has seen
+fit to register it as a probable copy after a lost original by the
+master, on the ground that "it is not fine enough in execution."<a
+ name="FNanchor_132"></a><a href="#Footnote_132"><sup>[132]</sup></a>
+This, as I have often pointed out, is a dangerous test to apply in
+Giorgione's case, and so the authenticity of this "Madonna" may still
+be
+left an open question.</p>
+<p>Finally, in the category of Sacred Art come two well-known pictures,
+both in public galleries, and both accredited to Giorgione. The first
+is
+the "Christ and the Adulteress" of the Glasgow Gallery, the second the
+"Madonna and Saints" of the Louvre. Many diverse opinions are held
+about
+the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
+It is asserted by some that the same hand painted the Kingston Lacy
+"Judgment of Solomon," but that it is not the hand of Giorgione, and
+finally&#8212;to come to the view which I believe is the correct one&#8212;Dr.
+Bode and Sir Walter Armstrong<a name="FNanchor_133"></a><a
+ href="#Footnote_133"><sup>[133]</sup></a> both believe that Giorgione
+is the
+painter.</p>
+<p style="text-align: center;"><a name="THE_ADULTERESS_BEFORE_CHRIST"></a><img
+ style="width: 405px; height: 341px;" alt="THE ADULTERESS BEFORE CHRIST"
+ title="THE ADULTERESS BEFORE CHRIST" src="images/drg038.jpg"></p>
+<p><a name="Page_103"></a>The whole difficulty, as it seems to me,
+arises from the deep-rooted
+misapprehension in the minds of most critics of the character of
+Giorgione's art. In their eyes, he is something so perfect as to be
+incapable of producing anything short of the ideal. He could never have
+drawn so badly, he never could have composed so awkwardly, he never
+could have been so inexpressive!&#8212;such is the usual criticism. I have
+elsewhere insisted upon the unevenness which invariably characterises
+the productions of men who are gifted with a strong artistic
+temperament, and in Giorgione's case, as I believe, this is
+particularly
+true. The Glasgow picture is but one instance of many where, if
+correctness of drawing, perfection of composition, and inevitableness
+of
+expression are taken as final tests, the verdict must go against the
+painter. He either failed in these cases to come up to the standard
+reached elsewhere, or he is not the painter. Modern negative criticism
+generally adopts the latter solution, with the result that not a score
+of pictures pass muster, and the virtues of these chosen few are so
+extolled as to make it all but impossible to see the reverse of the
+medal. But those who accept the "Judith" at St. Petersburg, the Louvre
+"Concert," the Beaumont "Adoration of the Shepherds" (to name only
+three
+examples where the drawing is strange), cannot consistently object to
+admit the Glasgow "Christ and the Adulteress" into the fold. Nay, if
+gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
+brilliancy of technique are qualities which go to make up great
+painting, then the Glasgow picture must take high rank, even in a
+school
+where such qualities found their grandest expression.</p>
+<p><a name="Page_104"></a>Comparisons of detail may be noted, such as
+the resemblance in posture
+and type of the Accuser with the S. Roch of the Madrid picture, the
+figure of the Adulteress with that of the False Mother in the Kingston
+Lacy picture, the pointing forefingers, the typical landscape, the cast
+of the draperies, details which the reader can find often repeated
+elsewhere. But it is in the treatment of the subject that the most
+characteristic features are revealed. The artist was required&#8212;we know
+not why&#8212;to paint this dramatic scene; he had to produce a "set piece,"
+where action and graphic representation was urgently needed. How little
+to his taste! How uncongenial the task! The case is exactly paralleled
+by the "Judgment of Solomon," the only other dramatic episode Giorgione
+appears to have attempted, and the result in each case is the same&#8212;no
+real dramatic unity, but an accidental arrangement of the figures, with
+rhetorical action. The want of repose in the Christ offends, the
+stageyness of the whole repels. How different when Giorgione worked <i>con
+amore</i>! For it seems this composition gave him much trouble. Of this
+we
+have a most interesting proof in an almost contemporary Venetian
+version
+of the same subject, where the scheme has been recast. This picture
+belongs to Sir Charles Turner, in London, and, so far as
+intelligibleness of composition goes, may be said to be an improvement
+on the Glasgow version. It is highly probable that this painting
+derives
+from some alternative drawing for the original picture. That the
+Glasgow
+version acquired some celebrity we have further proof in an almost
+exact
+copy (with one more figure added on the <a name="Page_105"></a>right),
+which hangs in the Bergamo Gallery
+under Cariani's name, a
+painting which, in all respects, is utterly inferior to the
+original.<a name="FNanchor_134"></a><a href="#Footnote_134"><sup>[134]</sup></a></p>
+<p>The "Christ and the Adulteress," then, becomes for us a revelation
+of
+the painter's nature, of his methods and aims; but, with all its
+technical excellences, shall we not also frankly recognise the
+limitations of his art?<a name="FNanchor_135"></a><a
+ href="#Footnote_135"><sup>[135]</sup></a></p>
+<p style="text-align: center;"><a name="MADON_AND_SAINTS"></a><img
+ style="width: 443px; height: 342px;" alt="MADONNA AND SAINTS"
+ title="MADONNA AND SAINTS" src="images/drg039.jpg"><br>
+</p>
+<p>The "Madonna and Saints" of the Louvre, which persistently bears
+Giorgione's name, in spite of modern negative criticism, is marked by a
+lurid splendour of colour and a certain rough grandeur of expression,
+well calculated to jar with any preconceived notion of Giorgionesque
+sobriety or reserve. Yet here, if anywhere, we get that <i>fuoco
+Giorgionesco</i> of which Vasari speaks, that intensity of feeling,
+rendered with a vivacity and power to which the artist could only have
+attained in his latest days. In this splendid group there is a
+masculine
+energy, a fulness of life, and a grandeur of representation which
+carries <i>le grand style</i> to its furthest limits, and if Giorgione
+actually completed the picture before his death, he anticipated the
+full
+splendour of the riper Renaissance. To him is certainly due the general
+composition, with its superb lines, its beautiful curves, its majestic
+and dignified postures, its charming sunset background, to him is
+certainly due the splendid chiaroscuro and magic colour-chord; but it
+becomes a question whether some of the <a name="Page_106"></a>detail
+was not actually finished
+by Giorgione's pupil, Sebastiano del Piombo.<a name="FNanchor_136"></a><a
+ href="#Footnote_136"><sup>[136]</sup></a> The drawing, for
+instance, of the hands vividly suggests his help, the type of S. Joseph
+in the background reminds us of the figure of S. Chrysostom in
+Sebastiano's Venice altar-piece, while the S. Catherine recalls the
+Angel in Sebastiano's "Holy Family" at Naples. If this be the case, we
+here have another instance of the pupil finishing his master's work,
+and
+this time probably after his death, for, as already pointed out, the
+"Evander and Aeneas" (at Vienna) must have been left by Giorgione
+well-nigh complete at an earlier stage than the year of his death.</p>
+<p>That Sebastiano stood in close relation to his master, Giorgione, is
+evidenced not only by Vasari's statement, but by the obvious dependence
+of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque
+models. Moreover, the "Violin Player," formerly in the Sciarra Palace,
+at once reminds us of the "Barberigo" portrait at Cobham, while the
+"Herodias with the Head of John Baptist," dated 1510, now in the
+collection of Mr. George Salting, shows conclusively how closely
+related
+were the two painters in the last year of Giorgione's life. Sebastiano
+was twenty-five years of age in 1510, and appears to have worked under
+Giorgione for some time before removing to Rome, which he did on, or
+shortly before, his master's death. His departure left Titian, his
+associate under <a name="Page_107"></a>Giorgione, master of the field;
+he, too, had a hand in
+finishing some of the work left incomplete in the atelier, and his
+privilege it became to continue the Giorgionesque tradition, and to
+realise in utmost perfection in after years the aspirations and ideals
+so brilliantly anticipated by the young genius of Castelfranco.<a
+ name="FNanchor_137"></a><a href="#Footnote_137"><sup>[137]</sup></a></p>
+<p><a name="Page_108"></a><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_113"></a><a href="#FNanchor_113">[113]</a>
+<div class="note">
+<p> The Doges Agostino Barberigo, and Leonardo Loredano,
+Consalvo of Cordova, Giovanni Borgherini and his tutor, Luigi Crasso,
+and others, are mentioned as having sat to Giorgione for their
+portraits. Modern criticism has recently distributed several
+"Giorgionesque" portraits in English collections among Licinio, Lotto,
+and even Polidoro! But this disintegrating process may be, and has
+been,
+carried too far.</p>
+</div>
+<a name="Footnote_114"></a><a href="#FNanchor_114">[114]</a>
+<div class="note">
+<p> Two more small works may be mentioned which may
+tentatively be ascribed to Giorgione. "The Two Musicians," in the
+Glasgow Gallery (recently transferred to Campagnola), and a "Sta.
+Justina" (known to me only from a photograph), which has passed lately
+into the collection of Herr von Kauffmann at Berlin.
+</p>
+<p>Signor Venturi (<i>L'Arte</i>, 1900) has just acquired for the
+National
+Gallery in Rome a "St. George slaying the Dragon." Judging only from
+the
+photograph, I should say he is correct in his identification of this as
+Giorgione's work. It seems to be akin to the "Apollo and Daphne," and
+"Orpheus and Eurydice."</p>
+</div>
+<a name="Footnote_115"></a><a href="#FNanchor_115">[115]</a>
+<div class="note">
+<p> I am pleased to find Signor Venturi has anticipated my
+own conclusion in his recently published <i>La Galleria Crespi</i>.</p>
+</div>
+<a name="Footnote_116"></a><a href="#FNanchor_116">[116]</a>
+<div class="note">
+<p> Mr. Cosmo Monkhouse (<i>In the National Gallery</i>, p. 223)
+has already rightly recognised the same hand in this picture and in the
+"Epiphany" hanging just below.</p>
+</div>
+<a name="Footnote_117"></a><a href="#FNanchor_117">[117]</a>
+<div class="note">
+<p> Meravig, i. 124.</p>
+</div>
+<a name="Footnote_118"></a><a href="#FNanchor_118">[118]</a>
+<div class="note">
+<p> By a happy accident the new "Giorgione" label, intended
+for the "Epiphany," No. 1160, was for some time affixed to No. 1173.</p>
+</div>
+<a name="Footnote_119"></a><a href="#FNanchor_119">[119]</a>
+<div class="note">
+<p> When in the Orleans Gallery the picture was engraved
+under Giorgione's name by de Longueil and Halbon.</p>
+</div>
+<a name="Footnote_120"></a><a href="#FNanchor_120">[120]</a>
+<div class="note">
+<p> New illustrated edition of the National Gallery
+Catalogue, 1900.</p>
+</div>
+<a name="Footnote_121"></a><a href="#FNanchor_121">[121]</a>
+<div class="note">
+<p> Now in America, in Mrs. Gardner's Collection.</p>
+</div>
+<a name="Footnote_122"></a><a href="#FNanchor_122">[122]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle: <i>Titian</i>, i. p. III. This picture
+was then at Burleigh House.</p>
+</div>
+<a name="Footnote_123"></a><a href="#FNanchor_123">[123]</a>
+<div class="note">
+<p> See <i>La Galleria Crespi</i>, 1900.</p>
+</div>
+<a name="Footnote_124"></a><a href="#FNanchor_124">[124]</a>
+<div class="note">
+<p> <i>The Earlier Work of Titian</i> p. 24. <i>Portfolio</i>,
+October
+1897.</p>
+</div>
+<a name="Footnote_125"></a><a href="#FNanchor_125">[125]</a>
+<div class="note">
+<p> <i>Tizian</i>, p. 16.</p>
+</div>
+<a name="Footnote_126"></a><a href="#FNanchor_126">[126]</a>
+<div class="note">
+<p> Morelli, ii. 57, note.</p>
+</div>
+<a name="Footnote_127"></a><a href="#FNanchor_127">[127]</a>
+<div class="note">
+<p> See <i>antea</i>, <a href="#Page_71">p. 71.</a></p>
+</div>
+<a name="Footnote_128"></a><a href="#FNanchor_128">[128]</a>
+<div class="note">
+<p> With the exception of the right arm, which Titian has let
+fall, instead placing it behind the head of the sleeping goddess. The
+effect of the beautiful curve is thereby lost, and Titian shows himself
+Giorgione's inferior in quality of line.</p>
+</div>
+<a name="Footnote_129"></a><a href="#FNanchor_129">[129]</a>
+<div class="note">
+<p> As in the "Aeneas and Evander" (Vienna), the "Judith"
+(St. Petersburg), the Madrid "Madonna and Saints," etc.</p>
+</div>
+<a name="Footnote_130"></a><a href="#FNanchor_130">[130]</a>
+<div class="note">
+<p> As in the "Caterina Cornare" of the Crespi collection at
+Milan.</p>
+</div>
+<a name="Footnote_131"></a><a href="#FNanchor_131">[131]</a>
+<div class="note">
+<p> <i>Magazine of Art</i>. July 1895.</p>
+</div>
+<a name="Footnote_132"></a><a href="#FNanchor_132">[132]</a>
+<div class="note">
+<p> <i>North American Review</i>. October 1899.</p>
+</div>
+<a name="Footnote_133"></a><a href="#FNanchor_133">[133]</a>
+<div class="note">
+<p> <i>Magazine of Art</i>, 1890, pp. 91 and 138.</p>
+</div>
+<a name="Footnote_134"></a><a href="#FNanchor_134">[134]</a>
+<div class="note">
+<p> The small divergencies of detail in the dress of the
+"Adulteress," etc., are just such as an imitator might have ventured to
+make. The hand and arm of the Christ have, however, been altered for
+the
+better.</p>
+</div>
+<a name="Footnote_135"></a><a href="#FNanchor_135">[135]</a>
+<div class="note">
+<p> This is the first time in Venetian art that the subject
+appears. It is frequently found later.</p>
+</div>
+<a name="Footnote_136"></a><a href="#FNanchor_136">[136]</a>
+<div class="note">
+<p> Cariani is by some made responsible for the whole
+picture. A comparison with an authentic example hanging (in the new
+arrangement of the Long Gallery), close by, ought surely to convince
+the
+advocates of Cariani of their mistake.</p>
+</div>
+<a name="Footnote_137"></a><a href="#FNanchor_137">[137]</a>
+<div class="note">
+<p> Morto da Feltre is mentioned by Vasari as having assisted
+Giorgione in the decoration of the Fondaco de' Tedeschi. This was in
+1508. Otherwise, we know of no pupils or assistants employed by the
+master, a fact which goes to show that his influence was felt, not so
+much through any personal teaching, as through his work.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_VI"></a>
+<h2>CHAPTER VI</h2>
+<h2>GIORGIONE'S ART, AND PLACE IN HISTORY</h2>
+<br>
+<p>The examination in detail of all those pictures best entitled, on
+internal evidence, to rank as genuine productions of Giorgione has
+incidentally revealed to us much that is characteristic of the man
+himself. We started with the axiom that a man's work is his best
+autobiography, and where, as in Giorgione's case, so little historical
+or documentary record exists, such indications of character as may be
+gleaned from a study of his life's work become of the utmost value. <i>Le
+style c'est l'homme</i> is a saying eminently applicable in cases
+where, as
+with Giorgione, the personal element is strongly marked. The subject,
+as
+we have seen over and over again, is so highly charged with the
+artist's
+mood, with his individual feelings and emotions, that it becomes
+unrecognisable as mere illustration, and the work passes by virtue of
+sheer inspiration into the higher realms of creative art. Such fusion
+of
+personality and subject is the characteristic of lyrical art, and in
+this domain Giorgione is a supreme master. His genius, as Morelli
+rightly pointed out, is essentially lyrical in contradistinction to
+Titian's, which is essentially dramatic. Take the epithets that we have
+constantly applied to his pictures in the course of our survey, and see
+how they <a name="Page_109"></a>bear out this statement&#8212;epithets such
+as romantic, fantastic,
+picturesque, gay, or again, delicate, refined, sensitive, serene, and
+the like; these bear witness to qualities of mind where the keynote is
+invariably exquisite feeling. Giorgione was, in fact, what is commonly
+called a poet-painter, gifted with the artistic temperament to an
+extraordinary degree, essentially impulsive, a man of moods. It is
+inevitable that such a man produces work of varying merit; inequality
+must be a characteristic feature of his art. In less fortunate
+circumstances than those in which Giorgione was placed, such
+temperaments as his become peevish, morose, morbid; but his lines were
+cast in pleasant places, and his moods were healthy, joyous, and
+serene.
+He does not concern himself with the tragedy of life, with its pathos
+or
+its disappointments. In his two renderings of "Christ bearing the
+Cross"<a name="FNanchor_138"></a><a href="#Footnote_138"><sup>[138]</sup></a>
+the
+only instances we have of his portrayal of the Man of
+Sorrows&#8212;he appeals more to our sense of the dignity of humanity, and to
+the nobility of the Christ, than to our tenderer sympathies. How
+different from the pathetic Piet&agrave;s of his master, Giambellini!
+This
+shrinking from pain and sorrow, this dislike to the representation of
+suffering is, however, as much due to the natural gaiety and elasticity
+of youth as to the happy accident of his surroundings. We must never
+forget that Giorgione's whole achievement was over at an age when some
+men's life-work has hardly begun. The eighteen years of his activity
+were what we sometimes call the years of promise, and he must <a
+ name="Page_110"></a>not be
+judged as we judge a Titian or a Michel Angelo. He is the wonderful
+youth, full of joyous aspirations, gilding all he touches with the
+radiance of his spirit. His pictures, suffused with a golden glow, are
+the reflection of his sunny life; the vividness and intensity of his
+passion are expressed in the gorgeousness of his colours.</p>
+<p>I have elsewhere dwelt upon the precocity of Giorgione's talent,
+with
+its accompanying qualities of versatility, inequality, and
+productiveness, and I have pointed out the analogous phenomena in music
+and poetry. Giorgione, Schubert, and Keats are alike in temperament and
+quality of expression. They are curiously alike in the shortness of
+their lives,<a name="FNanchor_139"></a><a href="#Footnote_139"><sup>[139]</sup></a>
+and the fever-heat of their production. But they are
+strangely distinct in the manner of their lives. The disparity of
+outward circumstances accounts for the healthy tone of Giorgione's art,
+when contrasted with the morbid utterances of Keats. Schubert suffered
+privations and poverty, and his song was wrung from him alike at
+moments
+of inspiration and of necessity. But Giorgione is all aglow with
+natural
+energy; he suffered no restraints, nor is his art forced or morbid.
+Confine his spirit, check the play of his fancy, set him a task
+prescribed by convention or hampered by conditions, and you get proof
+of
+the fretfulness, the impatience of restraint which the artist felt. The
+"Judgment of Solomon" and "The Adulteress before Christ," the only two
+"set" pieces he ever attempted, eloquently show how he fell short when
+struggling athwart his <a name="Page_111"></a>genius. For to register
+a fact was utterly
+foreign to his nature; he records an impression, frankly surrendering
+his spirit to the sense of joy and beauty. He is not seldom incoherent,
+and may even grow careless, but in power of imagination and exuberance
+of fancy he is always supreme.</p>
+<p>In one respect, however, Giorgione shows himself a greater than
+Schubert
+or Keats. He has a profounder insight into human nature in its varying
+aspects than either the musician or the poet. He is less a visionary,
+because his experience of men and things is greater than theirs; his
+outlook is wider, he is less self-centred. This power of grasping
+objective truth naturally shows itself most readily in the portraits he
+painted, and it was due to the force of circumstances, as I believe,
+that this faculty was trained and developed. Had Giorgione lived aloof
+from the world, had not his natural reticence and sensitiveness been
+dominated by outside influences, he might have remained all his life
+dreaming dreams, and seeing visions, a lyric poet indeed, but not a
+great and living, influence in his generation. Yet such undoubtedly he
+was, for he effected nothing short of a revolution in the contemporary
+art of Venice. Can the same be said of Schubert or Keats? The truth is
+that Giorgione had opportunities of studying human nature such as the
+others never enjoyed; fortune smiled upon him in his earliest years,
+and
+he found himself thrust into the society of the great, who were eager
+to
+sit to him for their portraits. How the young Castelfrancan first
+achieved such distinction is not told us by the historians, but I have
+ventured to connect his start in life with <a name="Page_112"></a>the
+presence of the ex-Queen
+of Cyprus, Caterina Cornaro, at Asolo, near Castelfranco; I think it
+more than probable that her patronage and recommendation launched the
+young painter on his successful career in Venice. Certain it is that he
+painted her portrait in his earlier days, and if, as I have sought to
+prove, Signor Crespi's picture is the long-lost portrait of the great
+lady, we may well understand the instant success such an achievement
+won.</p>
+<p>Here, if anywhere, we get Giorgione's great interpretative
+qualities,
+his penetration into human nature, his reading of character. It is an
+astonishing thing for one so young to have done, explicable
+psychologically on the existence of a lively sympathy between the great
+lady and the poet-painter. Had we other portraits of the fair sex by
+Giorgione, I venture to think we should find in them his reading of the
+human soul even more plainly evidenced than in the male portraits we
+actually possess.<a name="FNanchor_140"></a><a href="#Footnote_140"><sup>[140]</sup></a>
+For it is clear that the artist was
+"impressionable," and he would have given us more sympathetic
+interpretations of the fair sex than those which Titian has left us.
+The
+so-called "Portrait of the Physician Parma" (at Vienna) is another
+instance of Giorgione's grasp of character, the virility and suppressed
+energy being admirably seized, the conception approaching more nearly
+to
+Titian's in its essential dignity than is usually the case with
+Giorgione's portraits. It is a matter of more regret, therefore, that
+the likenesses of the Doges Agostino Barberigo and Leonardo Loredano
+are
+missing, for <a name="Page_113"></a>in them we might have had
+specimens of work comparable to
+the Caterina Cornaro, which, in my opinion at all events, is
+Giorgione's
+masterpiece of portraiture.</p>
+<p>I have given reasons elsewhere for dating this portrait at latest
+1500.
+It is probably anterior by a few years to the close of the century.
+This
+deduction, if correct, has far-reaching consequences: it becomes
+actually the first <i>modern</i> portrait ever painted, for it is the
+earliest instance of a portrait instinct with the newer life of the
+Renaissance. And this brings us to the question: What was Giorgione's
+relation to that great awakening of the human spirit which we call the
+Renaissance? Mr. Berenson answers the question thus: "His pictures are
+the perfect reflex of the Renaissance at its height."<a
+ name="FNanchor_141"></a><a href="#Footnote_141"><sup>[141]</sup></a>
+If this be
+taken to mean that Giorgione <i>anticipated</i> the aspirations and
+ideals of
+the riper Renaissance, I think we may acquiesce in the phrase; but that
+the onward movement of this great revival coincided only with the
+artist's years, and culminated at his death, is not historically
+correct. The wave had not reached its highest point by the year 1510,
+and Titian was yet to rise to a fuller and grander expression of the
+human soul. But Giorgione may rightly be called the Herald of the
+Renaissance, not only by virtue of the position he holds in Venetian
+painting, but by priority of appearance on the wider horizon of Italian
+Art.</p>
+<p>Let us take the four great representative exponents of Italian Art
+at
+its best, Raphael, Correggio, Leonardo, and Michel Angelo.
+Chronologically, Giorgione precedes Raphael and Correggio, though
+Leonardo and <a name="Page_114"></a>Michel Angelo were born before him.<a
+ name="FNanchor_142"></a><a href="#Footnote_142"><sup>[142]</sup></a>
+But had either of
+the latter proclaimed a new order of things as early as 1495? Michel
+Angelo was just twenty years old, and he had not yet carved his
+"Piet&agrave;"
+for S. Peter's. Leonardo, a man of forty-three, had not completed his
+"Cenacolo," and the "Mona Lisa" would not be created for another five
+or
+six years. Giorgione's "Caterina Cornaro," therefore, becomes the first
+masterpiece of the earlier Renaissance, and proclaims a revolution in
+the history of portraiture. In Venice itself we have only to look at
+the
+contemporary portraits by Alvise Vivarini and Gentile Bellini, and at
+the slightly earlier busts by Antonello da Messina, to see what a world
+of difference in feeling and interpretation there is between them and
+Giorgione's portraits. What a splendid array of artistic triumphs must
+have sprung up around this masterpiece! The Cobham portrait and the
+National Gallery "Poet" are alone left us in much of their pristine
+splendour, but what of the lost portraits of the great Consalvo and of
+the Doge Agostino Barberigo, both of which must date from the year 1500?</p>
+<p>Giorgione is then the Herald of the Renaissance, and never did
+genius
+arise in more fitting season. It was the right psychological moment for
+such a man, and Giorgione "painted pictures so perfectly in touch with
+the ripened spirit of the Renaissance that they met with the success
+which those things only find <a name="Page_115"></a>that at the same
+moment wake us to the
+full sense of a need and satisfy it."<a name="FNanchor_143"></a><a
+ href="#Footnote_143"><sup>[143]</sup></a> This is the secret of his
+overwhelming influence on succeeding painters in Venice,&#8212;not, indeed,
+on his direct pupil Sebastiano del Piombo, and on his friend and
+associate Titian (who may fairly be called his pupil), but on such
+different natures as Lotto, Palma, Bonifazio, Bordone, Pordenone,
+Cariani, Romanino, Dosso Dossi, and a host of smaller men. The School
+of
+Giorgione numbers far more adherents than even the School of Leonardo,
+or the School of Raphael, not because of any direct teaching of the
+master, but because the "Giorgionesque" spirit was abroad, and the
+taste
+of the day required paintings like Giorgione's to satisfy it. But as no
+revolution can be effected without a struggle, and as there are
+invariably people opposed to any reform, whether in art or in anything
+else, we need not be surprised to find the academic faction,
+represented
+by the aged Giambellini and his pupils, resisting the progress of the
+Newer Art. In Giorgione's own lifetime, the exact measure of the
+opposition is not easy to gauge, but it bore fruit a few years later in
+the machinations of the official Bellinesque party to keep Titian out
+of
+the Ducal Palace when he was seeking State recognition,<a
+ name="FNanchor_144"></a><a href="#Footnote_144"><sup>[144]</sup></a>
+Nevertheless, Giambellini, even at his age, found it advisable to
+modulate into the newer key, as may be seen in his "S. Giovanni
+Crisostomo enthroned," where not only is the conception lyrical and the
+treatment romantic, but the <a name="Page_116"></a>actual composition
+is on the lines of the
+essentially Giorgionesque equilateral triangle. This great altar-piece
+was painted three years after Giorgione's death, and no more splendid
+testimonial to the young painter's genius could be found than in the
+forced homage thus paid to his memory by the octogenarian
+Giambellini.<a name="FNanchor_145"></a><a href="#Footnote_145"><sup>[145]</sup></a></p>
+<p>We have already, in the course of our survey of Giorgione's
+pictures,
+noted the points wherein he was an initiator. "Genre subjects," and
+"Landscape with figures," as we should say nowadays, found in him their
+earliest exponent. Before him artists had, indeed, painted figures with
+a landscape background, but the perfect blend of Nature and human
+nature
+was his achievement. This was accomplished by artistic means of the
+simplest, yet irresistibly subtle in their appeal. The quality of line
+and the sensuousness of colour nowhere cast their spells over us more
+strangely than in Giorgione's pictures, and by these means he wrought
+"effects" such as no artist has surpassed. In these purely pictorial
+qualities he is supreme, and claims place with the few quintessential
+artists of the world; to him may be applied by analogy the phrase that
+Liszt applied to Schubert, "Le musicien le plus po&egrave;te que
+jamais."</p>
+<p>As an instrument of expression, then, colour is used by Giorgione
+more
+naturally and effectively than it is by any of the Venetian painters.
+It
+appeals directly to our senses, like rare old stained glass, and seems
+to be of the very essence of the object itself. An engraving or
+photograph after such a picture as the Louvre "Pastoral Symphony" fails
+utterly to convey <a name="Page_117"></a>the sense of exhilaration one
+feels in presence of
+the actual painting, simply because the tonic effect of the colour is
+wholly wanting. The golden shimmer of light, the vibration of the air,
+the saturation of atmosphere with pure colour are not only ingredients
+in, but are of the very essence of the creation. It has been well said
+that almost literally the chief colour on Giorgione's palette was
+sunlight.<a name="FNanchor_146"></a><a href="#Footnote_146"><sup>[146]</sup></a>
+His masterly treatment of light and shadow, in which he
+was scarcely Leonardo's inferior, enabled him to make use of rich and
+full-bodied colours, which are never gaudy, as sometimes with
+Bonifazio,
+or pretty, as with Catena and lesser artists. Nor is he decorative in
+the way that Veronese excels, or lurid like Tintoretto. Compared with
+Titian it is as though his colour-chord sounded in seven sharps, whilst
+the former strikes the key of C natural. A full rich green frequently
+occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a
+deep crimson, contrasting with pure white drapery, or with golden
+flesh-tints, is also characteristic. In the painting of the nude he
+gives us real flesh and blood; his "Venus" has not the supernatural
+radiance that Correggio can give his ethereal beings (Giorgione, by the
+way, never painted an angel, so far as we know), but she glows with
+actual life, the blood is pulsing through the veins, she is very real.
+And in this connection we may notice the extraordinary skill with which
+Giorgione conveys a sense of texture; his painting of rich brocades,
+and
+more especially quilted stuffs and satiny folds, cannot be surpassed
+even by a Terburg.</p>
+<p><a name="Page_118"></a>The quality of line in his work makes itself
+felt in many ways. Beauty
+of contour and unbroken continuity of curve is obtained sometimes by
+sacrificing literal accuracy; a structurally impossible position&#8212;as the
+seated nude figure in the Louvre picture&#8212;is deliberately adopted to
+heighten the effect of line or the balance of composition. The Dresden
+"Venus," if she arose, would appear of strange proportions; but
+expressiveness is enhanced by the long flowing contours of the body, so
+suggestive of repose. We may notice also the emphasis obtained by
+parallelism; for example, the line of the left arm of the "Venus"
+follows the curve of the body, a trick which may be often seen in folds
+of drapery. This picture also illustrates a device to retain continuity
+of line; the right foot is hidden away so as not to interfere with the
+contour. Exactly the same thing may be seen in the standing figure in
+the Louvre "Pastoral Symphony." The trick of making a grand sweep from
+the top of the head downwards is usually found in the Madonna pictures,
+where a cunningly placed veil carries the line usually to the sloping
+shoulders, or else outwards to the point of the elbow, thus introducing
+the triangular scheme to which Giorgione was particularly partial.</p>
+<p>But the question remains, What is Giorgione's position among the
+world's
+great men? Is he intellectually to be ranked with the Great Thinkers of
+all time? Can he aspire to the position which Titian occupies? I fear
+not Beethoven is infinitely greater than Schubert, Shakespeare than
+Keats, and so, though in lesser degree, is Titian than Giorgione. I say
+in lesser degree, because the young poet-painter had <a name="Page_119"></a>something
+of that
+profound insight into human nature, something of that wide outlook on
+life, something of that universal sympathy, and something of that vast
+influence which distinguishes the greatest intellects of all, and this
+it is which lessens the distance between him and Titian. Yet Titian is
+the greater man, for he is "the highest and completest expression of
+his
+own age."<a name="FNanchor_147"></a><a href="#Footnote_147"><sup>[147]</sup></a></p>
+<p>Nevertheless, in that narrower sphere of the great painters, who
+proclaimed the glad tidings of Liberty when the Spirit of Man awoke
+from
+Mediaevalism, may we not add yet a fifth voice to the four-part harmony
+of Raphael, Correggio, Leonardo, and Michel Angelo, the voice of
+Giorgione, the wondrous youth, "the George of Georges," who heralded
+the
+Renaissance of which we are the heirs?</p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_138"></a><a href="#FNanchor_138">[138]</a>
+<div class="note">
+<p> In the Church of San Rocco, Venice, and in Mrs. Gardner's
+Collection in America.</p>
+</div>
+<a name="Footnote_139"></a><a href="#FNanchor_139">[139]</a>
+<div class="note">
+<p> Keats died at the age of twenty-five; Schubert was
+thirty-one; Giorgione thirty-three.</p>
+</div>
+<a name="Footnote_140"></a><a href="#FNanchor_140">[140]</a>
+<div class="note">
+<p> The ruined condition of the Borghese "Lady" prevents any
+just appreciation of the interpretative qualities.</p>
+</div>
+<a name="Footnote_141"></a><a href="#FNanchor_141">[141]</a>
+<div class="note">
+<p> <i>Venetian Painters</i>, p. 30.</p>
+</div>
+<a name="Footnote_142"></a><a href="#FNanchor_142">[142]</a>
+<div class="note">
+<p> Leonardo, 1452-1519; Michel Angelo, 1475-1564; Giorgione,
+1477-1510; Raphael, 1483-1520; Correggio, 1494-1534. Correggio,
+Raphael,
+and Giorgione died at the ages of forty, thirty-seven, and thirty-three
+years respectively. Those whom the gods love die young!</p>
+</div>
+<a name="Footnote_143"></a><a href="#FNanchor_143">[143]</a>
+<div class="note">
+<p> Berenson: <i>Venetian Painters</i>, p. 29. I should prefer to
+substitute "ripening" for "ripened."</p>
+</div>
+<a name="Footnote_144"></a><a href="#FNanchor_144">[144]</a>
+<div class="note">
+<p> Fry: <i>Giovanni Bellini</i>, p. 44.</p>
+</div>
+<a name="Footnote_145"></a><a href="#FNanchor_145">[145]</a>
+<div class="note">
+<p> In S. Giovanni Crisostomo, Venice. It dates from 1513.</p>
+</div>
+<a name="Footnote_146"></a><a href="#FNanchor_146">[146]</a>
+<div class="note">
+<p> Mary Logan: <i>Guide to the Italian Pictures at Hampton
+Court</i>, p. 13.</p>
+</div>
+<a name="Footnote_147"></a><a href="#FNanchor_147">[147]</a>
+<div class="note">
+<p> Berenson: <i>Venetian Painters</i>, p. 48.</p>
+</div>
+<hr style="width: 65%;">
+<a name="APPENDIX_I"></a>
+<h2>APPENDIX I<a name="Page_121"></a>
+</h2>
+<h2>DOCUMENTS</h2>
+<p>The following correspondence between Isabella d'Este, Marchioness of
+Mantua, and her agent Albano in Venice, is reprinted from the <i>Archivio
+Storico dell' Arte</i>, 1888, p. 47 (article by Sig. Alessandro Luzio):&#8212;</p>
+<div class="blkquot">
+<p>"Sp. Amice noster charissime; Intendemo che in le cose et
+heredit&agrave; de Zorzo da Castelfrancho pictore se ritrova una
+pictura de una nocte, molto bella et singulare; quando coss&igrave;
+fusse, desideraressimo haverla, per&ograve; vi pregamo che voliati
+essere cum Lorenzo da Pavia et qualche altro che habbi judicio et
+designo, et vedere se l'&egrave; cosa excellente, et trovando de
+s&igrave; operiati il megio del m'co m. Carlo Valerio, nostro compatre
+charissimo, et de chi altro vi parer&agrave; per apostar questa pictura
+per noi, intendendo il precio et dandone aviso. Et quando vi paresse de
+concludere il mercato, essendo cosa bona, per dubio non fusse levata da
+altri, fati quel che ve parer&agrave;: ch&egrave; ne rendemo certe
+fareti cum ogni avantagio e fede et cum bona consulta. Ofteremone a
+vostri piaceri ecc.</p>
+<p style="margin-left: 40px;"> "Mantua xxv. oct MDX."</p>
+</div>
+<p>The agent replies a few days later&#8212;</p>
+<div class="blkquot">
+<p style="margin-left: 40px;">"Ill<sup>ma</sup> et Exc<sup>ma</sup> M<sup>a</sup>
+mia obser<sup>ma</sup></p>
+<p> "Ho inteso quanto mi scrive la Ex. V. per una sua de xxv. del
+passatto, facendome intender haver inteso ritrovarsi in le cosse et
+eredit&agrave; del q. Zorzo de Castelfrancho una pictura de una notte,
+molto bella et singulare; che essendo coss&igrave; si deba veder de
+haverla.</p>
+<p> "A che rispondo a V. Ex. che ditto Zorzo mor&igrave; pi&ugrave;
+d&igrave; fanno da peste, et per voler servir quella ho parlato cum
+alcuni mei amizi, <a name="Page_122"></a>che havevano grandissime
+praticha cum lui, quali me affirmano non esser in ditta heredit&agrave;
+tal pictura. Ben &egrave; vero che ditto Zorzo ne feze una a m. Thadeo
+Contarini, qual per la informatione ho autta non &egrave; molto
+perfecta sichondo vorebe quela. Un'altra pictura de la nocte feze ditto
+Zorzo a uno Victorio Becharo, qual per quanto intendo &egrave; de
+meglior desegnio et meglio finitta che non &egrave; quella del
+Contarini. Ma esso Becharo, al presente non si atrova in questa terra,
+et sichondo m'&egrave; stato afirmatto n&egrave; l'una n&egrave;
+l'altra non sono da vendere per pretio nesuno; per&ograve; che li hanno
+fatte fare per volerle godere per loro; sich&egrave; mi doglio non
+poter satisfar al dexiderio de quella ecc.</p>
+<p style="margin-left: 40px;"> "Venetijs viii Novembris 1510.</p>
+<p style="text-align: right;"> "Servitor</p>
+<p style="text-align: right;"> "THADEUS ALBANUS."</p>
+</div>
+<p>From this letter we learn definitely (1) that Giorgione died in
+October-November 1510; (2) that he died of the plague.</p>
+<p>I have pointed out in the text that the above description of the two
+pictures "de una notte" corresponds with the actual Beaumont and Vienna
+"Nativities," or "Adoration of the Shepherds," in which I recognise the
+hand of Giorgione.</p>
+<hr style="height: 2px; width: 25%;">
+<p>The following is the only existing document in Giorgione's own
+handwriting. It was published by Molmenti in the <i>Bollettino delle
+Arti</i>, anno ii. No. 2, and reprinted by Conti, p. 50:&#8212;</p>
+<div class="blkquot">
+<p>"El se dichiara per el presente come el clarissimo Messer Aluixe di
+Sesti die a fare a mi Zorzon de Castelfrancho quatro quadri in quadrato
+con le geste di Daniele in bona pictura su telle, et li telleri sarano
+soministrati per dito m. Aluixe, il quale doveva stabilir la spexa di
+detti quadri quando serano compidi et di sua satisfatione entro il
+presente anno 1508.</p>
+<p style="margin-left: 40px;"> "Io Zorzon de Castelfrancho di mia man
+scrissi la presente in
+Venetia li 13 febrar 1508."</p>
+</div>
+<p>Whether or no Giorgione ever completed these four square canvases
+with
+the story of Daniel is unknown. There is no trace of any such pictures
+in modern times.</p>
+<hr style="width: 65%;">
+<a name="APPENDIX_II"></a>
+<h2><a name="Page_123"></a>APPENDIX II</h2>
+<h2>DID TITIAN LIVE TO BE NINETY-NINE YEARS OLD?</h2>
+<p style="text-align: center;"><i>Reprinted from the "Nineteenth
+Century" Jan</i>. 1902</p>
+<br>
+<p>There is something fascinating in the popular belief that Titian,
+the
+greatest of all Venetian painters, reached the patriarchal age of
+ninety-nine years, and was actively at work up to the day of his death.
+The text-books love to tell us the story of the great unfinished
+"Piet&agrave;"
+with its pathetic inscription:</p>
+<div class="poem">
+<div class="stanza"><span>Quod Titianus inchoatum reliquit<br>
+</span><span>Palma reverenter absolvit<br>
+</span><span>Deoq. dicavit opus;<br>
+</span></div>
+</div>
+<p>and traveller, guide-book in hand, and moralist, philosophy in head,
+alike muse upon a phenomenon so startlingly at variance with common
+experience.<a name="FNanchor_148"></a><a href="#Footnote_148"><sup>[148]</sup></a></p>
+<p>But, sentiment aside, is there any historical evidence that Titian
+ever
+worked at his art in his hundredth year? that he even attained such a
+venerable age? The answer is of wider consequence than the mere
+question
+implies, for on the correct determination of Titian's own chronology
+depends the history of the development of the entire Venetian school of
+painting in the early years of the sixteenth century. I say <i>early</i>,
+because it is the date of Titian's birth, and not that of his death,
+which I shall endeavour to fix; the latter event is known beyond
+possibility of doubt to have occurred in August 1576. The question,
+therefore, to consider is, what justification, if any, <a
+ name="Page_124"></a>is there for the
+universal belief that Titian was born in 1476-7, just a hundred years
+previously?</p>
+<p>Anyone, I think, who has ever looked into the history of Titian's
+career
+must have been struck by the fact that for the first thirty-five years
+of his life (according to the usual chronology) there is absolutely no
+documentary record relating to him, whether in the Venetian archives or
+elsewhere. Not a single letter, not a single contract, not a single
+mention of his name occurs from which we can so much as affirm his
+existence before the year 1511.</p>
+<p>On the 2nd of December in that year "Io tician di Cador
+Dp&ntilde;tore" gives a
+receipt for money paid him on completion of some frescoes at Padua, and
+from this date on there are frequent letters and documents in existence
+right down to 1576, the year of his death. Is it not somewhat strange
+that the first thirty-five years of his life (as is commonly believed)
+should be a total blank so far as records go? The fact becomes the more
+inexplicable when we find that during these early years some of his
+finest work is alleged to have been executed, and he must&#8212;if we accept
+the chronology of his biographers&#8212;have been well known to and highly
+esteemed by his contemporaries.<a name="FNanchor_149"></a><a
+ href="#Footnote_149"><sup>[149]</sup></a> Moreover, it is not for want
+of
+diligent search amongst the archives that nothing has been found, for
+Italian and German students have alike sought, but in vain, to discover
+any documentary evidence relating to his career before 1511.</p>
+<p>The absence of any such trustworthy record has had its natural
+result.
+Conjecture has run riot, and no two writers are agreed on the subject
+of
+the nature and development of Titian's earlier art. This is the second
+disquieting fact which <a name="Page_125"></a>any careful student has
+to face. Messrs. Crowe
+and Cavalcaselle, Titian's most exhaustive biographers,<a
+ name="FNanchor_150"></a><a href="#Footnote_150"><sup>[150]</sup></a>
+have filled
+up the first thirty-five years of his career in their own way, but
+their
+chronology has found no favour with later writers, such as Mr. Claude
+Phillips in England<a name="FNanchor_151"></a><a href="#Footnote_151"><sup>[151]</sup></a>
+or Dr. Georg Gronau in Germany,<a name="FNanchor_152"></a><a
+ href="#Footnote_152"><sup>[152]</sup></a> both of
+whom have arrived at independent conclusions. Morelli again had his
+theories on the subject, and M. Lafenestre<a name="FNanchor_153"></a><a
+ href="#Footnote_153"><sup>[153]</sup></a> has his, and the
+ordinary gallery catalogue is usually content to state inaccurate facts
+without further ado.</p>
+<p>Now, if all these conscientious writers arrive at results so widely
+divergent, either their logic or their data must be wrong! One and all
+assume that Titian lived into his hundredth year, and, therefore, was
+born in 1476-7; and starting with this theory as a fact, they have
+tried
+to fit in Vasari's account as best they can, and each has found a
+different solution of the problem. There is only one way out of this
+chaos of conjectures&#8212;we must see what is the evidence for the
+"centenarian" tradition, and if it can be shown that Titian was really
+born later than 1476-7, then the silence of all records about him
+during
+an alleged period of thirty-five years will become at once more
+intelligible, and we may be able to explain some of the other anomalies
+which at present confront Titian's biographers.</p>
+<p>I propose to take the evidence in strictly chronological order.</p>
+<p>The oldest contemporary account of Titian's career is furnished by
+Lodovico Dolce in his <i>L'Aretino, o dialogo della pittura</i>, which
+was
+published at Venice in 1557. Dolce knew Titian personally, and wrote
+his
+treatise just at the time when the painter was at the zenith of his
+fame. He is our sole authority for certain incidents of Titian's early
+career: it will <a name="Page_126"></a>be well, therefore, to quote in
+full the opening
+paragraphs of his narrative:</p>
+<p>"Being born at Cadore of honourable parents, he was sent when a
+child of
+nine years old by his father to Venice to the house of his father's
+brother ... in order that he might be put under some proper master to
+study painting; his father having perceived in him even at that tender
+age strong marks of genius towards the art.... His uncle directly
+carried the child to the house of Sebastiano, father of the
+<i>gentiliss&igrave;mo</i> Valerio and of Francesco Zuccati
+(distinguished masters
+of the art of mosaic, by them brought to that perfection in which we
+now
+see the best pictures) to learn the principles of the art. From them he
+was removed to Gentile Bellini, brother of Giovanni, but much inferior
+to him, who at that time was at work with his brother in the Grand
+Council-Chamber. But Titian, impelled by Nature to greater excellence
+and perfection in his art, could not endure following the dry and
+laboured manner of Gentile, but designed with boldness and expedition.
+Whereupon Gentile told him he would make no progress in painting,
+because he diverged so much from the old style. Thereupon Titian left
+the stupid <i>(goffo)</i> Gentile, and found means to attach himself
+to
+Giovanni Bellini; but not perfectly pleased with his manner, he chose
+Giorgio da Castel Franco. Titian then drawing and painting with
+Giorgione, as he was called, became in a short time so accomplished in
+art, that when Giorgione was painting the fa&ccedil;ade of the Fondaco
+de'
+Tedeschi, or Exchange of the German Merchants, which looks towards the
+Grand Canal, Titian was allotted the other side which faces the
+market-place, being at the time scarcely twenty years old. Here he
+represented a Judith of wonderful design and colour, so remarkable,
+indeed, that when the work came to be uncovered, it was commonly
+thought
+to be the work of Giorgione, and all the latter's friends congratulated
+him as being by far the best thing he had produced. Whereupon
+Giorgione,
+in great displeasure, replied that the work was from the hand of his
+pupil, who showed already how he could surpass his master, and, what
+was
+more, Giorgione shut himself up for some days at home, as if in
+despair,
+seeing that a young man knew more that he did."</p>
+<p>Fortunately, the exact date can be fixed when the frescoes on <a
+ name="Page_127"></a>the
+Fondaco de' Tedeschi were painted, for we have original records
+preserved from which we learn the work was begun in 1507 and completed
+towards the close of 1508.<a name="FNanchor_154"></a><a
+ href="#Footnote_154"><sup>[154]</sup></a> If Titian, then, was
+"scarcely twenty
+years old" in 1507-8, he must have been born in 1488-9. Dolce
+particularly emphasises his youthfulness at the time, calling him <i>un
+giovanetto</i>, a phrase he twice applies to him in the next paragraph,
+when he is describing the famous altar-piece of the 'Assunta,' the
+commission for which, as we know from other sources, was given in 1516.</p>
+<p>"Not long afterwards he was commissioned to paint a large picture
+for
+the High Altar of the Church of the Frati Minori, where Titian, quite a
+young man <i>(pur giovanetto)</i>, painted in oil the Virgin ascending
+to
+Heaven.... This was the first public work which he painted in oil, and
+he did it in a very short time, and while still a young man <i>(e
+giovanetto)</i>."</p>
+<p>This phrase could hardly be applied to a man over thirty, so that
+Titian's birth cannot reasonably be dated before 1486 or so, and is
+much
+more likely to fall later. The previous deduction that it was 1488-9 is
+thus further strengthened.</p>
+<p>The evidence, then, of Dolce, writing in 1557, is clear and
+consistent:
+Titian was born in 1488-9. Now let us see what is stated by Vasari, who
+is the next oldest authority.</p>
+<p>The first edition of the <i>Lives</i> appeared in 1550&#8212;that is,
+just prior
+to Dolce's <i>Dialogue</i>&#8212;but a revised and enlarged edition appeared
+in
+1568, in which important evidence occurs as to Titian's age. After
+enumerating certain pictures by the great Venetian, Vasari adds:</p>
+<p>"(<i>a</i>) All these works, with many others which I omit, to avoid
+prolixity, have been executed up to the present age of our artist,
+which
+is above seventy-six years.... In the year 1566, when Vasari, the
+writer
+of the present history, was at Venice, he went to visit Titian, as one
+who was his friend, and found him, although <a name="Page_128"></a>then
+very old, still with
+the pencil in his hand, and painting busily."<a name="FNanchor_155"></a><a
+ href="#Footnote_155"><sup>[155]</sup></a></p>
+<p>According to Vasari, then, Titian was "above seventy-six years" when
+the
+second edition of the <i>Lives</i> was written, and as from the
+explicit
+nature of the evidence this must have been between 1566, when he
+visited
+Venice, and January 1568, when his book was published, it follows that
+Titian was "above seventy-six years" in 1566-7&#8212;in other words, that he
+was born 1489-90.</p>
+<p>Still confining ourselves to Vasari, we find two other passages
+bearing
+on the question:</p>
+<p>"(<i>b</i>) Titian was born in the year 1480 at Cadore.<a
+ name="FNanchor_156"></a><a href="#Footnote_156"><sup>[156]</sup></a></p>
+<p>"(<i>c</i>) About the year 1507 Giorgione da Castel Franco began to
+give to
+his works unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian early
+resolved to abandon that of Gian Bellino, although well grounded
+therein. He now, therefore, devoted himself to this purpose, and in a
+short time so closely imitated Giorgione that his pictures were
+sometimes taken for those of that master.... At the time when Titian
+began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait," etc.<a name="FNanchor_157"></a><a
+ href="#Footnote_157"><sup>[157]</sup></a></p>
+<p>This passage (<i>c</i>) makes Titian "not more than eighteen about
+the year
+1507," and fixes the date of his birth as 1489-90, therein agreeing
+with
+the previous deduction at which we arrived when examining the passage
+in
+Vasari's second edition. Thus in two places out of three Vasari is
+consistent in fixing 1489-90 as the date. How, then, explain (<i>b</i>),
+which explicitly gives 1480?</p>
+<p>Anyone conversant with Vasari's inaccuracies will hardly be
+surprised to
+find that this statement is dismissed by all Titian's biographers as
+manifestly a mistake. Moreover, it is inconsistent with the two
+passages
+just quoted, and either they are <a name="Page_129"></a>wrong or 1480
+is a misprint for 1489.
+Now, from the nature of the evidence recorded by Vasari, it cannot be a
+matter for any doubt which is the more trustworthy statement. On the
+one
+hand, he speaks as an eye-witness of Titian's old age, and is careful
+to
+record the exact year he visited Venice and the age of the painter; on
+the other hand, he makes a bald statement which he certainly cannot
+have
+verified, and which is inconsistent with his own experience! In any
+case, in Vasari's text the evidence is two to one in favour of 1489-90
+as the right date, and thus we come to the agreeable conclusion that
+our
+two oldest authorities, Dolce and Vasari, are at one in fixing Titian's
+birth between 1488 and 1490&#8212;in other words, about 1489.</p>
+<p>So far, then, all is clear, and as we know from later and
+indisputable
+evidence that Titian died in 1576, it follows that he only attained the
+age of eighty-seven and not ninety-nine. Whence, then, comes the story
+of the ninety-nine years? From none other than Titian himself, and to
+this piece of evidence we must next turn, following out a strict
+chronological order.</p>
+<p>In 1571&#8212;that is, three years after Vasari's second edition was
+published&#8212;Titian addresses a letter to Philip the Second of Spain in
+these terms:<a name="FNanchor_158"></a><a href="#Footnote_158"><sup>[158]</sup></a></p>
+<div class="blkquot">
+<p>"Most potent and invincible King,&#8212;I think your Majesty will have
+received by this the picture of 'Lucretia and Tarquin' which was to
+have been presented by the Venetian Ambassador. I now come with these
+lines to ask your Majesty to deign to command that I should be informed
+as to what pleasure it has given. The calamities of the present times,
+in which every one is suffering from the continuance of war, force me
+to this step, and oblige me at the same time to ask to be favoured with
+some kind proof of your Majesty's grace, as well as with some
+assistance from Spain or elsewhere, since I have not been able for
+years past to obtain any payment either from the Naples grant, or from
+my ordinary <a name="Page_130"></a>pension. The state of my affairs is
+indeed such that I do not know how to live in this my old age, devoted
+as it entirely is to the service of your Catholic Majesty, and to no
+other. Not having for eighteen years past received a <i>quattrino</i>
+for the paintings which I delivered from time to time, and of which I
+forward a list by this opportunity to the secretary Perez, I feel
+assured that your Majesty's infinite clemency will cause a careful
+consideration to be made of the services of an old servant of the age
+of ninety-five, by extending to him some evidence of munificence and
+liberality. Sending two prints of the design of the Beato Lorenzo, and
+most humbly recommending myself,</p>
+<p style="text-align: left; margin-left: 40px;"> "I am Your Catholic
+Majesty's</p>
+<p style="text-align: left; margin-left: 80px;"> "most devoted, humble
+servant,</p>
+<p style="text-align: left; margin-left: 120px;"> "TITIANO VECELLIO.</p>
+<p style="text-align: left; margin-left: 160px;"> "From Venice, the 1st
+of August, 1571."</p>
+</div>
+<p>Here, then, is Titian himself, in the year 1571, declaring that he
+is
+ninety-five years of age&#8212;in other words, dating his birth back to
+1476&#8212;that is, some thirteen years earlier than Dolce and Vasari imply
+was the case. A flagrant discrepancy of evidence! In similar strain he
+thus addresses the king again five years later:<a name="FNanchor_159"></a><a
+ href="#Footnote_159"><sup>[159]</sup></a></p>
+<div class="blkquot">
+<p>"Your Catholic and Royal Majesty,&#8212;The infinite benignity with which
+your Catholic Majesty&#8212;by natural habit&#8212;is accustomed to gratify all
+such as have served and still serve your Majesty faithfully, enboldens
+me to appear with the present (letter) to recall myself to your royal
+memory, in which I believe that my old and devoted service will have
+kept me unaltered. My prayer is this: twenty years have elapsed and I
+have never had any recompense for the many pictures sent on divers
+occasions to your Majesty; but having received intelligence from the
+Secretary Antonio Perez of your Majesty's wish to gratify me, and
+having reached a great old age not without privations, I now humbly beg
+that your Majesty will deign, with accustomed benevolence, to give such
+directions to ministers as will relieve my want. The glorious memory of
+Charles the Fifth, your Majesty's father, having numbered me amongst
+his familiar, nay, most faithful servants, <a name="Page_131"></a>by
+honouring me beyond my deserts with the title of <i>cavaliere</i>, I
+wish to be able, with the favour and protection of your Majesty&#8212;true
+portrait of that immortal emperor&#8212;to support as it deserves the name of
+a cavaliere, which is so honoured and esteemed in the world; and that
+it may be known that the services done by me during many years to the
+most serene house of Austria have met with grateful return, to spend
+what remains of my days in the service of your Majesty. For this I
+should feel the more obliged, as I should thus be consoled in my old
+age, whilst praying to God to concede to your Majesty a long and happy
+life with increase of his divine grace and exaltation of your Majesty's
+Kingdom. In the meanwhile I expect from the royal benevolence of your
+Majesty the fruits of the favour I desire, with due reverence and
+humility, and kissing your sacred hands,</p>
+<p style="margin-left: 40px;"> "I am Your Catholic Majesty's</p>
+<p style="margin-left: 80px;"> "most humble and devoted servant,</p>
+<p style="margin-left: 120px;"> "TITIANO VECELLIO.</p>
+<p style="margin-left: 160px;"> "From Venice, the 27th of February,
+1576."</p>
+</div>
+<p>This is the last letter we have of Titian, who died in August of
+this
+year, according to his own showing, in his hundredth year.</p>
+<p>Now what reliance can be placed on this statement? On the one hand,
+we
+have the evidence of two independent writers, Dolce and Vasari, both
+personally acquainted with Titian, and both agreeing by inference that
+the date of his birth was about 1489. Both had ample opportunity to get
+at the truth, and Vasari is particularly explicit in recording the
+exact
+date when he visited Titian in Venice and the age the painter had then
+reached. Yet five years later Titian is found stating that he is
+ninety-five, and not eighty-two as we should expect! Perhaps the best
+comment is made by Crowe and Cavalcaselle, who significantly remark
+immediately after the last letter: "Titian's appeal to the benevolence
+of the King of Spain looks like that of a garrulous old gentleman proud
+of his longevity, but hoping still to live for many years."<a
+ name="FNanchor_160"></a><a href="#Footnote_160"><sup>[160]</sup></a>
+Exactly! The occasion could well be improved by a little timely
+<a name="Page_132"></a>exaggeration well calculated to appeal to the
+sympathies and "infinite
+benignity" of the monarch, and if, when the writer had actually reached
+the respectable age of eighty-two, he wrote himself down as
+ninety-five,
+who would gainsay him? It added point to his appeal&#8212;that was the chief
+thing&#8212;and as to accuracy, well, Titian was not the man to be
+over-scrupulous when his own interests were involved. But even though
+the statement were not deliberately made to heighten the effect of an
+appeal, we must in any case make allowances for the natural proneness
+to
+exaggerate their age which usually characterises men of advanced years,
+so that any <i>ex parte</i> statement of this kind must be received
+with due
+caution. Where, moreover, as in the present case, we have evidence of a
+directly contradictory kind furnished by independent witnesses, whose
+declarations in this respect are presumably disinterested, such <i>ex
+parte</i> statements are on the face of them unreliable. The balance of
+evidence in this case appears to rest on the side of the older
+historians, Dolce and Vasari, whose statements, as I hold, are in the
+circumstances more reliable than the picturesque exaggeration of a man
+of advanced years.</p>
+<p>I claim, therefore, that any account of Titian's life based solely
+on
+such flimsy evidence as to his age as is found in this letter to Philip
+the Second is, to say the least, open to grave doubt. The whole
+superstructure raised by modern writers on this uncertain foundation is
+full of flaws and incongruities, and I am fully persuaded the future
+historian will have to begin <i>de novo</i> in any attempt at a
+chronological
+reconstruction of Titian's career. The gap of thirty-five years down to
+1511 may prove after all less by twelve or thirteen years than people
+think, so that the young Titian naturally enough first emerges into
+view
+at the age of twenty-two and not thirty-five.</p>
+<p>But we must not anticipate results, for there is still the evidence
+of
+the later writers of the seventeenth century to consider. Two of these
+declare that Titian was born in 1477. The first of these, Tizianello, a
+collateral descendant of the <a name="Page_133"></a>great painter,
+published his little
+<i>Compendio</i> in 1622, wherein he gives a sketchy and imperfect
+biography;
+the other, Ridolfi, repeats the date in his <i>Meraviglie dell' Arte</i>,
+published in 1648. The latter writer is notoriously unreliable in other
+respects, and it is quite likely this is merely an instance of copying
+from Tizianello, whose unsupported statement is chiefly of value as
+showing that the "centenarian" theory had started within fifty years of
+Titian's death. But again we ask: Why should the evidence of a
+seventeenth-century writer be preferred to the personal testimony of
+those who actually knew Titian himself, especially when Vasari gives us
+precise information with which Dolce's independent account is in
+perfect
+agreement? No doubt the great age to which Titian certainly attained
+was
+exaggerated in the next generation after his death, but it is a
+remarkable fact that the contemporary eulogies, mostly in poetic form,
+which appeared on the occasion of his decease, do not allude to any
+such
+phenomenal longevity.<a name="FNanchor_161"></a><a href="#Footnote_161"><sup>[161]</sup></a></p>
+<p>Nevertheless, Ridolfi's statement that Titian was born in 1477 is
+commonly quoted as if there were no better and earlier evidence in
+existence, and, indeed, it is a matter of surprise that conscientious
+modern biographers have not looked more carefully at the original
+authorities instead of being content to follow tradition, and I must
+earnestly plead for a reconsideration of the question of Titian's age
+by
+the future historians of Venetian painting.<a name="FNanchor_162"></a><a
+ href="#Footnote_162"><sup>[162]</sup></a></p>
+<p><a name="Page_134"></a>If, as I believe, Titian was born in or about
+1489 instead of 1476-7,
+it follows that he must have been Giorgione's junior by at least twelve
+years&#8212;a most important deduction&#8212;and it also follows that he cannot
+have produced any work of consequence before, say, 1505, at the age of
+sixteen, and he will have died at eighty-seven and not in his hundredth
+year. The alteration in date would help to explain the silence of all
+records about him before 1511, when he would have been only twenty-two
+and not thirty-five years old; it would fully account for his name not
+being mentioned by D&uuml;rer in his famous letter of 1506, wherein he
+refers
+to the painters of Venice, and it would equally account for the absence
+of his name from the commission to paint the Fondaco frescoes in
+1507-8,
+for he would have been employed simply as Giorgione's young assistant.
+The fact that in 1511 he signs himself simply "Io tician di Cador
+Dp&ntilde;tore" and not <i>Maestro</i> would be more intelligible in a
+young man of
+twenty-two than in an accomplished master of thirty-five, and the
+character of his letter addressed to the Senate in 1513 would be more
+natural to an ambitious aspirant of twenty-four than to a man in his
+maturity of thirty-seven.<a name="FNanchor_163"></a><a
+ href="#Footnote_163"><sup>[163]</sup></a></p>
+<p>Such are some of the obvious results of a change of date, but the
+larger
+question as to the development of Titian's art must be left to the
+future historian, for the importance of fixing a date lies in the
+application thereof.<a name="FNanchor_164"></a><a href="#Footnote_164"><sup>[164]</sup></a>
+HERBERT COOK.</p>
+<a name="Page_135"></a><br>
+<h2>THE DATE OF TITIAN'S BIRTH</h2>
+<p style="text-align: center;"><i>Reply by Dr. Georg Gronau. Translated
+from the "Repertorium
+f&uuml;r
+Kunstwissenschaft," vol. xxiv., 6th part</i></p>
+<br>
+<p>In the January number of the <i>Nineteenth Century</i> appears an
+article by
+Herbert Cook under the title, "Did Titian live to be Ninety-Nine Years
+Old?" The interrogation already suggests that the author comes to a
+negative conclusion. It is, perhaps, not without interest to set forth
+the reasons advanced by the English connoisseur and to submit them to
+adverse criticism.</p>
+<p>(Here follows an abstract of the article.)</p>
+<p>The reasoning, as will have been seen, is not altogether free from
+doubt. It has been usual hitherto in historical investigations to call
+in question the assertions of a man about his own life only when
+thoroughly weighty reasons justified such a course. Is the evidence of
+a
+Dolce and of a Vasari so free from all objection that it outweighs
+Titian's personal statement? Before answering this question it should
+be
+pointed out that we possess two further statements of contemporary
+writers on the subject of Titian's age, statements which have escaped
+the notice of Mr. Cook. One is to be found in a letter from the Spanish
+Consul in Venice, Thomas de Cornoga, to Philip II., dated 8th December
+1567 (published in the very important work by Zarco del Valle<a
+ name="FNanchor_165"></a><a href="#Footnote_165"><sup>[165]</sup></a>).
+After informing the king of Titian's usual requests on the subject of
+his pension, and so on, he continues: "y con los 85 annos de su edad
+servira &agrave; V.M. hasta la muerte."</p>
+<p>Somewhere, then, in the very year in which Titian, according to
+Vasari,
+was "above seventy-six years of age," he seems <a name="Page_136"></a>to
+have been
+eighty-five, according to the report of another and quite independent
+witness, and if so, he would have been born about 1482.</p>
+<p>We have then three definite statements:<br>
+</p>
+<table
+ style="width: 80%; height: 90px; text-align: left; margin-left: auto; margin-right: auto;"
+ border="0" cellspacing="0" cellpadding="0"
+ summary="Titian's age according to different sources">
+  <tbody>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Vasari (1566
+or 1567)</td>
+      <td style="vertical-align: top; text-align: center;">says</td>
+      <td style="vertical-align: top; text-align: left;">"over 76"</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">The Consul
+(1567)</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;"> "85"</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Titian himself
+(1571)</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;">"95"</td>
+    </tr>
+  </tbody>
+</table>
+<p>This new information, instead of helping us, only serves to make
+still
+greater confusion.</p>
+<p>The other piece of evidence not mentioned by Mr. Cook was written
+only a
+few years after Titian's death. Borghini says in his <i>Riposo</i>,
+1584:
+"Mori ultimamente di vecchiezza (!not, then, of the plague?), essendo
+d'et&agrave; d'anni 98 o 99, l'anno 1576." ... This is the first time
+that the
+traditional statement as to the master's age appears in literature. In
+this state of things it is worth while to look closer into the evidence
+of Dolce and Vasari to see if they are not after all the most
+trustworthy witnesses.</p>
+<p>It is always held to be a mistake to take rather vague statements
+quite
+literally, as Mr. Cook has done, and to build thereon further
+conclusions. When Dolce says that Titian painted with Giorgione at the
+Fondaco, "non avendo egli allora appena venti anni," he is only trying
+to make out that his hero, here as everywhere, was a most unusual
+person
+(the whole dialogue is a glorification of the master). For the same
+reason he makes the following remark, which we can absolutely prove to
+be false:&#8212;the Assumption (he says) "fu la prima opera pubblica, che a
+olio facesse." Now at least one work of Titian's was, then, already to
+be seen in a public place&#8212;viz. the "St. Mark Enthroned, with Four
+Saints," in Santo Spirito, afterwards removed to the sacristy of the
+Salute. In other points, too, Dolce can be convicted of small errors
+and
+misrepresentations, partly on literary grounds, partly due to his
+desire
+to enhance the praise of Titian.</p>
+<p><a name="Page_137"></a>Vasari, again, should only be cited as
+witness when he speaks of works
+of art which he has actually seen. In such a case, apart from slips, he
+is always a trustworthy guide. Directly, however, he goes into
+biographical details or questions of chronology accuracy becomes nearly
+always a secondary matter. Titian's biography offers an excellent and
+most instructive example of this. Vasari mentions first the birth and
+upbringing of the boy, then he speaks of Giorgione and the Fondaco
+frescoes, and goes on: "dopo la quale opera fece un quadro grande che
+oggi &egrave; nella salla di messer Andrea Loredano.... Dopo in casa di
+messer
+Giovanni D'Anna ... fece il suo ritratto ...; ed un quadro di Ecce
+Homo,
+..." and he goes on, "L'anno poi 1507...." If it had not been that one
+of these pictures, once in the possession of Giovanni D'Anna, had been
+preserved (now in the Vienna Gallery), and that it bears in a
+conspicuous place the date 1543, it would be recorded in all
+biographies
+of Titian that he painted in 1507 an "Ecce Homo" for this Giovanni
+D'Anna.</p>
+<p>If one goes further into Vasari's account we read that Titian
+published
+his "Triumph of Faith" in 1508. "Dopo condottosi Tiziano a Vicenza,
+dipinse a fresco sotto la loggetta ... il giudizio di Salamone.
+Appresso
+tomato a Venezia, dipinse la facciata de' Grimani; e in Padoa nella
+chiesa di Sant' Antonio alcune storie ... de fatti di quel santo: e in
+quella di Santo Spirito fece ... un San Marco a sedere in mezzo a certi
+Santi." We now know on documentary evidence that the Vicenza fresco
+(which was destroyed later) dated from 1521, and similarly that the
+frescoes at Padua were painted in 1511, whilst the date of the S. Mark
+picture may be fixed with probability at 1504.</p>
+<p>These examples prove how inexact Vasari is here once more. But it
+may be
+objected, supposing that he is inaccurate in statements which refer
+back, can he not be in the right in a case where he comes back, so to
+speak, straight from <a name="Page_138"></a>visiting Titian and writes
+down his observation
+about the master's actual age? To be sure; but when we find that so
+many
+other similar notices of Vasari are wrong, even those that refer to
+people whom he personally knew, we lose faith altogether. In turning
+over the leaves of the sixth volume of the Sansoni edition of Vasari,
+in
+which only his contemporaries, some of them closely connected, too,
+with
+him, are spoken of, we find the following incorrect statements:&#8212;</p>
+<div style="margin-left: 40px;">P. 99. Tribolo was 65 years old (in
+reality only 50).<br>
+P. 209. Bugiardini died at 75 (really 79).<br>
+P. 288. Pontormo at 65 (he died actually in his 63rd year).<br>
+P. 564. Giovanni da Udine at 70 (really 77).<br>
+</div>
+<p>A still more glaring instance is to be found when Vasari not only
+makes
+misstatements about his own life but is actually out by several years
+in
+giving his own age. One and the same event&#8212;viz. his journey with
+Cardinal Passerini to Florence&#8212;is given in his own autobiography to the
+year 1524, in the "Life of Salviati," to the year 1523, and in the
+"Life
+of Michael Angelo" to 1525. When he speaks of himself in the same
+passage in the "Life of Salviati" as the "putto, che allora non aveva
+pi&ugrave; di nove anni," he is making a mistake of at least three
+years in his
+own age. And not less delightful is it to read in the "Life of Giovanni
+da Udine": "Giorgio Vasari, giovinetto di diciotto anni, quando serviva
+il duca Alessandro de' Medici suo primo signore l'anno 1535." We are
+obviously not dealing with Messer Giorgio's strongest point, for, as a
+matter of fact, he was at that time twenty-four years of age! The same
+false statement of age is found again in his own biography (vii. p.
+656,
+with the variation, "poco pi&uacute; di diciotto anni").</p>
+<p>But I think these instances suffice to prove how little one dare
+build
+on such assertions of Vasari. Who dare say if Titian was really only
+seventy-six in 1566 when the Aretine visited him?</p>
+<p>And now a few remarks on the other points raised by Mr. <a
+ name="Page_139"></a>Cook. As a
+fact, it is an astonishing thing that we have no documentary evidence
+about Titian before 1511; but does he not share this fate with very
+many
+of his great countrymen, with Bellini, Giorgione, Sebastiano, and
+others? An unfriendly chance has left us entirely in the dark as to the
+early years of nearly all the great Venetian painters. That D&uuml;rer
+makes
+no mention of Titian's name in his letters gives no cause for surprise,
+for even the most celebrated of the younger artists, Giorgione, is not
+alluded to, and of all those with Bellini, whose fame outshone even
+then
+that of all others, only Barbari is mentioned. That Titian's name does
+not occur in the documents about the Fondaco frescoes may be due to the
+fact that Giorgione alone was commissioned to undertake the frescoes
+for
+the magistrates, and that the latter painter in his turn brought his
+associate Titian into the work.</p>
+<p>Mr. Cook says that Titian still signed himself in 1511 "Dipintore"
+instead of "Maestro." I am not aware whether in this respect definite
+regulations or customs were usual in Venice.<a name="FNanchor_166"></a><a
+ href="#Footnote_166"><sup>[166]</sup></a> At any rate, the
+painter is still described in official documents as late as 1518 as
+"ser
+Tizian depentor" (Lorenzi, "Monumenti," No. 366), when, even according
+to Mr. Cook's theory, he must have been thirty years old; and he is
+actually so called in 1528 (<i>ibid</i>. No. 403), after appearing in
+several
+intermediate documents as "maestro" (Nos. 373, 377). If this argument,
+however, proves unsound, the last point&#8212;viz. that the well-known
+petition to the senate in 1513 reads more like that of a man of
+twenty-four than one of thirty-seven&#8212;must be left to the hypothesis of
+individual conjecture.</p>
+<p>Must we really close these very long inquiries by con<a
+ name="Page_140"></a>fessing they are
+beyond our ken? It almost seems so. For, with regard to the testimony
+afforded by family documents, Dr. Jacobi (whose labours were utilised
+by
+Crowe and Cavalcaselle) so conscientiously examined all that is left,
+that a discovery in this direction is not to be looked for. Is the
+statement of Tizianello that Titian's year of birth was 1477 to be
+rejected without further question when we remember that, as a relative
+of the painter, he could have had in 1622 access to documents possibly
+since lost?</p>
+<p>Under these circumstances the only thing left to do is to question
+the
+works of Titian. Of these, two can be dated, not indeed with certainty,
+but with some degree of probability: the dedicatory painting of the
+Bishop of Pesaro with the portrait of Alexander VI. of 1502-03, and the
+picture of St. Mark, already mentioned, of the year 1504. Both are, to
+judge by the style, clearly early works, and both can be connected with
+definite historical events of the years just mentioned. That these
+paintings, however, could be the work of a fourteen- to
+fifteen-year-old
+artist Mr. Cook will also admit to be impossible.</p>
+<p>Much, far too much, in the story of Venetian painting must, for want
+of
+definite information, be left to conjecture; and however unsatisfactory
+it is, we must make the confession that we know as little about the
+date
+of the birth of the greatest of the Venetians as we know of
+Giorgione's,
+Sebastiano's, Palma's, and the rest. But supposing all of a sudden
+information turned up giving us the exact date of Titian's birth, would
+the picture of the development of Venetian painting be any the
+different
+for it? In no wise. The relation to one another of the individual
+artists of the younger generation is so clearly to be read in each
+man's
+work, that no external particulars, however interesting they might be
+on
+other grounds, could make the smallest difference. Titian's relations
+with Giorgione especially could not be otherwise represented than has
+been long determined, and that whether <a name="Page_141"></a>Titian
+was born in 1476, 1477,
+1480, or even two or three years later.<a name="FNanchor_167"></a><a
+ href="#Footnote_167"><sup>[167]</sup></a> GEORG GRONAU.</p>
+<br>
+<h2>WHEN WAS TITIAN BORN?</h2>
+<p style="text-align: center;"><i>Reply to Dr. Gronau. Reprinted from
+"Repertorium f&uuml;r
+Kunstwissenschaft," vol. xxv., parts 1 and 2</i></p>
+<br>
+<p>I must thank Dr. Georg Gronau for his very fair reply, published in
+these pages<a name="FNanchor_168"></a><a href="#Footnote_168"><sup>[168]</sup></a>
+(to my article in the <i>Nineteenth Century</i> on the
+subject of Titian's age<a name="FNanchor_169"></a><a
+ href="#Footnote_169"><sup>[169]</sup></a>). He has also most kindly
+pointed out two
+pieces of contemporary evidence which had escaped my notice, and
+although neither of these passages is conclusive proof one way or the
+other, they deserve to be reckoned with in arriving at a decision.</p>
+<p>Dr. Gronau formulates the evidence shortly thus:</p>
+<table
+ style="width: 80%; height: 90px; text-align: left; margin-left: auto; margin-right: auto;"
+ border="0" cellspacing="0" cellpadding="0"
+ summary="Titian's age according to different sources">
+  <tbody>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Vasari in 1566
+or 1567</td>
+      <td style="vertical-align: top; text-align: justify;">&nbsp;&nbsp;&nbsp;
+says&nbsp;&nbsp;&nbsp; <br>
+      </td>
+      <td style="vertical-align: top; text-align: left;">Titian is over
+76</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">The Spanish
+Consul in 1567</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;">&nbsp;&nbsp;&nbsp;&nbsp;
+"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; " &nbsp;&nbsp; 85</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Titian himself
+in 1571</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;">&nbsp;he is
+&nbsp;&nbsp; &nbsp; &nbsp; "&nbsp;&nbsp; 95</td>
+    </tr>
+  </tbody>
+</table>
+<p><br>
+and he adds that this new piece of evidence&#8212;viz. the letter of the
+Spanish Consul to King Philip&#8212;instead of helping us, only makes the
+confusion worse.</p>
+<p>What then are we to think when yet another&#8212;a fourth&#8212;contemporary
+statement turns up, differing from any of the three just quoted? Yet
+such a letter exists, and I am happy in my turn to point out this fresh
+piece of evidence, in the hope that instead of making the confusion
+worse, it will help us to arrive at some decision.</p>
+<p><a name="Page_142"></a>On October the 15th, 1564, Garcia Hernandez,
+Envoy in Venice from King
+Philip II., writes to the King his master that Titian begged that His
+Majesty would condescend to order that he should be paid what was due
+to
+him from the court and from Milan.... For the rest the painter was in
+fine condition, and quite capable of work, and this was the time, if
+ever, to get "other things" from him, as according to some people who
+knew him, Titian was about ninety years old, though he did not show it,
+and for money everything was to be had of him.<a name="FNanchor_170"></a><a
+ href="#Footnote_170"><sup>[170]</sup></a></p>
+<p>In 1564 then the Spanish Envoy writes that Titian was said to be
+about
+ninety. Let us then enlarge Dr. Gronau's table by this additional
+statement, and further complete it by including the earliest piece of
+evidence, the statement of Dolce in 1557 that Titian was scarcely
+twenty
+when he worked at the Fondaco de' Tedeschi frescoes (1507-8). The year
+of Titian's birth thus works out:</p>
+<br>
+<table
+ style="width: 80%; text-align: left; margin-left: auto; margin-right: auto;"
+ border="0" cellspacing="0" cellpadding="0"
+ summary="Year of Birth of Titian">
+  <tbody>
+    <tr>
+      <td style="vertical-align: top;">Writing in</td>
+      <td style="vertical-align: top;">1557<br>
+      </td>
+      <td style="vertical-align: top;">Dolce<br>
+      </td>
+      <td style="vertical-align: top;">makes out Titian was born about</td>
+      <td style="vertical-align: top;">1489<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1566-7<br>
+      </td>
+      <td style="vertical-align: top;">Vasari<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1489<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1564<br>
+      </td>
+      <td style="vertical-align: top;">Spanish Envoy<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1474<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1567<br>
+      </td>
+      <td style="vertical-align: top;">Spanish Consul<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1482<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1571<br>
+      </td>
+      <td style="vertical-align: top;">Titian himself<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1476<br>
+      </td>
+    </tr>
+  </tbody>
+</table>
+<p><br>
+Now it is curious to notice that the last three statements are all
+made
+in letters to King Philip, either by Titian himself, or at his request
+by the Spanish agents.</p>
+<p>It is curious to notice these statements as to Titian's great age
+occur
+in begging letters.<a name="FNanchor_171"></a><a href="#Footnote_171"><sup>[171]</sup></a></p>
+<p><a name="Page_143"></a>It is curious to notice they are mutually
+contradictory.</p>
+<p>What are we to conclude?</p>
+<p>Surely that the Spanish Envoy, the Spanish Consul, and Titian
+himself,
+out of their own mouths stand convicted of inconsistency of statement,
+and further that they betray an identical motive underlying each
+representation&#8212;viz. an appeal <i>ad misericordiam.</i></p>
+<p>Before, however, contrasting the value of the evidence as found in
+these
+Spanish letters with the evidence as found in Dolce and Vasari, let us
+note two points in these letters.</p>
+<p>Garcia Hernandez, the Spanish Envoy, writes: "According to some
+people
+who knew him, Titian was about ninety years old, though he did not show
+it." Now, if Titian was really about ninety in the year 1564, he will
+have lived to the age of one hundred and two, a feat of longevity of
+which no one has ever accused him! Apart, therefore, from the healthy
+scepticism which Hernandez betrays in this letter, we may certainly
+conclude that "some people who knew him" were exaggerating Titian's age.</p>
+<p>Secondly, Titian's letter of 1571 says he is ninety-five years old.
+Titian's similar letter of 1576, the year of his death, omits to say he
+is one hundred. Surely a strange omission, considering that he refers
+to
+his old age three times in this one letter.<a name="FNanchor_172"></a><a
+ href="#Footnote_172"><sup>[172]</sup></a> Does not the second
+letter correct the inexactness of the first? and so Titian's statement
+goes for nothing?</p>
+<p>The collective evidence, then, of these Spanish letters amounts to
+this,
+that, in the words of the Envoy, "for money everything was to be had of
+Titian," and accordingly any statement as to his great age when thus
+made for effect must be treated with the greatest suspicion.</p>
+<p>But is the evidence of Dolce and Vasari any more trustworthy? Dr.
+Gronau
+is at pains to show that both these <a name="Page_144"></a>writers
+often made mistakes in
+their dates, a fact which no one can dispute. Their very incorrectness
+is the more reason however for trusting them in this instance, for they
+happen to agree about the date of Titian's birth; and, although neither
+of them expressly gives the year 1489, they indicate separate and
+independent events in his life, the one, Dolce, at the beginning, the
+other, Vasari, at the end, which when looked into give the same result.</p>
+<p>Moreover, be Dolce ever so anxious to cry up his hero Titian, and
+make
+him out to have been precocious, and be Vasari ever so inexact in his
+chronology, we must remember that, when both of them wrote, the
+presumption of unusual longevity had not arisen, and that their
+evidence
+therefore is less likely to be prejudiced in this respect than the
+evidence given in obituary notices, such as occurs in Borghini's
+<i>Riposo</i> of 1584, and in the later writers like Tizianello and
+Ridolfi.</p>
+<p>That Borghini therefore says Titian was ninety-eight or ninety-nine
+when
+he died, and that Tizianello and Ridolfi, thirty-eight and sixty-four
+years later respectively, put him down at ninety-nine, is by no means
+proof that such was the case. It would seem that there had been some
+speculation before and after Titian's death as to his exact age; that
+no
+one quite knew for certain; and that Titian with the credulousness of
+old age had come to regard himself as well-nigh a centenarian. Be this
+as it may, I still hold that the evidence of Dolce and Vasari that
+Titian's birth occurred in 1489 is more trustworthy than either the
+evidence found in the three Spanish letters, or the evidence as given
+in
+the obituary notices of Borghini and others.</p>
+<p>One word more. If Titian was born in 1489, instead of 1476-7, it
+does
+make a great difference in the story of his own career; and, what is
+more, the history of Venetian art in the early sixteenth century, as it
+centres round Giorgione, Palma, and Titian, will have to be carefully
+reconsidered.</p>
+<p>HERBERT COOK.<br>
+<br>
+</p>
+<p style="font-weight: bold;"><a name="Page_145"></a>NOTES:</p>
+<a name="Footnote_148"></a><a href="#FNanchor_148">[148]</a>
+<div class="note">
+<p> The picture now hangs in the Academia at Venice.</p>
+</div>
+<a name="Footnote_149"></a><a href="#FNanchor_149">[149]</a>
+<div class="note">
+<p>E.g. the "Sacred and Profane Love" (so-called) in the
+Borghese Gallery; the "S. Mark" of the Salute; the "Concert" in the
+Pitti; the "Tribute Money" at Dresden; the "Madonna of the Cherries" at
+Vienna, etc., which one or other of his biographers assign to the years
+1500-1510.</p>
+</div>
+<a name="Footnote_150"></a><a href="#FNanchor_150">[150]</a>
+<div class="note">
+<p> <i>The Life and Times of Titian</i>, 2 vols., 1881.</p>
+</div>
+<a name="Footnote_151"></a><a href="#FNanchor_151">[151]</a>
+<div class="note">
+<p> <i>The Earlier and Later Work of Titian. Portfolio</i>,
+October 1897 and July 1898.</p>
+</div>
+<a name="Footnote_152"></a><a href="#FNanchor_152">[152]</a>
+<div class="note">
+<p> <i>Tizian</i>. Berlin, 1901.</p>
+</div>
+<a name="Footnote_153"></a><a href="#FNanchor_153">[153]</a>
+<div class="note">
+<p> <i>La Vie et l'Oeuvre de Titien</i>: Paris, 1886.</p>
+</div>
+<a name="Footnote_154"></a><a href="#FNanchor_154">[154]</a>
+<div class="note">
+<p> See Crowe and Cavalcaselle: <i>Titian</i>, i. 85. The fact
+that Titian's name does not occur in these records is curious and
+suggestive.</p>
+</div>
+<a name="Footnote_155"></a><a href="#FNanchor_155">[155]</a>
+<div class="note">
+<p> Ed. <i>Sansoni</i>, p. 459. The translation is that of
+Blashfield and Hopkins. Bell, 1897.</p>
+</div>
+<a name="Footnote_156"></a><a href="#FNanchor_156">[156]</a>
+<div class="note">
+<p> <i>Ibid</i>. p. 425.</p>
+</div>
+<a name="Footnote_157"></a><a href="#FNanchor_157">[157]</a>
+<div class="note">
+<p> <i>Ibid</i>. p. 428.</p>
+</div>
+<a name="Footnote_158"></a><a href="#FNanchor_158">[158]</a>
+<div class="note">
+<p> The translation is that of Crowe and Cavalcaselle.
+<i>Titian</i>, ii. 391. The original is given by them at p. 538.</p>
+</div>
+<a name="Footnote_159"></a><a href="#FNanchor_159">[159]</a>
+<div class="note">
+<p> Quoted from Crowe and Cavalcaselle.</p>
+</div>
+<a name="Footnote_160"></a><a href="#FNanchor_160">[160]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle. <i>Titian</i>, ii. 409.</p>
+</div>
+<a name="Footnote_161"></a><a href="#FNanchor_161">[161]</a>
+<div class="note">
+<p> There is a collection of these in a volume in the British
+Museum.</p>
+</div>
+<a name="Footnote_162"></a><a href="#FNanchor_162">[162]</a>
+<div class="note">
+<p> Before the discovery of the letter to Philip, Messrs.
+Crowe and Cavalcaselle were quite prepared to admit that Titian was
+born
+"after 1480" (vide <i>N. Italian Painting</i>, ii. 119, 120).
+Unfortunately,
+they took the evidence of the letter as final, but finding themselves
+chronologically in difficulties, they shrewdly remark in their <i>Titian</i>,
+i. 38, note: "The writers of these lines thought, and <i>still think</i>,
+Titian younger than either Giorgione or Palma. They were, however,
+inclined to transpose Titian's birthday to a later date than 1477,
+rather than put back those of Palma and Giorgione to an earlier period,
+and in this they made a mistake." Perhaps they were not so far wrong
+after all!</p>
+</div>
+<a name="Footnote_163"></a><a href="#FNanchor_163">[163]</a>
+<div class="note">
+<p> For this most amusing letter see Crowe and Cavalcaselle.
+<i>Titian</i>, i. p. 153.</p>
+</div>
+<a name="Footnote_164"></a><a href="#FNanchor_164">[164]</a>
+<div class="note">
+<p> The evidence afforded by Titian's own portraits of
+himself (at Berlin and in the Uffizi) is inconclusive, as we do not
+know
+the exact years they were painted. The portrait at Madrid, painted
+1562,
+might represent a man of seventy-three or eighty-six, it is hard to say
+which. But there is a woodcut of 1550 (<i>vide</i> Gronau, p. 164)
+which
+surely shows Titian at the age of sixty-one rather than seventy-four;
+and, finally, Paul Veronese's great "Marriage at Cana" (in the Louvre),
+which was painted between June 1562 and September 1563, distinctly
+points to Titian being then a man of seventy-four and not eighty-seven.
+He is represented, as is well known, seated in the group of musicians
+in
+the centre, and playing the contrabasso.</p>
+</div>
+<a name="Footnote_165"></a><a href="#FNanchor_165">[165]</a>
+<div class="note">
+<p> <i>Jahrbuch der Sammlungen des A.H. Kaiserhauses</i>, vii. p.
+221 <i>ff</i> 1888.</p>
+</div>
+<a name="Footnote_166"></a><a href="#FNanchor_166">[166]</a>
+<div class="note">
+<p> Dr. Ludwig had the kindness to write to me on this
+subject: "Among the thousands of signatures of painters which I have
+seen I have never come across the signature <i>Maestro</i>. Of course,
+someone else can describe a painter as Master; he himself always
+subscribes himself <i>pittor, pictor</i>, or <i>depentor</i>."</p>
+</div>
+<a name="Footnote_167"></a><a href="#FNanchor_167">[167]</a>
+<div class="note">
+<p> Dr. Gronau further points out (in a letter recently sent
+to the writer) that Titian, writing to the emperor in 1545, says: "I
+should have liked to take them (i.e. the paintings) to your Majesty in
+person, but that my age and the length of the journey forbade such a
+course" (C. and C. ii. 103). Writing also in 1548 to Granvella he
+refers
+to his "vechia vita." Would not such expressions (asks Dr. Gronau) be
+more applicable to a man of sixty-eight and seventy-one respectively
+than to one of only fifty-six and fifty-nine?</p>
+</div>
+<a name="Footnote_168"></a><a href="#FNanchor_168">[168]</a>
+<div class="note">
+<p> XXIV. Band. 6 Heft, p. 457.</p>
+</div>
+<a name="Footnote_169"></a><a href="#FNanchor_169">[169]</a>
+<div class="note">
+<p> January 1902, pp. 123-130.</p>
+</div>
+<a name="Footnote_170"></a><a href="#FNanchor_170">[170]</a>
+<div class="note">
+<p> Quoted from Crowe and Cavalcaselle. II. 344. The Spanish
+original is given at p. 535.</p>
+</div>
+<a name="Footnote_171"></a><a href="#FNanchor_171">[171]</a>
+<div class="note">
+<p> I have quoted Titian's letter in full in the <i>Nineteenth
+Century</i>. That of the Spanish Consul is given in the <i>Jahrbuch
+der
+Sammlungen des A.H. Kaiserhauses</i>, vii. p. 221, from which I extract
+the
+passage: "El dicho Ticiano besa pies y manos de V.M., y suplica
+umilmente a V.M. mande le sea pagado lo que le ha corrido de las
+pensiones de que V.M. le tiene echo merced en Milan y en esa corte, y
+la
+trata de Napoles, y con los 85 a&ntilde;os de su edad servira a V.M.
+hasta la
+muerte."</p>
+</div>
+<a name="Footnote_172"></a><a href="#FNanchor_172">[172]</a>
+<div class="note">
+<p> I have quoted this letter also in full in the <i>Nineteenth
+Century.</i> I am indebted to M. Salomon Reinach for making this point
+(<i>Chronique des Arts</i>, Feb. 15, 1902, p. 53, where he expresses
+himself
+a convert to my views).</p>
+</div>
+<hr style="width: 65%;">
+<a name="CATALOGUE_OF_THE_WORKS_OF_GIORGIONE"></a>
+<h2>CATALOGUE OF THE WORKS OF GIORGIONE</h2>
+<h3>ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED</h3>
+<p><a name="Page_146"></a><a name="Page_147"></a><span
+ style="font-weight: bold;">AUSTRIA-HUNGARY</span></p>
+<div style="margin-left: 40px;">BUDA-PESTH GALLERY.
+<br>
+</div>
+<p><br>
+PORTRAIT OF A YOUNG MAN. [No. 94.]</p>
+<p><i>Esterhazy Collection</i>. (See p. 31.)</p>
+<br>
+<p>TWO FIGURES STANDING. [No. 95.]</p>
+<p>Copy of a portion of Giorgione's lost picture of the "Birth of
+Paris."
+These are the two shepherds. (See p. 46.)</p>
+<p>The whole composition was engraved by Th. von Kessel for the <i>Theatrum
+pictorium</i> under Giorgione's name. The original picture was seen and
+described by the Anonimo in 1525.</p>
+<br>
+<p style="margin-left: 40px;">VIENNA GALLERY.</p>
+<br>
+<p>EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF
+ROME.
+Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]</p>
+<p>Seen by the Anonimo in 1525, in Venice, and said by him to have been
+finished by Sebastiano del Piombo. (See <a href="#Page_12">p. 12.</a>)</p>
+<p><i>Collection of the Archduke Leopold William, and registered in the
+inventory of</i> 1659.</p>
+<br>
+<p>ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. x 3 ft. 10 in.
+[No.
+23.]</p>
+<p>Inferior replica by Giorgione of the Beaumont picture in London.</p>
+<p>I have sought to identify this piece with the picture "da una
+Nocte,"
+painted by Giorgione for Taddeo Contarini. <a name="Page_148"></a>(<a
+ href="#Page_24">See
+p. 24</a> and <a href="#APPENDIX_I">Appendix</a>,
+where the original document is quoted.)</p>
+<p><i>From the Collection of the Archduke Leopold William, and
+registered in
+the inventory of 1659 as a Giorgione.</i></p>
+<br>
+<p>VIRGIN AND CHILD. Wood, 2 ft. 2 in. x 2 ft. 9 in. [No. 176.]</p>
+<p>Known as the "Gipsy Madonna," and ascribed to Titian. <i>Collection
+of the
+Archduke Leopold William.</i> (See <a href="#Page_97">p. 97.</a>)</p>
+<br>
+<p>PORTRAIT OF A MAN. Canvas, 3 ft. 5 in. x 2 ft. 9 in. [No. 167.]</p>
+<p>Commonly, though erroneously, called "The Physician Parma," and
+ascribed
+to Titian.</p>
+<p><i>Collection of the Archduke Leopold William.</i> (See <a
+ href="#Page_87">p. 87.</a>)</p>
+<br>
+<p>DAVID WITH THE HEAD OF GOLIATH. Wood, 2 ft. 2 in. x 2 ft. 6 in. [No.
+21.]</p>
+<p>Copy after a lost original, which is thus described by Vasari: "A
+David
+(which, according to common report, is a portrait of the master
+himself)
+with long locks, reaching to the shoulders, as was the custom of that
+time, and the colouring is so fresh and animating that the face appears
+to be rather real than painted; the breast is covered with armour, as
+is
+the arm with which he holds the head of Goliath."</p>
+<p><i>This picture was at that day in the house of the Patriarch of
+Aquileia;
+the copy can be traced back to the Collection of the Archduke Leopold
+William at Brussels.</i> (See <a href="#Page_48">p. 48.</a>)</p>
+<p>Herr Wickhoff, however, seems to think that, were the repaints
+removed,
+the Vienna picture might prove to be Giorgione's original painting. See
+Berenson's <i>Study and Criticism of Italian Art</i>, vol. i. p. 74,
+note.</p>
+<br>
+<p style="font-weight: bold;">BRITISH ISLES</p>
+<div style="margin-left: 40px;">LONDON, NATIONAL GALLERY.
+<br>
+</div>
+<br>
+<p>ADORATION OF THE MAGI, or THE EPIPHANY. Panel. 12 in. x 2 ft. 8 in.
+[No.
+1160.]</p>
+<p><i>From the Leigh Court sale, 1884.</i> (See <a href="#Page_53">p.
+53.</a>)</p>
+<br>
+<p>UNKNOWN SUBJECT, possibly THE GOLDEN AGE. Panel. 1 ft. 11 in. x 1
+ft. 7
+in. [No. 1173.]</p>
+<p>Now catalogued as "School of Barbarelli." (See <a href="#Page_91">p.
+91.</a>) <a name="Page_149"></a><i>Purchased in
+1885 at the sale of the Bohn Collection as a Giorgione.</i></p>
+<p><i>Formerly in the Aldobrandini Palace, Rome, where it was bought by
+Mr.
+Day for the Marquis of Bristol, but afterwards sold at Christie's to
+Mr.
+White, and by him for &pound;73.10s. to Bohn.</i></p>
+<p><br>
+PORTRAIT OF A MAN, possibly PROSPERO COLONNA. Transposed in 1857
+from
+wood to canvas, 2 ft. 8 in. x 2 ft. [No. 636.]</p>
+<p>Catalogued as "Portrait of a Poet," by Palma Vecchio.</p>
+<p><i>Formerly in possession of Mr. Tomline, and purchased in 1860 from
+M.
+Edmond Beaucousin at Paris.</i></p>
+<p>It was then called the portrait of Ariosto by Titian. (See <a
+ href="#Page_81">p. 81.</a>)</p>
+<p><br>
+A KNIGHT IN ARMOUR, probably S. LIBERALE. Wood, 1 ft. 3 in. x 10 in.
+[No. 269.]</p>
+<p><i>Formerly in the Collection of Benjamin West, P.R.A., and
+bequeathed to
+the National Gallery by Mr. Samuel Rogers in 1855.</i> (See <a
+ href="#Page_20">p. 20.</a>)</p>
+<p><br>
+VENUS AND ADONIS. Canvas, 2 ft. 6 in. x 4 ft. 4 in. [No. 1123.]</p>
+<p>Catalogued as "Venetian School," and more recently as "School of
+Giorgione."</p>
+<p><i>Purchased in 1882 as a Giorgione at the Hamilton Palace sale.</i>
+(See <a href="#Page_94">p.
+94.</a>)<br>
+<br>
+</p>
+<p style="margin-left: 40px;">GLASGOW GALLERY.</p>
+<p><br>
+THE ADULTERESS BEFORE CHRIST. Canvas, 4 ft. 6 in. x 5 ft. 11 in.
+[No.
+142.]</p>
+<p><i>Ex M'Lellan Collection.</i> (See <a href="#Page_102">p. 102.</a>)</p>
+<p><br>
+TWO MUSICIANS. Panel. 1 ft. 9 in. x 1 ft. 4 in. [No. 143.]</p>
+<p>Recently attributed to Campagnola. Said to be Titian and Giorgione,
+playing violin and violoncello. The former attribution to Giorgione is
+probably correct.</p>
+<p><i>Graham-Gilbert Collection.</i></p>
+<p>New Gallery, Venetian Exhibition, 1895. [No. 99.]<br>
+<br>
+</p>
+<p style="margin-left: 40px;"><a name="Page_150"></a>HAMPTON COURT.<br>
+<br>
+</p>
+<p>SHEPHERD BOY. Canvas, 1 ft. 11 in. x 1 ft. 8 in. [No. 101.]</p>
+<p><i>From Charles I. Collection</i>, where it was called a Giorgione.
+(See <a href="#Page_49">p.
+49</a> for a suggestion as to its possible authorship.)<br>
+<br>
+</p>
+<p style="margin-left: 40px;">BUCKINGHAM PALACE.<br>
+<br>
+</p>
+<p>THREE FIGURES. Half-length; two men, and a woman fainting. Canvas, 2
+ft.
+5 in. x 2 ft. 1 in.</p>
+<p>Ascribed to Titian, but probably derived from a Giorgione original.
+Other versions are said (C. and C. ii. 149) to have been at the Hague
+and in the Buonarroti Collection at Florence. The London picture is so
+damaged and repainted, although still of splendid colouring, as to
+preclude all certainty of judgment.</p>
+<p><i>Formerly in Charles I. Collection.<br>
+<br>
+</i></p>
+<p style="margin-left: 40px;">MR. WENTWORTH BEAUMONT'S COLLECTION.</p>
+<p><br>
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. 6 in. x 2 ft.
+(about).</p>
+<p><i>From the Gallery of Cardinal Fesch</i>, and presumably the same
+as the
+picture in the Collection of James II. I have sought to identify this
+piece with the picture "da una Nocte," painted by Giorgione for
+Vittorio
+Beccare (See <a href="#Page_20">p. 20</a>, and Appendix quoting the
+original document.)<br>
+<br>
+</p>
+<p style="text-align: left; margin-left: 40px;">MR. R.H. BENSON'S
+COLLECTION.</p>
+<p><br>
+HOLY FAMILY. Wood, 14 in. x 17 in.</p>
+<p>New Gallery, 1895. [No. 148.] (See <a href="#Page_96">p. 96.</a>)</p>
+<p><br>
+MADONNA AND CHILD. Wood, 1 ft. 6 in. x 1 ft. 10 in.</p>
+<p>New Gallery, 1895. [No. 1, under Titian's name.] (See <a
+ href="#Page_101">p. 101.</a>)</p>
+<p><i>From the Burghley House Collection.<br>
+<br>
+</i></p>
+<p><a name="Page_151"></a>PORTRAIT OF A MAN. Canvas, 38 in. x 32 in.</p>
+<p>Copy of a lost original. Three-quarter length; life-size; standing
+towards right; head facing; hands resting on a column, glove in left;
+black dress, cut square at throat.</p>
+<p>New Gallery, 1895. [No. 52, as "Unknown."] (See <a href="#Page_74">p.
+74.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">COBHAM HALL, THE EARL OF DARNLEY'S
+COLLECTION.</div>
+<p><br>
+PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.</p>
+<p>Erroneously called Ariosto, and ascribed to Titian.</p>
+<p>I have sought to identify this with the "Portrait of a Gentleman" of
+the
+Barberigo family, said by Vasari to have been painted by Titian at the
+age of eighteen. (See <a href="#Page_69">p. 69.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">HERON COURT, THE EARL OF MALMESBURY.</div>
+<p><br>
+THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.</p>
+<p>Copy of an unidentified original, of which other versions are to be
+found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is
+probably a Bolognese repetition of the seventeenth century.</p>
+<p>Ridolfi mentions this subject in his list of Giorgione's works.</p>
+<p>New Gallery, 1895. [No. 29.]<br>
+<br>
+</p>
+<p style="margin-left: 40px;">HERTFORD HOUSE, WALLACE COLLECTION.</p>
+<p><br>
+VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]</p>
+<p>The picture was engraved as a Giorgione when in the Orleans Gallery.
+(See <a href="#Page_93">p. 93.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">KENT HOUSE, THE LATE LOUISA LADY
+ASHBURTON.</div>
+<p><br>
+TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.</p>
+<p>The damaged state precludes any certainty of judgment. The
+composition
+is that of the Adrastus and Hypsipyle <a name="Page_152"></a>picture;
+the colouring recalls
+the National Gallery "Golden Age(?)." If an original, it is quite an
+early work. New Gallery, 1895. [No. 147.]</p>
+<p><br>
+TWO FIGURES (half-lengths), A WOMAN AND A MAN.</p>
+<p>Copy after a missing original, and in the style of the figures at
+Oldenburg. (See Venturi, <i>La Gall. Crespi</i>.) This or the original
+was
+engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in
+aedibus Burghesianis asservata.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">KINGSTON LACY, COLLECTION OF MR. RALPH
+BANKES.</div>
+<p><br>
+THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.</p>
+<p>Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa
+Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia,
+colla figura del ministro non finita." Afterwards in the Marescalchi
+Gallery at Bologna, where (1820) it was seen by Lord Byron, who
+especially praised it (vide <i>Life and Letters</i>, ed. by Moore, p.
+705),
+and at whose suggestion it was purchased by his friend Mr. Bankes. (See
+<a href="#Page_25">p. 25.</a>)</p>
+<p>Exhibited Royal Academy, 1869.</p>
+<p><br>
+A PAINTED CEILING.</p>
+<p>With four putti climbing over a circular balcony, seen in steep
+perspective, and covered with beautiful vine leaves and flowers. This
+is
+said to have been painted by Giorgione in the last year of his life
+(1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably
+preserved, and most likely a genuine work.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">TEMPLE NEWSAM, COLLECTION OF THE HON.
+MRS MEYNELL-INGRAM.</div>
+<p><br>
+PORTRAIT OF A MAN.</p>
+<p>Traditionally ascribed to Titian. Just under life-size; he holds a
+black
+hat. Blue-black silk dress with sleeve of pinky <a name="Page_153"></a>red
+and golden brown
+gloves. Dark auburn hair. Dark grey marble wall behind. In excellent
+preservation. (See <a href="#Page_86">p. 86.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">COLLECTION OF SIR CHARLES TURNER.</div>
+<p><br>
+THE ADULTERESS BEFORE CHRIST.</p>
+<p>A free Venetian repetition, perhaps based on an alternative design
+for
+the Glasgow picture. (See <a href="#Page_104">p. 104.</a>)</p>
+<br>
+<p style="font-weight: bold;">FRANCE.</p>
+<p style="margin-left: 40px;">LOUVRE.</p>
+<p><br>
+F&Ecirc;TE CHAMP&Ecirc;TRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8
+in. x 4 ft. 9 in.</p>
+<p><i>Said to have been in Charles I. Collection, and sold to Louis
+XIV. by
+Jabuch.</i> (See <a href="#Page_39">p. 39.</a>)</p>
+<p><br>
+HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3
+ft.
+4 in. x 4 ft. 6 in.</p>
+<p>Perhaps left incomplete by Giorgione at his death, and finished by
+Sebastiano del Piombo. (See <a href="#Page_105">p. 105.</a>)</p>
+<p><i>From Charles I. Collection.</i></p>
+<br>
+<p style="font-weight: bold;">GERMANY.</p>
+<p style="margin-left: 40px;">BERLIN GALLERY.</p>
+<p><br>
+PORTRAIT OF A YOUNG MAN.</p>
+<p><i>Acquired from Dr. Richten</i> (See p. 30.)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">BERLIN, COLLECTION OF HERR VON
+KAUFFMANN.</div>
+<p><br>
+STA. GIUSTINA.</p>
+<p>A small seated figure with the unicorn. Recently acquired at
+Cologne,
+and known to the writer only by photograph and description, but
+tentatively accepted as genuine.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;"><a name="Page_154"></a>DRESDEN GALLERY.</div>
+<p><br>
+VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]</p>
+<p>Formerly catalogued as a copy by Sassoferrato after Titian. Restored
+by
+Morelli to Giorgione, and universally accepted as such. Mentioned by
+the
+Anonimo and Ridolfi, and said to have been completed by Titian. (See <a
+ href="#Page_35">p.
+35.</a>)</p>
+<p><br>
+THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.</p>
+<p>Copy after a lost original. C. and C. suggest Girolamo Pennacchi as
+possible author. It bears the Este arms.</p>
+<p><i>From the Manfrini and Barker Collections.</i></p>
+<p>(See <i>Gazette des Beaux Arts</i>, 1884, tom. xxx. p. 223.)</p>
+<p><br>
+JUDGMENT OF PARIS. Canvas, 1 ft. 9 in. x 2 ft. 3 in.</p>
+<p>One of several copies of a lost original. [See under British
+Isles&#8212;Heron Court.]</p>
+<p><br>
+<span style="font-weight: bold;">ITALY</span></p>
+<p style="margin-left: 40px;">BERGAMO, GALLERY.</p>
+<p><br>
+ORPHEUS AND EURYDICE. Wood, 1 ft. 3 in, x 1 ft. 9 in. [No. 179,
+Lochis
+section.]</p>
+<p>(See <a href="#Page_89">p. 89.</a>)</p>
+<p><br>
+MADONNA AND CHILD. Wood, 1 ft. 3 in. x 1 ft. 6 in. [No. 232, Lochis
+section, as "Titian."]</p>
+<p>The composition is very similar to Mr. Benson's "Madonna and Child"
+(<i>q.v.</i>). (See <a href="#Page_101">p. 101.</a>)</p>
+<p><br>
+THE ADULTERESS BEFORE CHRIST. 4 ft. 11 in. x 7 ft. 3 in. [No. 26,
+Carrara section.]</p>
+<p>Later copy, with slight variations, of the Glasgow picture, Ascribed
+to
+Cariani, and in a dirty state. (See <a href="#Page_104">p. 104.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">CASTELFRANCO, DUOMO.</div>
+<p><br>
+MADONNA AND CHILD ENTHRONED, SS. LIBERALE AND FRANCIS BELOW. Wood, 7
+ft.
+6 in. x 4 ft. 10 in.</p>
+<p>(See <a href="#Page_7">p. 7.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;"><a name="Page_155"></a>FLORENCE, PITTI
+GALLERY.</div>
+<p><br>
+THE CONCERT. Canvas, 3 ft. 10 in. x 7 ft. 4 in. [No. 185.]</p>
+<p>Described by Ridolfi and Boschini.</p>
+<p>An old copy is at Hyde Park House, another in the Palazzo Doria,
+Rome.
+(See <a href="#Page_49">p. 49.</a>)</p>
+<p><br>
+THE THREE AGES. Wood, 3 ft. 8 in. x 5 ft. 4 in. [No. 157.]</p>
+<p>By C. and C. ascribed to Lotto, by Morelli to Giorgione.</p>
+<p>(See <a href="#Page_42">p. 42.</a>)</p>
+<p><br>
+NYMPH AND SATYR. Canvas. [No. 147.]</p>
+<p>(See <a href="#Page_44">p. 44.</a>)<br>
+<br>
+</p>
+<p style="margin-left: 40px;">FLORENCE, UFFIZI GALLERY.</p>
+<p><br>
+TRIAL OF MOSES, or ORDEAL BY FIRE. Canvas. Figures one-eighth
+life-size.
+[No. 621.]</p>
+<p><i>From Poggio Imperiale.</i>(See <a href="#Page_15">p. 15.</a>)</p>
+<p><br>
+JUDGMENT OF SOLOMON. Companion piece to last. Wood. [No. 630.]</p>
+<p>(See <a href="#Page_15">p. 15.</a>)</p>
+<p><br>
+KNIGHT OF MALTA. Canvas. Bust, life-size. [No. 622.]</p>
+<p>The letters XXXV probably refer to the man's age. Mr. Dickes (<i>Magazine
+of Art</i>, April 1893) thinks he is Stefano Colonna, who died 1548.
+(See
+<a href="#Page_19">p. 19.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">MILAN, CRESPI COLLECTION.</div>
+<p><br>
+PORTRAIT OF CATERINA CORNARO. Canvas, 3 ft. 11 in. x 3 ft. 2 in.</p>
+<p><i>From the Alessandro Martinengo Gallery, Brescia (1640), thence to
+Collection Francesco Riccardi, Bergamo, where C. and C. saw it in 1877.</i>
+They state it was engraved in the line series of Sala. It has been
+known
+traditionally both as Caterina Cornaro and "La Schiavona." (See <a
+ href="#Page_74">p. 74.</a>)</p>
+<p>In the signature T.V. it is clear that the V represents the last
+letter
+but one in TITIANVS. The first three letters can just be made out.
+There
+are many <i>pentimenti</i> on the marble parapet, which seems to have
+been
+painted over the dress.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;"><a name="Page_156"></a>PADUA, GALLERY.</div>
+<p>Two <i>cassone</i> panels with mythological scenes. Wood, about 4
+ft. x 1 ft.
+each. [Nos. 416, 417.]</p>
+<p>(See <a href="#Page_56">p. 56.</a>)</p>
+<p><br>
+Two very small panels with mythological scenes, one representing
+LEDA
+AND THE SWAN. Wood, about 5 in. x 3 in. each. [Nos. 42, 43.]</p>
+<p>(See <a href="#Page_90">p. 90.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">ROME, BORGHESE GALLERY.</div>
+<p><br>
+PORTRAIT OF A LADY. Canvas, 3 ft. 2 in. x 2 ft. 6 in.</p>
+<p>(See <a href="#Page_33">p. 33.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">NATIONAL GALLERY, PAL. CORSINI.</div>
+<p><br>
+S. GEORGE AND THE DRAGON.</p>
+<p><i>Recently acquired.</i></p>
+<p>(Tentatively accepted from the photograph. See <a href="#Page_91">p.
+91.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">ROVIGO, GALLERY.</div>
+<p><br>
+MADONNA AND CHILD. [NO. 2.]</p>
+<p>Repetition by Titian of Giorgione's original at Vienna</p>
+<p>(See <a href="#Page_98">p. 98.</a>)</p>
+<p><br>
+A SMALL SEATED FIGURE. DANAE? [No. 156.]</p>
+<p>Copy of a missing original.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">VENICE, ACADEMY.</div>
+<p><br>
+STORM AT SEA CALMED BY S. MARK. Wood, 11 ft. 8 in. x 13 ft. 6 in.
+[No.
+516.]</p>
+<p><i>From the Scuola di S. Marco</i>, where it was companion piece to
+Paris
+Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by
+Zanetti to Giorgione.</p>
+<p>Too damaged to admit of definite judgment. (See <a href="#Page_55">p.
+55.</a>)</p>
+<p><br>
+<a name="Page_157"></a>THREE FIGURES. Half-lengths; a woman
+fainting, supported by a man;
+another behind.</p>
+<p>Modern copy by Fabris of apparently a missing original. Can this be
+the
+picture mentioned by C. and C. as in the possession of the King of
+Holland? (C. and C. ii. 149, note.) <i>Cf</i>. also, Notes to
+Sansoni's
+<i>Vasari</i>, iv. p. 104. Another version is at Buckingham Palace (<i>q.v</i>.),
+but it differs in detail from this copy.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">SEMINARIO.</div>
+<p><br>
+APOLLO AND DAPHNE. <i>Cassone</i> panel. Wood. Small figures, much
+defaced.
+(See <a href="#Page_34">p. 34.</a>)</p>
+<p><br>
+CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as
+life. About 3 ft. x 2 ft.</p>
+<p>Christ clad in pale grey, head turned three-quarters looking out of
+the
+picture, auburn hair and beard, bears cross. He is dragged forward by
+an
+elderly man nude to waist. Another man in profile to left. An old man
+with white beard just visible behind Christ. (See <a href="#Page_54">p.
+54</a>.)</p>
+<p><br>
+PAL. ALBUZIO. JUDGMENT OF PARIS.</p>
+<p>Another version of this subject, of which copies exist at
+Christiania,
+Lord Malmesbury's, and Dresden.</p>
+<p><br>
+PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft.
+5
+in.</p>
+<p>Described by the Anonimo in the house of Gabriel Vendramin (1530).
+(See
+<a href="#Page_11">p. 11.</a>)</p>
+<p>Statius (lib. iv. 730 <i>ff</i>.) describes how King Adrastus,
+wandering
+through the woods in search of a spring to quench the thirst of his
+troops, encounters by chance Queen Hypsipyle, who had been driven out
+of
+Lemnos by the wicked women, who had resolved to slay their husbands,
+and
+<a name="Page_158"></a>she had taken refuge in the service of the King
+of Nemea, in capacity
+of nurse.</p>
+<p>Ex <i>Manfrini Palace.</i></p>
+<p><br>
+PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6
+in.
+square. (See <a href="#Page_85">p. 85.</a>)</p>
+<br>
+<p style="font-weight: bold;">NORWAY.</p>
+<p style="margin-left: 40px;">CHRISTIANIA.</p>
+<p><br>
+JUDGMENT OF PARIS.</p>
+<p>Another version of this subject, of which copies exist at Lord
+Malmesbury's, Dresden, and Venice.</p>
+<br>
+<p style="font-weight: bold;">RUSSIA.</p>
+<p style="margin-left: 40px;">ST. PETERSBURG, HERMITAGE GALLERY.</p>
+<p><br>
+JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]</p>
+<p>Once ascribed to Raphael, and engraved as such (in 1620), by H.H.
+Quitter, and afterwards by several other artists. Dr. Waagen pronounced
+it to be Moretto's work, and accordingly the name was changed; as such
+Braun has photographed it. It is now officially recognised rightly as a
+Giorgione (<i>vide</i> Catalogue of 1891).</p>
+<p><i>Brought from Italy to France, and eventually in Crozat's
+possession</i>.
+(See <a href="#Page_37">p. 37.</a>)</p>
+<p><br>
+VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]</p>
+<p><i>Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian</i>,
+under
+which name it is still registered. (See <a href="#Page_102">p. 102</a>,
+where Mr. Claude
+Phillips's suggestion that it may be a Giorgione is discussed.)</p>
+<a name="Page_159"></a><br>
+<p style="font-weight: bold;">SPAIN.</p>
+<p style="margin-left: 40px;">MADRID, PRADO GALLERY.</p>
+<p><br>
+MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft.
+5
+in. [No. 341.]</p>
+<p><i>From the Escurial</i>; restored to Giorgione by Morelli, and now
+officially recognised as his work. (See <a href="#Page_45">p. 45.</a>)</p>
+<br>
+<p style="font-weight: bold;">UNITED STATES.</p>
+<p style="margin-left: 40px;">BOSTON, COLLECTION OF MRS. GARDNER.</p>
+<p><br>
+CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.</p>
+<p>Several variations and repetitions exist. (See <a href="#Page_18">p.
+18.</a>)</p>
+<p><i>Till lately in the Casa Loschi at Vicenza.</i></p>
+<hr style="height: 2px; width: 25%;">
+<p>A few drawings by Giorgione meet with general recognition, but, like
+his
+paintings, they appear to have been unnecessarily restricted by an
+over-anxiety on the part of critics to leave him only the best. E.g.
+the
+drawing at Windsor for a part of an "Adoration of the Shepherds," is,
+no
+doubt, a preliminary design for the Beaumont or Vienna pictures. The
+limits of the present book will not allow a discussion on the subject,
+but we may remark that, like all Venetian artists, Giorgione made few
+preliminary sketches, concerning himself less with design and
+composition than with harmony of colour, light and shade, and "effect."
+The engraving by Marcantonio commonly called "The Dream of Raphael," is
+now known to be derived from Giorgione, to whom the subject was
+suggested by a passage in Servius' <i>Commentary on Virgil</i> (lib.
+iii. v.
+12). (See Wickhoff, loc. cit.)</p>
+<hr style="width: 65%;">
+<a name="LIST_OF_PICTURES"></a>
+<h2><a name="Page_160"></a><a name="Page_161"></a>LIST OF GIORGIONE'S
+PICTURES CITED BY "THE ANONIMO," AS</h2>
+<h2>BEING IN HIS</h2>
+<h2>DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.<a name="FNanchor_173"></a><a
+ style="font-weight: normal;" href="#Footnote_173"><sup>[173]</sup></a>
+</h2>
+<p>CASA TADDEO CONTARINI (1525).</p>
+<p>(i) The Three Philosophers (since identified as Aeneas, Evander, and
+Pallas, in the Vienna Gallery),</p>
+<p>(ii) Aeneas and Anchises in Hades.</p>
+<p>(in) The Birth of Paris. (Since identified by the engraving of Th.
+von
+Kessel. A copy of the part representing the two shepherds is at
+Buda-Pesth.)</p>
+<br>
+<p>CASA JERONIMO MARCELLO (1525).</p>
+<p>(i) Portrait of M. Jeronimo armed, showing his back and turning his
+head.</p>
+<p>(ii) A nude Venus in a landscape with Cupid. Finished by Titian.
+(Since
+identified as the Dresden Venus.)</p>
+<p>(in) S. Jerome reading.</p>
+<br>
+<p>CASA M. ANTON. VENIER (1528).</p>
+<p>A soldier armed to the waist.</p>
+<br>
+<p>CASA G. VENDRAMIN (1530).</p>
+<p>(i) Landscape with soldier and gipsy. (Since identified as the
+Adrastus
+and Hypsipyle of the Pal. Giovanelli, Venice.)</p>
+<p>(ii) The dead Christ on the Tomb, supported by one Angel. Retouched
+by
+Titian. (This can hardly be the celebrated Piet&agrave; in the Monte di
+Piet&agrave;
+at Treviso, as there are here three angels. M. Lafenestre, in his <i>Life
+of Titian</i>, reproduces an engraving answering to the above
+description,
+but it is hard to believe this mannered composition is to be traced
+back
+to Giorgione.)</p>
+<p><br>
+<a name="Page_162"></a>CASA ZUANE RAM (1531).</p>
+<p>(i) A youth, half-length, holding an arrow.</p>
+<p>(ii) Head of a shepherd boy, who holds a fruit.</p>
+<br>
+<p>CASA A. PASQUALINO.</p>
+<p>(i) Copy of No. (i) just mentioned.</p>
+<p>(ii) Head of S. James, with pilgrim staff (or, may be, a copy).</p>
+<br>
+<p>CASA ANDREA ODONI (1532).</p>
+<p>S. Jerome, nude, seated in a desert by moonlight. Copy after
+Giorgione.</p>
+<br>
+<p>CASA MICHIEL CONTARINI (1543).</p>
+<p>A pen drawing of a nude figure in a landscape. The painting of the
+same
+subject belonged to the Anonimo.</p>
+<br>
+<p>CASA PIERO SERVIO (1575).</p>
+<p>Portrait of his father.</p>
+<p>It is noteworthy that two of the above pieces are cited as copies,
+from
+which we may infer that Giorgione's productions were already, at this
+early date, enjoying such a vogue as to call for their multiplication
+at
+the hands of others, and we can readily understand how, in course of
+time, the fabrication of "Giorgiones" became a profitable business.</p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_173"></a><a href="#FNanchor_173">[173]</a>
+<div class="note">
+<p> <i>Notizie d'opere di disegno</i>. Ed. Frizzoni. Bologna,
+1884.</p>
+</div>
+<hr style="width: 65%;">
+<a name="INDEX"></a>
+<h2>INDEX</h2>
+<i>Adoration of the Magi, The</i> (National Gallery), <a
+ href="#Page_22">22</a>,
+<a href="#Page_53">53</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_91">91</a>,
+<a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_148">148</a>,
+<a href="#THE_ADORATION_OF_THE_MAGI">ill. 52</a>.<br>
+<i>Adoration of the Shepherds, The</i> (Mr. Beaumont), <a
+ href="#Page_20">20</a>, <a href="#Page_21">21</a>-<a href="#Page_25">25</a>,
+<a href="#Page_53">53</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_86">86</a>,
+<a href="#Page_103">103</a>, <a href="#Page_150">150</a>;<br>
+<span style="margin-left: 1em;">replica at Vienna, <a href="#Page_24">24</a>,
+<a href="#Page_147">147</a>, <a href="#Page_20">ill. 20</a>.</span><br>
+<i>Adrastus and Hypsipyle</i> (Prince Giovanelli, Venice), <a
+ href="#Page_10">10</a>-<a href="#Page_12">12</a>, <a href="#Page_23">23</a>,
+<a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a
+ href="#Page_40">40</a>,
+<a href="#Page_43">43</a>, <a href="#Page_63">63</a>, <a
+ href="#Page_137">137</a>,
+<a href="#Page_10">ill. 10</a>.<br>
+<i>Adulteress before Christ, The</i> (Glasgow), <a href="#Page_28">28</a>,
+<a href="#Page_102">102</a>-<a href="#Page_105">105</a>, <a
+ href="#Page_149">149</a>, <a href="#Page_102">ill. 102</a>.<br>
+<i>Adulteress before Christ, The</i> (Sir Charles Turner), <a
+ href="#Page_104">104</a>, <a href="#Page_153">153</a>.<br>
+<i>Aeneas, Evander, and Pallas</i> (Vienna), <a href="#Page_11">11</a>,
+<a href="#Page_12">12</a>-<a href="#Page_14">14</a>, <a href="#Page_23">23</a>,
+<a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a
+ href="#Page_43">43</a>,
+<a href="#Page_147">147</a>, <a href="#Page_12">ill. 12</a>.<br>
+Anonimo, The (quoted), <a href="#Page_11">11</a>, <a href="#Page_13">13</a>,
+<a href="#Page_18">18</a>, <a href="#Page_35">35</a>, <a
+ href="#Page_47">47</a>,
+<a href="#Page_60">60</a>, <a href="#Page_161">161</a>, <a
+ href="#Page_162">162</a>.<br>
+Antonello, <a href="#Page_18">18</a>, <a href="#Page_114">114</a>.<br>
+<i>Apollo and Daphne</i> (Seminario, Venice), <a href="#Page_34">34</a>,
+<a href="#Page_40">40</a>, <a href="#Page_157">157</a>, <a
+ href="#Page_34">ill. 34</a>.<br>
+<i>Ariosto</i>, So-called portrait of (Cobham Hall), <a href="#Page_69">69</a>,
+<a href="#Page_70">70</a>, <a href="#Page_114">114</a>, <a
+ href="#Page_151">151</a>, <a href="#Page_70">ill. 70</a>;<br>
+<span style="margin-left: 1em;">repetitions, <a href="#Page_73">73 note</a>,
+<a href="#Page_74">74</a>.</span><br>
+Armstrong, Sir Walter, <a href="#Page_28">28</a>, <a href="#Page_102">102</a>.<br>
+<br>
+Barbarelli, name wrongly given to Giorgione, <a href="#Page_2">2</a>.<br>
+Barbari, Jacopo de', Portrait of Caterina Cornaro by, <a
+ href="#Page_77">77</a>.<br>
+Barberigo, Doge Agostino, Portrait of, said to have been painted by
+Giorgione, <a href="#Page_67">67</a>, <a href="#Page_74">74</a>, <a
+ href="#Page_89">89
+note</a>, <a href="#Page_112">112</a>, <a href="#Page_114">114</a>.<br>
+Barberigo, Portrait of a gentleman of the family of, <a href="#Page_68">68</a>,
+<a href="#Page_69">69</a>, <a href="#Page_106">106</a>.<br>
+Bellini, Gentile, <a href="#Page_62">62</a>, <a href="#Page_114">114</a>.<br>
+Bellini, Giovanni, <a href="#Page_9">9</a>;<br>
+<span style="margin-left: 1em;">his S. Giov. Crisostomo altar-piece, <a
+ href="#Page_9">9
+note</a>;</span><br>
+<span style="margin-left: 1em;">his influence on Giorgione, <a
+ href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>,
+<a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a
+ href="#Page_25">25</a>,
+<a href="#Page_47">47</a>, <a href="#Page_53">53</a>, <a
+ href="#Page_62">62</a>;</span><br>
+<span style="margin-left: 1em;">his altar-piece of S. Giobbe, <a
+ href="#Page_10">10</a>;</span><br>
+<span style="margin-left: 1em;">his sacred allegory in the Uffizi, <a
+ href="#Page_15">15</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Corpus Christi Procession</i>,
+<a href="#Page_17">17</a>;</span><br>
+<span style="margin-left: 1em;">his influence on Titian, <a
+ href="#Page_68">68</a>, <a href="#Page_69">69</a>;</span><br>
+<span style="margin-left: 1em;">portraits of Caterina Cornaro by, <a
+ href="#Page_76">76</a>,
+<a href="#Page_80">80</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Miracle of the True Cross</i>,
+<a href="#Page_76">76</a>, <a href="#Page_81">81</a>;</span><br>
+<span style="margin-left: 1em;">his temperament contrasted with
+Giorgione's, <a href="#Page_109">109</a>;</span><br>
+<span style="margin-left: 1em;">influenced by Giorgione, <a
+ href="#Page_115">115</a>, <a href="#Page_116">116</a>.</span><br>
+Berenson, Mr. (quoted), <a href="#Page_21">21</a>, <a href="#Page_29">29</a>,
+<a href="#Page_47">47</a>, <a href="#Page_50">50</a>, <a
+ href="#Page_54">54</a>,
+<a href="#Page_55">55</a>, <a href="#Page_77">77</a>, <a
+ href="#Page_78">78</a>,
+<a href="#Page_79">79</a>, <a href="#Page_85">85</a>, <a
+ href="#Page_113">113</a>.<br>
+<i>Birth of Paris, The</i>, lost picture by Giorgione, <a
+ href="#Page_47">47</a>, <a href="#Page_63">63</a>;<br>
+<span style="margin-left: 1em;">engraved by Th. von Kessel, <a
+ href="#Page_47">47</a>, <a href="#Page_147">147</a>;</span><br>
+<span style="margin-left: 1em;">copy of a portion at Buda-Pesth, <a
+ href="#Page_46">46</a>,
+<a href="#Page_47">47</a>, <a href="#Page_46">ill. 46</a>.</span><br>
+Bode, Dr. (quoted), <a href="#Page_1">1</a>, <a href="#Page_28">28</a>,
+<a href="#Page_35">35</a>, <a href="#Page_50">50</a>, <a
+ href="#Page_67">67</a>,
+<a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a
+ href="#Page_102">102</a>.<br>
+Bordone, Paris, <a href="#Page_55">55</a>;<br>
+<span style="margin-left: 1em;">his <i>Fisherman presenting the Ring
+to the Doge</i>, <a href="#Page_56">56</a>.</span><br>
+Broccardo, Antonio, Portrait of, <a href="#Page_32">32</a>, <a
+ href="#Page_70">70</a>.<br>
+Burton, Sir Frederic, <a href="#Page_82">82</a>.<br>
+<br>
+Campagnola, Pictures attributed to, <a href="#Page_39">39</a>, <a
+ href="#Page_88">88</a>, <a href="#Page_91">91 note</a>, <a
+ href="#Page_102">102</a>.<br>
+Cariani, Pictures attributed to, <a href="#Page_28">28</a>, <a
+ href="#Page_29">29</a>, <a href="#Page_102">102</a>, <a
+ href="#Page_105">105</a>,
+<a href="#Page_106">106</a>;<br>
+<span style="margin-left: 1em;">his <i>Venus</i> at Hampton Court, <a
+ href="#Page_36">36</a>;</span><br>
+<span style="margin-left: 1em;">influence of Giorgione on, <a
+ href="#Page_48">48</a>.</span><br>
+Carpaccio, Influence of, on Giorgione, <a href="#Page_17">17</a>, <a
+ href="#Page_62">62</a>;<br>
+<span style="margin-left: 1em;">his <i>Legend of S. Ursula</i>, <a
+ href="#Page_17">17</a>.</span><br>
+Castelfranco, birthplace of Giorgione, <a href="#Page_1">1</a>, <a
+ href="#Page_2">2</a>;<br>
+<span style="margin-left: 1em;">altar-piece at, <a href="#Page_7">7</a>-<a
+ href="#Page_10">10</a>, <a href="#Page_23">23</a>, <a href="#Page_39">39</a>,
+<a href="#Page_63">63</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_117">117</a>,
+<a href="#madonna_and_child">ill. Front</a>.</span><br>
+Catena, Pictures attributed to, <a href="#Page_21">21</a>, <a
+ href="#Page_53">53</a>;<br>
+<span style="margin-left: 1em;">his <i>Judith</i>, <a href="#Page_38">38
+note</a>;</span><br>
+<span style="margin-left: 1em;">his pictures in the National Gallery,
+<a href="#Page_53">53</a>.</span><br>
+<i>Chaldean Sages, The.</i> See <i>Aeneas, Evander, and Pallas</i><br>
+<i>Christ bearing the Cross</i> (Mrs. Gardner, Boston), <a
+ href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_62">62</a>,
+<a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_109">109</a>,
+<a href="#Page_159">159</a>, <a href="#Page_18">ill. 18</a>.<br>
+<i>Christ bearing the Cross</i> (S. Rocco, Venice), <a href="#Page_54">54</a>,
+<a href="#Page_109">109</a>, <a href="#Page_157">157</a>;<br>
+<span style="margin-left: 1em;">sketch of, by Van Dyck, <a
+ href="#Page_55">55</a>, <a href="#Page_54">ill. 54</a>.</span><br>
+Colonna, Prospero, Portrait of, <a href="#Page_82">82</a>-<a
+ href="#Page_85">85</a>.<br>
+<i>Concert, The</i> (Pitti), <a href="#Page_49">49</a>-<a
+ href="#Page_52">52</a>,
+<a href="#Page_65">65</a>, <a href="#Page_78">78</a>, <a
+ href="#Page_86">86</a>,
+<a href="#Page_88">88</a>, <a href="#Page_155">155</a>, <a
+ href="#Page_50">ill. 50</a>.<br>
+<i>Concert, The</i> (Louvre). See <i>Pastoral Symphony</i><br>
+Consalvo, of Cordova, Portrait of, painted by Giorgione, <a
+ href="#Page_89">89 note</a>, <a href="#Page_114">114</a>.<br>
+Conti, Signor (quoted), <a href="#Page_50">50</a>.<br>
+Cornaro, Caterina, Ex-Queen of Cyprus, patroness of Giorgione, <a
+ href="#Page_3">3</a>;<br>
+<span style="margin-left: 1em;">portrait of (Crespi Collection), <a
+ href="#Page_76">76</a>-<a href="#Page_81">81</a>,
+<a href="#Page_112">112</a>,
+<a href="#Page_113">113</a>, <a href="#Page_155">155</a>, <a
+ href="#Page_76">ill. 76</a>;</span><br>
+<span style="margin-left: 1em;">other portraits of, <a href="#Page_76">76</a>,
+<a href="#Page_77">77</a>;</span><br>
+<span style="margin-left: 1em;">bust of, <a href="#Page_77">77</a>,
+<a href="#Page_76">ill. 76</a>.</span><br>
+Costanzo, Matteo, <a href="#Page_63">63</a>.<br>
+Crasso, Luigi, Portrait of, painted by Giorgione, <a href="#Page_89">89
+note</a>.<br>
+Crespano, Portrait at, mentioned by Crowe and Cavalcaselle, <a
+ href="#Page_53">53 note</a>.<br>
+Crespi, Signor, Portrait of Caterina Cornaro in the possession of, <a
+ href="#Page_74">74</a>,
+<a href="#Page_112">112</a>.<br>
+Crowe and Cavalcaselle (quoted <i>passim</i>)<br>
+<br>
+<i>David with the Head of Goliath</i> (Vienna), <a href="#Page_48">48</a>,
+<a href="#Page_49">49</a>, <a href="#Page_148">148</a>.<br>
+Dickes, Mr., on the portrait of Prospero Colonna (quoted), <a
+ href="#Page_82">82</a>, <a href="#Page_85">85</a>.<br>
+Dossi, Dosso, Giorgione's <i>Nymph pursued by a Satyr</i> wrongly
+attributed to, <a href="#Page_44">44</a>;<br>
+<span style="margin-left: 1em;">his <i>Buffone</i>, <a href="#Page_44">44</a>.</span><br>
+<br>
+<i>Epiphany, The</i> (National Gallery). See <i>Adoration of the Magi</i><br>
+Este, Isabella d', Marchioness of Mantua, commissioned her agent to
+purchase a picture by Giorgione, <a href="#Page_24">24</a>.<br>
+<br>
+<i>Family Concert</i> (Hampton Court), <a href="#Page_42">42</a>.<br>
+Feltre, Morto da, and Giorgione, story concerning, <a href="#Page_5">5</a>;<br>
+<span style="margin-left: 1em;"><i>The Three Ages</i>, wrongly
+attributed to, <a href="#Page_42">42</a>;</span><br>
+<span style="margin-left: 1em;">said to have assisted Giorgione, <a
+ href="#Page_107">107
+note</a>.</span><br>
+Ferrante, Consalvo, <a href="#Page_83">83</a>;<br>
+<span style="margin-left: 1em;">portrait of, painted by Giorgione, <a
+ href="#Page_64">64</a>.</span><br>
+<i>F&ecirc;te Champ&ecirc;tre</i> (Louvre). See <i>Pastoral Symphony</i><br>
+Fry, Mr. Roger, on Bellini (quoted), <a href="#Page_15">15</a>, <a
+ href="#Page_115">115</a>.<br>
+<br>
+Giorgione, birthplace and origin of, <a href="#Page_1">1</a>;<br>
+<span style="margin-left: 1em;">wrongly called "Barbarelli," <a
+ href="#Page_2">2</a>, <a href="#Page_5">5</a>;</span><br>
+<span style="margin-left: 1em;">his life spent in Venice, <a
+ href="#Page_2">2</a>;</span><br>
+<span style="margin-left: 1em;">his skill in music, <a href="#Page_2">2</a>;</span><br>
+<span style="margin-left: 1em;">visit to Leonardo, <a href="#Page_3">3</a>;</span><br>
+<span style="margin-left: 1em;">his frescoes on the Fondaco de'
+Tedeschi, <a href="#Page_4">4</a>, <a href="#Page_60">60</a>, <a
+ href="#Page_65">65</a>;</span><br>
+<span style="margin-left: 1em;">other perished frescoes, <a
+ href="#Page_4">4</a>;</span><br>
+<span style="margin-left: 1em;">death, <a href="#Page_4">4</a>;</span><br>
+<span style="margin-left: 1em;">his individuality, <a href="#Page_6">6</a>;</span><br>
+<span style="margin-left: 1em;">true test of the authenticity of his
+pictures, <a href="#Page_6">6</a>, <a href="#Page_23">23</a>, <a
+ href="#Page_59">59</a>;</span><br>
+<span style="margin-left: 1em;">three universally accepted pictures by,
+<a href="#Page_7">7</a>;</span><br>
+<span style="margin-left: 1em;">his lyrical quality, <a href="#Page_8">8</a>,
+<a href="#Page_9">9</a>;</span><br>
+<span style="margin-left: 1em;">influence of Bellini on, <a
+ href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>,
+<a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a
+ href="#Page_25">25</a>,
+<a href="#Page_47">47</a>, <a href="#Page_53">53</a>, <a
+ href="#Page_62">62</a>;</span><br>
+<span style="margin-left: 1em;">pictures accepted by Crowe and
+Cavalcaselle and Morelli, <a href="#Page_14">14</a>;</span><br>
+<span style="margin-left: 1em;">his freedom from conventionality, <a
+ href="#Page_16">16</a>,
+<a href="#Page_17">17</a>;</span><br>
+<span style="margin-left: 1em;">disproportionate sizes of the figures
+in his pictures, <a href="#Page_23">23</a>;</span><br>
+<span style="margin-left: 1em;">introduction of the hand in his
+portraits, <a href="#Page_19">19</a>, <a href="#Page_31">31</a>, <a
+ href="#Page_32">32</a>;</span><br>
+<span style="margin-left: 1em;">his signature VV., <a href="#Page_31">31</a>,
+<a href="#Page_32">32</a>, <a href="#Page_73">73</a>;</span><br>
+<span style="margin-left: 1em;"><i>cassone</i> panels by, <a
+ href="#Page_34">34</a>, <a href="#Page_56">56</a>, <a href="#Page_89">89</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Venus</i> completed by Titian,
+<a href="#Page_35">35</a>, <a href="#Page_72">72</a>;</span><br>
+<span style="margin-left: 1em;">his mastery of line, <a href="#Page_36">36</a>,
+<a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a
+ href="#Page_46">46</a>,
+<a href="#Page_100">100</a>, <a href="#Page_116">116</a>, <a
+ href="#Page_118">118</a>;</span><br>
+<span style="margin-left: 1em;">his faults of drawing, <a
+ href="#Page_39">39</a>, <a href="#Page_118">118</a>;</span><br>
+<span style="margin-left: 1em;">exuberance of his later style, <a
+ href="#Page_41">41</a>;</span><br>
+<span style="margin-left: 1em;">comparison of with Dosso, <a
+ href="#Page_44">44</a>;</span><br>
+<span style="margin-left: 1em;">influence of on later artists, <a
+ href="#Page_48">48</a>;</span><br>
+<span style="margin-left: 1em;">works as to which Crowe and
+Cavalcaselle and Morelli disagree, <a href="#Page_49">49</a>;</span><br>
+<span style="margin-left: 1em;">difficulty of deciding between
+Giorgione and Titian, <a href="#Page_50">50</a>, <a href="#Page_69">69</a>,
+<a href="#Page_71">71</a>;</span><br>
+<span style="margin-left: 1em;">works accepted by Berenson, <a
+ href="#Page_54">54</a>;</span><br>
+<span style="margin-left: 1em;">works accepted by Venturi, <a
+ href="#Page_56">56</a>;</span><br>
+<span style="margin-left: 1em;">chronology of accepted works by, <a
+ href="#Page_58">58</a>, <a href="#Page_62">62</a>-<a href="#Page_66">66</a>;</span><br>
+<span style="margin-left: 1em;">versatility and precocity of, <a
+ href="#Page_59">59</a>, <a href="#Page_66">66</a>;</span><br>
+<span style="margin-left: 1em;">inequality of, <a href="#Page_59">59</a>,
+<a href="#Page_103">103</a>;</span><br>
+<span style="margin-left: 1em;">analogy of with Schubert and Keats, <a
+ href="#Page_59">59</a>,
+<a href="#Page_110">110</a>;</span><br>
+<span style="margin-left: 1em;">his productiveness, <a href="#Page_60">60</a>,
+<a href="#Page_61">61</a>;</span><br>
+<span style="margin-left: 1em;">his success in portraiture, <a
+ href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>;</span><br>
+<span style="margin-left: 1em;">additional portraits attributed to, <a
+ href="#Page_68">68</a>;</span><br>
+<span style="margin-left: 1em;">influence of on Titian, <a
+ href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_74">74</a>;</span><br>
+<span style="margin-left: 1em;">pictures by, completed by Titian, <a
+ href="#Page_72">72</a>;</span><br>
+<span style="margin-left: 1em;">the portrait of <i>Ariosto</i>
+attributed to, <a href="#Page_69">69</a>-<a href="#Page_74">74</a>;</span><br>
+<span style="margin-left: 1em;">the portrait of Caterina Cornaro
+(Signor Crespi) attributed to, <a href="#Page_74">74</a>-<a
+ href="#Page_81">81</a>;</span><br>
+<span style="margin-left: 1em;">portrait of Prospero Colonna by, <a
+ href="#Page_82">82</a>-<a href="#Page_85">85</a>;</span><br>
+<span style="margin-left: 1em;">other portraits now attributed to, <a
+ href="#Page_85">85</a>-<a href="#Page_88">88</a>;</span><br>
+<span style="margin-left: 1em;">other romantic pictures attributed to,
+<a href="#Page_89">89</a>-<a href="#Page_95">95</a>;</span><br>
+<span style="margin-left: 1em;">sacred pictures attributed to, <a
+ href="#Page_95">95</a>-<a href="#Page_106">106</a>;</span><br>
+<span style="margin-left: 1em;">misapprehension of the critics with
+regard to, <a href="#Page_103">103</a>;</span><br>
+<span style="margin-left: 1em;">relation to Sebastiano del Piombo, <a
+ href="#Page_106">106</a>;</span><br>
+<span style="margin-left: 1em;">his characteristics, <a
+ href="#Page_108">108</a>;</span><br>
+<span style="margin-left: 1em;">his genius essentially lyrical, <a
+ href="#Page_108">108</a>;</span><br>
+<span style="margin-left: 1em;">his limitations, <a href="#Page_110">110</a>;</span><br>
+<span style="margin-left: 1em;">his greatness in portraiture, <a
+ href="#Page_111">111</a>;</span><br>
+<span style="margin-left: 1em;">the Herald of the Renaissance, <a
+ href="#Page_113">113</a>, <a href="#Page_114">114</a>;</span><br>
+<span style="margin-left: 1em;">his influence on succeeding painters,
+<a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">his School, <a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">points wherein he was an initiator, <a
+ href="#Page_116">116</a>;</span><br>
+<span style="margin-left: 1em;">his use of colour, <a href="#Page_116">116</a>,
+<a href="#Page_117">117</a>;</span><br>
+<span style="margin-left: 1em;">treatment of chiaroscuro, <a
+ href="#Page_117">117</a>;</span><br>
+<span style="margin-left: 1em;">his position in history, <a
+ href="#Page_118">118</a>, <a href="#Page_119">119</a>;</span><br>
+<span style="margin-left: 1em;">compared with Titian, <a
+ href="#Page_118">118</a>;</span><br>
+<span style="margin-left: 1em;">his drawings, <a href="#Page_159">159</a>.</span><br>
+Giovanelli, Prince, <a href="#Page_10">10</a>.<br>
+<i>Giovanelli Figures, The</i>, See <i>Adrastus and Hypsipyle</i><br>
+<i>Gipsy Madonna, The</i> (Vienna), <a href="#Page_97">97</a>, <a
+ href="#Page_148">148</a>, <a href="#Page_92">ill. 92.</a><br>
+<i>Golden Age, The</i>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>,
+<a href="#Page_95">95</a>, <a href="#Page_148">148</a>, <a
+ href="#Page_92">ill. 92</a>.<br>
+Gronau, Dr. (quoted), <a href="#Page_1">1</a>, <a href="#Page_5">5</a>,
+<a href="#Page_40">40</a>, <a href="#Page_42">42 note</a>, <a
+ href="#Page_50">50</a>, <a href="#Page_70">70</a>, <a href="#Page_74">74</a>,
+<a href="#Page_78">78</a>,
+<a href="#Page_97">97</a>.<br>
+<br>
+Harck, Dr. (quoted), <a href="#Page_37">37</a><br>
+<i>Holy family, The</i> (Mr. R. Benson), <a href="#Page_22">22</a>, <a
+ href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_150">150</a>,
+<a href="#Page_96">ill. 96</a>.<br>
+<br>
+<i>Judgment of Solomon, The</i> (Uffizi), <a href="#Page_15">15</a>-<a
+ href="#Page_17">17</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_155">155</a>,
+<a href="#Page_14">ill. 14</a>.<br>
+<i>Judgment of Solomon, The</i> (Mr. R. Bankes), <a href="#Page_20">20</a>,
+<a href="#Page_23">23</a>, <a href="#Page_25">25</a>-<a href="#Page_29">29</a>,
+<a href="#Page_39">39</a>, <a href="#Page_42">42</a>, <a
+ href="#Page_65">65</a>,
+<a href="#Page_102">102</a>, <a href="#Page_104">104</a>, <a
+ href="#Page_110">110</a>, <a href="#Page_152">152</a>, <a
+ href="#Page_26">ill. 26</a>.<br>
+<i>Judith</i> (St. Petersburg), <a href="#Page_37">37</a>, <a
+ href="#Page_64">64</a>, <a href="#Page_78">78</a>, <a href="#Page_94">94</a>,
+<a href="#Page_103">103</a>, <a href="#Page_158">158</a>, <a
+ href="#Page_38">ill. 38</a>.<br>
+Keats, Analogy between Giorgione and, <a href="#Page_59">59</a>, <a
+ href="#Page_110">110</a>.<br>
+Kessel, Th. von, Engraving of Giorgione's <i>Birth of Paris</i> by,
+<a href="#Page_47">47</a>, <a href="#Page_147">147</a>.<br>
+<i>Knight of Malta</i> (Uffizi), <a href="#Page_15">15</a>, <a
+ href="#Page_19">19</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>,
+<a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a
+ href="#Page_60">60</a>,
+<a href="#Page_65">65</a>, <a href="#Page_70">70</a>, <a
+ href="#Page_155">155</a>,
+<a href="#Page_18">ill. 18</a>.<br>
+<i>Knight in Armour</i> (National Gallery), <a href="#Page_20">20</a>,
+<a href="#Page_149">149</a>.<br>
+<br>
+<i>La Schiavata</i>, <a href="#Page_74">74</a>.<br>
+<span style="margin-left: 1em;"><i>See</i> Cornaro, Caterina, Portrait
+of</span><br>
+<i>Leda and the Swan</i>, <a href="#Page_90">90</a>, <a
+ href="#Page_156">156</a>.<br>
+Leonardo da Vinci, his visit to Venice, 1500, <a href="#Page_3">3</a>.<br>
+<span style="margin-left: 1em;">his masterpieces subsequent to
+Giorgione's, <a href="#Page_114">114</a>.</span><br>
+<i>L'homme au gant</i> (Louvre) by Titian, <a href="#Page_51">51</a>.<br>
+Licinio, Pictures attributed to, <a href="#Page_32">32</a>, <a
+ href="#Page_33">33</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>;<br>
+<span style="margin-left: 1em;">his <i>Portrait of a Young Man</i>
+(Lady Ashburton), <a href="#Page_34">34</a>.</span><br>
+Logan, Mary (quoted), <a href="#Page_117">117</a>.<br>
+Loredano, Doge Leonardo, Portrait of, painted by Giorgione, <a
+ href="#Page_65">65 note</a>, <a href="#Page_89">89
+note</a>, <a href="#Page_112">112</a>.<br>
+Lotto, Lorenzo, <i>The Three Ages</i> wrongly attributed to, <a
+ href="#Page_43">43</a>.<br>
+Ludwig, Dr. Gustav, <a href="#Page_61">61</a>.<br>
+<br>
+<i>Madonna and Child</i> (Bergamo), <a href="#Page_97">97</a>, <a
+ href="#Page_101">101</a>, <a href="#Page_154">154</a>.<br>
+<i>Madonna and Child</i> (Mr. R.H. Benson), <a href="#Page_97">97</a>,
+<a href="#Page_101">101</a>, <a href="#Page_140">140</a>, <a
+ href="#Page_100">ill. 100</a>.<br>
+<i>Madonna</i> (Rovigo) by Titian, <a href="#Page_98">98</a>, <a
+ href="#Page_99">99</a>, <a href="#Page_156">156</a>.<br>
+<i>Madonna and Child</i> (St. Petersburg), <a href="#Page_102">102</a>,
+<a href="#Page_158">158</a>.<br>
+<i>Madonna with SS. Francis and Roch</i> (Madrid), <a href="#Page_45">45</a>,
+<a href="#Page_159">159</a>, <a href="#Page_44">ill. 44</a>. <br>
+<i>Madonna with SS. Francis and Liberale</i> (Castelfranco), <a
+ href="#Page_7">7</a>-<a href="#Page_10">10</a>, <a href="#Page_23">23</a>,
+<a href="#Page_39">39</a>, <a href="#Page_63">63</a>, <a
+ href="#Page_96">96</a>,
+<a href="#Page_117">117</a>, <a href="#Page_154">154</a>, <a
+ href="#madonna_and_child">ill. Front.</a><br>
+<i>Madonna and Saints</i> (Louvre), <a href="#Page_102">102</a>, <a
+ href="#Page_105">105</a>, <a href="#Page_153">153</a>, <a
+ href="#Page_104">ill. 104.</a><br>
+Marcantonio, his <i>Dream of Raphael</i> derived from Giorgione, <a
+ href="#Page_159">159</a>.<br>
+Mareschalco, influenced by Giorgione, <a href="#Page_10">10</a>.<br>
+Michel Angelo, his masterpieces subsequent to Giorgione's, <a
+ href="#Page_114">114</a>.<br>
+Monkhouse, Mr. Cosmo (quoted), <a href="#Page_92">92 note</a>.<br>
+Morelli (quoted <i>passim</i>) <br>
+Moretto, Giorgione's <i>Judith</i> attributed to, <a href="#Page_38">38</a>.<br>
+M&uuml;ntz, M. (quoted), 3 note, <a href="#Page_50">50</a>.<br>
+<br>
+National Gallery, Pictures by Giorgione in the, <a href="#Page_20">20</a>,
+<a href="#Page_53">53</a>, <a href="#Page_81">81</a>,
+<a href="#Page_94">94</a>, <a href="#Page_148">148</a>, <a
+ href="#Page_149">149</a>.<br>
+<i>Nativity, The.</i> See <i>Adoration of the Shepherds</i><br>
+<i>Nymph pursued by a Satyr</i> (Pitti), <a href="#Page_44">44</a>, <a
+ href="#Page_155">155</a>, <a href="#Page_44">ill. 44</a>.<br>
+<br>
+<i>Ordeal by Fire, The.</i> See <i>Trial of Moses</i><br>
+<i>Orpheus and Eurydice</i> (Bergamo), <a href="#Page_89">89</a>, <a
+ href="#Page_90">90</a>, <a href="#Page_154">154</a>, <a
+ href="#Page_90">ill. 90</a>.<br>
+<br>
+Padua, Two <i>cassone</i> panels at, <a href="#Page_56">56</a>, <a
+ href="#Page_91">91</a>, <a href="#Page_156">156</a>, <a
+ href="#Page_56">ill. 56</a>;<br>
+<span style="margin-left: 1em;">two small mythological panels at, <a
+ href="#Page_90">90</a>,
+<a href="#Page_156">156</a>.</span><br>
+Palma Vecchio, influenced by Giorgione, <a href="#Page_10">10</a>;<br>
+<span style="margin-left: 1em;">his pictures of <i>Venus</i>, <a
+ href="#Page_36">36</a>;</span><br>
+<span style="margin-left: 1em;">the <i>Storm calmed by S. Mark</i>
+attributed by Vasari to, <a href="#Page_56">56</a>;</span><br>
+<span style="margin-left: 1em;">other pictures attributed to, <a
+ href="#Page_78">78</a>, <a href="#Page_86">86</a>.</span><br>
+<span style="margin-left: 1em;">the <i>Portrait of a Poet</i>
+(National Gallery) wrongly attributed to, <a href="#Page_81">81</a>, <a
+ href="#Page_84">84</a>.</span><br>
+Paoletti, Signor Pietro, <a href="#Page_61">61</a>.<br>
+Parma, the Physician, so-called portrait of (Vienna), <a
+ href="#Page_87">87</a>,
+<a href="#Page_88">88</a>, <a href="#Page_112">112</a>, <a
+ href="#Page_148">148</a>, <a href="#Page_86">ill. 86</a>.<br>
+<i>Pastoral Symphony</i> (Louvre), <a href="#Page_23">23</a>, <a
+ href="#Page_36">36</a>, <a href="#Page_39">39</a>-<a href="#Page_42">42</a>,
+<a href="#Page_66">66</a>, <a href="#Page_88">88</a>, <a
+ href="#Page_94">94</a>,
+<a href="#Page_103">103</a>, <a href="#Page_116">116</a>, <a
+ href="#Page_118">118</a>, <a href="#Page_153">153</a>, <a
+ href="#Page_40">ill. 40</a>.<br>
+Pater, Walter, his "Renaissance" quoted, <a href="#Page_43">43</a>.<br>
+Pennacchi, influenced by Giorgione, <a href="#Page_10">10</a>.<br>
+Penther, Herr, <a href="#Page_38">38</a>.<br>
+Phillips, Mr. Claude (quoted), <a href="#Page_37">37</a>, <a
+ href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_57">57</a>,
+<a href="#Page_70">70</a>, <a href="#Page_97">97</a>, <a
+ href="#Page_102">102</a>.<br>
+Pordenone, Giorgione's <i>Madonna</i> at Madrid attributed to, <a
+ href="#Page_45">45</a>.<br>
+<i>Portrait of a Lady</i> (Borghese Gallery, Rome), <a href="#Page_33">33</a>,
+<a href="#Page_34">34</a>, <a href="#Page_86">86</a>, <a
+ href="#Page_112">112 note</a>, <a href="#Page_156">156</a>, <a
+ href="#Page_32">ill. 32</a>. <br>
+<i>Portrait of a Man</i> (Rovigo), <a href="#Page_52">52</a>.<br>
+<i>Portrait of a Man</i> (Venice, Querini-Stampalia Gallery), <a
+ href="#Page_85">85</a>, <a href="#Page_158">158</a>,
+<a href="#Page_84">ill. 84</a>.<br>
+<i>Portrait of a Man</i> (Mrs. Meynell-Ingram), <a href="#Page_86">86</a>,
+<a href="#Page_88">88</a>, <a href="#Page_152">152</a>, <a
+ href="#Page_86">ill. 86</a>.<br>
+<i>Portrait of a Man</i> (Vienna). <i>See</i> Parma, Portrait of<br>
+<i>Portrait of a Man</i> (Padua) by Torbido, <a href="#Page_48">48</a>,
+<a href="#Page_48">ill. 48</a>.<br>
+<i>Portrait of a Man</i> (Cobham Hall). See <i>Ariosto</i><br>
+<i>Portrait of a Poet</i> (National Gallery), <a href="#Page_69">69</a>,
+<a href="#Page_82">82</a>, <a href="#Page_95">95</a>, <a
+ href="#Page_114">114</a>,
+<a href="#Page_149">149</a>, <a href="#Page_82">ill. 82</a>.<br>
+<i>Portrait of a Young Man</i> (Berlin), <a href="#Page_30">30</a>, <a
+ href="#Page_31">31</a>, <a href="#Page_63">63</a>, <a href="#Page_71">71</a>,
+<a href="#Page_73">73</a>, <a href="#Page_143">143</a>, <a
+ href="#Page_30">ill. 30</a>.<br>
+<i>Portrait of a Young Man</i> (Buda-Pesth), <a href="#Page_31">31</a>,
+<a href="#Page_32">32</a>, <a href="#Page_65">65</a>, <a
+ href="#Page_66">66</a>,
+<a href="#Page_73">73</a>, <a href="#Page_147">147</a>, <a
+ href="#Page_32">ill. 32</a>.<br>
+<i>Portrait of a Young Man</i> (Lady Ashburton) by Licinio, <a
+ href="#Page_34">34</a>.<br>
+Poynter, Sir Edward, <a href="#Page_94">94</a>.<br>
+<br>
+Raphael, Giorgione's <i>Judith</i> attributed to, <a href="#Page_38">38</a>.<br>
+Richter, Dr. (quoted), <a href="#Page_70">70 note</a>.<br>
+Ridolfi (quoted), <a href="#Page_16">16</a>, <a href="#Page_28">28</a>,
+<a href="#Page_35">35</a>, <a href="#Page_53">53 note</a>, <a
+ href="#Page_67">67</a>, <a href="#Page_87">87</a>.<br>
+Ruskin (quoted), <a href="#Page_7">7</a>.<br>
+<br>
+<i>S. Liberale</i> (in the Castelfranco altar-piece), <a
+ href="#Page_10">10</a>;<br>
+<span style="margin-left: 1em;">(National Gallery), <a href="#Page_20">20</a>,
+<a href="#Page_95">95</a>, <a href="#Page_149">149</a>.</span><br>
+<i>S. George slaying the Dragon</i> (National Gallery, Rome), <a
+ href="#Page_91">91</a>, <a href="#Page_156">156</a>.<br>
+<i>Sta. Justina</i> (Herr von Kauffmann, Berlin), <a href="#Page_91">91</a>,
+<a href="#Page_153">153</a>.<br>
+Schiavone, Pictures attributed to, <a href="#Page_35">35</a>, <a
+ href="#Page_78">78</a>, <a href="#Page_89">89</a>.<br>
+Schubert, Analogy between Giorgione and, <a href="#Page_59">59</a>, <a
+ href="#Page_110">110</a>.<br>
+Sebastiano del Piombo, believed to have completed Giorgione's <i>Aeneas,
+Evander, and Pallas</i>, <a href="#Page_13">13</a>;<br>
+<span style="margin-left: 1em;">his <i>Violin-Player</i>, <a
+ href="#Page_70">70</a>, <a href="#Page_103">103</a>;</span><br>
+<span style="margin-left: 1em;">Giorgione's <i>Madonna and Saints</i>
+(Louvre) completed by, <a href="#Page_106">106</a>;</span><br>
+<span style="margin-left: 1em;">his close relation with Giorgione, <a
+ href="#Page_106">106</a>,
+<a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Herodias with the Head of John
+Baptist</i>, <a href="#Page_106">106</a>.</span><br>
+<i>Shepherd Boy</i> (Hampton Court), <a href="#Page_47">47</a>, <a
+ href="#Page_48">48</a>, <a href="#Page_150">150</a>, ill. 48.<br>
+<i>Shepherds, Two</i>, from the <i>Birth of Paris</i>, now at
+Buda-Pesth, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a
+ href="#Page_147">147</a>.<br>
+Statius, Story from, <a href="#Page_11">11</a>, <a href="#Page_157">157</a>.<br>
+<i>Storm calmed by S. Mark</i> (Academy, Venice) attributed to
+Giorgione by Mr Berenson, <a href="#Page_54">54</a>, <a
+ href="#Page_55">55</a>,
+<a href="#Page_66">66</a>, <a href="#Page_156">156</a>.<br>
+<i>Stormy Landscape with the Soldier and Gipsy.</i> See <i>Adrastus
+and Hypsipyle</i><br>
+<br>
+<i>Three Ages, The</i> (Pitti), <a href="#Page_28">28</a>, <a
+ href="#Page_42">42</a>, <a href="#Page_52">52</a>, <a href="#Page_66">66</a>,
+<a href="#Page_155">155</a>, <a href="#Page_42">ill. 42</a>.<br>
+<i>Three Philosophers, The.</i> See <i>Aeneas, Evander, and Pallas</i><br>
+Titian, Giorgione's <i>Venus</i> at Dresden completed by, <a
+ href="#Page_35">35</a>;<br>
+<span style="margin-left: 1em;">influence of Giorgione on, <a
+ href="#Page_48">48</a>;</span><br>
+<span style="margin-left: 1em;">the Pitti <i>Concert</i> attributed to
+by Morelli, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>.</span><br>
+<span style="margin-left: 1em;"><i>Christ bearing the Cross</i>
+(Venice) wrongly attributed to, <a href="#Page_54">54</a>, <a
+ href="#Page_55">55</a>;</span><br>
+<span style="margin-left: 1em;">difficulty of distinguishing between
+Giorgione and, <a href="#Page_50">50</a>, <a href="#Page_69">69</a>, <a
+ href="#Page_71">71</a>;</span><br>
+<span style="margin-left: 1em;">influence of Giorgione on, <a
+ href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_74">74</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Tribute Money</i>, <a
+ href="#Page_55">55</a>;</span><br>
+<span style="margin-left: 1em;">the portrait of a gentleman of the
+Barberigo family, said to have been painted by, <a href="#Page_68">68</a>,
+<a href="#Page_73">73</a>;</span><br>
+<span style="margin-left: 1em;">portrait called <i>Arrosto</i>,
+wrongly attributed to, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</span><br>
+<span style="margin-left: 1em;">his signature, <a href="#Page_71">71</a>;</span><br>
+<span style="margin-left: 1em;">pictures by Giorgione completed by, <a
+ href="#Page_72">72</a>;</span><br>
+<span style="margin-left: 1em;"><i>Portrait of a Lady</i> (Crespi
+Collection) wrongly attributed to, <a href="#Page_74">74</a>, <a
+ href="#Page_75">75</a>;</span><br>
+<span style="margin-left: 1em;">portrait of Caterina Cornato by, <a
+ href="#Page_78">78
+note</a>;</span><br>
+<span style="margin-left: 1em;">other pictures wrongly attributed to,
+<a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a
+ href="#Page_94">94</a>,
+<a href="#Page_97">97</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Sacred and Profane Love</i>, <a
+ href="#Page_95">95</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Madonna</i> at Rovigo, <a
+ href="#Page_95">95</a>-<a href="#Page_100">100</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Venus</i> (Uffizi) copied from
+Giorgione, <a href="#Page_99">99</a>;</span><br>
+<span style="margin-left: 1em;">his genius essentially dramatic, <a
+ href="#Page_108">108</a>;</span><br>
+<span style="margin-left: 1em;">relations with the School of Bellini,
+<a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">compared with Giorgione, <a
+ href="#Page_117">117</a>-<a href="#Page_118">118</a>, <a
+ href="#Page_119">119</a>.</span><br>
+<span style="margin-left: 1em;"><i>See</i> <a href="#APPENDIX_II">Appendix
+II</a></span><br>
+Torbido, Francesco, <i>Portrait of a Man</i> by, at Padua, <a
+ href="#Page_48">48</a>;<br>
+<span style="margin-left: 1em;">suggested as the author of the <i>Shepherd</i>
+at Hampton Court, <a href="#Page_49">49</a>.</span><br>
+<i>Trial of Moses, The</i> (Uffizi), <a href="#Page_15">15</a>, <a
+ href="#Page_16">16</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_155">155</a>,
+<a href="#Page_16">ill. 16</a>.<br>
+<i>Two Musicians, The</i> (Glasgow), 91 note, <a href="#Page_149">149</a>.<br>
+<br>
+Van Dyck, Sketch of <i>Christ bearing the Cross</i> by, <a
+ href="#Page_55">55</a>.<br>
+Vasari (quoted), <a href="#Page_3">3</a>, <a href="#Page_48">48</a>, <a
+ href="#Page_49">49</a>, <a href="#Page_55">55</a>, <a href="#Page_64">64</a>,
+<a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a
+ href="#Page_68">68</a>,
+<a href="#Page_80">80</a>, <a href="#Page_107">107 note</a>.<br>
+Vecellio, Francesco, Giorgione's <i>Madonna</i> at Madrid attributed
+to, 45 note.<br>
+Venturi, Signor (quoted), <a href="#Page_18">18</a>, <a
+ href="#Page_32">32</a>,
+<a href="#Page_35">35</a>, <a href="#Page_56">56</a>, 57 note, <a
+ href="#Page_74">74</a>, <a href="#Page_76">76</a>, <a href="#Page_80">80</a>,
+<a href="#Page_85">85</a>, <a href="#Page_91">91</a>, <a
+ href="#Page_97">97</a>,
+<a href="#Page_98">98</a>.<br>
+<i>Venus</i> (Dresden), <a href="#Page_35">35</a>-<a href="#Page_37">37</a>,
+<a href="#Page_40">40</a>, <a href="#Page_44">44</a>, <a
+ href="#Page_65">65</a>,
+<a href="#Page_94">94</a>, <a href="#Page_117">117</a>, <a
+ href="#Page_118">118</a>, <a href="#Page_154">154</a>, <a
+ href="#Page_36">ill. 36</a>;<br>
+<span style="margin-left: 1em;">copied by Titian, <a href="#Page_99">99</a>,
+<a href="#Page_100">100</a>.</span><br>
+<i>Venus and Adonis</i> (National Gallery), <a href="#Page_94">94</a>,
+<a href="#Page_149">149</a>, <a href="#Page_94">ill. 94</a>.<br>
+<i>Venus disarming Cupid</i> (Wallace Collection), <a href="#Page_93">93</a>,
+<a href="#Page_151">151</a>.<br>
+Vivarini, Alvise, <a href="#Page_114">114</a>.<br>
+<br>
+Wickhoff, Herr Franz (quoted), <a href="#Page_11">11</a>, <a
+ href="#Page_40">40</a>, <a href="#Page_47">47</a>, <a href="#Page_87">87</a>,
+<a href="#Page_88">88</a>, <a href="#Page_126">126</a>.<br>
+<br>
+Zanetti, <a href="#Page_56">56</a>, <a href="#Page_65">65</a>.<br>
+<br>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 12307 ***</div>
+</body>
+</html>
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #12307 (https://www.gutenberg.org/ebooks/12307)
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+The Project Gutenberg EBook of Giorgione, by Herbert Cook
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Giorgione
+
+Author: Herbert Cook
+
+Release Date: May 9, 2004 [EBook #12307]
+
+Language: English, with Italian and French
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GIORGIONE ***
+
+
+
+
+Produced by Dave Morgan, Wilelmina Mallière and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+
+
+
+
+[Illustration: Art Repro Co.
+
+Madonna & Child with two Saints.
+
+From the painting by Giorgione at Castelfranco.]
+
+
+
+
+GIORGIONE
+
+BY
+
+HERBERT COOK, M.A., F.S.A.
+
+BARRISTER-AT-LAW
+
+
+
+1904
+
+
+
+
+     "Born half-way between the mountains and the sea--that young George
+     of Castelfranco--of the Brave Castle: Stout George they called him,
+     George of Georges, so goodly a boy he was--Giorgione."
+
+     (RUSKIN: _Modern Painters_, vol. V. pt. IX. ch. IX.)
+
+_First Published, November 1900 Second Edition, revised, with new
+Appendix, February 1904._
+
+
+
+
+PREFACE
+
+Unlike most famous artists of the past, Giorgione has not yet found a
+modern biographer. The whole trend of recent criticism has, in his case,
+been to destroy not to fulfil. Yet signs are not wanting that the
+disintegrating process is at an end, and that we have reached the point
+where reconstruction may be attempted. The discovery of documents and
+the recovery of lost pictures in the last few years have increased the
+available material for a more comprehensive study of the artist, and the
+time has come when the divergent results arrived at by independent
+modern inquirers may be systematically arranged, and a reconciliation of
+apparently conflicting views attempted on a psychological basis.
+
+Crowe and Cavalcaselle were the first to examine the subject critically.
+They separated--so far as was then possible (1871)--the real from the
+traditional Giorgione, and their account of his life and works must
+still rank as the nearest equivalent to a modern biography. Morelli, who
+followed in 1877, was in singular sympathy with his task, and has
+written of his favourite master enthusiastically, yet with consummate
+judgment. Among living authorities, Dr. Gronau, Herr Wickhoff, Signor
+Venturi, and Mr. Bernhard Berenson have contributed effectively to the
+elucidation of obscure or disputed points, and the latter writer has
+probably come nearer than anyone to recognise the scope of Giorgione's
+art, and grasp the man behind his work. The monograph by Signor Conti
+and the chapter in Pater's _Renaissance_ may be read for their delicate
+appreciations of the "Giorgionesque"; other contributions on the subject
+will be found in the Bibliography.
+
+It is absolutely necessary for those whose judgment depends upon a study
+of the actual pictures to be constantly registering and adjusting their
+impressions. I have personally seen and studied all the pictures I
+believe to be by Giorgione, with the exception of those at St.
+Petersburg; and many galleries and churches where they hang have been
+visited repeatedly, and at considerable intervals of time. If in the
+course of years my individual impressions (where they deviate from
+hitherto recognised views) fail to stand the test of time, I shall be
+the first to admit their inadequacy. If, on the other hand, they prove
+sound, some of the mists which at present envelop the figure of
+Giorgione will have been dispersed.
+
+H.C.
+
+_November 1900_
+
+
+
+
+NOTE TO THE SECOND EDITION
+
+To this Edition an Appendix has been added, containing--(1) an article
+by the Author on the age of Titian, which was published in the
+_Nineteenth Century_ of January 1902; (2) the translation of a reply by
+Dr. Georg Gronau, published in the _Repertorium für Kunstwissenschaft_;
+(3) a further reply by the Author, published in the same German
+periodical.
+
+The writer wishes to acknowledge his indebtedness to the Editors of the
+_Nineteenth Century_ and of the _Repertorium_ for permission to reprint
+these articles.
+
+A better photograph of the "Portrait of an Unknown Man" at Temple Newsam
+has now been taken (p. 87), and sundry footnotes have been added to
+bring the text up to date.
+
+H. C.
+
+ESHER, _January 1904_.
+
+
+
+
+CONTENTS
+
+LIST OF ILLUSTRATIONS
+
+BIBLIOGRAPHY
+
+
+Chapter    I. GIORGIONE'S LIFE
+
+          II. GIORGIONE'S GENERALLY ACCEPTED WORKS
+
+         III. INTERMEDIATE SUMMARY
+
+          IV. ADDITIONAL PICTURES--PORTRAITS
+
+           V. ADDITIONAL PICTURES--OTHER SUBJECTS
+
+          VI. GIORGIONE'S ART, AND PLACE IN HISTORY
+
+APPENDIX I--DOCUMENTS
+
+APPENDIX II--THE AGE OF TITIAN
+
+CATALOGUE OF WORKS
+
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+Madonna, with SS. Francis and Liberale. _Castelfranco_.
+
+Adrastus and Hypsipyle. _Palazzo Giovanelli, Venice_
+
+Aeneas, Evander, and Pallas. _Vienna Gallery_
+
+The Judgment of Solomon. _Uffizi Gallery_
+
+The Trial of Moses. _Uffizi Gallery_
+
+Christ bearing the Cross. _Collection of Mrs. Gardner, Boston, U.S.A._
+
+Knight of Malta. _Uffizi Gallery_
+
+The Adoration of the Shepherds. _Vienna Gallery_
+
+The Judgment of Solomon. _Collection of Mrs. Ralph Bankes, Kingston
+Lacy_
+
+Portrait of a Young Man. _Berlin Gallery_
+
+Portrait of a Man. _Buda-Pesth Gallery_
+
+Portrait of a Lady. _Borghese Gallery, Rome_
+
+Apollo and Daphne. _Seminario, Venice_
+
+Venus. _Dresden Gallery_
+
+Judith. _Hermitage Gallery, St. Petersburg_
+
+Pastoral Symphony. _Louvre, Paris_
+
+The Three Ages. _Pitti Gallery_
+
+Nymph and Satyr. _Pitti Gallery_
+
+Madonna, with SS. Roch and Francis. _Prado, Madrid_
+
+The Birth of Paris--Copy of a portion. _Buda-Pesth Gallery_
+
+Shepherd Boy. _Hampton Court_
+
+Portrait of a Man. (By Torbido) _Padua Gallery_
+
+The Concert. _Pitti Gallery_
+
+The Adoration of the Magi (or Epiphany). _National Gallery_
+
+Christ bearing the Cross. _Collection of Duke of Devonshire, Chatsworth._
+(Sketch by Vandyck, after the original by Giorgione in S. Rocco, Venice)
+
+Mythological Scenes. Two _Cassone_ pieces _Padua Gallery_
+
+Portrait of "Ariosto". _Collection of the Earl of Darnley, Cobham Hall_
+
+Portrait of Caterina Cornaro. _Collection of Signor Crespi, Milan_
+
+Bust of Caterina Cornaro. _Pourtalès Collection, Berlin_
+
+Portrait of "A Poet". _National Gallery_
+
+Portrait of a Man. _Querini-Stampalia Gallery, Venice_
+
+Portrait of a Man. _Collection of the Hon. Mrs. Meynell-Ingram, Temple
+Newsam_.
+
+Portrait of "Parma, the Physician". _Vienna Gallery_
+
+Orpheus and Eurydice. _Bergamo Gallery_
+
+The Golden Age (?). _National Gallery_
+
+Venus and Adonis. _National Gallery_
+
+Holy Family. _Collection of Mr. Robert Benson, London_
+
+The "Gipsy" Madonna. _Vienna Gallery_
+
+Madonna. _Collection of Mr. Robert Benson, London_
+
+The Adulteress before Christ. _Glasgow Gallery_
+
+Madonna and Saints. _Louvre, Paris_
+
+
+
+
+BIBLIOGRAPHY
+
+
+ANONIMO. "Notizia d'opere di disegno." Ed. Frizzoni. Bologna, 1884.
+_Passim._
+
+_Archivio Storico dell' Arte_ (now _L'Arte_), 1888, p. 47. (See also
+_sub_ Venturi.)
+
+_Art Journal_. 1895. p. 90. (Dr. Richter.)
+
+BERENSON, B. "Venetian Painting at the New Gallery." 1895. (Privately
+printed.) "Venetian Painters of the Renaissance." Third edition, 1897.
+Putnam, London. _Gazette des Beaux Arts_, 1897, p. 279.
+
+BURCKHARDT. "Cicerone." Sixth edition, 1893. (Dr. Bode.)
+
+CONTI, A. "Giorgione, Studio." Florence, 1894.
+
+CROWE AND CAVALCASELLE. "History of Painting in North Italy," vol. ii.
+London, 1871. "Life of Titian." Two vols.
+
+FRY, ROGER. "Giovanni Bellini." London, 1899.
+
+GRONAU, DR. G. _Gazette des Beaux Arts_, 1894, p. 332. _Repertorium für
+Kunstwissenschaft_, xviii. 4, p. 284. "Zorzon da Castelfranco. La sua
+origine, la sua morte, e tomba." Venice, 1894. "Tizian." Berlin, 1900.
+
+LAFENESTRE, G. "La vie et l'oeuvre de Titien." Paris, 1886.
+
+LOGAN, MARY. "Guide to the Italian Pictures at Hampton Court." London,
+1894.
+
+_Magazine of Art_, 1890, pp. 91 and 138. (Sir W. Armstrong.) 1893.
+April. (Mr. W.F. Dickes.)
+
+MORELLI, GIOVANNI. "Italian Painters." Translated by C.J. Ffoulkes.
+London, 1892. Vols. i. and ii. _passim_.
+
+MÜNTZ, E. "La fin de la Renaissance." Paris.
+
+New Gallery Catalogue of Exhibition of Venetian Art, 1895.
+
+PATER, W. "The Renaissance." Chapter on the School of Giorgione. London,
+1893.
+
+PHILLIPS, CLAUDE. _Gazette des Beaux Arts_, 1884, p. 286. _Magazine of
+Art_, July 1895. "The Picture Gallery of Charles I." (_Portfolio_,
+January 1896). "The Earlier Work of Titian" (_Portfolio_, October 1897).
+_North American Review_, October 1899.
+
+_Repertorium für Kunstwissenschaft_. Bd. xiv. p. 316. (Herr von
+Seidlitz.) Bd. xix. Hft. 6. (Dr. Harck.)
+
+RIDOLFI, C. "Le Maraviglie dell' arte della pittura." Venice, 1648.
+
+Royal Academy. Catalogues of the Exhibitions of Old Masters.
+
+VASARI. "Le Vite." Ed. Sansoni. Florence, 1879. Translation edited by
+Blashfield and Hopkins, with Notes. London, 1897.
+
+VENTURI, ADOLFO. _Archivio Storico dell' Arte_, vi. 409, 412. _L'Arte_,
+1900, p. 24, etc. "La Galleria Crespi in Milano," 1900.
+
+WICKHOFF, F. _Gazette des Beaux Arts_, 1893, p. 135. _Jahrbuch der
+Preussischen Kunstsammlungen_, 1895. Heft i.
+
+ZANETTI, A. "Varie Pitture," etc., with engravings of some fragments
+from the Fondaco de' Tedeschi frescoes, 1760.
+
+
+
+
+
+GIORGIONE
+
+CHAPTER I
+
+GIORGIONE'S LIFE
+
+
+Apart from tradition, very few ascertained facts are known to us as to
+Giorgione's life. The date of his birth is conjectural, there being but
+Vasari's unsupported testimony that he died in his thirty-fourth year.
+Now we know from unimpeachable sources that his death happened in
+October-November 1510,[1] so that, assuming Vasari's statement to be
+correct, Giorgione will have been born in 1477.[2]
+
+The question of his birthplace and origin has been in great dispute.
+Without going into the evidence at length, we may accept with some
+degree of certainty the results at which recent German research has
+arrived.[3] Dr. Gronau's conclusion is that Giorgione was the son (or
+grandson) of a certain Giovanni, called Giorgione of Castelfranco, who
+came originally from the village of Vedelago in the march of Treviso.
+This Giovanni was living at Castelfranco, of which he was a citizen, in
+1460, and there, probably, Giorgione his son (or grandson) was born some
+seventeen years later.
+
+The tradition that the artist was a natural son of one of the great
+Barbarella family, and that in consequence he was called Barbarelli, is
+now shown to be false. This cognomen is first found in 1648, in
+Ridolfi's book, to which, in 1697, the picturesque addition was made
+that his mother was a peasant girl of Vedelago.[4] None of the earlier
+writers or contemporary documents ever allude to such an origin, or
+speak of "Barbarelli," but always of "Zorzon de Castelfrancho," "Zorzi
+da Castelfranco," and the like,[5]
+
+We may take it as certain that Giorgione spent the whole of his short
+life in Venice and the neighbourhood. Unlike Titian, whose busy career
+was marked by constant journeyings and ever fresh incidents, the young
+Castelfrancan passed a singularly calm and uneventful life. Untroubled,
+apparently, by the storm and stress of the political world about him, he
+devoted himself with a whole-hearted simplicity to the advancement of
+his art. Like Leonardo, he early won fame for his skill in music, and
+Vasari tells us the gifted young lute-player was a welcome guest in
+distinguished circles. Although of humble origin, he must have possessed
+a singular charm of manner, and a comeliness of person calculated to
+find favour, particularly with the fair sex. He early found a
+quasi-royal friend and patroness in Caterina Cornaro, ex-Queen of
+Cyprus, whose portrait he painted, and whose recommendation, as I
+believe, secured for him important commissions in the like field. But we
+may leave Giorgione's art for fuller discussion in the following
+chapters, and only note here two outside events which were not without
+importance in the young artist's career.
+
+The one was the visit paid by Leonardo to Venice in the year 1500.
+Vasari tells us "Giorgione had seen certain works from the hand of
+Leonardo, which were painted with extraordinary softness, and thrown
+into powerful relief, as is said, by extreme darkness of the shadows, a
+manner which pleased him so much that he ever after continued to imitate
+it, and in oil painting approached very closely to the excellence of his
+model."[6] This statement has been combated by Morelli, but although
+historical evidence is wanting that the two men ever actually met, there
+is nothing improbable in Vasari's account. Leonardo certainly came to
+Venice for a short time in 1500, and it would be perfectly natural to
+find the young Venetian, then in his twenty-fourth year, visiting the
+great Florentine, long a master of repute, and from him, or from
+"certain works of his," taking hints for his own practice.[7]
+
+The second event of moment to which allusion may here be made was the
+great conflagration in the year 1504, when the Exchange of the German
+Merchants was burnt. This building, known as the Fondaco de' Tedeschi,
+occupying one of the finest sites on the Grand Canal, was rebuilt by
+order of the Signoria, and Giorgione received the commission to decorate
+the façade with frescoes. The work was completed by 1508, and became the
+most celebrated of all the artist's creations. The Fondaco still stands
+to-day, but, alas! a crimson stain high up on the wall is all that
+remains to us of these great frescoes, which were already in decay when
+Vasari visited Venice in 1541.
+
+Other work of the kind--all long since perished--Giorgione undertook
+with success. The Soranzo Palace, the Palace of Andrea Loredano, the
+Casa Flangini, and elsewhere, were frescoed with various devices, or
+ornamented with monochrome friezes.
+
+We know nothing of Giorgione's home life; he does not appear to have
+married, or to have left descendants. Vasari speaks of "his many friends
+whom he delighted by his admirable performance in music," and his death
+caused "extreme grief to his many friends to whom he was endeared by his
+excellent qualities." He enjoyed prosperity and good health, and was
+called Giorgione "as well from the character of his person as for the
+exaltation of his mind."[8]
+
+He died of plague in the early winter of 1510, and was probably buried
+with other victims on the island of Poveglia, off Venice, where the
+lazar-house was situated.[9] The tradition that his bones were removed
+in 1638 and buried at Castelfranco in the family vault of the Barbarelli
+is devoid of foundation, and was invented to round off the story of his
+supposed connection with the family.[10]
+
+NOTES:
+
+[1] See Appendix, where the documents are quoted in full.
+
+[2] Vasari gives 1478 (1477 in his first edition) and 1511 as the years
+of his birth and death. Crowe and Cavalcaselle, and Dr. Bode prefer to
+say "before 1477," a supposition which would make his precocity less
+phenomenal, and help to explain some chronological difficulties (see p.
+66).
+
+[3] _Zorzon da Castelfranco. La sua origine, la sua morte e tomba_, by
+Dr. Georg Gronau. Venice, 1894.
+
+[4] Vide _Repertorium für Kunstwissenschaft_, xix. 2, p. 166. [Dr.
+Gronau.]
+
+[5] It would seem, therefore, desirable to efface the name of Barbarelli
+from the catalogues. The National Gallery, for example, registers
+Giorgione's work under this name.
+
+[6] The translation given is that of Blashfield and Hopkins's edition.
+Bell, 1897.
+
+[7] M. Müntz adduces strong arguments in favour of this view (_La fin de
+la Renaissance_, p. 600).
+
+[8] The name "Giorgione" signifies "Big George." But it seems to have
+been also his father's name.
+
+[9] This visitation claimed no less than 20,000 victims.
+
+[10] See Gronau, _op. cit_. Tradition has been exceptionally busy over
+Giorgione's affairs. The story goes that he died of grief at being
+betrayed by his friend and pupil, Morto da Feltre, who had robbed him of
+his mistress. This is now proved false by the document quoted in the
+Appendix.
+
+
+
+
+CHAPTER II
+
+GENERALLY ACCEPTED WORKS
+
+
+Such, then, very briefly, are the facts of Giorgione's life recorded by
+the older biographers, or known by contemporary documents. Now let us
+turn to his artistic remains, the _disjecta membra_, out of which we may
+reconstruct something of the man himself; for, to those who can
+interpret it aright, a man's work is his best autobiography.
+
+This is especially true in the case of an artist of Giorgione's
+temperament, for his expression is so peculiarly personal, so highly
+charged with individuality, that every product of mental activity
+becomes a revelation of the man himself. People like Giorgione must
+express themselves in certain ways, and these ways are therefore
+characteristic. Some people regard a work of art as something external;
+a great artist, they say, can vary his productions at will, he can paint
+in any style he chooses. But the exact contrary is the truth. The
+greater the artist, the less he can divest himself of his own
+personality; his work may vary in degree of excellence, but not in kind.
+The real reason, therefore, why it is impossible for certain pictures to
+be by Giorgione is, not that they are not _good_ enough for him, but
+that they are not _characteristic_. I insist on this point, because in
+the matter of genuineness the touchstone of authenticity is so often to
+be looked for in an answer to the question: Is this or that
+characteristic? The personal equation is the all-important factor to be
+recognised; it is the connecting link which often unites apparently
+diverse phenomena, and explains what would otherwise appear to be
+irreconcilable.
+
+There is an intimate relation then between the artist and his work, and,
+rightly interpreted, the latter can tell us much about the former.
+
+Let us turn to Giorgione's work. Here we are brought face to face with
+an initial difficulty, the great difficulty, in fact, which has stood so
+much in the way of a more comprehensive understanding of the master, I
+mean, that scarcely anything of his work is authenticated. Three
+pictures alone have never been called in question by contending critics;
+outside this inner ring is more or less debatable ground, and on this
+wider arena the battle has raged until scarcely a shred of the painter's
+work has emerged unscathed. The result has been to reduce the figure of
+Giorgione to a shadowy myth, whose very existence, at the present rate
+at which negative criticism progresses, will assuredly be called in
+question.
+
+If Bacon wrote Shakespeare, then Giorgione can be divided up between a
+dozen Venetian artists, who "painted Giorgione." Fortunately three
+pictures survive which refuse to be fitted in anywhere else except under
+"Giorgione." This is the irreducible minimum, [Greek: _o anankaiotatos_]
+Giorgione, with which we must start.
+
+       *       *       *       *       *
+
+Of the three universally accepted pictures, first and foremost comes the
+Castelfranco altar-piece, according to Mr. Ruskin "one of the two most
+perfect pictures in existence; alone in the world as an imaginative
+representation of Christianity, with a monk and a soldier on either side
+... "[11] This great picture was painted before 1504, when the artist
+was only twenty-seven years of age,[12] a fact which clearly proves that
+his genius must have developed early. For not even a Giorgione can
+produce such a masterpiece without a long antecedent course of training
+and accomplishment. This is not the place to inquire into the nature and
+character of the works which lead up to this altar-piece, for a
+chronological survey ought to follow, not precede, an examination of all
+available material; it is important, nevertheless, to bear in mind that
+quite ten years had been passed in active work ere Giorgione produced
+this masterpiece.
+
+If no other evidence were forthcoming as to the sort of man the painter
+was, this one production of his would for ever stamp him as a person of
+exquisite feeling. There is a reserve, almost a reticence, in the way
+the subject is presented, which indicates a refined mind. An atmosphere
+of serenity pervades the scene, which conveys a sense of personal
+tranquillity and calm. The figures are absorbed in their own thoughts;
+they stand isolated apart, as though the painter wishes to intensify the
+mood of dreamy abstraction. Nothing disquieting disturbs the scene,
+which is one of profound reverie. All this points to Giorgione being a
+man of moods, as we say; a lyric poet, whose expression is highly
+charged with personal feeling, who appeals to the imagination rather
+than to the intellect. And so, as we might expect, landscape plays an
+important part in the composition; it heightens the pictorial effect,
+not merely by providing a picturesque background, but by enhancing the
+mood of serenity and solemn calm. Giorgione uses it as an instrument of
+expression, blending nature and human nature into happy unison. The
+effect of the early morning sun rising over the distant sea is of
+indescribable charm, and invests the scene with a poetic glamour which,
+as Morelli truly remarks, awakens devotional feelings. What must have
+been the effect when it was first painted! for even five modern
+restorations, under which the original work has been buried, have not
+succeeded in destroying the hallowing charm. To enjoy similar effects we
+must turn to the central Italian painters, to Perugino and Raphael;
+certainly in Venetian art of pre-Giorgionesque times the like cannot be
+found, and herein Giorgione is an innovator. Bellini, indeed, before him
+had studied nature and introduced landscape backgrounds into his
+pictures, but more for picturesqueness of setting than as an integral
+part of the whole; they are far less suggestive of the mood appropriate
+to the moment, less calculated to stir the imagination than to please
+the eye. Nowhere, in short, in Venetian art up to this date is a lyrical
+treatment of the conventional altar-piece so fully realised as in the
+Castelfranco Madonna.
+
+Technically, Giorgione proclaims himself no less an innovator. The
+composition is on the lines of a perfect equilateral triangle, a scheme
+which Bellini and the older Venetian artists never adopted.[13] So
+simple a scheme required naturally large and spacious treatment; flat
+surfaces would be in place, and the draperies cast in ample folds.
+Dignity of bearing, and majestic sweep of dress are appropriately
+introduced; the colour is rich and harmonious, the preponderance of
+various shades of green having a soothing effect on the eye. The golden
+glow which doubtless once suffused the whole, has, alas! disappeared
+under cruel restorations, and flatness of tone has inevitably resulted,
+but we may still admire the play of light on horizontal surfaces, and
+the chiaroscuro giving solidity and relief to the figures.
+
+An interesting link with Bellini is seen in the S. Francis, for the
+figure is borrowed from that master's altar-piece of S. Giobbe (now in
+the Venice Academy). Bellini's S. Francis had been painted seventeen or
+eighteen years before, and now we find Giorgione having recourse to the
+older master for a pictorial motive. But, as though to assert his
+independence, he has created in the S. Liberale a type of youthful
+beauty and manliness which in turn became the prototype of subsequent
+knightly figures. Palma Vecchio, Mareschalco, and Pennacchi all borrowed
+it for their own use, a proof that Giorgione's altar-piece acquired an
+early celebrity.[14]
+
+[Illustration: _Anderson photo. Giovanelli Palace, Venice_
+
+ADRASTUS AND HYPSIPYLE]
+
+Exquisite feeling is equally conspicuous in the other two works
+universally ascribed to Giorgione. These are the "Adrastus and
+Hypsipyle," in the collection of Prince Giovanelli, in Venice, and
+the "Aeneas, Evander, and Pallas," in the gallery at Vienna.[15]
+
+"The Giovanelli Figures," or "The Stormy Landscape, with the Soldier and
+the Gipsy," as the picture has been commonly called since the days of
+the Anonimo, who so described it in 1530, is totally unlike anything
+that Venetian art of the pre-Giorgionesque era has to show. The painted
+myth is a new departure, the creation of Giorgione's own brain, and as
+such, is treated in a wholly unconventional manner. His peculiarly
+poetical nature here finds full scope for display, his delicacy, his
+refinement, his sensitiveness to the beauties of the outside world, find
+fitting channels through which to express themselves. With what a spirit
+of romance Giorgione has invested his picture! So exquisitely personal
+is the mood, that the subject itself has taken his biographers nearly
+four centuries to decipher! For the artist, it must be noted, does not
+attempt to illustrate a passage of an ancient writer; very probably,
+nay, almost certainly, he had never read the _Thebaid_ of Statius,
+whence comes the story of Adrastus and Hypsipyle; the subject would have
+been suggested to him by some friend, a student of the Classics, and
+Giorgione thereupon dressed the old Greek myth in Venetian garb, just as
+Statius had done in the Latin.[16] The story is known to us only at
+second hand, and we are at liberty to choose Giorgione's version in
+preference to that of the Roman poet; each is an independent translation
+of a common original, and certainly Giorgione's is not the less
+poetical. He has created a painted lyric which is not an illustration
+of, but a parallel presentation to the written poem of Statius.
+
+Technically, the workmanship points to an earlier period than the
+Castelfranco Madonna, and there is an exuberance of fancy which points
+to a youthful origin. The figures are of slight and graceful build, the
+composition easy and unstudied, with a tendency to adopt a triangular
+arrangement in the grouping, the apex being formed by the storm scene,
+to which the eye thus naturally reverts. The figures and the landscape
+are brought into close relation by this subtle scheme, and the picture
+becomes, not figures with landscape background, but landscape with
+figures.
+
+The reproduction unduly exaggerates the contrasts of light and shade,
+and conveys little of the mellowness and richness of atmospheric effect
+which characterise the original. Unlike the brilliance of colouring in
+the Castelfranco picture, dark reds, browns, and greens here give a
+sombre tone which is accentuated by the dullness of surface due to old
+varnishes.
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_
+
+AENEAS, EVANDER, AND PALLAS]
+
+"The Three Philosophers," or "The Chaldean Sages," as the picture at
+Vienna has long been strangely named, shows the artist again treating a
+classical story in his own fantastic way. Virgil has enshrined in verse
+the legend of the arrival of the Trojan Aeneas in Italy,[17] and
+Giorgione depicts the moment when Evander, the aged seer-king, and his
+son Pallas point out to the wanderer the site of the future Capitol.
+Again we find the same poetical presentation, not representation, of a
+legendary subject, again the same feeling for the beauties of nature.
+How Giorgione has revelled in the glories of the setting sun, the long
+shadows of the evening twilight, the tall-stemmed trees, the moss-grown
+rock! The figures are but a pretext, we feel, for an idyllic scene,
+where the story is subordinated to the expression of sensuous charm.
+
+This work was seen by the Anonimo in 1525, in the house of Taddeo
+Contarini at Venice. It was then believed to have been completed by
+Sebastiano del Piombo, Giorgione's pupil. If so,--and there is no valid
+reason to doubt the statement,--Giorgione left unfinished a picture on
+which he was at work some years before his death, for the style clearly
+indicates that the artist had not yet reached the maturity of his later
+period. The figures still recall those of Bellini, the modelling is
+close and careful, the forms compact, and reminiscent of the
+quattrocento. It is noticeable that the type of the Pallas is identical
+with that of S. John Baptist in Sebastiano's early altar-piece in S.
+Giovanni Crisostomo at Venice, but it would be unwise to dramatise on
+the share (if any) which the pupil had in completing the work of his
+master. The credit of invention must indubitably rest with Giorgione,
+but the damage which the picture has sustained through neglect and
+repainting in years gone by, renders certainty of discrimination between
+the two hands a matter of impossibility.
+
+The colouring is rich and varied; the orange horizon, the distant blue
+hill, and the pale, clear evening light, with violet-tinted clouds, give
+a wonderful depth behind the dark tree-trunks. The effect of the
+delicate leaves and feathery trees at the edge of the rock, relieved
+against the pale sky, is superb. A spirit of solemnity broods over the
+scene, fit feeling at so eventful a moment in the history of the past.
+
+The composition, which looks so unstudied, is really arranged on the
+usual triangular basis. The group of figures on the right is balanced on
+the left by the great rock--the future Capitol--(which is thus brought
+prominently into notice), and the landscape background again forms the
+apex. The added depth and feeling for space shows how Giorgione had
+learnt to compose in three dimensions, the technical advance over the
+"Adrastus and Hypsipyle" indicating a period subsequent to that picture,
+though probably anterior to the Castelfranco altar-piece.
+
+       *       *       *       *       *
+
+We have now taken the three universally accepted Giorgiones; how are we
+to proceed in our investigations? The simplest course will be to take
+the pictures acknowledged by those modern writers who have devoted most
+study to the question, and examine them in the light of the results to
+which we have attained. Those writers are Crowe and Cavalcaselle, who
+published their account of Giorgione in 1871, and Morelli, who wrote in
+1877. Now it is notorious that the results at which these critics
+arrived are often widely divergent, but a great deal too much has been
+made of the differences and not enough of the points of agreement.
+As a matter of fact, Morelli only questions three of the thirteen
+Giorgiones accepted definitely by Crowe and Cavalcaselle. Leaving these
+three aside for the moment, we may take the remaining ten (three of
+which we have already examined), and after deducting three others in
+English collections to which Morelli does not specifically refer, we are
+left with four more pictures on which these rival authorities are
+agreed.
+
+[Illustration: _Alinari photo. Uffizi Gallery, Florence_
+
+THE JUDGMENT OF SOLOMON]
+
+These are the two small works in the Uffizi, representing the "Judgment
+of Solomon" and the "Trial of Moses," the "Knight of Malta," also in the
+Uffizi, and the "Christ bearing the Cross," till lately in the Casa
+Loschi at Vicenza, and now belonging to Mrs. Gardner of Boston, U.S.A.
+
+The two small companion pictures in the Uffizi, The "Judgment of
+Solomon" and the "Trial of Moses," or "Ordeal by Fire," as it is also
+called, connect in style closely with the "Adrastus and Hypsipyle." They
+are conceived in the same romantic strain, and carried out with scarcely
+less brilliance and charm. The story, as in the previous pictures, is
+not insisted upon; the biblical episode and the rabbinical legend are
+treated in the same fantastic way as the classic myth. Giovanni Bellini
+had first introduced this lyric conception in his treatment of the
+mediaeval allegory, as we see it in his picture, also in the Uffizi,
+hanging near the Giorgiones; all three works were originally together in
+the Medici residence of Poggio Imperiale, and there can be little doubt
+are intimately related in origin to one another. Bellini's latest
+biographer, Mr. Roger Fry, places this Allegory about the years 1486-8,
+a date which points to a very early origin for the other two.[18] For
+it is extremely likely that the young Giorgione was inspired by his
+master's example, and that he may have produced his companion pieces as
+early as 1493. With this deduction Morelli is in accord: "In character
+they belong to the fifteenth century, and may have been painted by
+Giorgione in his sixteenth or eighteenth year."[19]
+
+Here, then, is a clue to the young artist's earliest predilections. He
+fastens eagerly upon that phase of Bellini's art to which his own poetic
+temperament most readily responds. But he goes a step further than his
+master. He takes his subjects not from mediaeval romances, but from the
+Bible or rabbinical writings, and actually interprets them also in this
+new and unorthodox way. So bold a departure from traditional usage
+proves the independence and originality of the young painter. These two
+little pictures thus become historically the first-fruits of the
+neo-pagan spirit which was gradually supplanting the older
+ecclesiastical thought, and Giorgione, once having cast conventionalism
+aside, readily turns to classical mythology to find subjects for the
+free play of fancy. The "Adrastus and Hypsipyle" thus follows naturally
+upon "The Judgment of Solomon" and "Trial of Moses," and the pages of
+Virgil, Ovid, Statius, and Valerius Flaccus--all treasure-houses of
+golden legend--yield subjects suggestive of romance. The titles of some
+of these _poesie_, as they were called, are preserved in the pages of
+Ridolfi.[20]
+
+[Illustration: _Alinari photo. Uffizi Gallery, Florence_
+
+THE TRIAL OF MOSES]
+
+The tall and slender figures, the attitudes, and the general
+_mise-en-scène_ vividly recall the earlier style of Carpaccio, who was
+at this very time composing his delightful fairy tales of the "Legend of
+S. Ursula."[21] Common to both painters is a gaiety and love of beauty
+and colour. There is also in both a freedom and ease, even a homeliness
+of conception, which distinguishes their work from the pageant pictures
+of Gentile Bellini, whose "Corpus Christi Procession" was produced two
+or three years later, in 1496.[21] But Giorgione's art is instinct with
+a lyrical fancy all his own, the story is subordinated to the mood of
+the moment, and he is much more concerned with the beauty of the scene
+than with its dramatic import.
+
+The repainted condition of "The Judgment of Solomon" has led some good
+judges to pronounce it a copy. It certainly lacks the delicacy that
+distinguishes its companion piece, but may we not--with Crowe and
+Cavalcaselle and Morelli--register it rather as a much defaced original?
+
+So far as we have at present examined Giorgione's pictures, the trend of
+thought they display has been mostly in the direction of secular
+subjects. The two early examples just described show that even where the
+subject is quasi-religious, the revolutionary spirit made itself felt;
+but it would be perfectly natural to find the young artist also
+following his master Giambellini in the painting of strictly sacred
+subjects. No better example could be found than the "Christ bearing the
+Cross," the small work which has recently left Italy for America. We are
+told by the Anonimo that there was in his day (1525) a picture by
+Bellini of this subject, and it is remarkable that four separate
+versions exist to-day which, without being copies of one another, are so
+closely related that the existence of a common original is a legitimate
+inference. That this was by Bellini is more than probable, for the
+different versions are clearly by different painters of his school. By
+far the finest is the example which Crowe and Cavalcaselle and Morelli
+unhesitatingly ascribe to the young Giorgione; this version is, however,
+considered by Signor Venturi inferior to the one now belonging to Count
+Lanskeronski in Vienna.[22] Others who, like the writer, have seen both
+works, agree with the older view, and regard the latter version, like
+the others at Berlin and Rovigo, as a contemporary repetition of
+Bellini's lost original.[23]
+
+[Illustration: _Anderson photo. Collection of Mrs. Gardner, Boston,
+U.S.A._
+
+CHRIST BEARING THE CROSS]
+
+Characteristic of Giorgione is the abstract thought, the dreaminess of
+look, the almost furtive glance. The minuteness of finish reminds us of
+Antonello, and the turn of the head suggests several of the latter's
+portraits. The delicacy with which the features are modelled, the
+high forehead, and the lighting of the face are points to be noted, as
+we shall find the same characteristics elsewhere.
+
+[Illustration: _Alinari photo_] _[Uffizi Gallery, Florence_
+
+THE KNIGHT OF MALTA]
+
+The "Knight of Malta," in the Uffizi, is a more mature work, and reveals
+Giorgione to us as a portrait painter of remarkable power. The
+conception is dignified, the expression resolute, yet tempered by that
+look of abstract thought which the painter reads into the faces of his
+sitters. The hair parted in the middle, and brought down low at the
+sides of the forehead, was peculiarly affected by the Venetian gentlemen
+of the day, and this style seems to have particularly pleased Giorgione,
+who introduces it in many other pictures besides portraits. The oval of
+the face, which is strongly lighted, is also characteristic. This work
+shows no direct connection with Bellini's portraiture, but far more with
+that which we are accustomed to associate with the names of Titian and
+Palma. It dates probably from the early part of the sixteenth century,
+at a time when Giorgione was breaking with the older tradition which had
+strictly limited portraiture to the representation of the head only, or
+at most to the bust. The hand is here introduced, though Giorgione feels
+still compelled to account for its presence by introducing a rosary of
+large beads. In later years, as we shall see, the expressiveness of the
+human hand _per se_ will be recognised; but Giorgione already feels its
+significance in portraiture, and there is not one of his portraits which
+does not show this.[24]
+
+The list of Giorgione's works now numbers seven; the next three to be
+discussed are those that Crowe and Cavalcaselle added on their own
+account, but about which Morelli expressed no opinion. Two are in
+English private collections, the third in the National Gallery. This is
+the small "Knight in Armour," said to be a study for the figure of S.
+Liberale in the Castelfranco altar-piece. The main difference is that in
+the latter the warrior wears his helmet, whilst in the National Gallery
+example he is bareheaded. By some this little figure is believed to be a
+copy, or repetition with variations, of Giorgione's original, but it
+must honestly be confessed that absolutely no proof is forthcoming in
+support of this view. The quality of this fragment is unquestionable,
+and its very divergence from the Castelfranco figure is in its favour.
+It would perhaps be unsafe to dogmatise in a case where the material is
+so slight, but until its genuineness can be disproved by indisputable
+evidence, the claim to authenticity put forward in the National Gallery
+catalogue, following Crowe and Cavalcaselle's view, must be allowed.
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_
+
+THE ADORATION OF THE SHEPHERDS]
+
+The two remaining pictures definitely placed by Crowe and Cavalcaselle
+among the authentic productions of Giorgione are the "Adoration of the
+Shepherds," belonging to Mr. Wentworth Beaumont, and the "Judgment of
+Solomon," in the possession of Mr. Ralph Bankes at Kingston Lacy,
+Dorsetshire. The former (of which an inferior replica with differences
+of landscape exists in the Vienna Gallery) is one of the most poetically
+conceived representations of this familiar subject which exists. The
+actual group of figures forms but an episode in a landscape of the most
+entrancing beauty, lighted by the rising sun, and wrapped in a soft
+atmospheric haze. The landscapes in the two little Uffizi pictures are
+immediately suggested, yet the quality of painting is here far superior,
+and is much closer in its rendering of atmospheric effects to the
+"Adrastus and Hypsipyle." The figures, on the other hand, are weak, very
+unequal in size, and feebly expressed, except the Madonna, who has
+charm. The lights and shadows are treated in a masterly way, and
+contrasts of gloom and sunlight enhance the solemnity of the scene. The
+general tone is rich and full of subdued colour.
+
+Now if the name of Giorgione be denied this "Nativity," to which of the
+followers of Bellini are we to assign it?--for the work is clearly of
+Bellinesque stamp. The name of Catena has been proposed, but is now no
+longer seriously supported.[25] If for no other reason, the colour
+scheme is sufficient to exclude this able artist, and, versatile as he
+undoubtedly was, it may be questioned whether he ever could have
+attained to the mellowness and glow which suffuse this picture. The
+latest view enunciated[26] is that "we are in the presence of a painter
+as yet anonymous, whom in German fashion we might provisionally name
+'The Master of the Beaumont "Adoration."'" Now this system of labelling
+certain groups of paintings showing common characteristics is all very
+well in cases where the art history of a particular school or period is
+wrapt in obscurity, and where few, if any, names have come down to us,
+but in the present instance it is singularly inappropriate. To begin
+with, this anonymous painter is the author, so it is believed, of only
+three works, this "Adoration," the "Epiphany," in the National Gallery,
+No. 1160, and a small "Holy Family," belonging to Mr. Robert Benson in
+London, for all three works are universally admitted to be by the same
+hand. Next, this anonymous painter must have been a singularly refined
+and poetical artist, a master of brilliant colour, and an accomplished
+chiaroscurist. Truly a _deus ex machina_! Next you have to find a
+vacancy for such a phenomenon in the already crowded lists of Bellini's
+pupils and followers, as if there were not more names than enough
+already to fully account for every Bellinesque production.[27] No, this
+is no question of compromise, of the dragging to light some hitherto
+unknown genius whose identity has long been merged in that of bigger
+men, but it is the recognition of the fact that the greater comprises
+the less. Admitting, as we may, that these three pictures are inferior
+in "depth, significance, cohesion, and poetry" (!) to the Castelfranco
+"Madonna," there is nothing to show that they are not characteristic of
+Giorgione, that they do not form part of a consistent whole. As a matter
+of fact, this "Adoration of the Shepherds" connects very well with the
+early _poésie_ already discussed. There is some opposition between the
+sacred theme and Giorgione's natural dislike to tell a mere story; but
+he has had to conform to traditional methods of representation, and the
+feeling of restraint is felt in the awkward drawing of the figures, and
+their uneven execution. That he felt dissatisfied with this portion of
+the work, the drawing at Windsor plainly shows, for the figures appear
+here in a different position, as if he had tried to recast his scheme.
+
+Some may object that the drawing of the shepherd is atrocious, and that
+the figures are of disproportionate sizes. Such failings, they say,
+cannot be laid to a great master's charge. This is an appeal to the old
+argument that it is not _good_ enough, whereas the true test lies in the
+question, Is it _characteristic_? Of Giorgione it certainly is a
+characteristic to treat each figure in a composition more or less by
+itself; he isolates them, and this conception is often emphasised by an
+outward disparity of size. The relative disproportion of the figures in
+the Castelfranco altar-piece, and of those of Aeneas and Evander in the
+Vienna picture can hardly be denied, yet no one has ever pleaded this as
+a bar to their authenticity. Instances of this want of cohesion, both in
+conception and execution, between the various figures in a scene could
+be multiplied in Giorgione's work, no more striking instance being found
+than in the great undertaking he left unfinished--the large "Judgment of
+Solomon," next to be discussed. Moreover, eccentricities of drawing are
+not uncommon in his work, as a reference to the "Adrastus and
+Hypsipyle," and later works, like the "Fête Champêtre" (of the Louvre),
+will show.
+
+I have no hesitation, therefore, in recognising this "Adoration of the
+Shepherds" as a genuine work of Giorgione, and, moreover, it appears to
+be the masterpiece of that early period when Bellini's influence was
+still strong upon him.
+
+The Vienna replica, I believe, was also executed by Giorgione himself.
+Until recent times, when an all too rigorous criticism condemned it to
+be merely a piece of the "Venezianische Schule um 1500" (which is
+correct as far as it goes),[28] it bore Giorgione's name, and is so
+recorded in an inventory of the year 1659. It differs from the Beaumont
+version chiefly in its colouring, which is silvery and of delicate
+tones. It lacks the rich glow, and has little of that mysterious glamour
+which is so subtly attractive in the former. The landscape is also
+different. We must be on our guard, therefore, against the view that it
+is merely a copy; differences of detail, especially in the landscape,
+show that it is a parallel work, or a replica. Now I believe that these
+two versions of the "Nativity" are the two pictures of "La Notte," by
+Giorgione, to which we have allusion in a contemporary document.[29] The
+description, "Una Notte," obviously means what we term "A Nativity"
+(Correggio's "Heilige Nacht" at Dresden is a familiar instance of the
+same usage), and the difference in quality between the two versions is
+significantly mentioned. It seems that Isabella d'Este, the celebrated
+Marchioness of Mantua, had commissioned one of her agents in Venice to
+procure for her gallery a picture by Giorgione. The agent writes to his
+royal mistress and tells her (October 1510) that the artist is just
+dead, and that no such picture as she describes--viz. "Una Nocte"[A]--is
+to be found among his effects. However, he goes on, Giorgione did paint
+two such pictures, but these were not for sale, as they belonged to two
+private owners who would not part with them. One of these pictures was
+of better design and more highly finished than the other, the latter
+being, in his opinion, not perfect enough for the royal collection. He
+regrets accordingly that he is unable to obtain the picture which the
+Marchioness requires.
+
+If my conjecture be right, we have in the Beaumont and Vienna
+"Nativities" the only two pictures of Giorgione to which allusion is
+made in an absolutely contemporary document, and they thus become
+authenticated material with which to start a study of the master.
+
+The next picture, which Crowe and Cavalcaselle accept without question,
+is the large "Judgment of Solomon," belonging to Mr. Bankes at Kingston
+Lacy. The scene is a remarkable one, conceived in an absolutely unique
+way; Solomon is here posed as a Roman Praetor giving judgment in the
+Atrium, supported on each side by onlookers attired in fanciful costume
+of the Venetian period, or suggestive of classical models. It is the
+strangest possible medley of the Bellinesque and the antique, knit
+together by harmonious colouring and a clever grouping of figures in a
+triangular design. As an interpretation of a dramatic scene it is
+singularly ineffective, partly because it is unfinished, some of the
+elements of the tragedy being entirely wanting, partly because of an
+obvious stageyness in the action of the figures taking part in the
+scene. There is a want of dramatic unity in the whole; the figures are
+introduced in an accidental way, and their relative proportion is not
+accurately preserved; the executioner, for example, is head and
+shoulders larger than anyone else, whilst the two figures standing on
+the steps of Solomon's throne are in marked contrast. The one with the
+shield, on the left, is as monumental as one of Bramante's creations,
+the old gentleman with the beard, on the right, is mincing and has no
+shoulders. Solomon himself appears as a young man of dark complexion, in
+an attitude of self-contained determination; the way his hands rest on
+the sides of the throne is very expressive. His drapery is cast in
+curious folds of a zig-zag character, following the lines of the
+composition, whilst the dresses of the other personages fall in broad
+masses to the ground. The light and shade are cleverly handled, and the
+spaciousness of the scene is enhanced by the rows of columns and the
+apse of mosaics behind Solomon's head. The painter was clearly versed in
+the laws of perspective, and indicates depth inwards by placing the
+figures behind one another on a tesselated pavement or on the receding
+steps of the throne, giving at the same time a sense of atmospheric
+space between one figure and another. The colour scheme is delightful,
+full-toned orange and red alternating with pale blues, olive green, and
+delicate pink, the contrasts so subdued by a clever balance of light and
+shade as to harmonise the whole in a delicate silvery key.
+
+[Illustration: _Dixon photo. Collection of Mr. Ralph Bankes,
+Kingston-Lacey, England_
+
+THE JUDGMENT OF SOLOMON (Unfinished)]
+
+The unfinished figure of the executioner evidently caused the artist
+much trouble, for _pentimenti_ are frequent, and other outlines can be
+distinctly traced through the nude body. The effect of this clumsy
+figure is far from satisfactory; the limbs are not articulated
+distinctly; moreover, the balance of the whole composition is seriously
+threatened by the tragedy being enacted at the side instead of in the
+middle. The artist appears to have felt this difficulty so much that he
+stopped short at this point; at any rate, the living child remains
+unrepresented, nor is there any second child such as is required to
+illustrate the story. It looks as though the scheme was not carefully
+worked out before commencing, and that the artist found himself in
+difficulties at the last, when he had to introduce the dramatic motive,
+which apparently was not to his taste.
+
+Now, all this fits in exactly with what we know of Giorgione's
+temperament; lyrical by nature, he would shrink from handling a great
+dramatic scene, and if such a task were imposed upon him he would
+naturally treat three-fourths of the subject in his own fantastic way,
+and do his best to illustrate the action required in the remaining part.
+The result would be (what might be expected) forced or stagey, and the
+action rhetorical, and that is exactly what has happened in this
+"Judgment of Solomon."
+
+It is a natural inference that, supposing Giorgione to be the painter,
+he would never have selected such a subject of his own free will to be
+treated, as this is, on so large a scale. There may be, therefore,
+something in the suggestion which Crowe and Cavalcaselle make that this
+may be the large canvas ordered of Giorgione for the audience chamber
+of the Council, "for which purpose," they add, "the advances made to him
+in the summer of 1507 and in January 1508 show that the work he had
+undertaken was of the highest consequence."[30]
+
+Be this as it may, the picture was in Venice, in the Casa Grimani di
+Santo Ermagora,[31] in Ridolfi's day (1646), and that writer specially
+mentions the unfinished executioner. It passed later into the
+Marescalchi Gallery at Bologna, where it was seen by Lord Byron (1820),
+and purchased at his suggestion by his friend Mr. Bankes, in whose
+family it still remains.[32]
+
+It will be gathered from what I have written that Giorgione and no other
+is, in my opinion, the author of this remarkable work. Certain of the
+figures are reminiscent of those by him elsewhere--e.g. the old man with
+the beard is like the Evander in the Vienna picture, the young man next
+the executioner resembles the Adrastus in the Giovanelli figures, and
+the young man stooping forward next to Solomon recurs in the "Three
+Ages," in the Pitti, which Morelli considered to be by Giorgione. The
+most obvious resemblances, however, are to be found in the Glasgow
+"Adulteress before Christ," a work which several modern critics assign
+to Cariani, although Dr. Bode, Sir Walter Armstrong, and others,
+maintain it to be a real Giorgione. Consistently enough, those who
+believe in Cariani's authorship in the one case, assert it in the
+other,[33] and as consistently I hold that both are by Giorgione. It is
+conceivable that Cariani may have copied Giorgione's types and
+attitudes, but it is inconceivable to me that he can have so entirely
+assimilated Giorgione's temperament to which this "Judgment of Solomon"
+so eloquently witnesses. Moreover, let no one say that Cariani executed
+what Giorgione designed, for, in spite of its imperfect condition, the
+technique reveals a painter groping his way as he works, altering
+contours, and making corrections with his brush; in fact, it has all the
+spontaneity which characterises an original creation.
+
+The date of its execution may well have been 1507-8, perhaps even
+earlier; at any rate, we must not argue from its unfinished state that
+the painter's death prevented completion, for the style is not that of
+Giorgione's last works. Rather must we conclude that, like the "Aeneas
+and Evander," and several other pictures yet to be mentioned, Giorgione
+stopped short at his work, unwilling to labour at an uncongenial task
+(as, perhaps, in the present case), or from some feeling of
+dissatisfaction at the result, nay, even despair of ever realising his
+poetical conceptions.
+
+To this important trait in Giorgione's character further reference will
+be made when all the available material has been examined; suffice it
+for the moment that this "Judgment of Solomon" is to me a most _typical_
+example of the great artist's work, a revelation alike of his weaknesses
+as of his powers.
+
+Following our method of investigation we will next consider the
+pictures which Morelli accredits to Giorgione over and above the seven
+already discussed, wherein he concurs with Crowe and Cavalcaselle. These
+are twelve in number, and include some of the master's finest works,
+some of them unknown to the older authorities, or, at any rate,
+unrecorded by them. Here, therefore, the opinions of Crowe and
+Cavalcaselle are not of so much weight, so it will be necessary to see
+how far Morelli's views have been confirmed by later writers during the
+last twenty years.
+
+Three portraits figure in Morelli's list--one at Berlin, one at
+Buda-Pesth, and one in the Borghese Gallery at Rome.
+
+[Illustration: _Hanfstängl photo. Berlin Gallery_
+
+PORTRAIT OF A YOUNG MAN]
+
+First, as to the Berlin "Portrait of a Young Man," which, when Morelli
+wrote, belonged to Dr. Richter, and was afterwards acquired for the
+Berlin Gallery. "In it we have one of those rare portraits such as only
+Giorgione, and occasionally Titian, were capable of producing, highly
+suggestive, and exercising over the spectator an irresistible
+fascination."[34] Such are the great critic's enthusiastic words, and no
+one surely to-day would be found to gainsay them. We may note the
+characteristic treatment of the hair, the thoughtful look in the eyes,
+and the strong light on the face in contrast to the dark frame of hair,
+points which this portrait shares in common with the "Knight of Malta"
+in the Uffizi. Particularly to be noticed, however, is the parapet on
+which the fingers of one hand are visible, and the mysterious letters
+VV.[35] Allusion has already been made to the growing practice in
+Venetian art of introducing the hand as a significant feature in
+portrait painting, and here we get the earliest indications of this
+tendency in Giorgione; for this portrait certainly ante-dates the
+"Knight of Malta." It would seem to have been painted quite early in the
+last decade of the fifteenth century, when Bellini's art would still be
+the predominant influence over the young artist.
+
+It is but a step onward to the next portrait, that of a young man, in
+the Gallery at Buda-Pesth, but the supreme distinction which marks this
+wonderful head stamps it as a masterpiece of portraiture. Venetian art
+has nothing finer to show, whether for its interpretative qualities, or
+for the subtlety of its execution. Truly Giorgione has here foreshadowed
+Velasquez, whose silveriness of tone is curiously anticipated; yet the
+true Giorgionesque quality of magic is felt in a way that the impersonal
+Spaniard never realised. Only those who have seen the original can know
+of the wonderful atmospheric background, with sky, clouds, and hill-tops
+just visible. The reproduction, alas! gives no hint of all this. Nor can
+one appreciate the superb painting of the black quilted dress, with its
+gold braid, or of the shining black hair, confined in a brown net. The
+artist must have been in keen sympathy with this melancholy figure, for
+the expression is so intense that, as Morelli says, "he seems about to
+confide to us the secret of his life."[36]
+
+Several points claim our attention. First, the parapet has an almost
+illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the
+young man's name. Further, we may notice the recurrence of the letter V
+on a black device, and there is a second curious black tablet, which,
+however, has nothing on it. Between the two is a circle with a device of
+three heads in one surrounded by a garland of flowers. No satisfactory
+explanation of these symbols can be offered, but if the second black
+tablet had originally another V, we might conclude that these letters
+were in some mysterious way connected with Giorgione, as they appear
+also on the Berlin portrait. I shall be able to show that another
+instance of this double V exists on yet another portrait by
+Giorgione.[37]
+
+Finally, the expressiveness of the human hand is here fully realised.
+This feature alone points to a later date than the "Knight of Malta,"
+and considerably after the still earlier Berlin portrait. The consummate
+mastery of technique, moreover, indicates that Giorgione has here
+reached full maturity, so that it would be safe to place this portrait
+about the year 1508.
+
+[Illustration: _Buda-Pesth Gallery_
+
+PORTRAIT OF A MAN]
+
+Signor Venturi ("La Galleria Crespi") ascribes this portrait to Licinio.
+This is one of those inexplicable perversions of judgment to which even
+the best critics are at times liable. In _L'Arte_, 1900, p. 24, the same
+writer mentions that a certain Antonio Broccardo, son of Marino, made
+his will in 1527, and that the same name occurs among those who
+frequented the University of Bologna in 1525. There is nothing to
+prevent Giorgione having painted this man's portrait when younger.
+
+[Illustration: _Anderson photo. Borghese Gallery, Rome_
+
+PORTRAIT OF A LADY]
+
+The third portrait in Morelli's list has not had the same friendly
+reception at the hands of later critics as the preceding two have had.
+This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose
+discovery by Morelli is so graphically described in a well-known
+passage.[38] And in truth it must be confessed that the authorship of
+this portrait is not at first sight quite so evident as in the other
+cases; nevertheless I am firmly convinced that Morelli saw further than
+his critics, and that his intuitive judgment was in this instance
+perfectly correct.[39] The simplicity of conception, the intensity of
+expression, the pose of the figure alike proclaim the master, whose
+characteristic touch is to be seen in the stone ledge, the fancy
+head-dress, the arrangement of hair, and the modelling of the features.
+The presence of the hands is characteristically explained by the
+handkerchief stretched tight between them, the action being expressive
+of suppressed excitement: "She stands at a window ... gazing out with a
+dreamy, yearning expression, as if seeking to descry one whom she
+awaits."
+
+Licinio, whose name has been proposed as the painter, did indeed follow
+out this particular vein of Giorgione's portraiture, so that "Style of
+Licinio" is not an altogether inapt attribution; but there is just that
+difference of quality between the one man's work and the other, which
+distinguishes any great man from his followers, whether in literature or
+in art. How near (and yet how far!) Licinio came to his great prototype
+is best seen in Lady Ashburton's "Portrait of a Young Man,"[40] but that
+he could have produced the Borghese "Lady" presupposes qualities he
+never possessed. "To Giorgione alone was it given to produce portraits
+of such astonishing simplicity, yet so deeply significant, and capable,
+by their mystic charm, of appealing to our imagination in the highest
+degree."[41]
+
+The actual condition of this portrait is highly unsatisfactory, and is
+adduced by some as a reason for condemning it. Yet the spirit of the
+master seems still to breathe through the ruin, and to justify Morelli's
+ascription, if not the enthusiastic language in which he writes.
+
+[Illustration: _Anderson photo. Seminario, Venice_
+
+APOLLO AND DAPHNE]
+
+With the fourth addition on Morelli's list we pass into a totally
+different sphere of art--the decoration of _cassoni_, and other pieces
+of furniture. We have seen Giorgione at work on legendary stories or
+classic myths, creating out of these materials pages of beauty and
+romance in the form of easel paintings, and now we have the same thing
+as applied art--that is, art used for purely decorative purposes. The
+"Apollo and Daphne" in the Seminario at Venice was probably a panel of a
+_cassone_; but although intended for so humble a place, it is instinct
+with rare poetic feeling and beauty. Unfortunately it is in such a bad
+state that little remains of the original work, and Giorgione's touch
+is scarcely to be recognised in the damaged parts. Nevertheless, his
+spirit breathes amidst the ruin, and modern critics have recognised the
+justice of Morelli's view, rather than that of Crowe and Cavalcaselle,
+who suggested Schiavone as the "author."[42] And, indeed, a comparison
+with the "Adrastus and Hypsipyle" is enough to show a common origin,
+although, as we might expect, the same consummate skill is scarcely to
+be found in the _cassone_ panel as in the easel picture. There is a rare
+daintiness, however, in these graceful figures, so essentially
+Giorgionesque in their fanciful presentation, the young Apollo, a
+lovely, fair-haired boy, pursuing a maiden with flowing tresses, whose
+identity with Daphne is only to be recognised by the laurel springing
+from her fingers. The story is but an episode in a sylvan scene, where
+other figures, in quaint costumes, seem to be leading an idyllic
+existence, untroubled by the cares of life, and utterly unconcerned at
+the strange event passing before their eyes.
+
+From the "Apollo and Daphne" it is an easy transition to the "Venus,"
+that great discovery which we owe to Morelli, and now universally
+recognised by modern critics. The one point on which Morelli did not,
+perhaps, lay sufficient stress, is the co-operation in this work of
+Titian with Giorgione, for here we have an additional proof that the
+latter left some of his work unfinished. It is a fair inference that
+Titian completed the Cupid (now removed), and that he had a hand in
+finishing the landscape; the Anonimo, indeed, states as much, and
+Ridolfi confirms it, and this view is officially adopted in the latest
+edition of the Dresden Catalogue. The style points to Giorgione's
+maturity, though scarcely to the last years of his life; for, in spite
+of the freedom and breadth of treatment in the landscape, there is a
+restraint in the figure, and a delicacy of form which points to a period
+preceding, rather than contemporary with, the Louvre "Concert" and
+kindred works, where the forms become fuller and rounder, and the
+feeling more exuberant.
+
+It would be mere repetition, after all that has been written on the
+Dresden "Venus," to enlarge on the qualities of refinement and grace
+which characterise the fair form of the sleeping goddess. One need but
+compare it with Titian's representations of the same subject, and still
+more with Palma's versions at Dresden and Cambridge, or with Cariani's
+"Venus" at Hampton Court, to see the classic purity of form, the ideal
+loveliness of Giorgione's goddess.[43] It is no mere accident that she
+alone is sleeping, whilst they solicit attention. Giorgione's conception
+is characteristic in that he endeavours to avoid any touch of realism
+abhorrent to his nature, which was far more sensitive than that of
+Palma, Cariani, or even Titian.
+
+[Illustration: _Hanfstängl photo_. Dresden Gallery
+
+VENUS]
+
+The extraordinary beauty and subtlety of the master's "line" is
+admirably shown. He has deliberately forgone anatomical precision in
+order to accentuate artistic effect. The splendour of curve, the beauty
+of unbroken contour, the rhythm and balance of composition is attained
+at a cost of academic correctness; but the long-drawn horizontal lines
+heighten the sense of repose, and the eye is soothed by the sinuous
+undulations of landscape and figure. The artistic effect is further
+enhanced by the relief of exquisite flesh tones against the rich crimson
+drapery, and although the atmospheric glow has been sadly destroyed by
+abrasion and repainting, we may still feel something of the magic charm
+which Giorgione knew so well how to impart.
+
+This "Venus" is the prototype of all other Venetian versions; it is in
+painting what the "Aphrodite" of Praxiteles was in sculpture, a perfect
+creation of a master mind.
+
+Scarcely less wonderful than the "Venus," and even surpassing it in
+solemn grandeur of conception, is the "Judith" at St. Petersburg.
+Morelli himself had never seen the original, and includes it in his list
+with the reservation that it might be an old copy after Giorgione, and
+not the original. It would be presumptuous for anyone not familiar with
+the picture to decide the point, but I have no hesitation in following
+the judgment of two competent modern critics, both of whom have recently
+visited St. Petersburg, and both of whom have decided unhesitatingly in
+favour of its being an original by Giorgione. Dr. Harck has written
+enthusiastically of its beauty. "Once seen," he says, "it can never be
+forgotten; the same mystic charm, so characteristic of the other great
+works of Giorgione, pervades it; ... it bears on the face of it the
+stamp of a great master."[44] Even more decisive is the verdict of Mr.
+Claude Phillips.[45] "All doubts," he says, "vanish like sun-drawn mist
+in the presence of the work itself; the first glance carries with it
+conviction, swift and permanent. In no extant Giorgione is the golden
+glow so well preserved, in none does the mysterious glamour from which
+the world has never shaken itself free, assert itself in more
+irresistible fashion.... The colouring is not so much Giorgionesque as
+Giorgione's own--a widely different thing.... Wonderful touches which
+the imitative Giorgionesque painter would not have thought of are the
+girdle, a mauve-purple now, with a sharply emphasised golden fringe, and
+the sapphire-blue jewel in the brooch. Triumphs of execution, too, but
+not in the broad style of Venetian art in its fullest expansion, are the
+gleaming sword held in so dainty and feminine a fashion, and the flowers
+which enamel the ground at the feet of the Jewish heroine." This
+"Judith," after passing for many years under the names of Raphael and
+Moretto,[46] is now officially recognised as Giorgione's work, an
+identification first made by the late Herr Penther, the keeper of the
+Vienna Academy, whom Morelli quotes.
+
+The conception is wholly Giorgionesque, the mood one of calm
+contemplation, as this lovely figure stands lost in reverie, with eyes
+cast down, gazing on the head on which her foot is lightly laid. The
+head and sword proclaim her story, they are symbols of her mission, else
+she had been taken for an embodiment of feminine modesty and gentle
+submissiveness.[47]
+
+[Illustration: _Braun photo. Hermitage Gallery, St. Petersburg_
+
+JUDITH]
+
+Characteristic of the master is the introduction of the great
+tree-trunk, conveying a sense of grandeur and solemn mystery to the
+scene; characteristic, too, is the distant landscape, the splendid glow
+of which evokes special praise from the writers just mentioned. Again we
+find the parapet, or ledge, with its flat surface on which the play of
+light can be caught, and again the same curious folds, broken and
+crumpled, such as are seen on Solomon's robe in the Kingston Lacy
+picture, and somewhat less emphatically in the Castelfranco "Madonna."
+
+Consistent, moreover, with that weakness we have already noticed
+elsewhere, is the design of the leg and foot, the drawing of which is
+far from impeccable. That the execution in this respect is not equal to
+the supreme conception of the whole, is no valid reason for the belief
+that this "Judith" is only a copy of a lost original, a belief that
+could apparently only be held by those who have never stood before the
+picture itself.[48] But even in the reproduction this "Judith" stands
+confessed as the most impressive of all Giorgione's single figures, and
+it may well rank as the masterpiece of the earlier period immediately
+preceding the Castelfranco picture of about 1504, to which in style it
+closely approximates.
+
+The next picture on Morelli's list is the "Fête Champêtre" of the
+Louvre, or, as it is often called, the "Concert." This lovely "Pastoral
+Symphony" (which appears to me a more suitable English title) is by no
+means universally regarded as a creation of Giorgione's hand and brain,
+and several modern critics have been at pains to show that Campagnola,
+or some other Venetian imitator of the great master, really produced
+it.[49] In this endeavour Crowe and Cavalcaselle led the way by
+suggesting the author was probably an imitator of Sebastiano del Piombo.
+But all this must surely seem to be heresy when we stand before the
+picture itself, thrilled by the gorgeousness of its colour, by the
+richness of the paradise" in which the air is balmy, and the landscape
+ever green; where life is a pastime, and music the only labour; where
+groves are interspersed with meadows and fountains; where nymphs sit
+playfully on the grass, or drink at cool springs."[50] Was ever such a
+gorgeous idyll? In the whole range of painted poetry can the like be
+found?
+
+[Illustration: _Braun photo. Louvre, Paris_
+
+A PASTORAL SYMPHONY]
+
+Yet let us be more precise in our analysis. Granted that the scene is
+one eminently adapted to Giorgione's poetic temperament, is the
+execution analogous to that which we have found in the preceding
+examples? No one will deny, I suppose, that there is a difference
+between the intensely refined forms of the Venus, or the earlier
+Hypsipyle, or the Daphne, and the coarser nudes in the Louvre picture.
+No one will deny a certain carelessness marks the delineation of form,
+no one will gainsay a frankly sensuous charm pervades the scene, a
+feeling which seems at first sight inconsistent with that reticence and
+modesty so conspicuous elsewhere. Yet I think all this is perfectly
+explicable on the basis of natural evolution. Exuberance of feeling is
+the logical outcome of a lifetime spent in an atmosphere of lyrical
+thought, and certainly Giorgione was not the sort of man to control
+those natural impulses, which grew stronger with advancing years. Both
+traditions of his death point in this direction; and, unless I am
+mistaken, the quality of his art, as well as its character, reflects
+this tendency. In his later years, 1508-10, he attains indeed a
+magnificence and splendour which dazzles the eye, but it is at the cost
+of that feeling of restraint which gives the earlier work such exquisite
+charm. In such a work as the Louvre "Concert," Giorgio has become
+Giorgione; he is riper in experience and richer in feeling, and his art
+assumes a corresponding exuberance of style, his forms become larger,
+his execution grows freer. Nay, more, that strain of carelessness is not
+wanting which so commonly accompanies such evolutions of character. And
+so this "Pastoral Symphony" becomes a characteristic production--that
+is, one which a man of Giorgione's temperament would naturally produce
+in the course of his developing. Peculiar, however, to an artist of
+genius is the subtlety of composition, which is held together by
+invisible threads, for nowhere else, perhaps, has Giorgione shown a
+greater mastery of line. The diagonal line running from behind the nude
+figure on the left down to the foot so cunningly extended of the seated
+youth, is beautifully balanced by the line which is formed by the seated
+figure of the woman. The artist has deliberately emphasised this line by
+the curious posture of the legs. The figure, indeed, does not sit at
+all, but the balance of the composition is the better assured. What
+exquisite curves the standing woman presents! how cleverly the drapery
+continues the beautiful line, which Giorgione takes care not to break by
+placing the left leg and foot out of sight. How marvellously expressive,
+nay, how _inevitable_ is the hand of the youth who is playing. Surely
+neither Campagnola nor any other second-rate artist was capable of such
+things!
+
+[Illustration: _Alinari photo. Pitti Gallery, Florence_
+
+THE THREE AGES OF MAN]
+
+The eighth picture cited by Morelli as, in his opinion, a genuine
+Giorgione, is the so-called "Three Ages of Man," in the Pitti at
+Florence--a damaged picture, but parts of which, as he says, "are still
+so splendid and so thoroughly Giorgionesque that I venture to ascribe it
+without hesitation to Giorgione."[51] The three figures are grouped
+naturally, and are probably portraits from life. The youth in the centre
+we have already met in the Kingston Lacy "Judgment of Solomon"; the man
+on the right recurs in the "Family Concert" at Hampton Court, and is
+strangely like the S. Maurice in the signed altar-piece at Berlin by
+Luzzi da Feltre.[52] But like though they be in type, in quality the
+heads in the "Three Ages" are immensely superior to those in the Berlin
+picture. The same models may well have served Giorgione and his friend
+and pupil Luzzi, or, as he is generally called, Morto da Feltre. A
+recent study of the few authenticated works by this feeble artist still
+at Feltre, his native place, forces me to dissent from the opinion that
+the Pitti "Three Ages" is the work of his hand.[53] Still less do I
+hold with the view that Lotto is the author.[54] Here, again, I believe
+Morelli saw further than other critics, and that his attribution is the
+right one. The simplicity, the apparently unstudied grouping, the
+refinement of type, the powerful expression, are worthy of the master;
+the play of light on the faces, especially on that of the youth, is most
+characteristic, and the peculiar chord of colour reveals a sense of
+originality such as no imitator would command. Unless I am mistaken, the
+man on the right is none other than the Aeneas in the Vienna picture,
+and his hand with the pointing forefinger is such as we see two or three
+times over in the "Judgment of Solomon" and elsewhere. Certainly here it
+is awkwardly introduced, obviously to bring the figure into direct
+relation with the others; but Giorgione is by no means always supreme
+master of natural expression, as the hands in the "Adrastus and
+Hypsipyle" and Vienna pictures clearly show.
+
+Here, for the first time, we meet Giorgione in those studies of human
+nature which are commonly called "conversation pieces," or
+"concerts"--natural groups of generally three people knit together by
+some common bond, which is usually music in one form or another. It is
+not the idyll of the "Pastoral Symphony," but akin to it as an
+expression of some exquisite moment of thought or feeling, an ideal
+instant "in which, arrested thus, we seem to be spectators of all the
+fulness of existence, and which is like some consummate extract or
+quintessence of life."[55] No one before Giorgione's time had painted
+such ideas, such poems without articulated story; and to have reached
+this stage of development presupposes a familiarity with set subjects
+such as a classic myth or mediaeval romance would offer for treatment.
+And so this "Three Ages" dates from his later years.
+
+[Illustration: _Anderson photo. Pitti Gallery, Florence_
+
+NYMPH AND SATYR]
+
+Another picture in the Pitti was also recognised by Morelli as
+Giorgione's work--"The Nymph pursued by a Satyr." Modern criticism seems
+undecided on the justice of this view, some writers inclining to the
+belief that this is a Giorgionesque production of Dosso Dossi, others
+preserving a discreet silence, or making frank avowal of their inability
+to decide. Nevertheless, I venture to agree with Morelli that "we have
+all the characteristics of an early (?) work of Giorgione--the type of
+the nymph with the low forehead, the charming arrangement of the hair
+upon the temples, the eyes placed near together, and the hand with
+tapering fingers."[56] The oval of the face recalls the "Knight of
+Malta," the high cranium and treatment of the hair such as we find in
+the Dresden "Venus" and elsewhere. The delicacy of modelling, the beauty
+of the features are far beyond Dosso's powers, who, brilliant artist as
+he sometimes was, was of much coarser fibre than the painter of these
+figures. The difference of calibre between the two is well illustrated
+by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone"
+in the Modena Gallery, or with those uncouth productions, also in the
+Pitti, the "S. John Baptist" and the "Bambocciate."[57] Were the
+repaints removed, I think all doubts as to the authorship would be set
+at rest, and the "Nymph and Satyr" would take its place among the
+slighter and more summary productions of Giorgione's brush.
+
+[Illustration: _Laurent_ photo. Prado Gallery, Madrid
+
+MADONNA AND SAINTS]
+
+Only one sacred subject figures in the additions made by Morelli to the
+list of genuine Giorgiones. This is the small altar-piece at Madrid,
+with Madonna seated between S. Francis and S. Roch. Traditionally
+accredited to Pordenone, it has now received official recognition as a
+masterpiece of Giorgione, an attribution that, so far as I am aware, no
+one has seriously contested.[58] And, indeed, it is hard to conceive
+wherein any objection could possibly lie, for it is a typical creation
+of the master, _usque ad unguem_. Not only in types, colour, light and
+shade, and particularly in feeling, is the picture characteristic, but
+it again shows the artist leaving work unfinished, and again reveals the
+fact that the work grew in conception as it was actually being painted.
+I mean that the whole figure of S. Roch has been painted in over the
+rest, and that the S. Francis has also probably been introduced
+afterwards. I have little doubt that originally Giorgione intended to
+paint a simple Madonna and Child, and afterwards extended the scheme.
+The composition of three figures, practically in a row, is moreover most
+unusual, and contrary to that triangular scheme particularly favoured by
+the master, whereas the lovely sweep of Madonna's dress by itself
+creates a perfect design on a triangular basis. A great artist is here
+revealed, one whose feeling for line is so intense that he wilfully
+casts the drapery in unnatural folds in order to secure an artistic
+triumph. The working out of the dress within this line has yet to be
+done, the folds being merely suggested, and this task has been left
+whilst forwarding other parts. The freedom of touch and thinness of
+paint indicates how rapidly the artist worked. There is little
+deliberation apparent: indeed, the effect is that of hasty
+improvisation. Velasquez could not have painted the stone on which S.
+Roch rests his foot with greater precision or more consummate mastery;
+the delicacy of flesh tints is amazing. The bit of landscape behind S.
+Roch (invisible in the reproduction), with its stately tree trunk rising
+solitary beside the hanging curtain, strikes a note of romance, fit
+accompaniment to the bizarre figure of the saint in his orange jerkin
+and blue leggings. How mysterious, too, is S. Francis!--rapt in his own
+thoughts, yet strangely human.
+
+[Illustration: _Buda-Pesth Gallery_
+
+COPY OF A PORTION OF GIORGIONE'S "BIRTH OF PARIS"]
+
+We have now examined ten of the twelve pictures added, on Morelli's
+initiative, to the list of genuine works, and we have found very little,
+if any, serious opposition on the part of later writers to his views.
+Not so, however, with regard to the remaining two pictures. The first of
+these is a fragment in the gallery of Buda-Pesth, representing two
+figures in a landscape. All modern critics are agreed that Morelli has
+here mistaken an old copy after Giorgione for an original, a mistake we
+may readily pardon in consideration of the successful identification he
+has made of these figures with the Shepherds, in the composition seen
+and described by the Anonimo in 1525 as the "Birth of Paris," by
+Giorgione. This identification is fully confirmed by the engraving made
+by Th. von Kessel for the _Theatrum Pictorium_, which shows how these
+two figures are placed in the composition. Where, as in the present
+case, the original is missing, even a partial copy is of great value,
+for in it we can see the mind, if not the hand, of the great master. The
+Anonimo tells us this "Birth of Paris" was one of Giorgione's early
+works, a statement worthy of credence from the still Bellinesque stamp
+and general likeness of one of the Shepherds to the "Adrastus" in the
+Giovanelli picture. In pose, type, arrangement of hair, and in landscape
+this fragment is thoroughly Giorgionesque, and we have, moreover, those
+most characteristic traits, the pointing forefinger, and the unbroken
+curve of outline. The execution is, however, raw and crude, and entirely
+wanting in the magic quality of the master's own touch.[59]
+
+[Illustration: _Dixon photo. Hampton Court Palace Gallery_
+
+THE SHEPHERD BOY.]
+
+Finally, on Morelli's list figures the "Shepherd" at Hampton Court, for
+the genuineness of which the critic would not absolutely vouch, as he
+had only seen it in a bad light. Perhaps no picture has been so strongly
+championed by an enthusiastic writer as has been this "Shepherd" by Mr.
+Berenson, who strenuously advocates its title to genuineness.[60]
+Nevertheless, several modern authorities remain unconvinced in presence
+of the work itself. The conception is unquestionably Giorgione's own,
+as we may see from a picture now in the Vienna Gallery, where this head
+is repeated in a representation of the young David holding the head of
+Goliath. The Vienna picture is, however, but a copy of a lost original
+by Giorgione, the existence of which is independently attested by
+Vasari.[61] Now, the question naturally arises, What relation does the
+Hampton Court "Shepherd" bear to this "David," Giorgione's lost
+original? It is possible, of course, that the master repeated himself,
+merely transforming the David into a Shepherd, or _vice versâ_, and it
+is equally possible that some other and later artist adapted Giorgione's
+"David" to his own end, utilising the conception that is, and carrying
+it out in his own way. Arguing purely _a priori_, the latter possibility
+is the more likely, inasmuch as we know Giorgione hardly ever repeats a
+figure or a composition, whereas Titian, Cariani, and other later
+Venetian artists freely adopted Giorgione's ideas, his types, and his
+compositions for their own purposes. Internal evidence appears to me,
+moreover, to confirm this view, for the general style of painting seems
+to indicate a later period than 1510, the year of Giorgione's death. The
+flimsy folds, in particular, are not readily recognisable as the
+master's own. A comparison with a portrait in the Gallery of Padua
+reveals, particularly in this respect, striking resemblances. This fine
+portrait was identified by both Crowe and Cavalcaselle and by Morelli as
+the work of Torbido, and I venture to place the reproduction of it
+beside that of the "Shepherd" for comparison. It is not easy to
+pronounce on the technical qualities of either work, for both have
+suffered from re-touching and discolouring varnish, and the hand of the
+"Shepherd" is certainly damaged. Yet, whilst admitting that the evidence
+is inconclusive, I cannot refrain from suggesting Torbido's name as
+possible author of the "Shepherd," the more so as we know he carefully
+studied and formed his style upon Giorgione's work.[62] It is at least
+conceivable that he took Giorgione's "David with the Head of Goliath,"
+and by a simple, and in this case peculiarly appropriate,
+transformation, changed him into a shepherd boy holding a flute.
+
+We have now taken all the pictures which either Crowe and Cavalcaselle
+or Morelli, or both, assign to Giorgione himself. There still remain,
+however, three or four works to be mentioned where these authorities
+hold opposite views which require some examination.
+
+First and foremost comes the "Concert" in the Pitti Gallery, a work
+which was regarded by Crowe and Cavalcaselle not only as a genuine
+example of Giorgione's art, but as "not having its equal in any period
+of Giorgione's practice. It gives," they go on, "a just measure of his
+skill, and explains his celebrity."[63] Morelli, on the contrary, holds:
+"It has unfortunately been so much damaged by a restorer that little
+enough remains of the original, yet from the form of the hands and of
+the ear, and from the gestures of the figures, we are led to infer that
+it is not a work of Giorgione, but belongs to a somewhat later period.
+If the repaint covering the surface were removed we should, I think,
+find that it is an early work by Titian."[64] Where Morelli hesitated
+his followers have decided, and accordingly, in Mr. Berenson's list, in
+Mr. Claude Phillips' "Life of Titian," and in the latest biography on
+that master, published by Dr. Gronau, we find the "Concert" put down to
+Titian. On the other hand, Dr. Bode, Signor Conti in his monograph on
+Giorgione, M. Müntz, and the authorities in Florence support the
+traditional view that the "Concert" is a masterpiece of Giorgione.
+
+[Illustration: _Alinari photo. Pitti Gallery, Florence_
+
+THE CONCERT]
+
+Which view is the right one? To many this may appear an academic
+discussion of little value, for, _ipso facto_, the quality of the work
+is admitted by all. The picture is a fine thing, in spite of its
+imperfect condition, and what matter whether Titian or Giorgione be the
+author? But to this sort of argument it may be said that until we do
+know what is Giorgione's work and what is not, it is impossible to gauge
+accurately the nature and scope of his art, or to reach through that
+channel the character of the artist behind his work. In the case of
+Giorgione and Titian, the task of drawing the dividing line is one of
+unusual difficulty, and a long and careful study of the question has
+convinced me that this will have to be done in a way that modern
+criticism has not yet attempted. From the very earliest days the two
+have been so inextricably confused that it will require a very
+exhaustive re-examination of all the evidence in the light of modern
+discoveries, documentary and pictorial, coupled, I am afraid, with the
+recognition of the fact that much modern criticism on this point has
+been curiously at fault. This is neither the time nor the place to
+discuss the question of Titian's early work, but I feel sure that this
+chapter of art history has yet to be correctly written.[65] One of the
+determining factors in the discussion will be the authorship of the
+Pitti "Concert," for our estimate of Giorgione or Titian must be
+coloured appreciably by the recognition of such an epoch-making picture
+as the work of one or the other.
+
+It is, therefore, peculiarly unfortunate that the two side figures in
+this wonderful group are so rubbed and repainted as almost to defy
+certainty of judgment. In conception and spirit they are typically
+Giorgionesque, and Morelli, I imagine, would scarcely have made the bold
+suggestion of Titian's authorship but for the central figure of the
+young monk playing the harpsichord. This head stands out in grand
+relief, being in a far purer state of preservation than the rest, and we
+are able to appreciate to some extent the extraordinarily subtle
+modelling of the features, the clear-cut contours, the intensity of
+expression. The fine portrait in the Louvre, known as "L'homme au gant,"
+an undoubted early work of Titian, is singularly close in character and
+style, as was first pointed out by Mr. Claude Phillips,[66] and it was
+this general reminiscence, more than points of detail in an admittedly
+imperfect work that seemingly induced Morelli to suggest Titian's name
+as possible author of the "Concert." Nevertheless, I cannot allow this
+plausible comparison to outweigh other and more vital considerations.
+The subtlety of the composition, the bold sweep of diagonal lines, the
+way the figure of the young monk is "built up" on a triangular design,
+the contrasts of black and white, are essentially Giorgione's own. So,
+too, is the spirit of the scene, so telling in its movement, gesture,
+and expression. Surely it is needless to translate all that is most
+characteristic of Giorgione in his most personal expression into a
+"Giorgionesque" mood of Titian. No, let us admit that Titian owed much
+to his friend and master (more perhaps than we yet know), but let us not
+needlessly deprive Giorgione of what is, in my opinion at least, the
+great creation of his maturer years, the Pitti "Concert." I am inclined
+to place it about 1506-7, and to regard it as the earliest and finest
+expression in Venetian art of that kind of genre painting of which we
+have already studied another, though later example, "The Three Ages" (in
+the Pitti). The second work where Crowe and Cavalcaselle hold a
+different view from Morelli is a "Portrait of a Man" in the Gallery of
+Rovigo (No. 11). The former writers declare that it, "perhaps more than
+any other, approximates to the true style of Giorgione."[67] With such
+praise sounding in one's ears it is somewhat of a shock to discover that
+this "grave and powerfully wrought creation" is a miniature 7 by 6
+inches in size. Such an insignificant fragment requires no serious
+consideration; at most it would seem only to be a reduced copy after
+some lost original. Morelli alludes to it as a copy after Palma, but one
+may well doubt whether he is not referring to another portrait in the
+same gallery (No. 123). Be that as it may, this "Giorgione" miniature
+is sadly out of place among genuine pieces of the master.[68]
+
+[Illustration: _Hanfstängl photo. National Gallery, London_
+
+THE ADORATION OF THE MAGI]
+
+One other picture, of special interest to English people, is in dispute.
+By Crowe and Cavalcaselle "The Adoration of the Magi," now in the
+National Gallery (No. 1160), is attributed to the master himself; by
+Morelli it was assigned to Catena.[69] This brilliant little panel is
+admittedly by the same hand that painted the Beaumont "Adoration of the
+Shepherds," and yet another picture presently to be mentioned. We have
+already agreed to the propriety of attribution in the former case; it
+follows, therefore, that here also Giorgione's name is the correct one,
+and his name, we are glad to see, has recently been placed on the label
+by the Director of the Gallery.
+
+This beautiful little panel, which came from the Leigh Court Collection,
+under Bellini's name, has much of the depth, richness, and glow which
+characterises the Beaumont picture, although the latter is naturally
+more attractive, owing to the wonderful landscape and the more elaborate
+chiaroscuro. The figures are Bellinesque, yet with that added touch of
+delicacy and refinement which Giorgione always knows how to impart. The
+richness of colouring, the depth of tone, the glamour of the whole is
+far superior to anything that we can point to with certainty as Catena's
+work; and no finer example of his "Giorgionesque" phase is to be found
+than the sumptuous "Warrior adoring the Infant Christ," which hangs
+close by, whilst his delicate little "S. Jerome in his Study," also in
+the same room, challenges comparison. Catena's work seems cold and
+studied beside the warmth and spontaneity of Giorgione's little panel,
+which is, indeed, as Crowe and Cavalcaselle assert, "of the most
+picturesque beauty in distribution, colour, and costume."[70] It must
+date from before 1500, probably just before the Beaumont "Nativity," and
+proves how, even at that early time, Giorgione's art was rapidly
+maturing into full splendour.
+
+The total list of genuine works so far amounts to but twenty-three. Let
+us see if we can accept a few others which later writers incline to
+attribute to the master. I propose to limit the survey strictly to those
+pictures which have found recognised champions among modern critics of
+repute, for to challenge every "Giorgione" in public and private
+collections would be a Herculean task, well calculated to provoke an
+incredulous smile!
+
+[Illustration: _Dixon photo. Duke of Devonshire's Collection,
+Chatsworth_
+
+PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S "CHRIST BEARING THE
+CROSS," IN THE CHURCH OF S. ROCCO, VENICE]
+
+Mr. Berenson, in his _Venetian Painters_, includes two other pictures in
+an extremely exclusive list of seventeen genuine Giorgiones. These are
+both in Venice, "The Christ bearing the Cross" (in S. Rocco), and "The
+Storm calmed by S. Mark" (in the Academy). The question whether or no we
+are to accept the former of these pictures has its origin in a curious
+contradiction of Vasari, who, in the first edition of his Lives (1550),
+names Giorgione as the painter, whilst in the second (1565), he assigns
+the authorship to Titian. Later writers follow the latter statement, and
+to this day the local guides adhere to this tradition. That the
+attribution to Giorgione, however, was still alive in 1620-5, is proved
+by the sketch of the picture made by the young Van Dyck during his visit
+to Italy, for he has affixed Giorgione's name to it, and not that of
+Titian.[71] I am satisfied that this tradition is correct. Giorgione,
+and not Titian, painted the still lovely head of Christ, and Giorgione,
+not Titian, drew the arm and hand of the Jew who is dragging at the
+rope. Characteristic touches are to be seen in the turn of the head, the
+sloping axis of the eyes, and especially the fine oval of the face, and
+bushy hair. This is the type of Giorgione's Christ; "The Tribute Money"
+(at Dresden) shows Titian's. Unfortunately the panel has lost all its
+tone, all its glow, and most of its original colour, and we can scarcely
+any longer admire the picture which, in Vasari's graphic language, "is
+held in the highest veneration by many of the faithful, and even
+performs miracles, as is frequently seen"; and again (in his _Life of
+Titian_), "it has received more crowns as offerings than have been
+earned by Titian and Giorgione both, through the whole course of their
+lives."
+
+The other picture included by Mr. Berenson in his list is the large
+canvas in the Venice Academy, with "The Storm calmed by S. Mark."
+According to this critic it is a late work, finished, in small part, by
+Paris Bordone. In my opinion, it would be far wiser to withhold
+definite judgment in a case where a picture has been so entirely
+repainted. Certainly, in its present state, it is impossible to
+recognise Giorgione's touch, whilst the glaring red tones of the flesh
+and the general smeariness of the whole render all enjoyment out of
+question. I am willing to admit that the conception may have been
+Giorgione's, although even then it would stand alone as evidence of an
+imagination almost Michelangelesque in its _terribilità._ Zanetti (1760)
+was the first to connect Giorgione's name with this canvas, Vasari
+bestowing inordinate praise upon it as the work of Palma Vecchio! It
+only remains to add that this is the companion piece to the well-known
+"Fisherman presenting the Ring to the Doge," by Paris Bordone, which
+also hangs in the Venice Academy. Both illustrate the same legend, and
+both originally hung in the Scuola di S. Marco.
+
+[Illustration: _Anderson photo. Padua Gallery_
+
+FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES]
+
+Finally, two _cassone_ panels in the gallery at Padua have been
+acclaimed by Signor Venturi as the master's own,[72] and with that view
+I am entirely agreed. The stories represented are not easily
+determinable (as is so often the case with Giorgione), but probably
+refer to the legends of Adonis.[73] The splendour of colour, the lurid
+light, the richness of effect, are in the highest degree impressive.
+What artist but Giorgione would have so revelled in the glories of the
+evening sunset, the orange horizon, the distant blue hills? The same
+gallery affords several instances of similar decorative pieces by
+other Venetian artists which serve admirably to show the great gulf
+fixed in quality between Giorgione's work and that of the Schiavones,
+the Capriolis, and others who imitated him.[74]
+
+NOTES:
+
+[11] Oxford Lecture, reported in the _Pall Mall Gazette_, Nov. 10, 1884.
+
+[12] See _postea_, p. 63.
+
+[13] Bellini adopted it later in his S. Giov. Crisostomo altar-piece of
+1513.
+
+[14] All the more surprising is it that it receives no mention from
+Vasari, who merely states that the master worked at Castelfranco.
+
+[15] I unhesitatingly adopt the titles recently given to these pictures
+by Herr Franz Wickhoff (_Jahrbuch der Preussischen Kunstsammlungen_,
+Heft. i. 1895), who has at last succeeded in satisfactorily explaining
+what has puzzled all the writers since the days of the Anonimo.
+
+[16] Statius: _Theb_. iv. 730 _ff_. See p. 135.
+
+[17] _Aen._ viii. 306-348.
+
+[18] Fry: _Giovanni Bellini_, p. 39.
+
+[19] ii. 214.
+
+[20] Ridolfi mentions the following as having been painted by
+Giorgione:--"The Age of Gold," "Deucalion and Pyrrha," "Jove hurling
+Thunderbolts at the Giants," "The Python," "Apollo and Daphne," "Io
+changed into a Cow," "Phaeton, Diana, and Calisto," "Mercury stealing
+Apollo's Arms," "Jupiter and Pasiphae," "Cadmus sowing the Dragon's
+Teeth," "Dejanira raped by Nessus," and various episodes in the life of
+Adonis.
+
+[21] In the Venice Academy.
+
+[22] _Archivio, Anno VI_., where reproductions of the two are given side
+by side, _fasc_. vi. p. 412.
+
+[23] The Berlin example (by the Pseudo-Basaiti) is reproduced in the
+Illustrated Catalogue of the recent exhibition of Renaissance Art at
+Berlin; the Rovigo version (under Leonardo's name!) is possibly by
+Bissolo.
+
+Two other repetitions exist, one at Stuttgart, the other in the
+collection of Sir William Farrer. (Venetian Exhibition, New Gallery,
+1894, No. 76.)
+
+[24] Gentile Bellini's three portraits in the National Gallery (Nos.
+808, 1213, 1440) illustrate this growing tendency in Venetian art; all
+three probably date from the first years of the sixteenth century.
+Gentile died in 1507.
+
+[25] Berenson: _Venetian Painters_, 3rd edition.
+
+[26] _Daily Telegraph_, December 29th, 1899.
+
+[27] Even the so-called Pseudo-Basaiti has been separated and
+successfully diagnosed.
+
+[28] 1895 Catalogue.
+
+[29] See Appendix, where the letters are printed in full.
+
+[30] Crowe and Cavalcaselle, ii. 142, and note.
+
+[31] Giorgione painted in fresco in the portico of this palace. Zanetti
+has preserved the record of a figure said to be "Diligence," in his
+print published in 1760.
+
+[32] See Byron's _Life and Letters_, by Thomas Moore, p. 705.
+
+[33] See Berenson's _Venetian Painters_, illustrated edition.
+
+[34] Morelli, ii. 219.
+
+[35] See p. 32 for a possible explanation of these letters.
+
+[36] ii. 218
+
+[37] It has been suggested to me by Dr. Williamson that the letters may
+possibly be intended for ZZ (=Zorzon). In old MSS. the capital Z is
+sometimes made thus _[closed V]_ or _V._
+
+[38] i. 248.
+
+[39] The methods by which he arrived at his conclusion are strangely at
+variance with those he so strenuously advocates, and to which the name
+of Morellian has come to be attached.
+
+[40] Reproduced in _Venetian Art at the New Gallery_, under Giorgione's
+name, but unanimously recognised as a work of Licinio.
+
+[41] i. 249.
+
+[42] Dr. Bode and Signor Venturi both recognise it as Giorgione's work.
+
+[43] To what depths of vulgarity the Venetian School could sink in later
+times, Palma Giovane's "Venus" at Cassel testifies.
+
+[44] _Repertorium für Kunstwissenschaft_. 1896. xix. Band. 6 Heft.
+
+[45] _North American Review_, October 1899.
+
+[46] It was photographed by Braun with this attribution.
+
+[47] Catena has adopted this Giorgionesque conception in his "Judith" in
+the Querini-Stampalia Gallery in Venice.
+
+[48] See _Gazette des Beaux Arts_, 1897, tom, xviii. p. 279.
+
+[49] See _Gazette des Beaux Arts_, 1893, tom. ix. p. 135 (Prof.
+Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and _Repertorium für
+Kunstwissenschaft_, tom. xiv. p. 316 (Herr von Seidlitz).
+
+[50] Crowe and Cavalcaselle, ii. 147.
+
+[51] ii. 217.
+
+[52] Dr. Gronau points this out in _Rep_. xviii. 4, p. 284.
+
+[53] See _Guide to the Italian Pictures_ at Hampton Court, by Mary
+Logan, 1894.
+
+[54] Official Catalogue, and Crowe and Cavalcaselle, ii. 502.
+
+[55] Pater: _The Renaissance_, p. 158.
+
+[56] ii. 219.
+
+[57] The execution of this grotesque picture is probably due to Girolamo
+da Carpi, or some other assistant of Dosso.
+
+[58] Crowe and Cavalcaselle, ii. 292, unaccountably suggested Francesco
+Vecellio (!) as the author.
+
+[59] The subject is derived from a passage in the _De Divinitate_ of
+Cicero, as Herr Wickhoff has pointed out.
+
+[60] See _Venetian Painting at the New Gallery_. 1895.
+
+[61] Unless we are to suppose that Vasari mistook a copy for an
+original.
+
+[62] Francesco Torbido, called "il Moro," born about 1490, and still
+living in 1545. Vasari states that he actually worked under Giorgione.
+Signed portraits by him are in the Brera, at Munich, and Naples. Palma
+Vecchio also deserves serious consideration as possible author of the
+"Shepherd Boy."
+
+[63] Crowe and Cavalcaselle, ii. 144.
+
+[64] Morelli, ii. 212.
+
+[65] See Appendix, p. 123.
+
+[66] Quoted by Morelli, ii. 212, note.
+
+[67] Crowe and Cavalcaselle, ii. 155.
+
+[68] Crowe and Cavalcaselle also cite a portrait in the Casa Ajata at
+Crespano; as I have never seen this piece I cannot discuss it. It was
+apparently unknown to Morelli, nor is it mentioned by other critics.
+
+[69] Morelli, ii. 205.
+
+[70] Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in the
+_Gazette des Beaux Arts_, 1884, p. 286, rightly admits Giorgione's
+authorship.
+
+[71] This sketch is to be found in Van Dyck's note-book, now in
+possession of the Duke of Devonshire at Chatsworth. It is here
+reproduced, failing an illustration of the original picture, which the
+authorities in Venice decline to have made. (A good reproduction has now
+(1903) been made by Anderson of Rome.)
+
+[72] _Archivio Storico_, vi. 409.
+
+[73] Ridolfi tells us Giorgione painted, among a long list of decorative
+pieces, "The Birth of Adonis," "Venus and Adonis embracing," and "Adonis
+killed by the Boar." It is possible he was alluding to these very
+_cassone_ panels.
+
+[74] The other important additions made by Signor Venturi in his recent
+volume, _La Galleria Crespi_, are alluded to _in loco_, further on. I am
+delighted to find some of my own views anticipated in a wholly
+independent fashion.
+
+
+
+
+CHAPTER III
+
+
+INTERMEDIATE SUMMARY
+
+It is necessary for anyone who seeks to recover the missing or
+unidentified works of an artist like Giorgione, first to define his
+conception of the artist based upon a study of acknowledged materials.
+The preceding chapter has been devoted to a survey of the best
+authenticated pictures, the evidence for the genuineness of which is, as
+we have seen, largely a matter of personal opinion. Nevertheless there
+is, on the whole, a unanimity of judgment sufficient to warrant our
+drawing several inferences as to the general character of Giorgione's
+work, and to attempt a chronological arrangement of the twenty-six
+pictures here accepted as genuine.
+
+The first and most obvious fact then to be noted is the amazing variety
+of subjects handled by the master. Religious paintings, whether
+altar-pieces or easel pictures of a devotional character, are
+interspersed with mediaeval allegories, genre subjects, decorative
+_cassone_ panels, portraiture, and purely lyrical "Fantasiestücke,"
+corresponding somewhat with the modern "Landscape with Figures." Truly
+an astonishing range! Giorgione, as we have seen, could not have been
+more than eighteen years in active practice, yet in that short time he
+gained successes in all these various fields. His many-sidedness shows
+him to have been a man of wide sympathies, whilst the astonishing
+rapidity of his development testifies to the precocity of his talent.
+His versatility and his precocity are, in fact, the two most prominent
+characteristics to be borne in mind in judging his art, for much that
+appears at first sight incongruous, if not utterly irreconcilable, can
+be explained on this basis. For versatility and precocity in an artist
+are qualities invariably attended by unevenness of workmanship, as we
+see in the cases of Keats and Schubert, who were gifted with the lyrical
+temperament and powers of expression in poetry and music in
+corresponding measure to Giorgione in painting. It would show want of
+critical acumen to expect from Keats the consistency of Milton, or that
+Schubert should keep the unvarying high level of Beethoven, and it is
+equally unreasonable to exact from Giorgione the uniform excellence
+which characterises Titian. I do not propose at this point to work out
+the comparison between the painter, the musician, and the poet; this
+must be reserved until the final summing-up of Giorgione as artist, when
+we have examined all his work. But this point I do insist on, that from
+the very nature of things Giorgione's art is, and must be, uneven, that
+whilst at times it reaches sublime heights, at other times it attains to
+a level of only average excellence.
+
+And so the criticism which condemns a picture claiming to be Giorgione's
+because "it is not _good_ enough for him," does not recognise the truth
+that for all that it may be _characteristic_, and, consequently,
+perfectly authentic. Modern criticism has been apt to condemn because
+it has expected too much; let us not blind our eyes to the weaknesses,
+even to the failures of great men, who, if they lose somewhat of the
+hero in our eyes, win our sympathy and our love the more for being
+human.
+
+I have spoken of Giorgione's versatility, his precocity, and the natural
+inequality of his work. There is another characteristic which commonly
+exists when these qualities are found united, and that is
+Productiveness. Giorgione, according to all analogy, must have produced
+a mass of work. It is idle to assert, as some modern writers have done,
+that at the utmost his easel pictures could have been but few, because
+most of his short life was devoted to painting frescoes, which have
+perished. It is true that Giorgione spent time and energy over fresco
+painting, and from the very publicity of such work as the frescoes on
+the Fondaco de' Tedeschi, he came to be widely known in this direction,
+but it is infinitely probable that his output in other branches was
+enormous. The twenty-six pictures we have already accepted, plus the
+lost frescoes, cannot possibly represent the sum-total of his artistic
+activities, and to say that everything else has disappeared is, as I
+shall try to show, not correct. We know, moreover, from the Anonimo (who
+was almost Giorgione's contemporary) that many pictures existed in his
+day which cannot now be traced,[75] and if we add these and some of the
+others cited by Vasari and Ridolfi (without assuming that every one was
+a genuine example), it goes to prove that Giorgione did paint a good
+number of easel pictures. But the evidence of the twenty-six themselves
+is conclusive. They illustrate so many different phases, they stand
+sometimes so widely apart, that intermediate links are necessarily
+implied. Moreover, as Giorgione's influence on succeeding artists is
+allowed by all writers, a considerable number of his easel pictures must
+have been in circulation, from which these imitators drew inspiration,
+for he certainly never kept, as Bellini did, a body of assistants and
+pupils to hand on his teaching, and disseminate his style.
+
+Productiveness must then have been a feature of his art, and as so few
+pictures have as yet come to be accepted as genuine, the majority must
+have perished or been lost to sight for the time. That much yet remains
+hidden away in private possession I am fully persuaded, especially in
+England and in Italy, and one day we may yet find the originals of the
+several old copies after Giorgione which I enumerate elsewhere.[76] In
+some cases I believe I have been fortunate enough to detect actually
+missing originals, and occasionally restore to Giorgione pieces that
+parade under Titian's name. Much, however, yet remains to be done, and
+the research work now being systematically conducted in the Venetian
+archives by Dr. Gustav Ludwig and Signor Pietro Paoletti may yield rich
+results in the discovery of documents relating to the master himself,
+which may help us to identify his productions, and possibly confirm some
+of the conjectures I venture to make in the following chapters.[77]
+
+But before proceeding to examine other pictures which I am persuaded
+really emanate from Giorgione himself, let us attempt to place in
+approximate chronological order the twenty-six works already accepted as
+genuine, for, once their sequence is established, we shall the more
+readily detect the lacunae in the artist's evolution, and so the more
+easily recognise any missing transitional pieces which may yet exist.
+
+The earliest stage in Giorgione's career is naturally marked by
+adherence to the teaching and example of his immediate predecessors.
+However precocious he may have been, however free from academic
+training, however independent of the tradition of the schools, he
+nevertheless clearly betrays an artistic dependence, above all, on
+Giovanni Bellini. The "Christ bearing the Cross" and the two little
+pictures in the Uffizi are direct evidence of this, and these,
+therefore, must be placed quite early in his career. We should not be
+far wrong in dating them 1493-5. Carpaccio's influence is also apparent,
+as we have already noticed, and through this channel Giorgione's art
+connects with the more archaic style of Gentile Bellini, Giovanni's
+elder brother. Thus in him are united the quattrocentist tradition and
+the fresher ideals of the cinquecento, which found earliest expression
+in Giambellini's Allegories of about 1486-90. The poetic element in
+these works strongly appealed to Giorgione's sensitive nature, and we
+find him developing this side of his art in the Beaumont "Adoration,"
+and the National Gallery "Epiphany," both of which are clearly early
+productions. But there is a gap of a few years between the Uffizi
+pictures and the London ones, for the latter are maturer in every way,
+and it is clear that the interval must have been spent in constant
+practice. Yet we cannot point with certainty to any of the other
+pictures in our list as standing midway in development, and here it is
+that a lacuna exists in the artist's career. Two or three years,
+possibly more, remain unaccounted for, just at a period, too, when the
+young artist would be most impressionable. I am inclined to think that
+he may have painted the "Birth of Paris" during these years, but we have
+only the copy of a part of the composition to go by, and the statement
+of the Anonimo that the picture was one of Giorgione's early works.
+
+The "Adrastus and Hypsipyle" must also be a youthful production prior to
+1500, and in the direction of portraiture we have the Berlin "Young
+Man," which, for reasons already given, must be placed quite early. It
+is not possible to assign exact dates to any of these works, all that
+can be said with any certainty is that they fall within the last decade
+of the fifteenth century, and illustrate the rapid development of
+Giorgione's art up to his twenty-fourth year.
+
+A further stage in his evolution is reached in the Castelfranco
+"Madonna," the first important undertaking of which we have some record.
+Tradition connects the painting of this altar-piece with an event of the
+year 1504, the death of the young Matteo Costanzo, whose family, so it
+is said, commissioned Giorgione to paint a memorial altar-piece, and
+decorate the family chapel at Castelfranco with frescoes. Certain it is
+that the arms of the Costanzi appear in the picture, but the evidence
+which connects the commission with the death of Matteo seems to rest
+mainly on his alleged likeness to the S. Liberale in the picture, a
+theory, we may remark, which is quite consistent with Matteo being still
+alive. Considering the extraordinary rapidity of the artist's
+development, it would be more natural to place the execution of this
+work a year or two earlier than 1504, but, in any case, we may accept it
+as typical of Giorgione's style in the first years of the century. The
+"Judith" (at St. Petersburg), as we have already seen, probably
+immediately precedes it, so that we get two masterpieces approximately
+dated.
+
+In the field of portraiture Giorgione must have made rapid strides from
+the very first. Vasari states that he painted the portraits of the great
+Consalvo Ferrante, and of one of his captains, on the occasion of their
+visit to the Doge Agostino Barberigo. Now this event presumably took
+place in 1500,[78] so that, at that early date, he seems already to have
+been a portrait painter of repute. Confirmatory evidence of this is
+furnished by the statement of Ridolfi, that Giorgione took the portrait
+of Agostino Barberigo himself.[79] Now the Doge died in 1500, so that if
+Giorgione really painted him, he could not have been more than
+twenty-three years of age at the time, an extraordinarily early age to
+have been honoured with so important a commission; this fact certainly
+presupposes successes with other patrons, whose portraits Giorgione must
+have taken during the years 1495-1500. I hope to be able to identify two
+or three of these, but for the moment we may note that by 1500
+Giorgione was a recognised master of portraiture. The only picture on
+our list likely to date from the period 1500-1504 is the "Knight of
+Malta," the "Young Man" (at Buda-Pesth) being later in execution.[80]
+
+From 1504 on, the rapid rate of progress is more than fully maintained.
+Only six years remain of the artist's short life, yet in that time he
+rose to full power, and anticipated the splendid achievements of
+Titian's maturity some forty years later. First in order, probably, come
+the "Venus" (Dresden) and the "Concert" (Pitti), both showing
+originality of conception and mastery of handling. The date of the
+frescoes on the Fondaco de' Tedeschi is known to be 1507-8,[81] but, as
+nothing remains but a few patches of colour in one spot high up over the
+Grand Canal, we have no visible clue to guide us in our estimate of
+their artistic worth. Vasari's description, and Zanetti's engraving of a
+few fragments (done in 1760, when the frescoes were already in decay),
+go to prove that Giorgione at this period studied the antique,
+"commingling statuesque classicism and the flesh and blood of real
+life."[82]
+
+At this period it is most probable we must place the "Judgment of
+Solomon" (at Kingston Lacy), possibly, as I have already pointed out,
+the very work commissioned by the State for the audience chamber of the
+Council, on which, as we know from documents, Giorgione was engaged in
+1507 and 1508. It was never finished, and the altogether exceptional
+character of the work places it outside the regular course of the
+artist's development. It was an ambitious venture in an unwonted
+direction, and is naturally marked and marred by unsatisfactory
+features. Giorgione's real powers are shown by the "Pastoral Symphony"
+(in the Louvre), and the "Portrait of the Young Man" (at Buda-Pesth),
+productions dating from the later years 1508-10. The "Three Ages" (in
+the Pitti) may also be included, and if Giorgione conceived and even
+partly executed the "Storm calmed by S. Mark" (Venice Academy), this
+also must be numbered among his last works.
+
+Morelli states: "It was only in the last six years of his short life
+(from about 1505-11) that Giorgione's power and greatness became fully
+developed."[83] I think this is true in the sense that Giorgione was
+ever steadily advancing towards a fuller and riper understanding of the
+world, that his art was expanding into a magnificence which found
+expression in larger forms and richer colour, that he was acquiring
+greater freedom of touch, and more perfect command of the technical
+resources of his art. But sufficient stress is not laid, I think, upon
+the masterly achievement of the earlier times; the tendency is to refer
+too much to later years, and not recognise sufficiently the prodigious
+precocity before 1500. One is tempted at times to question the accuracy
+of Vasari's statement that Giorgione died in his thirty-fourth year,
+which throws his birth back only to 1477. Some modern writers disregard
+this statement altogether, and place his birth "before 1477."[84] Be
+this as it may, it does not alter the fact that by 1500 Giorgione had
+already attained in portraiture to the highest honours, and in this
+sphere, I believe, he won his earliest successes. My object in the
+following chapter will be to endeavour to point out some of the very
+portraits, as yet unidentified, which I am persuaded were produced by
+Giorgione chiefly in these earlier years, and thus partly to fill some
+of the lacunae we have found in tracing his artistic evolution.
+
+NOTES:
+
+[75] A list of these is given at p. 138.
+
+[76] _Vide_ List of Works, pp. 124-137.
+
+[77] The results of these archivistic researches are being published in
+the _Repertorium für Kunstwissenschaft_.
+
+[78] For the evidence, see _Magazine of Art_, April 1893.
+
+[79] Meravig, i. 126.
+
+[80] Vasari saw Giorgione's portrait of the succeeding Doge Leonardo
+Loredano (1501-1521).
+
+[81] See Crowe and Cavalcaselle, ii. 141.
+
+[82] Crowe and Cavalcaselle, _ibid_.
+
+[83] ii. 213. We now know that he died in 1510.
+
+[84] Crowe and Cavalcaselle, ii. 119. Bode: _Cicerone_.
+
+
+
+CHAPTER IV
+
+
+ADDITIONAL PICTURES--PORTRAITS
+
+Vasari, in his _Life of Titian_, in the course of a somewhat confused
+account of the artist's earliest years, tells us how Titian, "having
+seen the manner of Giorgione, early resolved to abandon that of Gian
+Bellino, although well grounded therein. He now, therefore, devoted
+himself to this purpose, and in a short time so closely imitated
+Giorgione that his pictures were sometimes taken for those of that
+master, as will be related below." And he goes on: "At the time when
+Titian began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait of a gentleman of the Barberigo family
+who was his friend, and this was considered very beautiful, the
+colouring being true and natural, and the hair so distinctly painted
+that each one could be counted, as might also the stitches[85] in a
+satin doublet, painted in the same work; in a word, it was so well and
+carefully done, that it would have been taken for a picture by
+Giorgione, if Titian had not written his name on the dark ground." Now
+the statement that Titian began to imitate Giorgione at the age of
+eighteen is inconsistent with Vasari's own words of a few paragraphs
+previously: "About the year 1507, Giorgione da Castel Franco, not being
+satisfied with that mode of proceeding (i.e. 'the dry, hard, laboured
+manner of Gian Bellino, which Titian also acquired'), began to give to
+his works an unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian now
+devoted himself to this purpose," etc. In 1507 Titian was thirty years
+old,[86] not eighteen, so that both statements cannot be correct. Now it
+is highly improbable that Titian had already discarded the manner of
+Bellini as early as 1495, at the age of eighteen, and had so identified
+himself with Giorgione that their work was indistinguishable.
+Everything, on the contrary, points to Titian's evolution being anything
+but rapid; in fact, so far as records go, there is no mention of his
+name until he painted the façade of the Fondaco de' Tedeschi in company
+with Giorgione in 1507. It is infinitely more probable that Vasari's
+first statement is the more reliable--viz. that Titian began to adopt
+Giorgione's manner about the year 1507, and it follows, therefore, that
+the portrait of the gentleman of the Barberigo family, if by Titian,
+dates from this time, and not 1495.
+
+[Illustration: _Dixon photo. Collection of the Earl of Darnley, Cobham
+Hall_
+
+PORTRAIT OF A GENTLEMAN]
+
+Now there is a picture in the Earl of Darnley's Collection at Cobham
+Hall which answers pretty closely to Vasari's description. It is a
+supposed portrait of Ariosto by Titian, but it is as much unlike the
+court poet of Ferrara as the portrait in the National Gallery (No. 636)
+which, with equal absurdity, long passed for that of Ariosto, a name now
+wisely removed from the label. This magnificent portrait at Cobham was
+last exhibited at the Old Masters in 1895, and the suggestion was then
+made that it might be the very picture mentioned by Vasari in the
+passage quoted above.[87] I believe this ingenious suggestion is
+correct, and that we have in the Cobham "Ariosto" the portrait of one of
+the Barberigo family said to have been painted by Titian in the manner
+of Giorgione. "Thoroughly Giorgionesque," says Mr. Claude Phillips, in
+his _Life of Titian_, "is the soberly tinted yet sumptuous picture in
+its general arrangement, as in its general tone, and in this respect it
+is the fitting companion and the descendant of Giorgione's 'Antonio
+Broccardo' at Buda-Pesth, of his 'Knight of Malta' at the Uffizi. Its
+resemblance, moreover, is, as regards the general lines of the
+composition, a very striking one to the celebrated Sciarra
+'Violin-Player,' by Sebastiano del Piombo.... The handsome, manly head
+has lost both subtlety and character through some too severe process of
+cleaning, but Venetian art has hardly anything more magnificent to show
+than the costume, with the quilted sleeve of steely, blue-grey satin,
+which occupies so prominent a place in the picture." Its Giorgionesque
+character is therefore recognised by this writer, as also by Dr. Georg
+Gronau, in his recent _Life of Titian_ (p. 21), who significantly
+remarks, "Its relation to the 'Portrait of a Young Man' by Giorgione, at
+Berlin, is obvious."
+
+It is a pity that both these discerning writers of the modern school
+have not gone a little further and seen that the picture before them is
+not only Giorgionesque, but by Giorgione himself. The mistake of
+confusing Titian and Giorgione is as old as Vasari, who, _misled by the
+signature_, naïvely remarks, "It would have been taken for a picture by
+Giorgione if Titian had not written his name on the dark ground (in
+ombra)." _Hinc illae lacrimae!_ Let us look into this question of
+signatures, the ultimate and irrevocable proof in the minds of the
+innocent that a picture must be genuine. Titian's methods of signing his
+well-authenticated works varied at different stages of his career. The
+earliest signature is always "Ticianus," and this is found on works
+dating down to 1522 (the "S. Sebastian" at Brescia). The usual signature
+of the later time is "Titianus," probably the earliest picture with it
+being the Ancona altar-piece of 1520. "Tician" is found only twice. Now,
+without necessarily condemning every signature which does not accord
+with this practice, we must explain any apparent irregularity, such, for
+instance, as the "Titianus F." on the Cobham Hall picture. This form of
+signature points to the period after 1520, a date manifestly
+inconsistent with the style of painting. But there is more than this to
+arouse suspicion. The signature has been painted over another, or
+rather, the F. (= fecit)[88] is placed over an older V, which can still
+be traced. A second V appears further to the right. It looks as if
+originally the balustrade only bore the double V, and that "Titianus F."
+were added later. But it was there in Vasari's day (1544), so that we
+arrive at the interesting conclusion that Titian's signature must have
+been added between 1520 and 1544--that is, in his own lifetime. This
+singular fact opens up a new chapter in the history of Titian's
+relationship to Giorgione, and points to practices well calculated to
+confuse historians of a later time, and enhance the pupil's reputation
+at the expense of the deceased master. Not that Titian necessarily
+appropriated Giorgione's work, and passed it off as his own, but we know
+that on the latter's death Titian completed several of his unfinished
+pictures, and in one instance, we are told, added a Cupid to Giorgione's
+"Venus." It may be that this was the case with the "Ariosto," and that
+Titian felt justified in adding his signature on the plea of something
+he did to it in after years; but, explain this as we may, the important
+point to recognise is that in all essential particulars the "Ariosto" is
+the creation not of Titian, but of Giorgione. How is this to be proved?
+It will be remembered that when discussing whether Giorgione or Titian
+painted the Pitti "Concert," the "Giorgionesque" qualities of the work
+were so obvious that it seemed going out of the way to introduce
+Titian's name, as Morelli did, and ascribe the picture to him in a
+Giorgionesque phase. It is just the same here. The conception is
+typically Giorgione's own, the thoughtful, dreamy look, the turn of the
+head, the refinement and distinction of this wonderful figure alike
+proclaim him; whilst in the workmanship the quilted satin is exactly
+paralleled by the painting of the dress in the Berlin and Buda-Pesth
+portraits. Characteristic of Giorgione but not of Titian, is the oval of
+the face, the construction of the head, the arrangement of the hair.
+Titian, so far as I am aware, never introduces a parapet or ledge into
+his portraits, Giorgione nearly always does so; and finally we have the
+mysterious VV which is found on the Berlin portrait, and
+(half-obliterated) on the Buda-Pesth "Young Man." In short, no one would
+naturally think of Titian were it not for the misleading signature, and
+I venture to hope competent judges will agree with me that the proofs
+positive of Giorgione's authorship are of greater weight than a
+signature which--for reasons given--is not above suspicion.[89]
+
+Before I leave this wonderful portrait of a gentleman of the Barberigo
+family (so says Vasari), a word as to its date is necessary. The
+historian tells us it was painted by Titian at the age of eighteen.
+Clearly some tradition existed which told of the youthfulness of the
+painter, but may we assume that Giorgione was only eighteen at the time?
+That would throw the date back to 1495. Is it possible he can have
+painted this splendid head so early in his career? The freedom of
+handling, and the mastery of technique certainly suggests a rather later
+stage, but I am inclined to believe Giorgione was capable of this
+accomplishment before 1500. The portrait follows the Berlin "Young Man,"
+and may well take its place among the portraits which, as we have seen,
+Giorgione must have painted during the last decade of the century prior
+to receiving his commission to paint the Doge. And in this connection it
+is of special interest to find the Doge was himself a Barberigo. May we
+not conclude that the success of this very portrait was one of the
+immediate causes which led to Giorgione obtaining so flattering a
+commission from the head of the State?
+
+I mentioned incidentally that four repetitions of the "Ariosto" exist,
+all derived presumably from the Cobham original. We have a further
+striking proof of the popularity of this style of portraiture in a
+picture belonging to Mr. Benson, exhibited at the Venetian Exhibition,
+New Gallery, 1894-5, where the painter, whoever he may be, has
+apparently been inspired by Giorgione's original. The conception is
+wholly Giorgionesque, but the hardness of contour and the comparative
+lack of quality in the touch betrays another and an inferior hand.
+Nevertheless the portrait is of great interest, for could we but imagine
+it as fine in execution as in conception we should have an original
+Giorgione portrait before us. The features are curiously like those of
+the Barberigo gentleman.
+
+       *       *       *       *       *
+
+In his recently published _Life of Titian_, Dr. Gronau passes from the
+consideration of the Cobham Hall picture immediately to that of the
+"Portrait of a Lady," known as "La Schiavona," in the collection of
+Signor Crespi in Milan. In his opinion these two works are intimately
+related to one another, and of them he significantly writes thus: "The
+influence of Giorgione upon Titian" (to whom he ascribes both portraits)
+"is evident. The connection can be traced even in the details of the
+treatment and technique. The separate touches of light on the
+gold-striped head-dress which fastens back the lady's beautiful dark
+hair, the variegated scarf thrown lightly round her waist, the folds of
+the sleeves, the hand with the finger-tips laid on the parapet: all
+these details might indicate the one master as well as the other."[90]
+
+The transition from the Cobham Hall portrait to the "Lady" in the Crespi
+Collection is, to my mind, also a natural and proper one. The painter of
+the one is the painter of the other. Tradition is herein also perfectly
+consistent, and tradition has in each case a plausible signature to
+support it. The TITIANVS F. of the former portrait is paralleled by the
+T.V.--i.e. Titianus Vecellio, or Titianus Veneziano of the latter.[91] I
+have already dealt at some length with the question of the former
+signature, which appears to have been added actually during Titian's
+lifetime; in the present instance the letters appear almost, if not
+quite, coeval with the rest of the painting, and were undoubtedly
+intended for Titian's signature. The cases, therefore, are so far
+parallel, and the question naturally arises, Did Titian really have any
+hand in the painting of this portrait? Signor Venturi[92] strongly
+denies it; to him the T.V. matters nothing, and he boldly proclaims
+Licinio the author.
+
+I confess the matter is not thus lightly to be disposed of; there is no
+valid reason to doubt the antiquity of the inscription, which, on the
+analogy of the Cobham Hall picture, may well have been added in
+Titian's own lifetime, and for the same reason that I there
+suggested--viz. that Titian had in some way or other a hand in the
+completion, or may be the alteration, of his deceased master's work.[93]
+For it is my certain conviction that the painter of the Crespi "Lady" is
+none other than Giorgione himself.
+
+Before, however, discussing the question of authorship, it is a matter
+of some moment to be able to identify the lady represented. An old
+tradition has it that this is Caterina Cornaro, and, in my judgment,
+this is perfectly correct.[94] Fortunately, we possess several
+well-authenticated likenesses of this celebrated daughter of the
+Republic. She had been married to the King of Cyprus, and after his
+death had relinquished her quasi-sovereign rights in favour of Venice.
+She then returned home (in 1489) and retired to Asolo, near
+Castelfranco, where she passed a quiet country life, enjoying the
+society of the poets and artists of the day, and reputed for her
+kindliness and geniality. Her likeness is to be seen in three
+contemporary paintings:--
+
+1. At Buda-Pesth, by Gentile Bellini, with inscription.
+
+2. In the Venice Academy, also by Gentile Bellini, who introduces her
+and her attendant ladies kneeling in the foreground, to the left, in his
+well-known "Miracle of the True Cross," dated 1500.
+
+3. In the Berlin Gallery, by Jacopo de' Barbari, where she appears
+kneeling in a composition of the "Madonna and Child and Saints."
+
+[Illustration: _From a print. Pourtalès Collection, Berlin_
+
+MARBLE BUST OF CATERINA CORNARO]
+
+Finally we see Caterina Cornaro in a bust in the Pourtalès Collection at
+Berlin, here reproduced,[95] seen full face, as in the Crespi portrait.
+I know not on what outside authority the identification rests in the
+case of the bust, but it certainly appears to represent the same lady as
+in the above-mentioned pictures, and is rightly accepted as such by
+modern German critics.[96]
+
+[Illustration: _Anderson photo. Crespi Collection, Milan_
+
+PORTRAIT OF CATERINA CORNARO]
+
+To my eyes, we have the same lady in the Crespi portrait. Mr. Berenson,
+unaware of the identity, thus describes her:[97] "Une grande dame
+italienne est devant nous, éclatante de santé et de magnificence,
+énergique, débordante, pleine d'une chaude sympathie, source de vie et
+de joie pour tous ceux qui l'entourent, et cependant réfléchie,
+pénétrante, un peu ironique bien qu'indulgente."
+
+Could a better description be given to fit the character of Caterina
+Cornaro, as she is known to us in history? How little likely, moreover,
+that tradition should have dubbed this homely person the ex-Queen of
+Cyprus had it not been the truth!
+
+Now, if my contention is correct, chronology determines a further point.
+Caterina died in 1510, so that this likeness of her (which is clearly
+taken from life) must have been done in or before the first decade of
+the sixteenth century.[98] This excludes Licinio and Schiavone (both of
+whom have been suggested as the artist), for the latter was not even
+born, and the former--whose earliest known picture is dated 1520--must
+have been far too young in 1510 to have already achieved so splendid a
+result. Palma is likewise excluded, so that we are driven to choose
+between Titian and Giorgione, the only two Venetian artists capable of
+such a masterpiece before 1510.
+
+As to which of these two artists it is, opinions--so far as any have
+been published--are divided. Yet Dr. Gronau, who claims it for Titian,
+admits in the same breath that the hand is the same as that which
+painted the Cobham Hall picture and the Pitti "Concert," a judgment in
+which I fully concur. Dr. Bode[99] labels it "Art des Giorgione."
+Finally, Mr. Berenson, with rare insight proclaimed the conception and
+the spirit of the picture to be Giorgione's.[100] But he asserts that
+the execution is not fine enough to be the master's own, and would rank
+it--with the "Judith" at St. Petersburg--in the category of contemporary
+copies after lost originals. This view is apparently based on the
+dangerous maxim that where the execution of a picture is inferior to the
+conception, the work is presumably a copy. But two points must be borne
+in mind, the actual condition of the picture, and the character of the
+artist who painted it. Mr. Berenson has himself pointed out
+elsewhere[101] that Giorgione, "while always supreme in his conceptions,
+did not live long enough to acquire a perfection of draughtsmanship and
+chiaroscuro equally supreme, and that, consequently, there is not a
+single universally accepted work of his which is absolutely free from
+the reproaches of the academic pedant." Secondly, the surface of this
+portrait has lost its original glow through cleaning, and has suffered
+other damage, which actually debarred Crowe and Cavalcaselle (who saw
+the picture in 1877) from pronouncing definitely upon the authorship.
+The eyes and flesh, they say,[102] were daubed over, the hair was new,
+the colour modern. A good deal of this "restoration" has since been
+removed, but the present appearance of the panel bears witness to the
+harsh treatment suffered years ago. Nevertheless, the original work is
+before us, and not a copy of a lost original, and Mr. Berenson's
+enthusiastic praise ought to be lavished on the actual picture as it
+must have appeared in all its freshness and purity. "Je n'hésiterais
+pas," he declares,[103] "à le proclamer le plus important des portraits
+du maître, un chef-d'oeuvre ne le cédant à aucun portrait d'aucun pays
+ou d'aucun temps."
+
+And certainly Giorgione has created a masterpiece. The opulence of
+Rubens and the dignity of Titian are most happily combined with a
+delicacy and refinement such as Giorgione alone can impart. The intense
+grasp of character here displayed, the exquisite _intimité_, places this
+wonderful creation of his on the highest level of portraiture. There is
+far less of that moody abstraction which awakens our interest in most of
+his portraits, but much greater objective truth, arising from that
+perfect sympathy between artist and sitter, which is of the first
+importance in portrait-painting. History tells us of the friendly
+encouragement the young Castelfrancan received at the hands of this
+gracious lady, and he doubtless painted this likeness of her in her
+country home at Asolo, near to Castelfranco, and we may well imagine
+with what eagerness he acquitted himself of so flattering a commission.
+Vasari tells us that he saw a portrait of Caterina, Queen of Cyprus,
+painted by Giorgione from the life, in the possession of Messer Giovanni
+Cornaro. I believe that picture to be the very one we are now
+discussing.[104] The documents quoted by Signor Venturi[105] do not go
+back beyond 1640, so that it is, of course, impossible to prove the
+identity, but the expression "from the life" (as opposed to Titian's
+posthumous portrait of her) applies admirably to our likeness. What a
+contrast to the formal presentation of the queenly lady, crown and
+jewels and all, that Gentile Bellini has left us in his portrait of her
+now at Buda-Pesth!--and in that other picture of his where she is seen
+kneeling in royal robes, with her train of court ladies, as though
+attending a state function! How Giorgione has penetrated through all
+outward show, and revealed the charm of manner, the delightful
+_bonhomie_ of his royal patroness!
+
+We are enabled, by a simple calculation of dates, to fix approximately
+the period when this portrait was painted. Gentile Bellini's picture of
+"The Miracle of the True Cross" is dated 1500--that is, when Caterina
+Cornaro was forty-six years old (she was born in 1454). In Signor
+Crespi's picture she appears, if anything, younger in appearance, so
+that, at latest, Giorgione painted her portrait in 1500. Thus, again, we
+arrive at the same conclusion, that the master distinguished himself
+very early in his career in the field of portraiture, and the similarity
+in style between this portrait and the Cobham Hall one is accounted for
+on chronological grounds. All things considered, it is very probable
+that this portrait was his earliest real success, and proved a passport
+to the favourable notice of the fashionable society of Venice, leading
+to the commission to paint the Doge, and the Gran Signori, who visited
+the capital in the year 1500. That Giorgione was capable of such an
+achievement before his twenty-fourth year constitutes, we may surely
+admit, his strongest right to the title of Genius.[106]
+
+The Barberigo gentleman and the Caterina Cornaro are comparatively
+unfamiliar, owing to their seclusion in private galleries. Not so the
+third portrait, which hangs in the National Gallery, and which, in my
+opinion, should be included among Giorgione's authentic productions.
+This is No. 636, "Portrait of a Poet," attributed to Palma Vecchio; and
+the catalogue continues: "This portrait of an unknown personage was
+formerly ascribed to Titian, and supposed to represent Ariosto; it has
+long since been recognised as a fine work by Palma." I certainly do not
+know by whom this portrait was first recognised as such, but as the
+transformation was suddenly effected one day under the late Sir Frederic
+Burton's _regime_, it is natural to suppose he initiated it. No one
+to-day would be found, I suppose, to support the older view, and the
+rechristening certainly received the approval of Morelli;[107] modern
+critics apparently acquiesce without demur, so that it requires no
+little courage to dissent from so unanimous an opinion. I confess,
+therefore, it was no small satisfaction to me to find the question had
+been raised by an independent inquirer, Mr. Dickes, who published in the
+_Magazine of Art_, 1893, the results of his investigations, the
+conclusion at which he arrived being that this is the portrait of
+Prospero Colonna, Liberator of Italy, painted by Giorgione in the year
+1500.
+
+Briefly stated, the argument is as follows:--
+
+I. (1) The person represented closely resembles
+       Prospero Colonna (1464-1523), whose authentic
+       likeness is to be seen--
+
+       (_a_) In an engraving in Pompilio Totti's
+            "Ritratti et Elogie di Capitani illustri.
+            Rome, 1635."
+
+       (_b_) In a bust in the Colonna Gallery, Rome.
+
+       (_c_) In an engraving in the "Columnensium
+            Procerum" of the Abbas Domenicus
+            de Santis. Rome, 1675.
+
+(All three are reproduced in the article in question.)
+
+[Illustration: _Hanfstängl photo. National Gallery, London_.
+
+PORTRAIT OF A MAN]
+
+    (2) The description of Prospero Colonna, given
+        by Pompilio Totti (in the above book)
+        tallies with our portrait.
+
+    (3) The accessories in the picture confirm the
+        identity--e.g. the St Andrew's Cross, or
+        saltire, is on the Colonna family banner;
+        the bay, emblem of victory, is naturally
+        associated with a great captain; the rosary
+        may refer to the fact of Prospero's residence
+        as lay brother in the monastery of the
+        Olivetani, near Fondi, which was rebuilt
+        by him in 1500.
+
+II. Admitting the identity of person, chronology
+        determines the probable date of the execution
+        of this portrait, for Prospero visited
+        Venice presumably in the train of Consalvo
+        Ferrante in 1500. He was then thirty-six
+        years of age.
+
+III. Assuming this date to be correct, no other Venetian
+        artist but Giorgione was capable of producing
+        so fine and admittedly "Giorgionesque"
+        a portrait at so early a date.
+
+IV. Internal evidence points to Giorgione's authorship.
+
+It will be seen that the logic employed is identical with that by which
+I have tried to establish the identity of Signor Crespi's picture. In
+the present case, I should like to insist on the fourth consideration
+rather than on the other points, iconographical or chronological, and
+see how far our portrait bears on its face the impress of Giorgione's
+own spirit.
+
+The conception, to begin with, is characteristic of him--the pensive
+charm, the feeling of reserve, the touch of fanciful imagination in the
+decorative accessories, but, above all, the extreme refinement. All this
+very naturally fits the portrait of a poet, and at a time when it was
+customary to label every portrait with a celebrated name, what more
+appropriate than Ariosto, the court poet of Ferrara? But this dreamy
+reserve, this intensity of suppressed feeling is characteristic of all
+Giorgione's male portraits, and is nowhere more splendidly expressed
+than in this lovely figure. 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. Both are
+below the level of Giorgione in refinement; neither ever made of a
+portrait such a thing of sheer beauty as this. If this be Palma's work,
+it stands alone, not only far surpassing his usual productions in
+quality, but revealing him in a wholly new phase; it is a difference not
+of degree, but of kind.
+
+[Illustration: _Anderson photo. Querini-Stampalia Collection, Venice_
+
+PORTRAIT OF A MAN (Unfinished)]
+
+Positive proofs of Giorgione's hand are found in the way the hair is
+rendered--that lovely dark auburn hair so often seen in his work,--in
+the radiant oval of the face, contrasting so finely with the shadows,
+which are treated exactly as in the Cobham picture, only that here the
+chiaroscuro is more masterly, in the delicate modelling of the features,
+the pose of the head, and in the superb colour of the whole. In short,
+there is not a stroke that does not reveal the great master, and no
+other, and it is incredible that modern criticism has not long ago
+united in recognising Giorgione's handiwork.[10
+8]
+
+The date suggested--1500--is also consistent with our own deductions as
+to Giorgione's rapid development, and the distinguished character of his
+sitter--if it be Prospero Colonna--is quite in keeping with the vogue
+the artist was then enjoying, for it was in this very year, it will be
+remembered, that he painted the Doge Agostino Barberigo.
+
+I therefore consider that Mr. Dickes' brilliant conjectures have much to
+support them, and, so far as the authorship is concerned, I
+unhesitatingly accept the view, which he was the first to express, that
+Giorgione, and no other, is the painter. Our National Collection
+therefore boasts, in my opinion, a masterpiece of his portraiture.
+
+If it were not that Morelli, Mr. Berenson and others have recognised in
+the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
+Venice, the same hand as in the National Gallery picture, one might well
+hesitate to claim it for Giorgione, so repainted is its present
+condition. I make bold, however, to include it in my list, and the more
+readily as Signor Venturi definitely assigns it to Giorgione himself,
+whose name, moreover, it has always borne. This unfinished portrait is,
+despite its repaint, extraordinarily attractive, the rich browns and
+reds forming a colour-scheme of great beauty. It cannot compare,
+however, in quality with our National Gallery highly-finished example,
+to which it is also inferior in beauty of conception. These two
+portraits illustrate the variableness of the painter; both were probably
+done about the same time--the one seemingly _con amore_, the other left
+unfinished, as though the artist or his sitter were dissatisfied.
+Certainly the cause could not have been Giorgione's death, for the style
+is obviously early, probably prior to 1500.
+
+The view expressed by Morelli[109] that this may be a portrait of one of
+the Querini family, who were Palma's patrons, has nothing tangible to
+support it, once Palma's authorship is contested. But the unimaginative
+Palma was surely incapable of such things as this and the National
+Gallery portrait!
+
+[Illustration: Collection of the Honourable Mrs. Meynell-Ingram, Temple
+Newsam, Leeds
+
+PORTRAIT OF A MAN]
+
+England boasts, I believe, yet another magnificent original Giorgione
+portrait, and one that is probably totally unfamiliar to connoisseurs.
+This is the "Portrait of an Unknown Man," in the possession of the Hon.
+Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
+ill-executed print of it was published in the _Magazine of Art_, April
+1893, where it was attributed to Titian. Its Giorgionesque character is
+apparent at first glance, and I venture to hope that all those who may
+be fortunate enough to study the original, as I have done, will
+recognise the touch of the great master himself. Its intense expression,
+its pathos, the distant look tinged with melancholy, remind us at once
+of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
+its modelling vividly recalls the central figure of the Pitti "Concert,"
+the painting of sleeve and gloves is like that in the National Gallery
+and Querini-Stampalia portraits just discussed. The general pose is most
+like that of the Borghese "Lady." The parapet, the wavy hair, the
+high cranium are all so many outward and visible signs of Giorgione's
+spirit, whilst none but he could have created such magnificent contrasts
+of colour, such effects of light and shade. This is indeed Giorgione,
+the great master, the magician who holds us all fascinated by his
+wondrous spell.
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_
+
+PORTRAIT OF A MAN]
+
+Last on the list of portraits which I am claiming as Giorgione's, and
+probably latest in date of execution, comes the splendid so-called
+"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
+describe it: "This masterly portrait is one of the noblest creations of
+its kind, finished with a delicacy quite surprising, and modelled with
+the finest insight into the modulations of the human flesh....
+Notwithstanding, the touch and the treatment are utterly unlike
+Titian's, having none of his well-known freedom and none of his
+technical peculiarities. Yet if asked to name the artist capable of
+painting such a likeness, one is still at a loss. It is considered to be
+identical with the portrait mentioned by Ridolfi as that of 'Parma' in
+the collection of B. della Nave (Merav., i. 220); but this is not
+proved, nor is there any direct testimony to show that it is by Titian
+at all."[110]
+
+Herr Wickhoff[111] goes a step further. He says: "Un autre portrait qui
+porte le nom de Titien est également l'une des oeuvres les plus
+remarquables du Musée. On prétend qu'il représente le 'Médecin du
+Titien, Parma'; mais c'est là une pure invention, imaginée par un ancien
+directeur du Musée, M. Rosa, et admise de confiance par ses successeurs.
+M. Rosa avait été amené à la concevoir par la lecture d'un passage de
+Ridolfi. Le costume suffirait à lui seul, pourtant, pour la démentir:
+c'est le costume officiel d'un sénateur vénitien, et qui par suite ne
+saurait avoir été porté par un médecin. Le tableau est incontestablement
+de la même main que les deux 'Concerts' du Palais Pitti et du Louvre,
+qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
+tableaux au Giorgione, c'est à lui aussi qu'il faut attribuer le
+portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
+Palais Pitti au Titien, il faut approuver l'attribution actuelle de
+notre portrait au même maître." I am glad that Herr Wickhoff recognises
+the same hand in all three works. I am sorry that in his opinion this
+should be Domenico Campagnola's. I have already referred to this opinion
+when discussing the Louvre "Concert," and must again emphatically
+dissent from this view. Campagnola, as I know him in his pictures and
+frescoes at Padua,--the only authenticated examples by which to judge
+him,[112]--was utterly inadequate to such tasks. The grandeur and
+dignity of the Vienna portrait is worthy of Titian, whose virility
+Giorgione more nearly approaches here than anywhere else. But I agree
+with the verdict of Crowe and Cavalcaselle that his is not the hand that
+painted it, and believe that the author of the Temple Newsam "Man" also
+produced this portrait, probably a few years later, at the close of his
+career.
+
+NOTES:
+
+[85] Or "points" (_punte_). The translation is that used by Blashfield
+and Hopkins, vol. iv. 260.
+
+[86] Assuming he was born in 1477, which is by no means certain.
+
+[87] Dr. Richter in the _Art Journal_, 1895, p. 90. Mr. Claude Phillips,
+in his _Earlier Work of Titian_, p. 58, note, objects that Vasari's
+"giubone di raso inargentato" is not the superbly luminous steel-grey
+sleeve of this "Ariosto," but surely a vest of satin embroidered with
+silver. I think we need not examine Vasari's casual descriptions quite
+so closely; "a doublet of silvered satin wherein the stitches could be
+counted" is fairly accurate. "Quilted sleeves" would no doubt be the
+tailor's term.
+
+[88] It is not quite clear whether the single letter is F or T.
+
+[89] A curious fact, which corroborates my view, is that the four old
+copies which exist are all ascribed to Giorgione (at Vicenza, Brescia,
+and two lately in English collections). See Crowe and Cavalcaselle, p.
+201.
+
+[90] Gronau: _Tizian_, p. 21.
+
+[91] See, however, note on p. 133.
+
+[92] _La Galleria Crespi_.
+
+[93] The documents quoted by Signor Venturi show the signature was there
+in 1640.
+
+[94] When in the Martinengo Gallery at Brescia (1640) it bore this name.
+See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58.
+
+[95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis
+der Caterina Cornaro_." I am informed the original is now in the
+possession of the German Ambassador at The Hague, and that a plaster
+cast is at Berlin.
+
+[96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtalès
+acquired this bust at Asolo.
+
+[97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901)
+republished in his _Study and Criticism of Italian Art_, vol. i. p. 85.
+
+[98] Titian's posthumous portrait of Caterina is lost. The best known
+copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the
+absurdity of regarding this fancy portrait as a true likeness of the
+long deceased queen. It bears no resemblance whatever to the Buda-Pesth
+portrait, which is the latest of the group.
+
+[99] _Cicerone_, sixth edition.
+
+[100] _Gazette des Beaux Arts_, 1897, pp. 278-9.
+
+[101] _Venetian Painting at the New Gallery_, 1895, p. 41.
+
+[102] _Titian_, ii. 58.
+
+[103] _Gazette des Beaux Arts, loc cit_.
+
+[104] _Life of Giorgione_. The letters T.V. either were added after
+1544, or Vasari did not interpret them as Titian's signature.
+
+[105] _La Galleria Crespi, op. cit_.
+
+[106] The importance of this portrait in the history of the Renaissance
+is discussed, _postea_, p. 113.
+
+[107] ii. 19.
+
+[108] This picture was transferred in 1857 from panel to canvas, but is
+otherwise in fine condition.
+
+[109] Morelli, ii. 19, note.
+
+[110] Crowe and Cavalcaselle: _Titian_, p. 425.
+
+[111] _Gazette des Beaux Arts_, 1893, p. 135.
+
+[112] It is customary to cite the Prague picture of 1525 as his work.
+The clumsy signature CAM was probably intended for Campi, the real
+author, and its genuineness is not above suspicion. It is a curious
+_quid pro quo_.
+
+
+
+
+CHAPTER V
+
+
+ADDITIONAL PICTURES OTHER THAN PORTRAITS
+
+I have now pointed out six portraits which, in my opinion, should be
+included in the roll of genuine Giorgiones. No doubt others will, in
+time, be identified, but I leave this fascinating quest to pass to the
+consideration of other paintings illustrating a different phase of the
+master's art.[113]
+
+We know that the romantic vein in Giorgione was particularly strong,
+that he naturally delighted in producing fanciful pictures where his
+poetic imagination could find full play; we have seen how the classic
+myth and the mediaeval romance afforded opportunities for him to indulge
+his fancy, and we have found him adapting themes derived from these
+sources to the decoration of _cassoni_, or marriage chests. Another
+typical example of this practice is afforded by his "Orpheus and
+Eurydice," in the gallery at Bergamo, a splendid little panel, probably,
+like the "Apollo and Daphne" in the Seminario at Venice, intended as a
+decorative piece of applied art. Although bearing Giorgione's name by
+tradition, modern critics have passed it by presumably on the ground
+that "it is not good enough,"--that fatal argument which has thrown dust
+in the eyes of the learned. As if the artist would naturally expend as
+much care on a trifle of this kind as on the Castelfranco altar-piece,
+or the Dresden "Venus"! Yet what greater beauty of conception, what more
+poetic fancy is there in the "Apollo and Daphne" (which is generally
+accepted as genuine) than in this little "Orpheus and Eurydice"? Nay,
+the execution, which is the point contested, appears to me every whit as
+brilliant, and in preservation the latter piece has the advantage. Not a
+touch but what can be paralleled in a dozen other works--the feathery
+trees against the luminous sky, the glow of the horizon, the splendid
+effects of light and shadow, the impressive grandeur of the wild
+scenery, the small figures in mid-distance, even the cast of drapery and
+shape of limbs are repeated elsewhere. Let anyone contrast the delicacy
+and the glow of this little panel with several similar productions of
+the Venetian school hanging in the same gallery, and the gulf that
+separates Giorgione from his imitators will, I think, be apparent.
+
+[Illustration: _Taramelli photo. Bergamo Gallery_ ORPHEUS AND EURYDICE]
+
+In the same category must be ranked two very small panels in the Gallery
+at Padua (Nos. 42 and 43), attributed with a query to Giorgione. These
+are apparently fragments of some decorative series, of which the other
+parts are missing. The one represents "Leda and the Swan," the other a
+mythological subject, where a woman is seated holding a child, and a
+man, also seated, holds flowers. The latter recalls one of the figures
+in the National Gallery "Epiphany." The charm of these fragments lies in
+the exquisite landscapes, which, in minuteness of finish and loving
+care, Giorgione has nowhere surpassed. The gallery at Padua is thus, in
+my opinion, the possessor of four genuine examples of Giorgione's skill
+as a decorator, for we have already mentioned the larger _cassone_
+pieces[114] (Nos. 416 and 417).
+
+Of greater importance is the "Unknown Subject," in the National Gallery
+(No. 1173), a picture which, like so many others, has recently been
+taken from Giorgione, its author, and vaguely put down to his "School."
+But it is time to protest against such needless depreciation!
+
+In spite of abrasion, in spite of the loss of glow, in spite of much
+that disfigures, nay disguises, the master's own touch, I feel confident
+that Giorgione and no other produced this beautiful picture.[115] Surely
+if this be only school work, we are vainly seeking a mythical master, an
+ideal who never could have existed. What more dainty figures, what more
+delicate hues, what more exquisite feeling could one look for than is
+here to be found? True, the landscape has been renovated, true, the
+Giorgionesque depth and richness is gone, the mellow glow of the
+"Epiphany," which hangs just below, is sadly wanting, but who can deny
+the charm of the picturesque scenery, which vividly recalls the
+landscape backgrounds elsewhere in the master's own work, who can fail
+to admire the natural and unstudied grouping of the figures, the
+artlessness of the whole, the loving simplicity with which the painter
+has done his work? All is spontaneous; the spirit is not that of a
+laborious imitator, painfully seeking "effects" from another's
+inspiration; sincerity and naïveté are too apparent for this to be the
+work of any but a quite young artist, and one whose style is so
+thoroughly "Giorgionesque" as to be none other than the young Giorgione
+himself. In my opinion this is one of his earliest essays into the
+region of romance, painted probably before his twenty-first year,
+betraying, like the little legendary pictures in the Uffizi, a strong
+affinity with Carpaccio.[116]
+
+[Illustration: _Hanfstängl photo. Na. nal Gallery, London_
+
+? THE GOLDEN AGE]
+
+As to the subject many conjectures have been made: Aristotle surrounded
+by emblems illustrating the objects with which his philosophy was
+concerned, an initiation into some mystic rite, the poet musing in
+sadness on the mysteries of life, the philosopher imparting wisdom to
+the young, etc. etc. I believe Giorgione is simply giving us a poetical
+rendering of "The Golden Age," where, like Plato's philosopher-king, the
+seer all-wise and all-powerful holds sway, before whom the arts and
+sciences do homage; in this earthly paradise even strange animals live
+in happy harmony, and all is peace. Such a theme would well have suited
+Giorgione's temperament, and Ridolfi actually tells us that this very
+subject was taken by Giorgione from the pages of Ovid, and adapted by
+him to his own ends.[117] But whether this represents "The Golden Age,"
+or some other allegory or classic story, the picture is completely
+characteristic of all that is most individual in Giorgione, and I
+earnestly hope the slur now cast upon its character by the misleading
+label will be speedily removed.[118] For the public believes more in the
+labels it reads, than the pictures it sees.
+
+Finally, in the "Venus disarming Cupid," of the Wallace collection, we
+have, in my opinion, the wreck of a once splendid Giorgione. In the
+recent re-arrangement of the Gallery, this picture, which used to hang
+in an upstairs room, and was practically unknown, has been hung
+prominently on the line, so that its beauties, and, alas! its defects,
+can be plainly seen. The outlines are often distorted and blurred, the
+Cupid has become monstrous, the delicacy of the whole effaced by
+ill-usage and neglect. Yet the splendour of colour, the cast of drapery,
+the flow of line, proclaims the great master himself. There is no room,
+moreover, for such a mythical compromise as that which is proposed by
+the catalogue, "It stands midway in style between Giorgione and Titian
+in his Giorgionesque phase." No better instance could be adduced of the
+fallacy of perfection implied in the minds of most critics at the
+mention of Giorgione's name; yet if we accept the Louvre "Concert," if
+we accept the Hermitage "Judith," why dispute Giorgione's claim on the
+ground of "weakness of construction"? This "Venus and Cupid" is vastly
+inferior in quality to the Dresden "Venus,"--let us frankly admit
+it,--but it is none the less characteristic of the artist, who must not
+be judged by the standard of his exceptional creations, but by that of
+his normal productions.[119]
+
+[Illustration: _Hanfstängl photo. National Gallery, London_ VENUS AND
+ADONIS]
+
+Just such another instance of average merit is afforded by the "Venus
+and Adonis" of the National Gallery (No. 1123), from which, had not an
+artificial standard of excellence been falsely raised, Giorgione's name
+would never have been removed. I am happily not the first to call
+attention to the propriety of the old attribution, for Sir Edward
+Poynter claims that the same hand that produced the Louvre "Concert" is
+also responsible for the "Venus and Adonis."[120] I fully share this
+opinion. The figures, with their compactly built and rounded limbs, are
+such as Giorgione loved to model, the sweep of draperies and the
+splendid line indicate a consummate master, the idyllic landscape
+framing episodes from the life of Adonis is just such as we see in the
+Louvre picture and elsewhere, the glow and splendour of the whole reveal
+a master of tone and colouring. Some good judges would give the work to
+the young Titian, but it appears too intimately "Giorgionesque" to be
+his, although I admit the extreme difficulty in drawing the line of
+division. Passages in the "Sacred and Profane Love" of the Borghese
+Gallery are curiously recalled, but the National Gallery picture is
+clearly the work of a mature and experienced hand, and not of any young
+artist. In my opinion it dates from about 1508, and illustrates the
+later phase of Giorgione's art as admirably as do the "Epiphany" (No.
+1160) and the "Golden Age" (No. 1173) his earliest style. Between these
+extremes fall the "Portrait" (No. 636), and the "S. Liberale" (No. 269),
+the National Gallery thus affording unrivalled opportunity for studying
+the varying phases of the great Venetian master at different stages of
+his career.
+
+       *       *       *       *       *
+
+We may now pass from the realm of "fancy" subjects to that of sacred
+art--that is, to the consideration of the "Madonnas," "Holy Families,"
+and "Santa Conversazione" pictures, other than those already described.
+The Beaumont "Adoration of the Shepherds," with its variant at Vienna,
+the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony and
+S. Roch," and the Castelfranco altar-piece are the only instances so far
+of Giorgione's sacred art, yet Vasari tells us that the master "in his
+youth painted very many beautiful pictures of the Virgin."
+
+This statement is on the face of it likely enough, for although the
+young Castelfrancan early showed his independence of tradition and his
+preference for the more modern phases of Bellini's art, it is extremely
+probable he was also called upon to paint some smaller devotional
+pieces, such, for instance, as "The Christ bearing the Cross," lately in
+the Casa Loschi at Vicenza.[121] It is noteworthy, all the same, that
+scarcely any "Madonna" picture exists to which his name still attaches,
+and only one "Holy Family," so far as I am aware, is credibly reputed to
+be his work. This is Mr. Benson's little picture, in all respects a
+worthy companion to the Beaumont and National Gallery examples. There is
+even a purer ring about this lovely little "Holy Family," a child-like
+sincerity and a simplicity which is very touching, while for sheer
+beauty of colour it is more enjoyable than either of the others. It may
+not have the depth of tone and mastery of chiaroscuro which make the
+Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
+and daintiness of treatment it is not surpassed by any other of
+Giorgione's works. In its obvious defects, too, it is as thoroughly
+characteristic; it is needless to repeat here what I said when
+discussing the Beaumont and Vienna "Adoration"; the reader who compares
+the reproductions will readily see the same features in both works. Mr.
+Benson's little picture has this additional interest, that more than
+either of its companion pieces it points forward to the Castelfranco
+"Madonna" in the bold sweep of the draperies, the play of light on
+horizontal surfaces, and the exquisite gaiety of its colour.
+
+
+[Illustration: _Hanfstängl photo. Vienna Gallery_ THE "GIPSY" MADONNA]
+
+In claiming this picture for Giorgione I am claiming nothing new, for
+his name, in spite of modern critics, has here persistently survived.
+Not so with a group of three Madonnas, one of which has for at least two
+centuries borne Titian's name, another which passes also for a work of
+the same painter, whilst the third was claimed by Crowe and
+Cavalcaselle again for Titian, partly on the analogy of the
+first-mentioned one.[122] The first is the so-called "Gipsy Madonna" in
+the Vienna Gallery, the second is a "Madonna" in the Bergamo Gallery,
+and the third is a "Madonna" again in Mr. Benson's collection.
+
+I am happily not the first to identify the "Gipsy Madonna" as
+Giorgione's work, for it requires no little courage to tilt at what has
+been unquestioningly accepted as "the earliest known Madonna of Titian."
+I am indebted, therefore, to Signor Venturi for the lead,[123] although
+I have the satisfaction of feeling that independent study of my own had
+already brought me to the same conclusion.
+
+Of course, all modern writers have recognised the "Giorgionesque"
+elements in this supposed Titian. "In the depth, strength, and richness
+of the colour-chord, in the atmospheric spaciousness and charm of the
+landscape background, in the breadth of the draperies, it is already,"
+says Mr. Claude Phillips,[124] "Giorgionesque." Yet, he goes on, the
+Child is unlike Giorgione's type in the Castelfranco and Madrid
+pictures, and the Virgin has a less spiritualised nature than
+Giorgione's Madonnas in the same two pictures. On the other hand, Dr.
+Gronau, Titian's latest biographer, declares[125] that the thoughtful
+expression ("der tief empfundene Ausdruck") of the Madonna is
+essentially Giorgionesque. Morelli, with peculiar insight, protested
+against its being considered a very _early_ work of Titian, basing his
+protest on the advanced nature of the landscape, which, he says,[126]
+"must have been painted six or eight years later than the end of the
+fifteenth century." But even he fell into line with Crowe and
+Cavalcaselle in ascribing the picture to Titian, failing to see that all
+difficulties of chronology and discrepancies of judgment between himself
+and the older historians could be reconciled on the hypothesis of
+Giorgione's authorship. For Giorgione, as Morelli rightly saw, developed
+far more rapidly than Titian, so that a Titian landscape of, say, 1506-8
+(if any such exist!) would correspond with one by Giorgione of, say,
+1500. I agree with Crowe and Cavalcaselle and those writers who date
+back the "Gipsy Madonna" to the end of the fifteenth century, but I must
+emphatically support Signor Venturi in his claim that Giorgione is the
+author.
+
+Before, however, looking at internal evidence to prove this contention,
+we may note that another example of the same composition exists in the
+Gallery of Rovigo, identical save for a cartellino on which is inscribed
+TITIANVS. To Crowe and Cavalcaselle this was evidence to confirm
+Titian's claim to be the painter of what they considered the original
+work--viz. the Vienna picture, of which the Rovigo example was, in their
+opinion, a later copy. A careful examination, however, of the latter
+picture has convinced me that they were curiously right and curiously
+wrong. That the Rovigo work is posterior to the Vienna one is, I think,
+patent to anyone conversant with Venetian painting, but why should the
+one bear Titian's name on an apparently authentic cartellino, and not
+the other? The simple and straightforward explanation appears the
+best--viz. that the Rovigo picture is actually by Titian, who has taken
+the Vienna picture (which I attribute to Giorgione) as his model and
+directly repeated it. The qualities of the work are admirable, and
+worthy of Titian, and I venture to think this "Madonna" would long ago
+have taken its rightful place among the pictures of the master had it
+not hung in a remote provincial gallery little visited by travellers,
+and in such a dark corner as to escape detection. The form TITIANVS
+points to a period after 1520,[127] when Giorgione had been some years
+dead, so that it was not unnatural that in after times the credit of
+invention rested with the author of the signed picture, and that his
+name came gradually to be attached also to the earlier example. The
+engraving of Meyssen (_circa_ 1640) thus bears Titian's name, and both
+engraving and the repetition at Rovigo are now adduced as evidence of
+Titian's authorship of the Vienna "Gipsy Madonna."
+
+But is there any proof that Titian ever copied or repeated any other
+work of Giorgione? There is, fortunately, one great and acknowledged
+precedent, the "Venus" in the Tribune of the Uffizi, which is _directly_
+taken from Giorgione's Dresden "Venus," The accessories, it is true, are
+different, but the nude figures are line for line identical.[128] Other
+painters, Palma, Cariarli, and Titian, elsewhere, derived inspiration
+from Giorgione's prototype, but Titian actually repeats the very figure
+in this "Venus"; so that there is nothing improbable in my contention
+that Titian also repeated Giorgione's "Gipsy Madonna," adding his
+signature thereto, to the confusion and confounding of later
+generations.
+
+[Illustration: _Dixon photo. Collection of Mr. R.H. Benson, London_
+
+MADONNA AND CHILD]
+
+It is worthy of note that not a single "Madonna and Child" by Titian
+exists, except the little picture in Mr. Mond's collection, painted
+quite in the artist's old age. Titian invariably paints "Madonna and
+Saints," or a "Holy Family," so that the three Madonna pictures I am
+claiming for Giorgione are marked off by this peculiarity from the bulk
+of Titian's work. This in itself is not enough to disqualify Titian, but
+it is a factor in that cumulative proof by which I hope Giorgione's
+claim may be sustained. The marble parapet again is a feature in
+Giorgione's work, but not in Titian's. But the most convincing evidence
+to those who know the master lies in the composition, which forms an
+almost equilateral triangle, revealing Giorgione's supreme sense of
+beauty in line. The splendid curves made by the drapery, the pose of the
+Child, so as to obtain the same unbroken sweep of line, reveals the
+painter of the Dresden "Venus." The painting of the Child's hand over
+the Madonna's is precisely as in the Madrid picture, where, moreover,
+the pose of the Child is singularly alike. The folds of drapery on the
+sleeve recur in the same picture, the landscape with the small figure
+seated beneath the tree is such as can be found in any Giorgione
+background. The oval of the face and the delicacy of the features are
+thoroughly characteristic, as is the spirit of calm reverie and tender
+simplicity which Giorgione has breathed into his figures.
+
+The second and third Madonna pictures--viz. the one at Bergamo, and its
+counterpart in Mr. Benson's collection--appear to be somewhat later in
+date of execution, but reveal many points in common with the "Gipsy
+Madonna." The beauty of line is here equally conspicuous; the way the
+drapery is carried out beyond the elbow so as to form one long unbroken
+curve, the triangular composition, the marble parapet, are so many
+proofs of Giorgione's hand. Moreover, we find in Mr. Benson's picture
+the characteristic tree-trunks, so suggestive of solemn grandeur,[129]
+and the striped scarf,[130] so cunningly disposed to give more flowing
+line and break the stiffness of contour.
+
+The Bergamo picture closely resembles Mr. Benson's "Madonna," from
+which, indeed, it varies chiefly in the pose of the Child (whose left
+leg here sticks straight out), whilst the landscape is seen on the left
+side, and there are no tree-trunks. I cannot find that any writer has
+made allusion to this little gem, which hangs high up on the end wall of
+the Lochis section of the gallery (No. 232); I hope others will examine
+this new-found work at a less inconvenient height, as I have done, and
+that their opinion will coincide with mine that the same hand painted
+the Benson "Madonna," and that that hand is Giorgione's.
+
+Before quitting the subject of the "Madonna and Child," another example
+may be alluded to, about which it would be unwise to express any decided
+opinion founded only on a study of the photograph. This is a picture at
+St. Petersburg, to which Mr. Claude Phillips first directed
+attention,[131] stating his then belief that it might be a genuine
+Giorgione. After a recent visit to St. Petersburg, however, he has seen
+fit to register it as a probable copy after a lost original by the
+master, on the ground that "it is not fine enough in execution."[132]
+This, as I have often pointed out, is a dangerous test to apply in
+Giorgione's case, and so the authenticity of this "Madonna" may still be
+left an open question.
+
+Finally, in the category of Sacred Art come two well-known pictures,
+both in public galleries, and both accredited to Giorgione. The first is
+the "Christ and the Adulteress" of the Glasgow Gallery, the second the
+"Madonna and Saints" of the Louvre. Many diverse opinions are held about
+the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
+It is asserted by some that the same hand painted the Kingston Lacy
+"Judgment of Solomon," but that it is not the hand of Giorgione, and
+finally--to come to the view which I believe is the correct one--Dr.
+Bode and Sir Walter Armstrong[133] both believe that Giorgione is the
+painter.
+
+[Illustration: _Hanfstängl photo. Glasgow Gallery_ THE ADULTERESS
+BEFORE CHRIST]
+
+The whole difficulty, as it seems to me, arises from the deep-rooted
+misapprehension in the minds of most critics of the character of
+Giorgione's art. In their eyes, he is something so perfect as to be
+incapable of producing anything short of the ideal. He could never have
+drawn so badly, he never could have composed so awkwardly, he never
+could have been so inexpressive!--such is the usual criticism. I have
+elsewhere insisted upon the unevenness which invariably characterises
+the productions of men who are gifted with a strong artistic
+temperament, and in Giorgione's case, as I believe, this is particularly
+true. The Glasgow picture is but one instance of many where, if
+correctness of drawing, perfection of composition, and inevitableness of
+expression are taken as final tests, the verdict must go against the
+painter. He either failed in these cases to come up to the standard
+reached elsewhere, or he is not the painter. Modern negative criticism
+generally adopts the latter solution, with the result that not a score
+of pictures pass muster, and the virtues of these chosen few are so
+extolled as to make it all but impossible to see the reverse of the
+medal. But those who accept the "Judith" at St. Petersburg, the Louvre
+"Concert," the Beaumont "Adoration of the Shepherds" (to name only three
+examples where the drawing is strange), cannot consistently object to
+admit the Glasgow "Christ and the Adulteress" into the fold. Nay, if
+gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
+brilliancy of technique are qualities which go to make up great
+painting, then the Glasgow picture must take high rank, even in a school
+where such qualities found their grandest expression.
+
+[Illustration: _The Louvre, Paris_
+
+MADONNA AND SAINTS]
+
+Comparisons of detail may be noted, such as the resemblance in posture
+and type of the Accuser with the S. Roch of the Madrid picture, the
+figure of the Adulteress with that of the False Mother in the Kingston
+Lacy picture, the pointing forefingers, the typical landscape, the cast
+of the draperies, details which the reader can find often repeated
+elsewhere. But it is in the treatment of the subject that the most
+characteristic features are revealed. The artist was required--we know
+not why--to paint this dramatic scene; he had to produce a "set piece,"
+where action and graphic representation was urgently needed. How little
+to his taste! How uncongenial the task! The case is exactly paralleled
+by the "Judgment of Solomon," the only other dramatic episode Giorgione
+appears to have attempted, and the result in each case is the same--no
+real dramatic unity, but an accidental arrangement of the figures, with
+rhetorical action. The want of repose in the Christ offends, the
+stageyness of the whole repels. How different when Giorgione worked _con
+amore_! For it seems this composition gave him much trouble. Of this we
+have a most interesting proof in an almost contemporary Venetian version
+of the same subject, where the scheme has been recast. This picture
+belongs to Sir Charles Turner, in London, and, so far as
+intelligibleness of composition goes, may be said to be an improvement
+on the Glasgow version. It is highly probable that this painting derives
+from some alternative drawing for the original picture. That the Glasgow
+version acquired some celebrity we have further proof in an almost exact
+copy (with one more figure added on the right), which hangs in the
+Bergamo Gallery under Cariani's name, a painting which, in all respects,
+is utterly inferior to the original.[134]
+
+The "Christ and the Adulteress," then, becomes for us a revelation of
+the painter's nature, of his methods and aims; but, with all its
+technical excellences, shall we not also frankly recognise the
+limitations of his art?[135]
+
+The "Madonna and Saints" of the Louvre, which persistently bears
+Giorgione's name, in spite of modern negative criticism, is marked by a
+lurid splendour of colour and a certain rough grandeur of expression,
+well calculated to jar with any preconceived notion of Giorgionesque
+sobriety or reserve. Yet here, if anywhere, we get that _fuoco
+Giorgionesco_ of which Vasari speaks, that intensity of feeling,
+rendered with a vivacity and power to which the artist could only have
+attained in his latest days. In this splendid group there is a masculine
+energy, a fulness of life, and a grandeur of representation which
+carries _le grand style_ to its furthest limits, and if Giorgione
+actually completed the picture before his death, he anticipated the full
+splendour of the riper Renaissance. To him is certainly due the general
+composition, with its superb lines, its beautiful curves, its majestic
+and dignified postures, its charming sunset background, to him is
+certainly due the splendid chiaroscuro and magic colour-chord; but it
+becomes a question whether some of the detail was not actually finished
+by Giorgione's pupil, Sebastiano del Piombo.[136] The drawing, for
+instance, of the hands vividly suggests his help, the type of S. Joseph
+in the background reminds us of the figure of S. Chrysostom in
+Sebastiano's Venice altar-piece, while the S. Catherine recalls the
+Angel in Sebastiano's "Holy Family" at Naples. If this be the case, we
+here have another instance of the pupil finishing his master's work, and
+this time probably after his death, for, as already pointed out, the
+"Evander and Aeneas" (at Vienna) must have been left by Giorgione
+well-nigh complete at an earlier stage than the year of his death.
+
+That Sebastiano stood in close relation to his master, Giorgione, is
+evidenced not only by Vasari's statement, but by the obvious dependence
+of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque
+models. Moreover, the "Violin Player," formerly in the Sciarra Palace,
+at once reminds us of the "Barberigo" portrait at Cobham, while the
+"Herodias with the Head of John Baptist," dated 1510, now in the
+collection of Mr. George Salting, shows conclusively how closely related
+were the two painters in the last year of Giorgione's life. Sebastiano
+was twenty-five years of age in 1510, and appears to have worked under
+Giorgione for some time before removing to Rome, which he did on, or
+shortly before, his master's death. His departure left Titian, his
+associate under Giorgione, master of the field; he, too, had a hand in
+finishing some of the work left incomplete in the atelier, and his
+privilege it became to continue the Giorgionesque tradition, and to
+realise in utmost perfection in after years the aspirations and ideals
+so brilliantly anticipated by the young genius of Castelfranco.[137]
+
+NOTES:
+
+[113] The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of
+Cordova, Giovanni Borgherini and his tutor, Luigi Crasso, and others,
+are mentioned as having sat to Giorgione for their portraits. Modern
+criticism has recently distributed several "Giorgionesque" portraits in
+English collections among Licinio, Lotto, and even Polidoro! But this
+disintegrating process may be, and has been, carried too far.
+
+[114] Two more small works may be mentioned which may tentatively be
+ascribed to Giorgione. "The Two Musicians," in the Glasgow Gallery
+(recently transferred to Campagnola), and a "Sta. Justina" (known to me
+only from a photograph), which has passed lately into the collection of
+Herr von Kauffmann at Berlin.
+
+Signor Venturi (_L'Arte_, 1900) has just acquired for the National
+Gallery in Rome a "St. George slaying the Dragon." Judging only from the
+photograph, I should say he is correct in his identification of this as
+Giorgione's work. It seems to be akin to the "Apollo and Daphne," and
+"Orpheus and Eurydice."
+
+[115] I am pleased to find Signor Venturi has anticipated my own
+conclusion in his recently published _La Galleria Crespi_.
+
+[116] Mr. Cosmo Monkhouse (_In the National Gallery_, p. 223) has
+already rightly recognised the same hand in this picture and in the
+"Epiphany" hanging just below.
+
+[117] Meravig, i. 124.
+
+[118] By a happy accident the new "Giorgione" label, intended for the
+"Epiphany," No. 1160, was for some time affixed to No. 1173.
+
+[119] When in the Orleans Gallery the picture was engraved under
+Giorgione's name by de Longueil and Halbon.
+
+[120] New illustrated edition of the National Gallery Catalogue, 1900.
+
+[121] Now in America, in Mrs. Gardner's Collection.
+
+[122] Crowe and Cavalcaselle: _Titian_, i. p. III. This picture was then
+at Burleigh House.
+
+[123] See _La Galleria Crespi_, 1900.
+
+[124] _The Earlier Work of Titian_ p. 24. _Portfolio_, October 1897.
+
+[125] _Tizian_, p. 16.
+
+[126] Morelli, ii. 57, note.
+
+[127] See _antea_, p. 71.
+
+[128] With the exception of the right arm, which Titian has let fall,
+instead placing it behind the head of the sleeping goddess. The effect
+of the beautiful curve is thereby lost, and Titian shows himself
+Giorgione's inferior in quality of line.
+
+[129] As in the "Aeneas and Evander" (Vienna), the "Judith" (St.
+Petersburg), the Madrid "Madonna and Saints," etc.
+
+[130] As in the "Caterina Cornare" of the Crespi collection at Milan.
+
+[131] _Magazine of Art_. July 1895.
+
+[132] _North American Review_. October 1899.
+
+[133] _Magazine of Art_, 1890, pp. 91 and 138.
+
+[134] The small divergencies of detail in the dress of the "Adulteress,"
+etc., are just such as an imitator might have ventured to make. The hand
+and arm of the Christ have, however, been altered for the better.
+
+[135] This is the first time in Venetian art that the subject appears.
+It is frequently found later.
+
+[136] Cariani is by some made responsible for the whole picture. A
+comparison with an authentic example hanging (in the new arrangement of
+the Long Gallery), close by, ought surely to convince the advocates of
+Cariani of their mistake.
+
+[137] Morto da Feltre is mentioned by Vasari as having assisted
+Giorgione in the decoration of the Fondaco de' Tedeschi. This was in
+1508. Otherwise, we know of no pupils or assistants employed by the
+master, a fact which goes to show that his influence was felt, not so
+much through any personal teaching, as through his work.
+
+
+
+
+CHAPTER VI
+
+GIORGIONE'S ART, AND PLACE IN HISTORY
+
+
+The examination in detail of all those pictures best entitled, on
+internal evidence, to rank as genuine productions of Giorgione has
+incidentally revealed to us much that is characteristic of the man
+himself. We started with the axiom that a man's work is his best
+autobiography, and where, as in Giorgione's case, so little historical
+or documentary record exists, such indications of character as may be
+gleaned from a study of his life's work become of the utmost value. _Le
+style c'est l'homme_ is a saying eminently applicable in cases where, as
+with Giorgione, the personal element is strongly marked. The subject, as
+we have seen over and over again, is so highly charged with the artist's
+mood, with his individual feelings and emotions, that it becomes
+unrecognisable as mere illustration, and the work passes by virtue of
+sheer inspiration into the higher realms of creative art. Such fusion of
+personality and subject is the characteristic of lyrical art, and in
+this domain Giorgione is a supreme master. His genius, as Morelli
+rightly pointed out, is essentially lyrical in contradistinction to
+Titian's, which is essentially dramatic. Take the epithets that we have
+constantly applied to his pictures in the course of our survey, and see
+how they bear out this statement--epithets such as romantic, fantastic,
+picturesque, gay, or again, delicate, refined, sensitive, serene, and
+the like; these bear witness to qualities of mind where the keynote is
+invariably exquisite feeling. Giorgione was, in fact, what is commonly
+called a poet-painter, gifted with the artistic temperament to an
+extraordinary degree, essentially impulsive, a man of moods. It is
+inevitable that such a man produces work of varying merit; inequality
+must be a characteristic feature of his art. In less fortunate
+circumstances than those in which Giorgione was placed, such
+temperaments as his become peevish, morose, morbid; but his lines were
+cast in pleasant places, and his moods were healthy, joyous, and serene.
+He does not concern himself with the tragedy of life, with its pathos or
+its disappointments. In his two renderings of "Christ bearing the
+Cross"[138]--the only instances we have of his portrayal of the Man of
+Sorrows--he appeals more to our sense of the dignity of humanity, and to
+the nobility of the Christ, than to our tenderer sympathies. How
+different from the pathetic Pietàs of his master, Giambellini! This
+shrinking from pain and sorrow, this dislike to the representation of
+suffering is, however, as much due to the natural gaiety and elasticity
+of youth as to the happy accident of his surroundings. We must never
+forget that Giorgione's whole achievement was over at an age when some
+men's life-work has hardly begun. The eighteen years of his activity
+were what we sometimes call the years of promise, and he must not be
+judged as we judge a Titian or a Michel Angelo. He is the wonderful
+youth, full of joyous aspirations, gilding all he touches with the
+radiance of his spirit. His pictures, suffused with a golden glow, are
+the reflection of his sunny life; the vividness and intensity of his
+passion are expressed in the gorgeousness of his colours.
+
+I have elsewhere dwelt upon the precocity of Giorgione's talent, with
+its accompanying qualities of versatility, inequality, and
+productiveness, and I have pointed out the analogous phenomena in music
+and poetry. Giorgione, Schubert, and Keats are alike in temperament and
+quality of expression. They are curiously alike in the shortness of
+their lives,[139] and the fever-heat of their production. But they are
+strangely distinct in the manner of their lives. The disparity of
+outward circumstances accounts for the healthy tone of Giorgione's art,
+when contrasted with the morbid utterances of Keats. Schubert suffered
+privations and poverty, and his song was wrung from him alike at moments
+of inspiration and of necessity. But Giorgione is all aglow with natural
+energy; he suffered no restraints, nor is his art forced or morbid.
+Confine his spirit, check the play of his fancy, set him a task
+prescribed by convention or hampered by conditions, and you get proof of
+the fretfulness, the impatience of restraint which the artist felt. The
+"Judgment of Solomon" and "The Adulteress before Christ," the only two
+"set" pieces he ever attempted, eloquently show how he fell short when
+struggling athwart his genius. For to register a fact was utterly
+foreign to his nature; he records an impression, frankly surrendering
+his spirit to the sense of joy and beauty. He is not seldom incoherent,
+and may even grow careless, but in power of imagination and exuberance
+of fancy he is always supreme.
+
+In one respect, however, Giorgione shows himself a greater than Schubert
+or Keats. He has a profounder insight into human nature in its varying
+aspects than either the musician or the poet. He is less a visionary,
+because his experience of men and things is greater than theirs; his
+outlook is wider, he is less self-centred. This power of grasping
+objective truth naturally shows itself most readily in the portraits he
+painted, and it was due to the force of circumstances, as I believe,
+that this faculty was trained and developed. Had Giorgione lived aloof
+from the world, had not his natural reticence and sensitiveness been
+dominated by outside influences, he might have remained all his life
+dreaming dreams, and seeing visions, a lyric poet indeed, but not a
+great and living, influence in his generation. Yet such undoubtedly he
+was, for he effected nothing short of a revolution in the contemporary
+art of Venice. Can the same be said of Schubert or Keats? The truth is
+that Giorgione had opportunities of studying human nature such as the
+others never enjoyed; fortune smiled upon him in his earliest years, and
+he found himself thrust into the society of the great, who were eager to
+sit to him for their portraits. How the young Castelfrancan first
+achieved such distinction is not told us by the historians, but I have
+ventured to connect his start in life with the presence of the ex-Queen
+of Cyprus, Caterina Cornaro, at Asolo, near Castelfranco; I think it
+more than probable that her patronage and recommendation launched the
+young painter on his successful career in Venice. Certain it is that he
+painted her portrait in his earlier days, and if, as I have sought to
+prove, Signor Crespi's picture is the long-lost portrait of the great
+lady, we may well understand the instant success such an achievement
+won.
+
+Here, if anywhere, we get Giorgione's great interpretative qualities,
+his penetration into human nature, his reading of character. It is an
+astonishing thing for one so young to have done, explicable
+psychologically on the existence of a lively sympathy between the great
+lady and the poet-painter. Had we other portraits of the fair sex by
+Giorgione, I venture to think we should find in them his reading of the
+human soul even more plainly evidenced than in the male portraits we
+actually possess.[140] For it is clear that the artist was
+"impressionable," and he would have given us more sympathetic
+interpretations of the fair sex than those which Titian has left us. The
+so-called "Portrait of the Physician Parma" (at Vienna) is another
+instance of Giorgione's grasp of character, the virility and suppressed
+energy being admirably seized, the conception approaching more nearly to
+Titian's in its essential dignity than is usually the case with
+Giorgione's portraits. It is a matter of more regret, therefore, that
+the likenesses of the Doges Agostino Barberigo and Leonardo Loredano are
+missing, for in them we might have had specimens of work comparable to
+the Caterina Cornaro, which, in my opinion at all events, is Giorgione's
+masterpiece of portraiture.
+
+I have given reasons elsewhere for dating this portrait at latest 1500.
+It is probably anterior by a few years to the close of the century. This
+deduction, if correct, has far-reaching consequences: it becomes
+actually the first _modern_ portrait ever painted, for it is the
+earliest instance of a portrait instinct with the newer life of the
+Renaissance. And this brings us to the question: What was Giorgione's
+relation to that great awakening of the human spirit which we call the
+Renaissance? Mr. Berenson answers the question thus: "His pictures are
+the perfect reflex of the Renaissance at its height."[141] If this be
+taken to mean that Giorgione _anticipated_ the aspirations and ideals of
+the riper Renaissance, I think we may acquiesce in the phrase; but that
+the onward movement of this great revival coincided only with the
+artist's years, and culminated at his death, is not historically
+correct. The wave had not reached its highest point by the year 1510,
+and Titian was yet to rise to a fuller and grander expression of the
+human soul. But Giorgione may rightly be called the Herald of the
+Renaissance, not only by virtue of the position he holds in Venetian
+painting, but by priority of appearance on the wider horizon of Italian
+Art.
+
+Let us take the four great representative exponents of Italian Art at
+its best, Raphael, Correggio, Leonardo, and Michel Angelo.
+Chronologically, Giorgione precedes Raphael and Correggio, though
+Leonardo and Michel Angelo were born before him.[142] But had either of
+the latter proclaimed a new order of things as early as 1495? Michel
+Angelo was just twenty years old, and he had not yet carved his "Pietà"
+for S. Peter's. Leonardo, a man of forty-three, had not completed his
+"Cenacolo," and the "Mona Lisa" would not be created for another five or
+six years. Giorgione's "Caterina Cornaro," therefore, becomes the first
+masterpiece of the earlier Renaissance, and proclaims a revolution in
+the history of portraiture. In Venice itself we have only to look at the
+contemporary portraits by Alvise Vivarini and Gentile Bellini, and at
+the slightly earlier busts by Antonello da Messina, to see what a world
+of difference in feeling and interpretation there is between them and
+Giorgione's portraits. What a splendid array of artistic triumphs must
+have sprung up around this masterpiece! The Cobham portrait and the
+National Gallery "Poet" are alone left us in much of their pristine
+splendour, but what of the lost portraits of the great Consalvo and of
+the Doge Agostino Barberigo, both of which must date from the year 1500?
+
+Giorgione is then the Herald of the Renaissance, and never did genius
+arise in more fitting season. It was the right psychological moment for
+such a man, and Giorgione "painted pictures so perfectly in touch with
+the ripened spirit of the Renaissance that they met with the success
+which those things only find that at the same moment wake us to the
+full sense of a need and satisfy it."[143] This is the secret of his
+overwhelming influence on succeeding painters in Venice,--not, indeed,
+on his direct pupil Sebastiano del Piombo, and on his friend and
+associate Titian (who may fairly be called his pupil), but on such
+different natures as Lotto, Palma, Bonifazio, Bordone, Pordenone,
+Cariani, Romanino, Dosso Dossi, and a host of smaller men. The School of
+Giorgione numbers far more adherents than even the School of Leonardo,
+or the School of Raphael, not because of any direct teaching of the
+master, but because the "Giorgionesque" spirit was abroad, and the taste
+of the day required paintings like Giorgione's to satisfy it. But as no
+revolution can be effected without a struggle, and as there are
+invariably people opposed to any reform, whether in art or in anything
+else, we need not be surprised to find the academic faction, represented
+by the aged Giambellini and his pupils, resisting the progress of the
+Newer Art. In Giorgione's own lifetime, the exact measure of the
+opposition is not easy to gauge, but it bore fruit a few years later in
+the machinations of the official Bellinesque party to keep Titian out of
+the Ducal Palace when he was seeking State recognition,[144]
+Nevertheless, Giambellini, even at his age, found it advisable to
+modulate into the newer key, as may be seen in his "S. Giovanni
+Crisostomo enthroned," where not only is the conception lyrical and the
+treatment romantic, but the actual composition is on the lines of the
+essentially Giorgionesque equilateral triangle. This great altar-piece
+was painted three years after Giorgione's death, and no more splendid
+testimonial to the young painter's genius could be found than in the
+forced homage thus paid to his memory by the octogenarian
+Giambellini.[145]
+
+We have already, in the course of our survey of Giorgione's pictures,
+noted the points wherein he was an initiator. "Genre subjects," and
+"Landscape with figures," as we should say nowadays, found in him their
+earliest exponent. Before him artists had, indeed, painted figures with
+a landscape background, but the perfect blend of Nature and human nature
+was his achievement. This was accomplished by artistic means of the
+simplest, yet irresistibly subtle in their appeal. The quality of line
+and the sensuousness of colour nowhere cast their spells over us more
+strangely than in Giorgione's pictures, and by these means he wrought
+"effects" such as no artist has surpassed. In these purely pictorial
+qualities he is supreme, and claims place with the few quintessential
+artists of the world; to him may be applied by analogy the phrase that
+Liszt applied to Schubert, "Le musicien le plus poète que jamais."
+
+As an instrument of expression, then, colour is used by Giorgione more
+naturally and effectively than it is by any of the Venetian painters. It
+appeals directly to our senses, like rare old stained glass, and seems
+to be of the very essence of the object itself. An engraving or
+photograph after such a picture as the Louvre "Pastoral Symphony" fails
+utterly to convey the sense of exhilaration one feels in presence of
+the actual painting, simply because the tonic effect of the colour is
+wholly wanting. The golden shimmer of light, the vibration of the air,
+the saturation of atmosphere with pure colour are not only ingredients
+in, but are of the very essence of the creation. It has been well said
+that almost literally the chief colour on Giorgione's palette was
+sunlight.[146] His masterly treatment of light and shadow, in which he
+was scarcely Leonardo's inferior, enabled him to make use of rich and
+full-bodied colours, which are never gaudy, as sometimes with Bonifazio,
+or pretty, as with Catena and lesser artists. Nor is he decorative in
+the way that Veronese excels, or lurid like Tintoretto. Compared with
+Titian it is as though his colour-chord sounded in seven sharps, whilst
+the former strikes the key of C natural. A full rich green frequently
+occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a
+deep crimson, contrasting with pure white drapery, or with golden
+flesh-tints, is also characteristic. In the painting of the nude he
+gives us real flesh and blood; his "Venus" has not the supernatural
+radiance that Correggio can give his ethereal beings (Giorgione, by the
+way, never painted an angel, so far as we know), but she glows with
+actual life, the blood is pulsing through the veins, she is very real.
+And in this connection we may notice the extraordinary skill with which
+Giorgione conveys a sense of texture; his painting of rich brocades, and
+more especially quilted stuffs and satiny folds, cannot be surpassed
+even by a Terburg.
+
+The quality of line in his work makes itself felt in many ways. Beauty
+of contour and unbroken continuity of curve is obtained sometimes by
+sacrificing literal accuracy; a structurally impossible position--as the
+seated nude figure in the Louvre picture--is deliberately adopted to
+heighten the effect of line or the balance of composition. The Dresden
+"Venus," if she arose, would appear of strange proportions; but
+expressiveness is enhanced by the long flowing contours of the body, so
+suggestive of repose. We may notice also the emphasis obtained by
+parallelism; for example, the line of the left arm of the "Venus"
+follows the curve of the body, a trick which may be often seen in folds
+of drapery. This picture also illustrates a device to retain continuity
+of line; the right foot is hidden away so as not to interfere with the
+contour. Exactly the same thing may be seen in the standing figure in
+the Louvre "Pastoral Symphony." The trick of making a grand sweep from
+the top of the head downwards is usually found in the Madonna pictures,
+where a cunningly placed veil carries the line usually to the sloping
+shoulders, or else outwards to the point of the elbow, thus introducing
+the triangular scheme to which Giorgione was particularly partial.
+
+But the question remains, What is Giorgione's position among the world's
+great men? Is he intellectually to be ranked with the Great Thinkers of
+all time? Can he aspire to the position which Titian occupies? I fear
+not Beethoven is infinitely greater than Schubert, Shakespeare than
+Keats, and so, though in lesser degree, is Titian than Giorgione. I say
+in lesser degree, because the young poet-painter had something of that
+profound insight into human nature, something of that wide outlook on
+life, something of that universal sympathy, and something of that vast
+influence which distinguishes the greatest intellects of all, and this
+it is which lessens the distance between him and Titian. Yet Titian is
+the greater man, for he is "the highest and completest expression of his
+own age."[147]
+
+Nevertheless, in that narrower sphere of the great painters, who
+proclaimed the glad tidings of Liberty when the Spirit of Man awoke from
+Mediaevalism, may we not add yet a fifth voice to the four-part harmony
+of Raphael, Correggio, Leonardo, and Michel Angelo, the voice of
+Giorgione, the wondrous youth, "the George of Georges," who heralded the
+Renaissance of which we are the heirs?
+
+NOTES:
+
+[138] In the Church of San Rocco, Venice, and in Mrs. Gardner's
+Collection in America.
+
+[139] Keats died at the age of twenty-five; Schubert was thirty-one;
+Giorgione thirty-three.
+
+[140] The ruined condition of the Borghese "Lady" prevents any just
+appreciation of the interpretative qualities.
+
+[141] _Venetian Painters_, p. 30.
+
+[142] Leonardo, 1452-1519; Michel Angelo, 1475-1564; Giorgione,
+1477-1510; Raphael, 1483-1520; Correggio, 1494-1534. Correggio, Raphael,
+and Giorgione died at the ages of forty, thirty-seven, and thirty-three
+years respectively. Those whom the gods love die young!
+
+[143] Berenson: _Venetian Painters_, p. 29. I should prefer to
+substitute "ripening" for "ripened."
+
+[144] Fry: _Giovanni Bellini_, p. 44.
+
+[145] In S. Giovanni Crisostomo, Venice. It dates from 1513.
+
+[146] Mary Logan: _Guide to the Italian Pictures at Hampton Court_, p.
+13.
+
+[147] Berenson: _Venetian Painters_, p. 48.
+
+
+
+
+
+APPENDIX I
+
+
+DOCUMENTS
+
+The following correspondence between Isabella d'Este, Marchioness of
+Mantua, and her agent Albano in Venice, is reprinted from the _Archivio
+Storico dell' Arte_, 1888, p. 47 (article by Sig. Alessandro Luzio):--
+
+     "Sp. Amice noster charissime; Intendemo che in le cose et heredità
+     de Zorzo da Castelfrancho pictore se ritrova una pictura de una
+     nocte, molto bella et singulare; quando cossì fusse,
+     desideraressimo haverla, però vi pregamo che voliati essere cum
+     Lorenzo da Pavia et qualche altro che habbi judicio et designo, et
+     vedere se l'è cosa excellente, et trovando de sì operiati il megio
+     del m'co m. Carlo Valerio, nostro compatre charissimo, et de chi
+     altro vi parerà per apostar questa pictura per noi, intendendo il
+     precio et dandone aviso. Et quando vi paresse de concludere il
+     mercato, essendo cosa bona, per dubio non fusse levata da altri,
+     fati quel che ve parerà: chè ne rendemo certe fareti cum ogni
+     avantagio e fede et cum bona consulta. Ofteremone a vostri piaceri
+     ecc.
+
+     "Mantua xxv. oct MDX."
+
+The agent replies a few days later--
+
+     "Ill'ma et Exc'ma M'a mia obser'ma
+
+     "Ho inteso quanto mi scrive la Ex. V. per una sua de xxv. del
+     passatto, facendome intender haver inteso ritrovarsi in le cosse et
+     eredità del q. Zorzo de Castelfrancho una pictura de una notte,
+     molto bella et singulare; che essendo cossì si deba veder de
+     haverla.
+
+     "A che rispondo a V. Ex. che ditto Zorzo morì più dì fanno da
+     peste, et per voler servir quella ho parlato cum alcuni mei amizi,
+     che havevano grandissime praticha cum lui, quali me affirmano non
+     esser in ditta heredità tal pictura. Ben è vero che ditto Zorzo ne
+     feze una a m. Thadeo Contarini, qual per la informatione ho autta
+     non è molto perfecta sichondo vorebe quela. Un'altra pictura de la
+     nocte feze ditto Zorzo a uno Victorio Becharo, qual per quanto
+     intendo è de meglior desegnio et meglio finitta che non è quella
+     del Contarini. Ma esso Becharo, al presente non si atrova in questa
+     terra, et sichondo m'è stato afirmatto nè l'una nè l'altra non sono
+     da vendere per pretio nesuno; però che li hanno fatte fare per
+     volerle godere per loro; sichè mi doglio non poter satisfar al
+     dexiderio de quella ecc.
+
+     "Venetijs viii Novembris 1510.
+
+     "Servitor
+
+     "THADEUS ALBANUS."
+
+From this letter we learn definitely (1) that Giorgione died in
+October-November 1510; (2) that he died of the plague.
+
+I have pointed out in the text that the above description of the two
+pictures "de una notte" corresponds with the actual Beaumont and Vienna
+"Nativities," or "Adoration of the Shepherds," in which I recognise the
+hand of Giorgione.
+
+       *       *       *       *       *
+
+The following is the only existing document in Giorgione's own
+handwriting. It was published by Molmenti in the _Bollettino delle
+Arti_, anno ii. No. 2, and reprinted by Conti, p. 50:--
+
+     "El se dichiara per el presente come el clarissimo Messer Aluixe di
+     Sesti die a fare a mi Zorzon de Castelfrancho quatro quadri in
+     quadrato con le geste di Daniele in bona pictura su telle, et li
+     telleri sarano soministrati per dito m. Aluixe, il quale doveva
+     stabilir la spexa di detti quadri quando serano compidi et di sua
+     satisfatione entro il presente anno 1508.
+
+     "Io Zorzon de Castelfrancho di mia man scrissi la presente in
+     Venetia li 13 febrar 1508."
+
+Whether or no Giorgione ever completed these four square canvases with
+the story of Daniel is unknown. There is no trace of any such pictures
+in modern times.
+
+
+
+
+APPENDIX II
+
+DID TITIAN LIVE TO BE NINETY-NINE YEARS OLD?
+
+_Reprinted from the "Nineteenth Century" Jan_. 1902
+
+
+There is something fascinating in the popular belief that Titian, the
+greatest of all Venetian painters, reached the patriarchal age of
+ninety-nine years, and was actively at work up to the day of his death.
+The text-books love to tell us the story of the great unfinished "Pietà"
+with its pathetic inscription:
+
+    Quod Titianus inchoatum reliquit
+    Palma reverenter absolvit
+    Deoq. dicavit opus;
+
+and traveller, guide-book in hand, and moralist, philosophy in head,
+alike muse upon a phenomenon so startlingly at variance with common
+experience.[148]
+
+But, sentiment aside, is there any historical evidence that Titian ever
+worked at his art in his hundredth year? that he even attained such a
+venerable age? The answer is of wider consequence than the mere question
+implies, for on the correct determination of Titian's own chronology
+depends the history of the development of the entire Venetian school of
+painting in the early years of the sixteenth century. I say _early_,
+because it is the date of Titian's birth, and not that of his death,
+which I shall endeavour to fix; the latter event is known beyond
+possibility of doubt to have occurred in August 1576. The question,
+therefore, to consider is, what justification, if any, is there for the
+universal belief that Titian was born in 1476-7, just a hundred years
+previously?
+
+Anyone, I think, who has ever looked into the history of Titian's career
+must have been struck by the fact that for the first thirty-five years
+of his life (according to the usual chronology) there is absolutely no
+documentary record relating to him, whether in the Venetian archives or
+elsewhere. Not a single letter, not a single contract, not a single
+mention of his name occurs from which we can so much as affirm his
+existence before the year 1511.
+
+On the 2nd of December in that year "Io tician di Cador Dpñtore" gives a
+receipt for money paid him on completion of some frescoes at Padua, and
+from this date on there are frequent letters and documents in existence
+right down to 1576, the year of his death. Is it not somewhat strange
+that the first thirty-five years of his life (as is commonly believed)
+should be a total blank so far as records go? The fact becomes the more
+inexplicable when we find that during these early years some of his
+finest work is alleged to have been executed, and he must--if we accept
+the chronology of his biographers--have been well known to and highly
+esteemed by his contemporaries.[149] Moreover, it is not for want of
+diligent search amongst the archives that nothing has been found, for
+Italian and German students have alike sought, but in vain, to discover
+any documentary evidence relating to his career before 1511.
+
+The absence of any such trustworthy record has had its natural result.
+Conjecture has run riot, and no two writers are agreed on the subject of
+the nature and development of Titian's earlier art. This is the second
+disquieting fact which any careful student has to face. Messrs. Crowe
+and Cavalcaselle, Titian's most exhaustive biographers,[150] have filled
+up the first thirty-five years of his career in their own way, but their
+chronology has found no favour with later writers, such as Mr. Claude
+Phillips in England[151] or Dr. Georg Gronau in Germany,[152] both of
+whom have arrived at independent conclusions. Morelli again had his
+theories on the subject, and M. Lafenestre[153] has his, and the
+ordinary gallery catalogue is usually content to state inaccurate facts
+without further ado.
+
+Now, if all these conscientious writers arrive at results so widely
+divergent, either their logic or their data must be wrong! One and all
+assume that Titian lived into his hundredth year, and, therefore, was
+born in 1476-7; and starting with this theory as a fact, they have tried
+to fit in Vasari's account as best they can, and each has found a
+different solution of the problem. There is only one way out of this
+chaos of conjectures--we must see what is the evidence for the
+"centenarian" tradition, and if it can be shown that Titian was really
+born later than 1476-7, then the silence of all records about him during
+an alleged period of thirty-five years will become at once more
+intelligible, and we may be able to explain some of the other anomalies
+which at present confront Titian's biographers.
+
+I propose to take the evidence in strictly chronological order.
+
+The oldest contemporary account of Titian's career is furnished by
+Lodovico Dolce in his _L'Aretino, o dialogo della pittura_, which was
+published at Venice in 1557. Dolce knew Titian personally, and wrote his
+treatise just at the time when the painter was at the zenith of his
+fame. He is our sole authority for certain incidents of Titian's early
+career: it will be well, therefore, to quote in full the opening
+paragraphs of his narrative:
+
+"Being born at Cadore of honourable parents, he was sent when a child of
+nine years old by his father to Venice to the house of his father's
+brother ... in order that he might be put under some proper master to
+study painting; his father having perceived in him even at that tender
+age strong marks of genius towards the art.... His uncle directly
+carried the child to the house of Sebastiano, father of the
+_gentilissìmo_ Valerio and of Francesco Zuccati (distinguished masters
+of the art of mosaic, by them brought to that perfection in which we now
+see the best pictures) to learn the principles of the art. From them he
+was removed to Gentile Bellini, brother of Giovanni, but much inferior
+to him, who at that time was at work with his brother in the Grand
+Council-Chamber. But Titian, impelled by Nature to greater excellence
+and perfection in his art, could not endure following the dry and
+laboured manner of Gentile, but designed with boldness and expedition.
+Whereupon Gentile told him he would make no progress in painting,
+because he diverged so much from the old style. Thereupon Titian left
+the stupid _(goffo)_ Gentile, and found means to attach himself to
+Giovanni Bellini; but not perfectly pleased with his manner, he chose
+Giorgio da Castel Franco. Titian then drawing and painting with
+Giorgione, as he was called, became in a short time so accomplished in
+art, that when Giorgione was painting the façade of the Fondaco de'
+Tedeschi, or Exchange of the German Merchants, which looks towards the
+Grand Canal, Titian was allotted the other side which faces the
+market-place, being at the time scarcely twenty years old. Here he
+represented a Judith of wonderful design and colour, so remarkable,
+indeed, that when the work came to be uncovered, it was commonly thought
+to be the work of Giorgione, and all the latter's friends congratulated
+him as being by far the best thing he had produced. Whereupon Giorgione,
+in great displeasure, replied that the work was from the hand of his
+pupil, who showed already how he could surpass his master, and, what was
+more, Giorgione shut himself up for some days at home, as if in despair,
+seeing that a young man knew more that he did."
+
+Fortunately, the exact date can be fixed when the frescoes on the
+Fondaco de' Tedeschi were painted, for we have original records
+preserved from which we learn the work was begun in 1507 and completed
+towards the close of 1508.[154] If Titian, then, was "scarcely twenty
+years old" in 1507-8, he must have been born in 1488-9. Dolce
+particularly emphasises his youthfulness at the time, calling him _un
+giovanetto_, a phrase he twice applies to him in the next paragraph,
+when he is describing the famous altar-piece of the 'Assunta,' the
+commission for which, as we know from other sources, was given in 1516.
+
+"Not long afterwards he was commissioned to paint a large picture for
+the High Altar of the Church of the Frati Minori, where Titian, quite a
+young man _(pur giovanetto)_, painted in oil the Virgin ascending to
+Heaven.... This was the first public work which he painted in oil, and
+he did it in a very short time, and while still a young man _(e
+giovanetto)_."
+
+This phrase could hardly be applied to a man over thirty, so that
+Titian's birth cannot reasonably be dated before 1486 or so, and is much
+more likely to fall later. The previous deduction that it was 1488-9 is
+thus further strengthened.
+
+The evidence, then, of Dolce, writing in 1557, is clear and consistent:
+Titian was born in 1488-9. Now let us see what is stated by Vasari, who
+is the next oldest authority.
+
+The first edition of the _Lives_ appeared in 1550--that is, just prior
+to Dolce's _Dialogue_--but a revised and enlarged edition appeared in
+1568, in which important evidence occurs as to Titian's age. After
+enumerating certain pictures by the great Venetian, Vasari adds:
+
+"(_a_) All these works, with many others which I omit, to avoid
+prolixity, have been executed up to the present age of our artist, which
+is above seventy-six years.... In the year 1566, when Vasari, the writer
+of the present history, was at Venice, he went to visit Titian, as one
+who was his friend, and found him, although then very old, still with
+the pencil in his hand, and painting busily."[155]
+
+According to Vasari, then, Titian was "above seventy-six years" when the
+second edition of the _Lives_ was written, and as from the explicit
+nature of the evidence this must have been between 1566, when he visited
+Venice, and January 1568, when his book was published, it follows that
+Titian was "above seventy-six years" in 1566-7--in other words, that he
+was born 1489-90.
+
+Still confining ourselves to Vasari, we find two other passages bearing
+on the question:
+
+"(_b_) Titian was born in the year 1480 at Cadore.[156]
+
+"(_c_) About the year 1507 Giorgione da Castel Franco began to give to
+his works unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian early
+resolved to abandon that of Gian Bellino, although well grounded
+therein. He now, therefore, devoted himself to this purpose, and in a
+short time so closely imitated Giorgione that his pictures were
+sometimes taken for those of that master.... At the time when Titian
+began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait," etc.[157]
+
+This passage (_c_) makes Titian "not more than eighteen about the year
+1507," and fixes the date of his birth as 1489-90, therein agreeing with
+the previous deduction at which we arrived when examining the passage in
+Vasari's second edition. Thus in two places out of three Vasari is
+consistent in fixing 1489-90 as the date. How, then, explain (_b_),
+which explicitly gives 1480?
+
+Anyone conversant with Vasari's inaccuracies will hardly be surprised to
+find that this statement is dismissed by all Titian's biographers as
+manifestly a mistake. Moreover, it is inconsistent with the two passages
+just quoted, and either they are wrong or 1480 is a misprint for 1489.
+Now, from the nature of the evidence recorded by Vasari, it cannot be a
+matter for any doubt which is the more trustworthy statement. On the one
+hand, he speaks as an eye-witness of Titian's old age, and is careful to
+record the exact year he visited Venice and the age of the painter; on
+the other hand, he makes a bald statement which he certainly cannot have
+verified, and which is inconsistent with his own experience! In any
+case, in Vasari's text the evidence is two to one in favour of 1489-90
+as the right date, and thus we come to the agreeable conclusion that our
+two oldest authorities, Dolce and Vasari, are at one in fixing Titian's
+birth between 1488 and 1490--in other words, about 1489.
+
+So far, then, all is clear, and as we know from later and indisputable
+evidence that Titian died in 1576, it follows that he only attained the
+age of eighty-seven and not ninety-nine. Whence, then, comes the story
+of the ninety-nine years? From none other than Titian himself, and to
+this piece of evidence we must next turn, following out a strict
+chronological order.
+
+In 1571--that is, three years after Vasari's second edition was
+published--Titian addresses a letter to Philip the Second of Spain in
+these terms:[158]
+
+     "Most potent and invincible King,--I think your Majesty will have
+     received by this the picture of 'Lucretia and Tarquin' which was to
+     have been presented by the Venetian Ambassador. I now come with
+     these lines to ask your Majesty to deign to command that I should
+     be informed as to what pleasure it has given. The calamities of the
+     present times, in which every one is suffering from the continuance
+     of war, force me to this step, and oblige me at the same time to
+     ask to be favoured with some kind proof of your Majesty's grace, as
+     well as with some assistance from Spain or elsewhere, since I have
+     not been able for years past to obtain any payment either from the
+     Naples grant, or from my ordinary pension. The state of my affairs
+     is indeed such that I do not know how to live in this my old age,
+     devoted as it entirely is to the service of your Catholic Majesty,
+     and to no other. Not having for eighteen years past received a
+     _quattrino_ for the paintings which I delivered from time to time,
+     and of which I forward a list by this opportunity to the secretary
+     Perez, I feel assured that your Majesty's infinite clemency will
+     cause a careful consideration to be made of the services of an old
+     servant of the age of ninety-five, by extending to him some
+     evidence of munificence and liberality. Sending two prints of the
+     design of the Beato Lorenzo, and most humbly recommending myself,
+
+     "I am Your Catholic Majesty's
+
+     "most devoted, humble servant,
+
+     "TITIANO VECELLIO.
+
+     "From Venice, the 1st of August, 1571."
+
+Here, then, is Titian himself, in the year 1571, declaring that he is
+ninety-five years of age--in other words, dating his birth back to
+1476--that is, some thirteen years earlier than Dolce and Vasari imply
+was the case. A flagrant discrepancy of evidence! In similar strain he
+thus addresses the king again five years later:[159]
+
+     "Your Catholic and Royal Majesty,--The infinite benignity with
+     which your Catholic Majesty--by natural habit--is accustomed to
+     gratify all such as have served and still serve your Majesty
+     faithfully, enboldens me to appear with the present (letter) to
+     recall myself to your royal memory, in which I believe that my old
+     and devoted service will have kept me unaltered. My prayer is this:
+     twenty years have elapsed and I have never had any recompense for
+     the many pictures sent on divers occasions to your Majesty; but
+     having received intelligence from the Secretary Antonio Perez of
+     your Majesty's wish to gratify me, and having reached a great old
+     age not without privations, I now humbly beg that your Majesty will
+     deign, with accustomed benevolence, to give such directions to
+     ministers as will relieve my want. The glorious memory of Charles
+     the Fifth, your Majesty's father, having numbered me amongst his
+     familiar, nay, most faithful servants, by honouring me beyond my
+     deserts with the title of _cavaliere_, I wish to be able, with the
+     favour and protection of your Majesty--true portrait of that
+     immortal emperor--to support as it deserves the name of a
+     cavaliere, which is so honoured and esteemed in the world; and that
+     it may be known that the services done by me during many years to
+     the most serene house of Austria have met with grateful return, to
+     spend what remains of my days in the service of your Majesty. For
+     this I should feel the more obliged, as I should thus be consoled
+     in my old age, whilst praying to God to concede to your Majesty a
+     long and happy life with increase of his divine grace and
+     exaltation of your Majesty's Kingdom. In the meanwhile I expect
+     from the royal benevolence of your Majesty the fruits of the favour
+     I desire, with due reverence and humility, and kissing your sacred
+     hands,
+
+     "I am Your Catholic Majesty's
+
+     "most humble and devoted servant,
+
+     "TITIANO VECELLIO.
+
+     "From Venice, the 27th of February, 1576."
+
+This is the last letter we have of Titian, who died in August of this
+year, according to his own showing, in his hundredth year.
+
+Now what reliance can be placed on this statement? On the one hand, we
+have the evidence of two independent writers, Dolce and Vasari, both
+personally acquainted with Titian, and both agreeing by inference that
+the date of his birth was about 1489. Both had ample opportunity to get
+at the truth, and Vasari is particularly explicit in recording the exact
+date when he visited Titian in Venice and the age the painter had then
+reached. Yet five years later Titian is found stating that he is
+ninety-five, and not eighty-two as we should expect! Perhaps the best
+comment is made by Crowe and Cavalcaselle, who significantly remark
+immediately after the last letter: "Titian's appeal to the benevolence
+of the King of Spain looks like that of a garrulous old gentleman proud
+of his longevity, but hoping still to live for many years."[160]
+Exactly! The occasion could well be improved by a little timely
+exaggeration well calculated to appeal to the sympathies and "infinite
+benignity" of the monarch, and if, when the writer had actually reached
+the respectable age of eighty-two, he wrote himself down as ninety-five,
+who would gainsay him? It added point to his appeal--that was the chief
+thing--and as to accuracy, well, Titian was not the man to be
+over-scrupulous when his own interests were involved. But even though
+the statement were not deliberately made to heighten the effect of an
+appeal, we must in any case make allowances for the natural proneness to
+exaggerate their age which usually characterises men of advanced years,
+so that any _ex parte_ statement of this kind must be received with due
+caution. Where, moreover, as in the present case, we have evidence of a
+directly contradictory kind furnished by independent witnesses, whose
+declarations in this respect are presumably disinterested, such _ex
+parte_ statements are on the face of them unreliable. The balance of
+evidence in this case appears to rest on the side of the older
+historians, Dolce and Vasari, whose statements, as I hold, are in the
+circumstances more reliable than the picturesque exaggeration of a man
+of advanced years.
+
+I claim, therefore, that any account of Titian's life based solely on
+such flimsy evidence as to his age as is found in this letter to Philip
+the Second is, to say the least, open to grave doubt. The whole
+superstructure raised by modern writers on this uncertain foundation is
+full of flaws and incongruities, and I am fully persuaded the future
+historian will have to begin _de novo_ in any attempt at a chronological
+reconstruction of Titian's career. The gap of thirty-five years down to
+1511 may prove after all less by twelve or thirteen years than people
+think, so that the young Titian naturally enough first emerges into view
+at the age of twenty-two and not thirty-five.
+
+But we must not anticipate results, for there is still the evidence of
+the later writers of the seventeenth century to consider. Two of these
+declare that Titian was born in 1477. The first of these, Tizianello, a
+collateral descendant of the great painter, published his little
+_Compendio_ in 1622, wherein he gives a sketchy and imperfect biography;
+the other, Ridolfi, repeats the date in his _Meraviglie dell' Arte_,
+published in 1648. The latter writer is notoriously unreliable in other
+respects, and it is quite likely this is merely an instance of copying
+from Tizianello, whose unsupported statement is chiefly of value as
+showing that the "centenarian" theory had started within fifty years of
+Titian's death. But again we ask: Why should the evidence of a
+seventeenth-century writer be preferred to the personal testimony of
+those who actually knew Titian himself, especially when Vasari gives us
+precise information with which Dolce's independent account is in perfect
+agreement? No doubt the great age to which Titian certainly attained was
+exaggerated in the next generation after his death, but it is a
+remarkable fact that the contemporary eulogies, mostly in poetic form,
+which appeared on the occasion of his decease, do not allude to any such
+phenomenal longevity.[161]
+
+Nevertheless, Ridolfi's statement that Titian was born in 1477 is
+commonly quoted as if there were no better and earlier evidence in
+existence, and, indeed, it is a matter of surprise that conscientious
+modern biographers have not looked more carefully at the original
+authorities instead of being content to follow tradition, and I must
+earnestly plead for a reconsideration of the question of Titian's age by
+the future historians of Venetian painting.[162]
+
+If, as I believe, Titian was born in or about 1489 instead of 1476-7,
+it follows that he must have been Giorgione's junior by at least twelve
+years--a most important deduction--and it also follows that he cannot
+have produced any work of consequence before, say, 1505, at the age of
+sixteen, and he will have died at eighty-seven and not in his hundredth
+year. The alteration in date would help to explain the silence of all
+records about him before 1511, when he would have been only twenty-two
+and not thirty-five years old; it would fully account for his name not
+being mentioned by Dürer in his famous letter of 1506, wherein he refers
+to the painters of Venice, and it would equally account for the absence
+of his name from the commission to paint the Fondaco frescoes in 1507-8,
+for he would have been employed simply as Giorgione's young assistant.
+The fact that in 1511 he signs himself simply "Io tician di Cador
+Dpñtore" and not _Maestro_ would be more intelligible in a young man of
+twenty-two than in an accomplished master of thirty-five, and the
+character of his letter addressed to the Senate in 1513 would be more
+natural to an ambitious aspirant of twenty-four than to a man in his
+maturity of thirty-seven.[163]
+
+Such are some of the obvious results of a change of date, but the larger
+question as to the development of Titian's art must be left to the
+future historian, for the importance of fixing a date lies in the
+application thereof.[164] HERBERT COOK.
+
+
+THE DATE OF TITIAN'S BIRTH
+
+_Reply by Dr. Georg Gronau. Translated from the "Repertorium für
+Kunstwissenschaft," vol. xxiv., 6th part_
+
+
+In the January number of the _Nineteenth Century_ appears an article by
+Herbert Cook under the title, "Did Titian live to be Ninety-Nine Years
+Old?" The interrogation already suggests that the author comes to a
+negative conclusion. It is, perhaps, not without interest to set forth
+the reasons advanced by the English connoisseur and to submit them to
+adverse criticism.
+
+(Here follows an abstract of the article.)
+
+The reasoning, as will have been seen, is not altogether free from
+doubt. It has been usual hitherto in historical investigations to call
+in question the assertions of a man about his own life only when
+thoroughly weighty reasons justified such a course. Is the evidence of a
+Dolce and of a Vasari so free from all objection that it outweighs
+Titian's personal statement? Before answering this question it should be
+pointed out that we possess two further statements of contemporary
+writers on the subject of Titian's age, statements which have escaped
+the notice of Mr. Cook. One is to be found in a letter from the Spanish
+Consul in Venice, Thomas de Cornoga, to Philip II., dated 8th December
+1567 (published in the very important work by Zarco del Valle[165]).
+After informing the king of Titian's usual requests on the subject of
+his pension, and so on, he continues: "y con los 85 annos de su edad
+servira à V.M. hasta la muerte."
+
+Somewhere, then, in the very year in which Titian, according to Vasari,
+was "above seventy-six years of age," he seems to have been
+eighty-five, according to the report of another and quite independent
+witness, and if so, he would have been born about 1482.
+
+We have then three definite statements:
+
+Vasari (1566 or 1567) says "over 76"
+The Consul (1567)      "      "85"
+Titian himself (1571)  "      "95"
+
+This new information, instead of helping us, only serves to make still
+greater confusion.
+
+The other piece of evidence not mentioned by Mr. Cook was written only a
+few years after Titian's death. Borghini says in his _Riposo_, 1584:
+"Mori ultimamente di vecchiezza (!not, then, of the plague?), essendo
+d'età d'anni 98 o 99, l'anno 1576." ... This is the first time that the
+traditional statement as to the master's age appears in literature. In
+this state of things it is worth while to look closer into the evidence
+of Dolce and Vasari to see if they are not after all the most
+trustworthy witnesses.
+
+It is always held to be a mistake to take rather vague statements quite
+literally, as Mr. Cook has done, and to build thereon further
+conclusions. When Dolce says that Titian painted with Giorgione at the
+Fondaco, "non avendo egli allora appena venti anni," he is only trying
+to make out that his hero, here as everywhere, was a most unusual person
+(the whole dialogue is a glorification of the master). For the same
+reason he makes the following remark, which we can absolutely prove to
+be false:--the Assumption (he says) "fu la prima opera pubblica, che a
+olio facesse." Now at least one work of Titian's was, then, already to
+be seen in a public place--viz. the "St. Mark Enthroned, with Four
+Saints," in Santo Spirito, afterwards removed to the sacristy of the
+Salute. In other points, too, Dolce can be convicted of small errors and
+misrepresentations, partly on literary grounds, partly due to his desire
+to enhance the praise of Titian.
+
+Vasari, again, should only be cited as witness when he speaks of works
+of art which he has actually seen. In such a case, apart from slips, he
+is always a trustworthy guide. Directly, however, he goes into
+biographical details or questions of chronology accuracy becomes nearly
+always a secondary matter. Titian's biography offers an excellent and
+most instructive example of this. Vasari mentions first the birth and
+upbringing of the boy, then he speaks of Giorgione and the Fondaco
+frescoes, and goes on: "dopo la quale opera fece un quadro grande che
+oggi è nella salla di messer Andrea Loredano.... Dopo in casa di messer
+Giovanni D'Anna ... fece il suo ritratto ...; ed un quadro di Ecce Homo,
+..." and he goes on, "L'anno poi 1507...." If it had not been that one
+of these pictures, once in the possession of Giovanni D'Anna, had been
+preserved (now in the Vienna Gallery), and that it bears in a
+conspicuous place the date 1543, it would be recorded in all biographies
+of Titian that he painted in 1507 an "Ecce Homo" for this Giovanni
+D'Anna.
+
+If one goes further into Vasari's account we read that Titian published
+his "Triumph of Faith" in 1508. "Dopo condottosi Tiziano a Vicenza,
+dipinse a fresco sotto la loggetta ... il giudizio di Salamone. Appresso
+tomato a Venezia, dipinse la facciata de' Grimani; e in Padoa nella
+chiesa di Sant' Antonio alcune storie ... de fatti di quel santo: e in
+quella di Santo Spirito fece ... un San Marco a sedere in mezzo a certi
+Santi." We now know on documentary evidence that the Vicenza fresco
+(which was destroyed later) dated from 1521, and similarly that the
+frescoes at Padua were painted in 1511, whilst the date of the S. Mark
+picture may be fixed with probability at 1504.
+
+These examples prove how inexact Vasari is here once more. But it may be
+objected, supposing that he is inaccurate in statements which refer
+back, can he not be in the right in a case where he comes back, so to
+speak, straight from visiting Titian and writes down his observation
+about the master's actual age? To be sure; but when we find that so many
+other similar notices of Vasari are wrong, even those that refer to
+people whom he personally knew, we lose faith altogether. In turning
+over the leaves of the sixth volume of the Sansoni edition of Vasari, in
+which only his contemporaries, some of them closely connected, too, with
+him, are spoken of, we find the following incorrect statements:--
+
+P.  99. Tribolo was 65 years old (in reality only 50).
+P. 209. Bugiardini died at 75 (really 79).
+P. 288. Pontormo at 65 (he died actually in his 63rd year).
+P. 564. Giovanni da Udine at 70 (really 77).
+
+A still more glaring instance is to be found when Vasari not only makes
+misstatements about his own life but is actually out by several years in
+giving his own age. One and the same event--viz. his journey with
+Cardinal Passerini to Florence--is given in his own autobiography to the
+year 1524, in the "Life of Salviati," to the year 1523, and in the "Life
+of Michael Angelo" to 1525. When he speaks of himself in the same
+passage in the "Life of Salviati" as the "putto, che allora non aveva
+più di nove anni," he is making a mistake of at least three years in his
+own age. And not less delightful is it to read in the "Life of Giovanni
+da Udine": "Giorgio Vasari, giovinetto di diciotto anni, quando serviva
+il duca Alessandro de' Medici suo primo signore l'anno 1535." We are
+obviously not dealing with Messer Giorgio's strongest point, for, as a
+matter of fact, he was at that time twenty-four years of age! The same
+false statement of age is found again in his own biography (vii. p. 656,
+with the variation, "poco piú di diciotto anni").
+
+But I think these instances suffice to prove how little one dare build
+on such assertions of Vasari. Who dare say if Titian was really only
+seventy-six in 1566 when the Aretine visited him?
+
+And now a few remarks on the other points raised by Mr. Cook. As a
+fact, it is an astonishing thing that we have no documentary evidence
+about Titian before 1511; but does he not share this fate with very many
+of his great countrymen, with Bellini, Giorgione, Sebastiano, and
+others? An unfriendly chance has left us entirely in the dark as to the
+early years of nearly all the great Venetian painters. That Dürer makes
+no mention of Titian's name in his letters gives no cause for surprise,
+for even the most celebrated of the younger artists, Giorgione, is not
+alluded to, and of all those with Bellini, whose fame outshone even then
+that of all others, only Barbari is mentioned. That Titian's name does
+not occur in the documents about the Fondaco frescoes may be due to the
+fact that Giorgione alone was commissioned to undertake the frescoes for
+the magistrates, and that the latter painter in his turn brought his
+associate Titian into the work.
+
+Mr. Cook says that Titian still signed himself in 1511 "Dipintore"
+instead of "Maestro." I am not aware whether in this respect definite
+regulations or customs were usual in Venice.[166] At any rate, the
+painter is still described in official documents as late as 1518 as "ser
+Tizian depentor" (Lorenzi, "Monumenti," No. 366), when, even according
+to Mr. Cook's theory, he must have been thirty years old; and he is
+actually so called in 1528 (_ibid_. No. 403), after appearing in several
+intermediate documents as "maestro" (Nos. 373, 377). If this argument,
+however, proves unsound, the last point--viz. that the well-known
+petition to the senate in 1513 reads more like that of a man of
+twenty-four than one of thirty-seven--must be left to the hypothesis of
+individual conjecture.
+
+Must we really close these very long inquiries by confessing they are
+beyond our ken? It almost seems so. For, with regard to the testimony
+afforded by family documents, Dr. Jacobi (whose labours were utilised by
+Crowe and Cavalcaselle) so conscientiously examined all that is left,
+that a discovery in this direction is not to be looked for. Is the
+statement of Tizianello that Titian's year of birth was 1477 to be
+rejected without further question when we remember that, as a relative
+of the painter, he could have had in 1622 access to documents possibly
+since lost?
+
+Under these circumstances the only thing left to do is to question the
+works of Titian. Of these, two can be dated, not indeed with certainty,
+but with some degree of probability: the dedicatory painting of the
+Bishop of Pesaro with the portrait of Alexander VI. of 1502-03, and the
+picture of St. Mark, already mentioned, of the year 1504. Both are, to
+judge by the style, clearly early works, and both can be connected with
+definite historical events of the years just mentioned. That these
+paintings, however, could be the work of a fourteen- to fifteen-year-old
+artist Mr. Cook will also admit to be impossible.
+
+Much, far too much, in the story of Venetian painting must, for want of
+definite information, be left to conjecture; and however unsatisfactory
+it is, we must make the confession that we know as little about the date
+of the birth of the greatest of the Venetians as we know of Giorgione's,
+Sebastiano's, Palma's, and the rest. But supposing all of a sudden
+information turned up giving us the exact date of Titian's birth, would
+the picture of the development of Venetian painting be any the different
+for it? In no wise. The relation to one another of the individual
+artists of the younger generation is so clearly to be read in each man's
+work, that no external particulars, however interesting they might be on
+other grounds, could make the smallest difference. Titian's relations
+with Giorgione especially could not be otherwise represented than has
+been long determined, and that whether Titian was born in 1476, 1477,
+1480, or even two or three years later.[167] GEORG GRONAU.
+
+
+WHEN WAS TITIAN BORN?
+
+_Reply to Dr. Gronau. Reprinted from "Repertorium für
+Kunstwissenschaft," vol. xxv., parts 1 and 2_
+
+
+I must thank Dr. Georg Gronau for his very fair reply, published in
+these pages[168] (to my article in the _Nineteenth Century_ on the
+subject of Titian's age[169]). He has also most kindly pointed out two
+pieces of contemporary evidence which had escaped my notice, and
+although neither of these passages is conclusive proof one way or the
+other, they deserve to be reckoned with in arriving at a decision.
+
+Dr. Gronau formulates the evidence shortly thus:
+
+Vasari in 1566 or 1567 says Titian is over 76
+The Spanish Consul in 1567 "       "       85
+Titian himself in 1571     " he is "       95
+
+and he adds that this new piece of evidence--viz. the letter of the
+Spanish Consul to King Philip--instead of helping us, only makes the
+confusion worse.
+
+What then are we to think when yet another--a fourth--contemporary
+statement turns up, differing from any of the three just quoted? Yet
+such a letter exists, and I am happy in my turn to point out this fresh
+piece of evidence, in the hope that instead of making the confusion
+worse, it will help us to arrive at some decision.
+
+On October the 15th, 1564, Garcia Hernandez, Envoy in Venice from King
+Philip II., writes to the King his master that Titian begged that His
+Majesty would condescend to order that he should be paid what was due to
+him from the court and from Milan.... For the rest the painter was in
+fine condition, and quite capable of work, and this was the time, if
+ever, to get "other things" from him, as according to some people who
+knew him, Titian was about ninety years old, though he did not show it,
+and for money everything was to be had of him.[170]
+
+In 1564 then the Spanish Envoy writes that Titian was said to be about
+ninety. Let us then enlarge Dr. Gronau's table by this additional
+statement, and further complete it by including the earliest piece of
+evidence, the statement of Dolce in 1557 that Titian was scarcely twenty
+when he worked at the Fondaco de' Tedeschi frescoes (1507-8). The year
+of Titian's birth thus works out:
+
+Writing in 1557,     Dolce makes out Titian was born about 1489
+  "      " 1566-7,   Vasari      "        "         "      1489
+  "      " 1564,     Spanish Envoy        "         "      1474
+  "      " 1567,     Spanish Consul       "         "      1482
+  "      " 1571,     Titian himself       "         "      1476
+
+Now it is curious to notice that the last three statements are all made
+in letters to King Philip, either by Titian himself, or at his request
+by the Spanish agents.
+
+It is curious to notice these statements as to Titian's great age occur
+in begging letters.[171]
+
+It is curious to notice they are mutually contradictory.
+
+What are we to conclude?
+
+Surely that the Spanish Envoy, the Spanish Consul, and Titian himself,
+out of their own mouths stand convicted of inconsistency of statement,
+and further that they betray an identical motive underlying each
+representation--viz. an appeal _ad misericordiam._
+
+Before, however, contrasting the value of the evidence as found in these
+Spanish letters with the evidence as found in Dolce and Vasari, let us
+note two points in these letters.
+
+Garcia Hernandez, the Spanish Envoy, writes: "According to some people
+who knew him, Titian was about ninety years old, though he did not show
+it." Now, if Titian was really about ninety in the year 1564, he will
+have lived to the age of one hundred and two, a feat of longevity of
+which no one has ever accused him! Apart, therefore, from the healthy
+scepticism which Hernandez betrays in this letter, we may certainly
+conclude that "some people who knew him" were exaggerating Titian's age.
+
+Secondly, Titian's letter of 1571 says he is ninety-five years old.
+Titian's similar letter of 1576, the year of his death, omits to say he
+is one hundred. Surely a strange omission, considering that he refers to
+his old age three times in this one letter.[172] Does not the second
+letter correct the inexactness of the first? and so Titian's statement
+goes for nothing?
+
+The collective evidence, then, of these Spanish letters amounts to this,
+that, in the words of the Envoy, "for money everything was to be had of
+Titian," and accordingly any statement as to his great age when thus
+made for effect must be treated with the greatest suspicion.
+
+But is the evidence of Dolce and Vasari any more trustworthy? Dr. Gronau
+is at pains to show that both these writers often made mistakes in
+their dates, a fact which no one can dispute. Their very incorrectness
+is the more reason however for trusting them in this instance, for they
+happen to agree about the date of Titian's birth; and, although neither
+of them expressly gives the year 1489, they indicate separate and
+independent events in his life, the one, Dolce, at the beginning, the
+other, Vasari, at the end, which when looked into give the same result.
+
+Moreover, be Dolce ever so anxious to cry up his hero Titian, and make
+him out to have been precocious, and be Vasari ever so inexact in his
+chronology, we must remember that, when both of them wrote, the
+presumption of unusual longevity had not arisen, and that their evidence
+therefore is less likely to be prejudiced in this respect than the
+evidence given in obituary notices, such as occurs in Borghini's
+_Riposo_ of 1584, and in the later writers like Tizianello and Ridolfi.
+
+That Borghini therefore says Titian was ninety-eight or ninety-nine when
+he died, and that Tizianello and Ridolfi, thirty-eight and sixty-four
+years later respectively, put him down at ninety-nine, is by no means
+proof that such was the case. It would seem that there had been some
+speculation before and after Titian's death as to his exact age; that no
+one quite knew for certain; and that Titian with the credulousness of
+old age had come to regard himself as well-nigh a centenarian. Be this
+as it may, I still hold that the evidence of Dolce and Vasari that
+Titian's birth occurred in 1489 is more trustworthy than either the
+evidence found in the three Spanish letters, or the evidence as given in
+the obituary notices of Borghini and others.
+
+One word more. If Titian was born in 1489, instead of 1476-7, it does
+make a great difference in the story of his own career; and, what is
+more, the history of Venetian art in the early sixteenth century, as it
+centres round Giorgione, Palma, and Titian, will have to be carefully
+reconsidered.
+
+HERBERT COOK.
+
+NOTES:
+
+[148] The picture now hangs in the Academia at Venice.
+
+[149] e.g. the "Sacred and Profane Love" (so-called) in the Borghese
+Gallery; the "S. Mark" of the Salute; the "Concert" in the Pitti; the
+"Tribute Money" at Dresden; the "Madonna of the Cherries" at Vienna,
+etc., which one or other of his biographers assign to the years
+1500-1510.
+
+[150] _The Life and Times of Titian_, 2 vols., 1881.
+
+[151] _The Earlier and Later Work of Titian. Portfolio_, October 1897
+and July 1898.
+
+[152] _Tizian_. Berlin, 1901.
+
+[153] _La Vie et l'Oeuvre de Titien_: Paris, 1886.
+
+[154] See Crowe and Cavalcaselle: _Titian_, i. 85. The fact that
+Titian's name does not occur in these records is curious and suggestive.
+
+[155] Ed. _Sansoni_, p. 459. The translation is that of Blashfield and
+Hopkins. Bell, 1897.
+
+[156] _Ibid_. p. 425.
+
+[157] _Ibid_. p. 428.
+
+[158] The translation is that of Crowe and Cavalcaselle. _Titian_, ii.
+391. The original is given by them at p. 538.
+
+[159] Quoted from Crowe and Cavalcaselle.
+
+[160] Crowe and Cavalcaselle. _Titian_, ii. 409.
+
+[161] There is a collection of these in a volume in the British Museum.
+
+[162] Before the discovery of the letter to Philip, Messrs. Crowe and
+Cavalcaselle were quite prepared to admit that Titian was born "after
+1480" (vide _N. Italian Painting_, ii. 119, 120). Unfortunately, they
+took the evidence of the letter as final, but finding themselves
+chronologically in difficulties, they shrewdly remark in their _Titian_,
+i. 38, note: "The writers of these lines thought, and _still think_,
+Titian younger than either Giorgione or Palma. They were, however,
+inclined to transpose Titian's birthday to a later date than 1477,
+rather than put back those of Palma and Giorgione to an earlier period,
+and in this they made a mistake." Perhaps they were not so far wrong
+after all!
+
+[163] For this most amusing letter see Crowe and Cavalcaselle. _Titian_,
+i. p. 153.
+
+[164] The evidence afforded by Titian's own portraits of himself (at
+Berlin and in the Uffizi) is inconclusive, as we do not know the exact
+years they were painted. The portrait at Madrid, painted 1562, might
+represent a man of seventy-three or eighty-six, it is hard to say which.
+But there is a woodcut of 1550 (_vide_ Gronau, p. 164) which surely
+shows Titian at the age of sixty-one rather than seventy-four; and,
+finally, Paul Veronese's great "Marriage at Cana" (in the Louvre), which
+was painted between June 1562 and September 1563, distinctly points to
+Titian being then a man of seventy-four and not eighty-seven. He is
+represented, as is well known, seated in the group of musicians in the
+centre, and playing the contrabasso.
+
+[165] _Jahrbuch der Sammlungen des A.H. Kaiserhauses_, vii. p. 221 _ff_
+1888.
+
+[166] Dr. Ludwig had the kindness to write to me on this subject: "Among
+the thousands of signatures of painters which I have seen I have never
+come across the signature _Maestro_. Of course, someone else can
+describe a painter as Master; he himself always subscribes himself
+_pittor, pictor_, or _depentor_."
+
+[167] Dr. Gronau further points out (in a letter recently sent to the
+writer) that Titian, writing to the emperor in 1545, says: "I should
+have liked to take them (i.e. the paintings) to your Majesty in person,
+but that my age and the length of the journey forbade such a course" (C.
+and C. ii. 103). Writing also in 1548 to Granvella he refers to his
+"vechia vita." Would not such expressions (asks Dr. Gronau) be more
+applicable to a man of sixty-eight and seventy-one respectively than to
+one of only fifty-six and fifty-nine?
+
+[168] XXIV. Band. 6 Heft, p. 457.
+
+[169] January 1902, pp. 123-130.
+
+[170] Quoted from Crowe and Cavalcaselle. II. 344. The Spanish original
+is given at p. 535.
+
+[171] I have quoted Titian's letter in full in the _Nineteenth Century_.
+That of the Spanish Consul is given in the _Jahrbuch der Sammlungen des
+A.H. Kaiserhauses_, vii. p. 221, from which I extract the passage: "El
+dicho Ticiano besa pies y manos de V.M., y suplica umilmente a V.M.
+mande le sea pagado lo que le ha corrido de las pensiones de que V.M. le
+tiene echo merced en Milan y en esa corte, y la trata de Napoles, y con
+los 85 años de su edad servira a V.M. hasta la muerte."
+
+[172] I have quoted this letter also in full in the _Nineteenth
+Century._ I am indebted to M. Salomon Reinach for making this point
+(_Chronique des Arts_, Feb. 15, 1902, p. 53, where he expresses himself
+a convert to my views).
+
+
+
+
+CATALOGUE OF THE WORKS OF GIORGIONE
+
+ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED
+
+AUSTRIA-HUNGARY
+
+
+
+BUDA-PESTH GALLERY.
+
+
+PORTRAIT OF A YOUNG MAN. [No. 94.]
+
+_Esterhazy Collection_. (See p. 31.)
+
+
+TWO FIGURES STANDING. [No. 95.]
+
+Copy of a portion of Giorgione's lost picture of the "Birth of Paris."
+These are the two shepherds. (See p. 46.)
+
+The whole composition was engraved by Th. von Kessel for the _Theatrum
+pictorium_ under Giorgione's name. The original picture was seen and
+described by the Anonimo in 1525.
+
+
+
+VIENNA GALLERY.
+
+
+EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF ROME.
+Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]
+
+Seen by the Anonimo in 1525, in Venice, and said by him to have been
+finished by Sebastiano del Piombo. (See p. 12.)
+
+_Collection of the Archduke Leopold William, and registered in the
+inventory of_ 1659.
+
+
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. x 3 ft. 10 in. [No.
+23.]
+
+Inferior replica by Giorgione of the Beaumont picture in London.
+
+I have sought to identify this piece with the picture "da una Nocte,"
+painted by Giorgione for Taddeo Contarini. (See p. 24 and Appendix,
+where the original document is quoted.)
+
+_From the Collection of the Archduke Leopold William, and registered in
+the inventory of 1659 as a Giorgione._
+
+
+VIRGIN AND CHILD. Wood, 2 ft. 2 in. x 2 ft. 9 in. [No. 176.]
+
+Known as the "Gipsy Madonna," and ascribed to Titian. _Collection of the
+Archduke Leopold William._ (See p. 97.)
+
+
+PORTRAIT OF A MAN. Canvas, 3 ft. 5 in. x 2 ft. 9 in. [No. 167.]
+
+Commonly, though erroneously, called "The Physician Parma," and ascribed
+to Titian.
+
+_Collection of the Archduke Leopold William._ (See p. 87.)
+
+
+DAVID WITH THE HEAD OF GOLIATH. Wood, 2 ft. 2 in. x 2 ft. 6 in. [No.
+21.]
+
+Copy after a lost original, which is thus described by Vasari: "A David
+(which, according to common report, is a portrait of the master himself)
+with long locks, reaching to the shoulders, as was the custom of that
+time, and the colouring is so fresh and animating that the face appears
+to be rather real than painted; the breast is covered with armour, as is
+the arm with which he holds the head of Goliath."
+
+_This picture was at that day in the house of the Patriarch of Aquileia;
+the copy can be traced back to the Collection of the Archduke Leopold
+William at Brussels._ (See p. 48.)
+
+Herr Wickhoff, however, seems to think that, were the repaints removed,
+the Vienna picture might prove to be Giorgione's original painting. See
+Berenson's _Study and Criticism of Italian Art_, vol. i. p. 74, note.
+
+
+
+BRITISH ISLES
+
+
+
+LONDON, NATIONAL GALLERY.
+
+
+ADORATION OF THE MAGI, or THE EPIPHANY. Panel. 12 in. x 2 ft. 8 in. [No.
+1160.]
+
+_From the Leigh Court sale, 1884._ (See p. 53.)
+
+
+UNKNOWN SUBJECT, possibly THE GOLDEN AGE. Panel. 1 ft. 11 in. x 1 ft. 7
+in. [No. 1173.]
+
+Now catalogued as "School of Barbarelli." (See p. 91.) _Purchased in
+1885 at the sale of the Bohn Collection as a Giorgione.
+
+Formerly in the Aldobrandini Palace, Rome, where it was bought by Mr.
+Day for the Marquis of Bristol, but afterwards sold at Christie's to Mr.
+White, and by him for £73.10s. to Bohn._
+
+PORTRAIT OF A MAN, possibly PROSPERO COLONNA. Transposed in 1857 from
+wood to canvas, 2 ft. 8 in. x 2 ft. [No. 636.]
+
+Catalogued as "Portrait of a Poet," by Palma Vecchio.
+
+_Formerly in possession of Mr. Tomline, and purchased in 1860 from M.
+Edmond Beaucousin at Paris._
+
+It was then called the portrait of Ariosto by Titian. (See p. 81.)
+
+A KNIGHT IN ARMOUR, probably S. LIBERALE. Wood, 1 ft. 3 in. x 10 in.
+[No. 269.]
+
+_Formerly in the Collection of Benjamin West, P.R.A., and bequeathed to
+the National Gallery by Mr. Samuel Rogers in 1855._ (See p. 20.)
+
+VENUS AND ADONIS. Canvas, 2 ft. 6 in. x 4 ft. 4 in. [No. 1123.]
+
+Catalogued as "Venetian School," and more recently as "School of
+Giorgione."
+
+_Purchased in 1882 as a Giorgione at the Hamilton Palace sale._ (See p.
+94.)
+
+GLASGOW GALLERY.
+
+THE ADULTERESS BEFORE CHRIST. Canvas, 4 ft. 6 in. x 5 ft. 11 in. [No.
+142.]
+
+_Ex M'Lellan Collection._ (See p. 102.)
+
+TWO MUSICIANS. Panel. 1 ft. 9 in. x 1 ft. 4 in. [No. 143.]
+
+Recently attributed to Campagnola. Said to be Titian and Giorgione,
+playing violin and violoncello. The former attribution to Giorgione is
+probably correct.
+
+_Graham-Gilbert Collection._
+
+New Gallery, Venetian Exhibition, 1895. [No. 99.]
+
+HAMPTON COURT.
+
+SHEPHERD BOY. Canvas, 1 ft. 11 in. x 1 ft. 8 in. [No. 101.]
+
+_From Charles I. Collection_, where it was called a Giorgione. (See p.
+49 for a suggestion as to its possible authorship.)
+
+BUCKINGHAM PALACE.
+
+THREE FIGURES. Half-length; two men, and a woman fainting. Canvas, 2 ft.
+5 in. x 2 ft. 1 in.
+
+Ascribed to Titian, but probably derived from a Giorgione original.
+Other versions are said (C. and C. ii. 149) to have been at the Hague
+and in the Buonarroti Collection at Florence. The London picture is so
+damaged and repainted, although still of splendid colouring, as to
+preclude all certainty of judgment.
+
+_Formerly in Charles I. Collection._
+
+MR. WENTWORTH BEAUMONT'S COLLECTION.
+
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. 6 in. x 2 ft.
+(about).
+
+_From the Gallery of Cardinal Fesch_, and presumably the same as the
+picture in the Collection of James II. I have sought to identify this
+piece with the picture "da una Nocte," painted by Giorgione for Vittorio
+Beccare (See p. 20, and Appendix quoting the original document.)
+
+MR. R.H. BENSON'S COLLECTION.
+
+HOLY FAMILY. Wood, 14 in. x 17 in.
+
+New Gallery, 1895. [No. 148.] (See p. 96.)
+
+MADONNA AND CHILD. Wood, 1 ft. 6 in. x 1 ft. 10 in.
+
+New Gallery, 1895. [No. 1, under Titian's name.] (See p. 101.)
+
+_From the Burghley House Collection._
+
+PORTRAIT OF A MAN. Canvas, 38 in. x 32 in.
+
+Copy of a lost original. Three-quarter length; life-size; standing
+towards right; head facing; hands resting on a column, glove in left;
+black dress, cut square at throat.
+
+New Gallery, 1895. [No. 52, as "Unknown."] (See p. 74.)
+
+COBHAM HALL, THE EARL OF DARNLEY'S COLLECTION.
+
+PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.
+
+Erroneously called Ariosto, and ascribed to Titian.
+
+I have sought to identify this with the "Portrait of a Gentleman" of the
+Barberigo family, said by Vasari to have been painted by Titian at the
+age of eighteen. (See p. 69.)
+
+HERON COURT, THE EARL OF MALMESBURY.
+
+THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.
+
+Copy of an unidentified original, of which other versions are to be
+found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is
+probably a Bolognese repetition of the seventeenth century.
+
+Ridolfi mentions this subject in his list of Giorgione's works.
+
+New Gallery, 1895. [No. 29.]
+
+HERTFORD HOUSE, WALLACE COLLECTION.
+
+VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]
+
+The picture was engraved as a Giorgione when in the Orleans Gallery.
+(See p. 93.)
+
+KENT HOUSE, THE LATE LOUISA LADY ASHBURTON.
+
+TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.
+
+The damaged state precludes any certainty of judgment. The composition
+is that of the Adrastus and Hypsipyle picture; the colouring recalls
+the National Gallery "Golden Age(?)." If an original, it is quite an
+early work. New Gallery, 1895. [No. 147.]
+
+TWO FIGURES (half-lengths), A WOMAN AND A MAN.
+
+Copy after a missing original, and in the style of the figures at
+Oldenburg. (See Venturi, _La Gall. Crespi_.) This or the original was
+engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in
+aedibus Burghesianis asservata.
+
+KINGSTON LACY, COLLECTION OF MR. RALPH BANKES.
+
+THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.
+
+Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa
+Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia,
+colla figura del ministro non finita." Afterwards in the Marescalchi
+Gallery at Bologna, where (1820) it was seen by Lord Byron, who
+especially praised it (vide _Life and Letters_, ed. by Moore, p. 705),
+and at whose suggestion it was purchased by his friend Mr. Bankes. (See
+p. 25.)
+
+Exhibited Royal Academy, 1869.
+
+A PAINTED CEILING.
+
+With four putti climbing over a circular balcony, seen in steep
+perspective, and covered with beautiful vine leaves and flowers. This is
+said to have been painted by Giorgione in the last year of his life
+(1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably
+preserved, and most likely a genuine work.
+
+TEMPLE NEWSAM, COLLECTION OF THE HON. MRS MEYNELL-INGRAM.
+
+PORTRAIT OF A MAN.
+
+Traditionally ascribed to Titian. Just under life-size; he holds a black
+hat. Blue-black silk dress with sleeve of pinky red and golden brown
+gloves. Dark auburn hair. Dark grey marble wall behind. In excellent
+preservation. (See p. 86.)
+
+COLLECTION OF SIR CHARLES TURNER.
+
+THE ADULTERESS BEFORE CHRIST.
+
+A free Venetian repetition, perhaps based on an alternative design for
+the Glasgow picture. (See p. 104.)
+
+
+FRANCE.
+
+LOUVRE.
+
+FÊTE CHAMPÊTRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8 in. x 4 ft. 9 in.
+
+_Said to have been in Charles I. Collection, and sold to Louis XIV. by
+Jabuch._ (See p. 39.)
+
+HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3 ft.
+4 in. x 4 ft. 6 in.
+
+Perhaps left incomplete by Giorgione at his death, and finished by
+Sebastiano del Piombo. (See p. 105.)
+
+_From Charles I. Collection._
+
+
+GERMANY.
+
+BERLIN GALLERY.
+
+PORTRAIT OF A YOUNG MAN.
+
+_Acquired from Dr. Richten_ (See p. 30.)
+
+BERLIN, COLLECTION OF HERR VON KAUFFMANN.
+
+STA. GIUSTINA.
+
+A small seated figure with the unicorn. Recently acquired at Cologne,
+and known to the writer only by photograph and description, but
+tentatively accepted as genuine.
+
+DRESDEN GALLERY.
+
+VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]
+
+Formerly catalogued as a copy by Sassoferrato after Titian. Restored by
+Morelli to Giorgione, and universally accepted as such. Mentioned by the
+Anonimo and Ridolfi, and said to have been completed by Titian. (See p.
+35.)
+
+THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.
+
+Copy after a lost original. C. and C. suggest Girolamo Pennacchi as
+possible author. It bears the Este arms.
+
+_From the Manfrini and Barker Collections._
+
+(See _Gazette des Beaux Arts_, 1884, tom. xxx. p. 223.)
+
+JUDGMENT OF PARIS. Canvas, 1 ft. 9 in. x 2 ft. 3 in.
+
+One of several copies of a lost original. [See under British
+Isles--Heron Court.]
+
+ITALY
+
+BERGAMO, GALLERY.
+
+ORPHEUS AND EURYDICE. Wood, 1 ft. 3 in, x 1 ft. 9 in. [No. 179, Lochis
+section.]
+
+(See p. 89.)
+
+MADONNA AND CHILD. Wood, 1 ft. 3 in. x 1 ft. 6 in. [No. 232, Lochis
+section, as "Titian."]
+
+The composition is very similar to Mr. Benson's "Madonna and Child"
+(_q.v._). (See p. 101.)
+
+THE ADULTERESS BEFORE CHRIST. 4 ft. 11 in. x 7 ft. 3 in. [No. 26,
+Carrara section.]
+
+Later copy, with slight variations, of the Glasgow picture, Ascribed to
+Cariani, and in a dirty state. (See p. 104.)
+
+CASTELFRANCO, DUOMO.
+
+MADONNA AND CHILD ENTHRONED, SS. LIBERALE AND FRANCIS BELOW. Wood, 7 ft.
+6 in. x 4 ft. 10 in.
+
+(See p. 7.)
+
+FLORENCE, PITTI GALLERY.
+
+THE CONCERT. Canvas, 3 ft. 10 in. x 7 ft. 4 in. [No. 185.]
+
+Described by Ridolfi and Boschini.
+
+An old copy is at Hyde Park House, another in the Palazzo Doria, Rome.
+(See p. 49.)
+
+THE THREE AGES. Wood, 3 ft. 8 in. x 5 ft. 4 in. [No. 157.]
+
+By C. and C. ascribed to Lotto, by Morelli to Giorgione.
+
+(See p. 42.)
+
+NYMPH AND SATYR. Canvas. [No. 147.]
+
+(See p. 44.)
+
+FLORENCE, UFFIZI GALLERY.
+
+TRIAL OF MOSES, or ORDEAL BY FIRE. Canvas. Figures one-eighth life-size.
+[No. 621.]
+
+_From Poggio Imperiale._(See p. 15.)
+
+JUDGMENT OF SOLOMON. Companion piece to last. Wood. [No. 630.]
+
+(See p. 15.)
+
+KNIGHT OF MALTA. Canvas. Bust, life-size. [No. 622.]
+
+The letters XXXV probably refer to the man's age. Mr. Dickes (_Magazine
+of Art_, April 1893) thinks he is Stefano Colonna, who died 1548. (See
+p. 19.)
+
+MILAN, CRESPI COLLECTION.
+
+PORTRAIT OF CATERINA CORNARO. Canvas, 3 ft. 11 in. x 3 ft. 2 in.
+
+_From the Alessandro Martinengo Gallery, Brescia (1640), thence to
+Collection Francesco Riccardi, Bergamo, where C. and C. saw it in 1877._
+They state it was engraved in the line series of Sala. It has been known
+traditionally both as Caterina Cornaro and "La Schiavona." (See p. 74.)
+
+In the signature T.V. it is clear that the V represents the last letter
+but one in TITIANVS. The first three letters can just be made out. There
+are many _pentimenti_ on the marble parapet, which seems to have been
+painted over the dress.
+
+PADUA, GALLERY.
+
+Two _cassone_ panels with mythological scenes. Wood, about 4 ft. x 1 ft.
+each. [Nos. 416, 417.]
+
+(See p. 56.)
+
+Two very small panels with mythological scenes, one representing LEDA
+AND THE SWAN. Wood, about 5 in. x 3 in. each. [Nos. 42, 43.]
+
+(See p. 90.)
+
+ROME, BORGHESE GALLERY.
+
+PORTRAIT OF A LADY. Canvas, 3 ft. 2 in. x 2 ft. 6 in.
+
+(See p. 33.)
+
+NATIONAL GALLERY, PAL. CORSINI.
+
+S. GEORGE AND THE DRAGON.
+
+_Recently acquired._
+
+(Tentatively accepted from the photograph. See p. 91.)
+
+ROVIGO, GALLERY.
+
+MADONNA AND CHILD. [NO. 2.]
+
+Repetition by Titian of Giorgione's original at Vienna
+
+(See p. 98.)
+
+A SMALL SEATED FIGURE. DANAE? [No. 156.]
+
+Copy of a missing original.
+
+VENICE, ACADEMY.
+
+STORM AT SEA CALMED BY S. MARK. Wood, 11 ft. 8 in. x 13 ft. 6 in. [No.
+516.]
+
+_From the Scuola di S. Marco_, where it was companion piece to Paris
+Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by
+Zanetti to Giorgione.
+
+Too damaged to admit of definite judgment. (See p. 55.)
+
+THREE FIGURES. Half-lengths; a woman fainting, supported by a man;
+another behind.
+
+Modern copy by Fabris of apparently a missing original. Can this be the
+picture mentioned by C. and C. as in the possession of the King of
+Holland? (C. and C. ii. 149, note.) _Cf_. also, Notes to Sansoni's
+_Vasari_, iv. p. 104. Another version is at Buckingham Palace (_q.v_.),
+but it differs in detail from this copy.
+
+SEMINARIO.
+
+APOLLO AND DAPHNE. _Cassone_ panel. Wood. Small figures, much defaced.
+(See p. 34.)
+
+CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as
+life. About 3 ft. x 2 ft.
+
+Christ clad in pale grey, head turned three-quarters looking out of the
+picture, auburn hair and beard, bears cross. He is dragged forward by an
+elderly man nude to waist. Another man in profile to left. An old man
+with white beard just visible behind Christ. (See p. 54.)
+
+PAL. ALBUZIO. JUDGMENT OF PARIS.
+
+Another version of this subject, of which copies exist at Christiania,
+Lord Malmesbury's, and Dresden.
+
+PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft. 5
+in.
+
+Described by the Anonimo in the house of Gabriel Vendramin (1530). (See
+p. 11.)
+
+Statius (lib. iv. 730 _ff_.) describes how King Adrastus, wandering
+through the woods in search of a spring to quench the thirst of his
+troops, encounters by chance Queen Hypsipyle, who had been driven out of
+Lemnos by the wicked women, who had resolved to slay their husbands, and
+she had taken refuge in the service of the King of Nemea, in capacity
+of nurse.
+
+Ex _Manfrini Palace._
+
+PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6 in.
+square. (See p. 85.)
+
+
+NORWAY.
+
+CHRISTIANIA.
+
+JUDGMENT OF PARIS.
+
+Another version of this subject, of which copies exist at Lord
+Malmesbury's, Dresden, and Venice.
+
+
+RUSSIA.
+
+ST. PETERSBURG, HERMITAGE GALLERY.
+
+JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]
+
+Once ascribed to Raphael, and engraved as such (in 1620), by H.H.
+Quitter, and afterwards by several other artists. Dr. Waagen pronounced
+it to be Moretto's work, and accordingly the name was changed; as such
+Braun has photographed it. It is now officially recognised rightly as a
+Giorgione (_vide_ Catalogue of 1891).
+
+_Brought from Italy to France, and eventually in Crozat's possession_.
+(See p. 37.)
+
+VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]
+
+_Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian_, under
+which name it is still registered. (See p. 102, where Mr. Claude
+Phillips's suggestion that it may be a Giorgione is discussed.)
+
+
+SPAIN.
+
+MADRID, PRADO GALLERY.
+
+MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft. 5
+in. [No. 341.]
+
+_From the Escurial_; restored to Giorgione by Morelli, and now
+officially recognised as his work. (See p. 45.)
+
+
+UNITED STATES.
+
+BOSTON, COLLECTION OF MRS. GARDNER.
+
+CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.
+
+Several variations and repetitions exist. (See p. 18.)
+
+_Till lately in the Casa Loschi at Vicenza._
+
+       *       *       *       *       *
+
+A few drawings by Giorgione meet with general recognition, but, like his
+paintings, they appear to have been unnecessarily restricted by an
+over-anxiety on the part of critics to leave him only the best. E.g. the
+drawing at Windsor for a part of an "Adoration of the Shepherds," is, no
+doubt, a preliminary design for the Beaumont or Vienna pictures. The
+limits of the present book will not allow a discussion on the subject,
+but we may remark that, like all Venetian artists, Giorgione made few
+preliminary sketches, concerning himself less with design and
+composition than with harmony of colour, light and shade, and "effect."
+The engraving by Marcantonio commonly called "The Dream of Raphael," is
+now known to be derived from Giorgione, to whom the subject was
+suggested by a passage in Servius' _Commentary on Virgil_ (lib. iii. v.
+12). (See Wickhoff, loc. cit.)
+
+
+
+
+LIST OF GIORGIONE'S PICTURES CITED BY "THE ANONIMO," AS BEING IN HIS
+DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.[173]
+
+
+CASA TADDEO CONTARINI (1525).
+
+(i) The Three Philosophers (since identified as Aeneas, Evander, and
+Pallas, in the Vienna Gallery),
+
+(ii) Aeneas and Anchises in Hades.
+
+(in) The Birth of Paris. (Since identified by the engraving of Th. von
+Kessel. A copy of the part representing the two shepherds is at
+Buda-Pesth.)
+
+
+CASA JERONIMO MARCELLO (1525).
+
+(i) Portrait of M. Jeronimo armed, showing his back and turning his
+head.
+
+(ii) A nude Venus in a landscape with Cupid. Finished by Titian. (Since
+identified as the Dresden Venus.)
+
+(in) S. Jerome reading.
+
+
+CASA M. ANTON. VENIER (1528).
+
+A soldier armed to the waist.
+
+
+CASA G. VENDRAMIN (1530).
+
+(i) Landscape with soldier and gipsy. (Since identified as the Adrastus
+and Hypsipyle of the Pal. Giovanelli, Venice.)
+
+(ii) The dead Christ on the Tomb, supported by one Angel. Retouched by
+Titian. (This can hardly be the celebrated Pietà in the Monte di Pietà
+at Treviso, as there are here three angels. M. Lafenestre, in his _Life
+of Titian_, reproduces an engraving answering to the above description,
+but it is hard to believe this mannered composition is to be traced back
+to Giorgione.)
+
+CASA ZUANE RAM (1531).
+
+(i) A youth, half-length, holding an arrow.
+
+(ii) Head of a shepherd boy, who holds a fruit.
+
+
+CASA A. PASQUALINO.
+
+(i) Copy of No. (i) just mentioned.
+
+(ii) Head of S. James, with pilgrim staff (or, may be, a copy).
+
+
+CASA ANDREA ODONI (1532).
+
+S. Jerome, nude, seated in a desert by moonlight. Copy after Giorgione.
+
+
+CASA MICHIEL CONTARINI (1543).
+
+A pen drawing of a nude figure in a landscape. The painting of the same
+subject belonged to the Anonimo.
+
+
+CASA PIERO SERVIO (1575).
+
+Portrait of his father.
+
+It is noteworthy that two of the above pieces are cited as copies, from
+which we may infer that Giorgione's productions were already, at this
+early date, enjoying such a vogue as to call for their multiplication at
+the hands of others, and we can readily understand how, in course of
+time, the fabrication of "Giorgiones" became a profitable business.
+
+NOTES:
+
+[173] _Notizie d'opere di disegno_. Ed. Frizzoni. Bologna, 1884.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Giorgione, by Herbert Cook
+
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+<pre>
+
+The Project Gutenberg EBook of Giorgione, by Herbert Cook
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Giorgione
+
+Author: Herbert Cook
+
+Release Date: May 9, 2004 [EBook #12307]
+
+Language: English, with Italian and French
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GIORGIONE ***
+
+
+
+
+Produced by Dave Morgan, Wilelmina Mallière and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+<br>
+<div style="text-align: center;"><a name="madonna_and_child"></a><img
+ style="width: 512px; height: 764px;"
+ alt="Madonna &amp; Child with two Saints."
+ title="Madonna &amp; Child with two Saints." src="images/drg001.jpg"></div>
+<a name="GIORGIONE"></a>
+<h1>GIORGIONE</h1>
+<h3>BY</h3>
+<h2>HERBERT COOK, M.A., F.S.A.</h2>
+<h3>BARRISTER-AT-LAW</h3>
+<h3><br>
+</h3>
+<h3>1904</h3>
+<br>
+<br>
+<br>
+<hr style="height: 2px; width: 45%;"><br>
+<br>
+<div class="blkquot">
+<p>"Born half-way between the mountains and the sea&#8212;that young George
+of Castelfranco&#8212;of the Brave Castle: Stout George they called him,
+George of Georges, so goodly a boy he was&#8212;Giorgione."</p>
+<p> (RUSKIN: <i>Modern Painters</i>, vol. V. pt. IX. ch. IX.)</p>
+</div>
+<p><i>First Published, November 1900 Second Edition, revised, with new
+Appendix, February 1904.</i></p>
+<hr style="width: 65%;">
+<a name="PREFACE"></a>
+<h2>PREFACE</h2>
+<p>Unlike most famous artists of the past, Giorgione has not yet found
+a
+modern biographer. The whole trend of recent criticism has, in his
+case,
+been to destroy not to fulfil. Yet signs are not wanting that the
+disintegrating process is at an end, and that we have reached the point
+where reconstruction may be attempted. The discovery of documents and
+the recovery of lost pictures in the last few years have increased the
+available material for a more comprehensive study of the artist, and
+the
+time has come when the divergent results arrived at by independent
+modern inquirers may be systematically arranged, and a reconciliation
+of
+apparently conflicting views attempted on a psychological basis.</p>
+<p>Crowe and Cavalcaselle were the first to examine the subject
+critically.
+They separated&#8212;so far as was then possible (1871)&#8212;the real from the
+traditional Giorgione, and their account of his life and works must
+still rank as the nearest equivalent to a modern biography. Morelli,
+who
+followed in 1877, was in singular sympathy with his task, and has
+written of his favourite master enthusiastically, yet with consummate
+judgment. Among living authorities, Dr. Gronau, Herr Wickhoff, Signor
+Venturi, and Mr. Bernhard Berenson have contributed effectively to the
+elucidation of obscure or disputed points, and the latter writer has
+probably come nearer than anyone to recognise the scope of Giorgione's
+art, and grasp the man behind his work. The monograph by Signor Conti
+and the chapter in Pater's <i>Renaissance</i> may be read for their
+delicate
+appreciations of the "Giorgionesque"; other contributions on the
+subject
+will be found in the Bibliography.</p>
+<p>It is absolutely necessary for those whose judgment depends upon a
+study
+of the actual pictures to be constantly registering and adjusting their
+impressions. I have personally seen and studied all the pictures I
+believe to be by Giorgione, with the exception of those at St.
+Petersburg; and many galleries and churches where they hang have been
+visited repeatedly, and at considerable intervals of time. If in the
+course of years my individual impressions (where they deviate from
+hitherto recognised views) fail to stand the test of time, I shall be
+the first to admit their inadequacy. If, on the other hand, they prove
+sound, some of the mists which at present envelop the figure of
+Giorgione will have been dispersed.</p>
+<p>H.C.</p>
+<p><i>November</i> 1900</p>
+<hr style="width: 65%;">
+<a name="NOTE_TO_THE_SECOND_EDITION"></a>
+<h2>NOTE TO THE SECOND EDITION</h2>
+<p>To this Edition an Appendix has been added, containing&#8212;(1) an
+article
+by the Author on the age of Titian, which was published in the
+<i>Nineteenth Century</i> of January 1902; (2) the translation of a
+reply by
+Dr. Georg Gronau, published in the <i>Repertorium f&uuml;r
+Kunstwissenschaft</i>;
+(3) a further reply by the Author, published in the same German
+periodical.</p>
+<p>The writer wishes to acknowledge his indebtedness to the Editors of
+the
+<i>Nineteenth Century</i> and of the <i>Repertorium</i> for permission
+to reprint
+these articles.</p>
+<p>A better photograph of the "Portrait of an Unknown Man" at Temple
+Newsam
+has now been taken (p. 87), and sundry footnotes have been added to
+bring the text up to date.</p>
+<p>H. C.</p>
+<p>ESHER, <i>January</i> 1904.</p>
+<hr style="width: 65%;">
+<a name="CONTENTS"></a>
+<h2>CONTENTS</h2>
+<p><a href="#LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</a></p>
+<p><a href="#BIBLIOGRAPHY">BIBLIOGRAPHY</a></p>
+Chapter I. <a href="#CHAPTER_I">GIORGIONE'S LIFE</a><br>
+<br>
+<span style="margin-left: 5em;">II. <a href="#CHAPTER_II">GIORGIONE'S
+GENERALLY ACCEPTED WORKS</a></span><br>
+<br>
+<span style="margin-left: 4.5em;">III. <a href="#CHAPTER_III">INTERMEDIATE
+SUMMARY</a></span><br>
+<br>
+<span style="margin-left: 5em;">IV. <a href="#CHAPTER_IV">ADDITIONAL
+PICTURES&#8212;PORTRAITS</a></span><br>
+<br>
+<span style="margin-left: 5.5em;">V. <a href="#CHAPTER_V">ADDITIONAL
+PICTURES&#8212;OTHER SUBJECTS</a></span><br>
+<br>
+<span style="margin-left: 5em;">VI. <a href="#CHAPTER_VI">GIORGIONE'S
+ART, AND PLACE IN
+HISTORY</a><br>
+<br>
+</span>
+<p><a href="#APPENDIX_I">APPENDIX I</a>&#8212;DOCUMENTS</p>
+<p><a href="#APPENDIX_II">APPENDIX II</a>&#8212;THE AGE OF TITIAN</p>
+<p><a href="#CATALOGUE_OF_THE_WORKS_OF_GIORGIONE">CATALOGUE OF WORKS</a></p>
+<p><a href="#INDEX">INDEX</a></p>
+<hr style="width: 65%;">
+<a name="LIST_OF_ILLUSTRATIONS"></a>
+<h2>LIST OF ILLUSTRATIONS</h2>
+<p><a href="#madonna_and_child">Madonna, with SS. Francis and Liberale.</a>
+<i>Castelfranco</i>.</p>
+<p><a href="#ADRASTUS_AND_HYPSIPYLE">Adrastus and Hypsipyle.</a> <i>Palazzo
+Giovanelli, Venice</i></p>
+<p><a href="#AENEAS_EVANDER_AND_PALLAS">Aeneas, Evander, and Pallas.</a>
+<i>Vienna Gallery</i></p>
+<p><a href="#THE_JUDGMENT_OF_SOLOMON">The Judgment of Solomon.</a> <i>Uffizi
+Gallery</i></p>
+<p><a href="#THE_TRIAL_OF_MOSES">The Trial of Moses</a>. <i>Uffizi
+Gallery</i></p>
+<p><a href="#CHRIST_BEARING_THE_CROSS">Christ bearing the Cross.</a> <i>Collection
+of Mrs. Gardner, Boston,
+U.S.A.</i></p>
+<p><a href="#THE_KNIGHT_OF_MALTA">Knight of Malta</a>. <i>Uffizi
+Gallery</i></p>
+<p><a href="#THE_ADORATION_OF_THE_SHEPHERDS">The Adoration of the
+Shepherds.</a> <i>Vienna Gallery</i></p>
+<p><a href="#THE_JUDGMENT_OF_SOLOMON_Unfinished">The Judgment of
+Solomon.</a> <i>Collection of Mrs. Ralph Bankes,
+Kingston
+Lacy</i></p>
+<p><a href="#PORTRAIT_OF_A_YOUNG_MAN">Portrait of a Young Man</a>. <i>Berlin
+Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN">Portrait of a Man.</a> <i>Buda-Pesth
+Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_LADY">Portrait of a Lady.</a> <i>Borghese
+Gallery, Rome</i></p>
+<p><a href="#APOLLO_AND_DAPHNE">Apollo and Daphne</a>. <i>Seminario,
+Venice</i></p>
+<p><a href="#VENUS">Venus</a>. <i>Dresden Gallery</i></p>
+<p><a href="#JUDITH">Judith.</a> <i>Hermitage Gallery, St. Petersburg</i></p>
+<p><a href="#A_PASTORAL_SYMPHONY">Pastoral Symphony</a>. <i>Louvre,
+Paris</i></p>
+<p><a href="#THE_THREE_AGES_OF_MAN">The Three Ages.</a> <i>Pitti
+Gallery</i></p>
+<p><a href="#NYMPH_AND_SATYR">Nymph and Satyr.</a> <i>Pitti Gallery</i></p>
+<p><a href="#Madonna_and_saints">Madonna, with SS. Roch and Francis.</a>
+<i>Prado, Madrid</i></p>
+<p><a href="#COPY_OF_A_PORTION_OF_GIORGIONES_BIRTH_OF_PARIS">The Birth
+of Paris&#8212;Copy of a portion.</a> <i>Buda-Pesth Gallery</i></p>
+<p><a href="#THE_SHEPHERD_BOY.">Shepherd Boy.</a> <i>Hampton Court</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_TORBIDO">Portrait of a Man.</a> (By
+Torbido) <i>Padua Gallery</i></p>
+<p><a href="#THE_CONCERT">The Concert.</a> <i>Pitti Gallery</i></p>
+<p><a href="#THE_ADORATION_OF_THE_MAGI">The Adoration of the Magi</a>
+(or Epiphany). <i>National Gallery</i></p>
+<p><a href="#PAGE_OF_VANDYCKS_SKETCH-BOOK">Christ bearing the Cross.</a>
+<i>Collection of Duke of Devonshire,
+Chatsworth.</i>
+(Sketch by Vandyck, after the original by Giorgione in S. Rocco, Venice)</p>
+<p><a href="#FRONTS_OF_TWO_CASSONES">Mythological Scenes. </a>Two <i>Cassone</i>
+pieces <i>Padua Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_GENTLEMAN">Portrait of "Ariosto"</a>. <i>Collection
+of the Earl of Darnley, Cobham
+Hall</i></p>
+<p><a href="#PORTRAIT_OF_CATERINA_CORNARO">Portrait of Caterina Cornaro</a>.
+<i>Collection of Signor Crespi, Milan</i></p>
+<p><a href="#MARBLE_BUST_OF_CATERINA_CORNARO">Bust of Caterina Cornaro.</a>
+<i>Pourtal&egrave;s Collection, Berlin</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_national">Portrait of "A Poet".</a> <i>National
+Gallery</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_Unfinished">Portrait of a Man.</a> <i>Querini-Stampalia
+Gallery, Venice</i></p>
+<p><a href="#PORTRAIT_OF_A_MAN_meynell">Portrait of a Man.</a> <i>Collection
+of the Hon. Mrs. Meynell-Ingram,
+Temple
+Newsam</i>.</p>
+<p><a href="#PORTRAIT_OF_A_MAN_vienna">Portrait of "Parma, the
+Physician"</a>. <i>Vienna Gallery</i></p>
+<p><a href="#ORPHEUS_AND_EURYDICE">Orpheus and Eurydice.</a> <i>Bergamo
+Gallery</i></p>
+<p><a href="#THE_GOLDEN_AGE">The Golden Age (?)</a>. <i>National
+Gallery</i></p>
+<p><a href="#VENUS_AND_ADONIS">Venus and Adonis.</a> <i>National
+Gallery</i></p>
+<p>Holy Family. <i>Collection of Mr. Robert Benson, London</i></p>
+<p><a href="#THE_GIPSY_MADONNA">The "Gipsy" Madonna. </a><i>Vienna
+Gallery</i></p>
+<p><a href="#MADON_AND_CHILD">Madonna.</a> <i>Collection of Mr.
+Robert Benson, London</i></p>
+<p><a href="#THE_ADULTERESS_BEFORE_CHRIST">The Adulteress before Christ.</a>
+<i>Glasgow Gallery</i></p>
+<p><a href="#MADON_AND_SAINTS">Madonna and Saints</a>. <i>Louvre,
+Paris</i></p>
+<hr style="width: 65%;">
+<a name="BIBLIOGRAPHY"></a>
+<h2>BIBLIOGRAPHY</h2>
+<br>
+<p>ANONIMO. "Notizia d'opere di disegno." Ed. Frizzoni. Bologna, 1884.
+<i>Passim.</i></p>
+<p><i>Archivio Storico dell' Arte</i> (now <i>L'Arte</i>), 1888, p.
+47. (See also
+<i>sub</i> Venturi.)</p>
+<p><i>Art Journal</i>. 1895. p. 90. (Dr. Richter.)</p>
+<p>BERENSON, B. "Venetian Painting at the New Gallery." 1895.
+(Privately
+printed.) "Venetian Painters of the Renaissance." Third edition, 1897.
+Putnam, London. <i>Gazette des Beaux Arts</i>, 1897, p. 279.</p>
+<p>BURCKHARDT. "Cicerone." Sixth edition, 1893. (Dr. Bode.)</p>
+<p>CONTI, A. "Giorgione, Studio." Florence, 1894.</p>
+<p>CROWE AND CAVALCASELLE. "History of Painting in North Italy," vol.
+ii.
+London, 1871. "Life of Titian." Two vols.</p>
+<p>FRY, ROGER. "Giovanni Bellini." London, 1899.</p>
+<p>GRONAU, DR. G. <i>Gazette des Beaux Arts</i>, 1894, p. 332. <i>Repertorium
+f&uuml;r
+Kunstwissenschaft</i>, xviii. 4, p. 284. "Zorzon da Castelfranco. La
+sua
+origine, la sua morte, e tomba." Venice, 1894. "Tizian." Berlin, 1900.</p>
+<p>LAFENESTRE, G. "La vie et l'oeuvre de Titien." Paris, 1886.</p>
+<p>LOGAN, MARY. "Guide to the Italian Pictures at Hampton Court."
+London,
+1894.</p>
+<p><i>Magazine of Art</i>, 1890, pp. 91 and 138. (Sir W. Armstrong.)
+1893.
+April. (Mr. W.F. Dickes.)</p>
+<p>MORELLI, GIOVANNI. "Italian Painters." Translated by C.J. Ffoulkes.
+London, 1892. Vols. i. and ii. <i>passim</i>.</p>
+<p>M&Uuml;NTZ, E. "La fin de la Renaissance." Paris.</p>
+<p>New Gallery Catalogue of Exhibition of Venetian Art, 1895.</p>
+<p>PATER, W. "The Renaissance." Chapter on the School of Giorgione.
+London,
+1893.</p>
+<p>PHILLIPS, CLAUDE. <i>Gazette des Beaux Arts</i>, 1884, p. 286. <i>Magazine
+of
+Art</i>, July 1895. "The Picture Gallery of Charles I." (<i>Portfolio</i>,
+January 1896). "The Earlier Work of Titian" (<i>Portfolio</i>, October
+1897).
+<i>North American Review</i>, October 1899.</p>
+<p><i>Repertorium f&uuml;r Kunstwissenschaft</i>. Bd. xiv. p. 316.
+(Herr von
+Seidlitz.) Bd. xix. Hft. 6. (Dr. Harck.)</p>
+<p>RIDOLFI, C. "Le Maraviglie dell' arte della pittura." Venice, 1648.</p>
+<p>Royal Academy. Catalogues of the Exhibitions of Old Masters.</p>
+<p>VASARI. "Le Vite." Ed. Sansoni. Florence, 1879. Translation edited
+by
+Blashfield and Hopkins, with Notes. London, 1897.</p>
+<p>VENTURI, ADOLFO. <i>Archivio Storico dell' Arte</i>, vi. 409, 412. <i>L'Arte</i>,
+1900, p. 24, etc. "La Galleria Crespi in Milano," 1900.</p>
+<p>WICKHOFF, F. <i>Gazette des Beaux Arts</i>, 1893, p. 135. <i>Jahrbuch
+der
+Preussischen Kunstsammlungen</i>, 1895. Heft i.</p>
+<p>ZANETTI, A. "Varie Pitture," etc., with engravings of some fragments
+from the Fondaco de' Tedeschi frescoes, 1760.</p>
+<hr style="width: 65%;">
+<br>
+<h1><a name="Page_1"></a>GIORGIONE</h1>
+<h2><a name="CHAPTER_I"></a>CHAPTER I</h2>
+<h2>GIORGIONE'S LIFE</h2>
+<br>
+<p>Apart from tradition, very few ascertained facts are known to us as
+to
+Giorgione's life. The date of his birth is conjectural, there being but
+Vasari's unsupported testimony that he died in his thirty-fourth year.
+Now we know from unimpeachable sources that his death happened in
+October-November 1510,<a name="FNanchor_1"></a><a href="#Footnote_1"><sup>[1]</sup></a>
+so that, assuming Vasari's statement to be
+correct, Giorgione will have been born in 1477.<a name="FNanchor_2"></a><a
+ href="#Footnote_2"><sup>[2]</sup></a></p>
+<p>The question of his birthplace and origin has been in great dispute.
+Without going into the evidence at length, we may accept with some
+degree of certainty the results at which recent German research has
+arrived.<a name="FNanchor_3"></a><a href="#Footnote_3"><sup>[3]</sup></a>
+Dr. Gronau's conclusion is that Giorgione was the son (or
+grandson) of a certain Giovanni, called Giorgione of Castelfranco, who
+came originally from the village of Vedelago in the march of Treviso.
+This <a name="Page_2"></a>Giovanni was living at Castelfranco, of
+which he was a citizen, in
+1460, and there, probably, Giorgione his son (or grandson) was born
+some
+seventeen years later.</p>
+<p>The tradition that the artist was a natural son of one of the great
+Barbarella family, and that in consequence he was called Barbarelli, is
+now shown to be false. This cognomen is first found in 1648, in
+Ridolfi's book, to which, in 1697, the picturesque addition was made
+that his mother was a peasant girl of Vedelago.<a name="FNanchor_4"></a><a
+ href="#Footnote_4"><sup>[4]</sup></a> None of the earlier
+writers or contemporary documents ever allude to such an origin, or
+speak of "Barbarelli," but always of "Zorzon de Castelfrancho," "Zorzi
+da Castelfranco," and the like,<a name="FNanchor_5"></a><a
+ href="#Footnote_5"><sup>[5]</sup></a></p>
+<p>We may take it as certain that Giorgione spent the whole of his
+short
+life in Venice and the neighbourhood. Unlike Titian, whose busy career
+was marked by constant journeyings and ever fresh incidents, the young
+Castelfrancan passed a singularly calm and uneventful life. Untroubled,
+apparently, by the storm and stress of the political world about him,
+he
+devoted himself with a whole-hearted simplicity to the advancement of
+his art. Like Leonardo, he early won fame for his skill in music, and
+Vasari tells us the gifted young lute-player was a welcome guest in
+distinguished circles. Although of humble origin, he must have
+possessed
+a singular charm of manner, <a name="Page_3"></a>and a comeliness of
+person calculated to
+find favour, particularly with the fair sex. He early found a
+quasi-royal friend and patroness in Caterina Cornaro, ex-Queen of
+Cyprus, whose portrait he painted, and whose recommendation, as I
+believe, secured for him important commissions in the like field. But
+we
+may leave Giorgione's art for fuller discussion in the following
+chapters, and only note here two outside events which were not without
+importance in the young artist's career.</p>
+<p>The one was the visit paid by Leonardo to Venice in the year 1500.
+Vasari tells us "Giorgione had seen certain works from the hand of
+Leonardo, which were painted with extraordinary softness, and thrown
+into powerful relief, as is said, by extreme darkness of the shadows, a
+manner which pleased him so much that he ever after continued to
+imitate
+it, and in oil painting approached very closely to the excellence of
+his
+model."<a name="FNanchor_6"></a><a href="#Footnote_6"><sup>[6]</sup></a>
+This statement has been combated by Morelli, but although
+historical evidence is wanting that the two men ever actually met,
+there
+is nothing improbable in Vasari's account. Leonardo certainly came to
+Venice for a short time in 1500, and it would be perfectly natural to
+find the young Venetian, then in his twenty-fourth year, visiting the
+great Florentine, long a master of repute, and from him, or from
+"certain works of his," taking hints for his own practice.<a
+ name="FNanchor_7"></a><a href="#Footnote_7"><sup>[7]</sup></a></p>
+<p><a name="Page_4"></a>The second event of moment to which allusion
+may here be made was the
+great conflagration in the year 1504, when the Exchange of the German
+Merchants was burnt. This building, known as the Fondaco de' Tedeschi,
+occupying one of the finest sites on the Grand Canal, was rebuilt by
+order of the Signoria, and Giorgione received the commission to
+decorate
+the fa&ccedil;ade with frescoes. The work was completed by 1508, and
+became the
+most celebrated of all the artist's creations. The Fondaco still stands
+to-day, but, alas! a crimson stain high up on the wall is all that
+remains to us of these great frescoes, which were already in decay when
+Vasari visited Venice in 1541.</p>
+<p>Other work of the kind&#8212;all long since perished&#8212;Giorgione undertook
+with success. The Soranzo Palace, the Palace of Andrea Loredano, the
+Casa Flangini, and elsewhere, were frescoed with various devices, or
+ornamented with monochrome friezes.</p>
+<p>We know nothing of Giorgione's home life; he does not appear to have
+married, or to have left descendants. Vasari speaks of "his many
+friends
+whom he delighted by his admirable performance in music," and his death
+caused "extreme grief to his many friends to whom he was endeared by
+his
+excellent qualities." He enjoyed prosperity and good health, and was
+called Giorgione "as well from the character of his person as for the
+exaltation of his mind."<a name="FNanchor_8"></a><a href="#Footnote_8"><sup>[8]</sup></a></p>
+<p>He died of plague in the early winter of 1510, and was probably
+buried
+with other victims on the island of Poveglia, off Venice, where the
+lazar-house was <a name="Page_5"></a>situated.<a name="FNanchor_9"></a><a
+ href="#Footnote_9"><sup>[9]</sup></a> The tradition that his bones
+were removed
+in 1638 and buried at Castelfranco in the family vault of the
+Barbarelli
+is devoid of foundation, and was invented to round off the story of his
+supposed connection with the family.<a name="FNanchor_10"></a><a
+ href="#Footnote_10"><sup>[10]</sup></a></p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_1"></a><a href="#FNanchor_1">[1]</a>
+<div class="note">
+<p> See Appendix, where the documents are quoted in full.</p>
+</div>
+<a name="Footnote_2"></a><a href="#FNanchor_2">[2]</a>
+<div class="note">
+<p> Vasari gives 1478 (1477 in his first edition) and 1511 as
+the years of his birth and death. Crowe and Cavalcaselle, and Dr. Bode
+prefer to say "before 1477," a supposition which would make his
+precocity less phenomenal, and help to explain some chronological
+difficulties (see p. 66).</p>
+</div>
+<a name="Footnote_3"></a><a href="#FNanchor_3">[3]</a>
+<div class="note">
+<p> <i>Zorzon da Castelfranco. La sua origine, la sua morte e
+tomba</i>, by Dr. Georg Gronau. Venice, 1894.</p>
+</div>
+<a name="Footnote_4"></a><a href="#FNanchor_4">[4]</a>
+<div class="note">
+<p> Vide <i>Repertorium f&uuml;r Kunstwissenschaft</i>, xix. 2, p.
+166.
+[Dr. Gronau.]</p>
+</div>
+<a name="Footnote_5"></a><a href="#FNanchor_5">[5]</a>
+<div class="note">
+<p> It would seem, therefore, desirable to efface the name of
+Barbarelli from the catalogues. The National Gallery, for example,
+registers Giorgione's work under this name.</p>
+</div>
+<a name="Footnote_6"></a><a href="#FNanchor_6">[6]</a>
+<div class="note">
+<p> The translation given is that of Blashfield and Hopkins's
+edition. Bell, 1897.</p>
+</div>
+<a name="Footnote_7"></a><a href="#FNanchor_7">[7]</a>
+<div class="note">
+<p> M. M&uuml;ntz adduces strong arguments in favour of this view
+(<i>La fin de la Renaissance</i>, p. 600).</p>
+</div>
+<a name="Footnote_8"></a><a href="#FNanchor_8">[8]</a>
+<div class="note">
+<p> The name "Giorgione" signifies "Big George." But it seems
+to have been also his father's name.</p>
+</div>
+<a name="Footnote_9"></a><a href="#FNanchor_9">[9]</a>
+<div class="note">
+<p> This visitation claimed no less than 20,000 victims.</p>
+</div>
+<a name="Footnote_10"></a><a href="#FNanchor_10">[10]</a>
+<div class="note">
+<p> See Gronau, <i>op. cit</i>. Tradition has been exceptionally
+busy over Giorgione's affairs. The story goes that he died of grief at
+being betrayed by his friend and pupil, Morto da Feltre, who had robbed
+him of his mistress. This is now proved false by the document quoted in
+the Appendix.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_II"></a>
+<h2><a name="Page_6"></a>CHAPTER II</h2>
+<h2>GENERALLY ACCEPTED WORKS</h2>
+<br>
+<p>Such, then, very briefly, are the facts of Giorgione's life recorded
+by
+the older biographers, or known by contemporary documents. Now let us
+turn to his artistic remains, the <i>disjecta membra</i>, out of which
+we may
+reconstruct something of the man himself; for, to those who can
+interpret it aright, a man's work is his best autobiography.</p>
+<p>This is especially true in the case of an artist of Giorgione's
+temperament, for his expression is so peculiarly personal, so highly
+charged with individuality, that every product of mental activity
+becomes a revelation of the man himself. People like Giorgione must
+express themselves in certain ways, and these ways are therefore
+characteristic. Some people regard a work of art as something external;
+a great artist, they say, can vary his productions at will, he can
+paint
+in any style he chooses. But the exact contrary is the truth. The
+greater the artist, the less he can divest himself of his own
+personality; his work may vary in degree of excellence, but not in
+kind.
+The real reason, therefore, why it is impossible for certain pictures
+to
+be by Giorgione is, not that they are not <i>good</i> enough for him,
+but
+that they are not <i>characteristic</i>. I insist on this point,
+because in
+the matter of genuineness the touchstone of authenticity is so often to
+be looked for <a name="Page_7"></a>in an answer to the question: Is
+this or that
+characteristic? The personal equation is the all-important factor to be
+recognised; it is the connecting link which often unites apparently
+diverse phenomena, and explains what would otherwise appear to be
+irreconcilable.</p>
+<p>There is an intimate relation then between the artist and his work,
+and,
+rightly interpreted, the latter can tell us much about the former.</p>
+<p>Let us turn to Giorgione's work. Here we are brought face to face
+with
+an initial difficulty, the great difficulty, in fact, which has stood
+so
+much in the way of a more comprehensive understanding of the master, I
+mean, that scarcely anything of his work is authenticated. Three
+pictures alone have never been called in question by contending
+critics;
+outside this inner ring is more or less debatable ground, and on this
+wider arena the battle has raged until scarcely a shred of the
+painter's
+work has emerged unscathed. The result has been to reduce the figure of
+Giorgione to a shadowy myth, whose very existence, at the present rate
+at which negative criticism progresses, will assuredly be called in
+question.</p>
+<p>If Bacon wrote Shakespeare, then Giorgione can be divided up between
+a
+dozen Venetian artists, who "painted Giorgione." Fortunately three
+pictures survive which refuse to be fitted in anywhere else except
+under
+"Giorgione." This is the irreducible minimum, &#959; &#945;&#957;&#945;&#947;&#954;&#945;&#953;&#959;&#964;&#945;&#964;&#959;&#962;
+Giorgione, with which we must start.</p>
+<hr style="height: 2px; width: 25%;">
+<p>Of the three universally accepted pictures, first and foremost comes
+the
+Castelfranco altar-piece, according to Mr. Ruskin "one of the two most
+perfect pictures <a name="Page_8"></a>in existence; alone in the world
+as an imaginative
+representation of Christianity, with a monk and a soldier on either
+side
+... "<a name="FNanchor_11"></a><a href="#Footnote_11"><sup>[11]</sup></a>
+This great picture was painted before 1504, when the artist
+was only twenty-seven years of age,<a name="FNanchor_12"></a><a
+ href="#Footnote_12"><sup>[12]</sup></a> a fact which clearly proves
+that
+his genius must have developed early. For not even a Giorgione can
+produce such a masterpiece without a long antecedent course of training
+and accomplishment. This is not the place to inquire into the nature
+and
+character of the works which lead up to this altar-piece, for a
+chronological survey ought to follow, not precede, an examination of
+all
+available material; it is important, nevertheless, to bear in mind that
+quite ten years had been passed in active work ere Giorgione produced
+this masterpiece.</p>
+<p>If no other evidence were forthcoming as to the sort of man the
+painter
+was, this one production of his would for ever stamp him as a person of
+exquisite feeling. There is a reserve, almost a reticence, in the way
+the subject is presented, which indicates a refined mind. An atmosphere
+of serenity pervades the scene, which conveys a sense of personal
+tranquillity and calm. The figures are absorbed in their own thoughts;
+they stand isolated apart, as though the painter wishes to intensify
+the
+mood of dreamy abstraction. Nothing disquieting disturbs the scene,
+which is one of profound reverie. All this points to Giorgione being a
+man of moods, as we say; a lyric poet, whose expression is highly
+charged with personal feeling, who appeals to the imagination rather
+than to the intellect. <a name="Page_9"></a>And so, as we might
+expect, landscape plays an
+important part in the composition; it heightens the pictorial effect,
+not merely by providing a picturesque background, but by enhancing the
+mood of serenity and solemn calm. Giorgione uses it as an instrument of
+expression, blending nature and human nature into happy unison. The
+effect of the early morning sun rising over the distant sea is of
+indescribable charm, and invests the scene with a poetic glamour which,
+as Morelli truly remarks, awakens devotional feelings. What must have
+been the effect when it was first painted! for even five modern
+restorations, under which the original work has been buried, have not
+succeeded in destroying the hallowing charm. To enjoy similar effects
+we
+must turn to the central Italian painters, to Perugino and Raphael;
+certainly in Venetian art of pre-Giorgionesque times the like cannot be
+found, and herein Giorgione is an innovator. Bellini, indeed, before
+him
+had studied nature and introduced landscape backgrounds into his
+pictures, but more for picturesqueness of setting than as an integral
+part of the whole; they are far less suggestive of the mood appropriate
+to the moment, less calculated to stir the imagination than to please
+the eye. Nowhere, in short, in Venetian art up to this date is a
+lyrical
+treatment of the conventional altar-piece so fully realised as in the
+Castelfranco Madonna.</p>
+<p>Technically, Giorgione proclaims himself no less an innovator. The
+composition is on the lines of a perfect equilateral triangle, a scheme
+which Bellini and the older Venetian artists never adopted.<a
+ name="FNanchor_13"></a><a href="#Footnote_13"><sup>[13]</sup></a> So
+<a name="Page_10"></a>simple a scheme required naturally large and
+spacious treatment; flat
+surfaces would be in place, and the draperies cast in ample folds.
+Dignity of bearing, and majestic sweep of dress are appropriately
+introduced; the colour is rich and harmonious, the preponderance of
+various shades of green having a soothing effect on the eye. The golden
+glow which doubtless once suffused the whole, has, alas! disappeared
+under cruel restorations, and flatness of tone has inevitably resulted,
+but we may still admire the play of light on horizontal surfaces, and
+the chiaroscuro giving solidity and relief to the figures.</p>
+<p>An interesting link with Bellini is seen in the S. Francis, for the
+figure is borrowed from that master's altar-piece of S. Giobbe (now in
+the Venice Academy). Bellini's S. Francis had been painted seventeen or
+eighteen years before, and now we find Giorgione having recourse to the
+older master for a pictorial motive. But, as though to assert his
+independence, he has created in the S. Liberale a type of youthful
+beauty and manliness which in turn became the prototype of subsequent
+knightly figures. Palma Vecchio, Mareschalco, and Pennacchi all
+borrowed
+it for their own use, a proof that Giorgione's altar-piece acquired an
+early celebrity.<a name="FNanchor_14"></a><a href="#Footnote_14"><sup>[14]</sup></a></p>
+<p>Exquisite feeling is equally conspicuous in the other two works
+universally ascribed to Giorgione. These are the "Adrastus and
+Hypsipyle," in the collection of Prince Giovanelli, in Venice, and
+the "Aeneas, Evander, and Pallas," in the gallery at Vienna.<a
+ name="FNanchor_15"></a><a href="#Footnote_15"><sup>[15]</sup></a></p>
+<div style="text-align: center;"><a name="ADRASTUS_AND_HYPSIPYLE"></a><img
+ style="width: 305px; height: 379px;" alt="ADRASTUS AND HYPSIPYLE"
+ title="ADRASTUS AND HYPSIPYLE" src="images/drg002.jpg"><a
+ name="Page_11"></a></div>
+<p>"The Giovanelli Figures," or "The Stormy Landscape, with the Soldier
+and
+the Gipsy," as the picture has been commonly called since the days of
+the Anonimo, who so described it in 1530, is totally unlike anything
+that Venetian art of the pre-Giorgionesque era has to show. The painted
+myth is a new departure, the creation of Giorgione's own brain, and as
+such, is treated in a wholly unconventional manner. His peculiarly
+poetical nature here finds full scope for display, his delicacy, his
+refinement, his sensitiveness to the beauties of the outside world,
+find
+fitting channels through which to express themselves. With what a
+spirit
+of romance Giorgione has invested his picture! So exquisitely personal
+is the mood, that the subject itself has taken his biographers nearly
+four centuries to decipher! For the artist, it must be noted, does not
+attempt to illustrate a passage of an ancient writer; very probably,
+nay, almost certainly, he had never read the <i>Thebaid</i> of
+Statius,
+whence comes the story of Adrastus and Hypsipyle; the subject would
+have
+been suggested to him by some friend, a student of the Classics, and
+Giorgione thereupon dressed the old Greek myth in Venetian garb, just
+as
+Statius had done in the Latin.<a name="FNanchor_16"></a><a
+ href="#Footnote_16"><sup>[16]</sup></a> The story is known to us only
+at
+second hand, and we are <a name="Page_12"></a>at liberty to choose
+Giorgione's version in
+preference to that of the Roman poet; each is an independent
+translation
+of a common original, and certainly Giorgione's is not the less
+poetical. He has created a painted lyric which is not an illustration
+of, but a parallel presentation to the written poem of Statius.</p>
+<p>Technically, the workmanship points to an earlier period than the
+Castelfranco Madonna, and there is an exuberance of fancy which points
+to a youthful origin. The figures are of slight and graceful build, the
+composition easy and unstudied, with a tendency to adopt a triangular
+arrangement in the grouping, the apex being formed by the storm scene,
+to which the eye thus naturally reverts. The figures and the landscape
+are brought into close relation by this subtle scheme, and the picture
+becomes, not figures with landscape background, but landscape with
+figures.</p>
+<p>The reproduction unduly exaggerates the contrasts of light and
+shade,
+and conveys little of the mellowness and richness of atmospheric effect
+which characterise the original. Unlike the brilliance of colouring in
+the Castelfranco picture, dark reds, browns, and greens here give a
+sombre tone which is accentuated by the dullness of surface due to old
+varnishes.<br>
+</p>
+<div style="text-align: center;">
+<div style="text-align: center;"><a name="AENEAS_EVANDER_AND_PALLAS"></a></div>
+<img style="width: 363px; height: 332px;"
+ alt="AENEAS, EVANDER, AND PALLAS" title="AENEAS, EVANDER, AND PALLAS"
+ src="images/drg003.jpg"></div>
+ 
+ 
+<p>"The Three Philosophers," or "The Chaldean Sages," as the picture at
+Vienna has long been strangely named, shows the artist again treating a
+classical story in his own fantastic way. Virgil has enshrined in verse
+the legend of the arrival of the Trojan Aeneas in Italy,<a
+ name="FNanchor_17"></a><a href="#Footnote_17"><sup>[17]</sup></a> and
+Giorgione depicts the moment when <a name="Page_13"></a>Evander, the
+aged seer-king, and his
+son Pallas point out to the
+wanderer the site of the future Capitol. Again we find the same
+poetical
+presentation, not representation, of a legendary subject, again the
+same
+feeling for the beauties of nature. How Giorgione has revelled in the
+glories of the setting sun, the long shadows of the evening twilight,
+the tall-stemmed trees, the moss-grown rock! The figures are but a
+pretext, we feel, for an idyllic scene, where the story is subordinated
+to the expression of sensuous charm.
+</p>
+<p>This work was seen by the Anonimo in 1525, in the house of Taddeo
+Contarini at Venice. It was then believed to have been completed by
+Sebastiano del Piombo, Giorgione's pupil. If so,&#8212;and there is no valid
+reason to doubt the statement,&#8212;Giorgione left unfinished a picture on
+which he was at work some years before his death, for the style clearly
+indicates that the artist had not yet reached the maturity of his later
+period. The figures still recall those of Bellini, the modelling is
+close and careful, the forms compact, and reminiscent of the
+quattrocento. It is noticeable that the type of the Pallas is identical
+with that of S. John Baptist in Sebastiano's early altar-piece in S.
+Giovanni Crisostomo at Venice, but it would be unwise to dramatise on
+the share (if any) which the pupil had in completing the work of his
+master. The credit of invention must indubitably rest with Giorgione,
+but the damage which the picture has sustained through neglect and
+repainting in years gone by, renders certainty of discrimination
+between
+the two hands a matter of impossibility.</p>
+<p><a name="Page_14"></a>The colouring is rich and varied; the orange
+horizon, the distant blue
+hill, and the pale, clear evening light, with violet-tinted clouds,
+give
+a wonderful depth behind the dark tree-trunks. The effect of the
+delicate leaves and feathery trees at the edge of the rock, relieved
+against the pale sky, is superb. A spirit of solemnity broods over the
+scene, fit feeling at so eventful a moment in the history of the past.</p>
+<p>The composition, which looks so unstudied, is really arranged on the
+usual triangular basis. The group of figures on the right is balanced
+on
+the left by the great rock&#8212;the future Capitol&#8212;(which is thus brought
+prominently into notice), and the landscape background again forms the
+apex. The added depth and feeling for space shows how Giorgione had
+learnt to compose in three dimensions, the technical advance over the
+"Adrastus and Hypsipyle" indicating a period subsequent to that
+picture,
+though probably anterior to the Castelfranco altar-piece.</p>
+<hr style="height: 2px; width: 25%;">
+<p>We have now taken the three universally accepted Giorgiones; how are
+we
+to proceed in our investigations? The simplest course will be to take
+the pictures acknowledged by those modern writers who have devoted most
+study to the question, and examine them in the light of the results to
+which we have attained. Those writers are Crowe and Cavalcaselle, who
+published their account of Giorgione in 1871, and Morelli, who wrote in
+1877. Now it is notorious that the results at which these critics
+arrived are often widely divergent, but a great deal too much has been
+made of the differences and not enough of the points of agreement.</p>
+<div style="text-align: center;"><a name="THE_JUDGMENT_OF_SOLOMON"></a><img
+ style="height: 419px; width: 308px;" alt="THE JUDGMENT OF SOLOMON"
+ title="THE JUDGMENT OF SOLOMON" src="images/drg004.jpg"></div>
+<p><a name="Page_15"></a>As a matter of fact, Morelli only questions
+three of the thirteen
+Giorgiones accepted definitely by Crowe and Cavalcaselle. Leaving these
+three aside for the moment, we may take the remaining ten (three of
+which we have already examined), and after deducting three others in
+English collections to which Morelli does not specifically refer, we
+are
+left with four more pictures on which these rival authorities are
+agreed.</p>
+<p>These are the two small works in the Uffizi, representing the
+"Judgment
+of Solomon" and the "Trial of Moses," the "Knight of Malta," also in
+the
+Uffizi, and the "Christ bearing the Cross," till lately in the Casa
+Loschi at Vicenza, and now belonging to Mrs. Gardner of Boston, U.S.A.</p>
+<p>The two small companion pictures in the Uffizi, The "Judgment of
+Solomon" and the "Trial of Moses," or "Ordeal by Fire," as it is also
+called, connect in style closely with the "Adrastus and Hypsipyle."
+They
+are conceived in the same romantic strain, and carried out with
+scarcely
+less brilliance and charm. The story, as in the previous pictures, is
+not insisted upon; the biblical episode and the rabbinical legend are
+treated in the same fantastic way as the classic myth. Giovanni Bellini
+had first introduced this lyric conception in his treatment of the
+mediaeval allegory, as we see it in his picture, also in the Uffizi,
+hanging near the Giorgiones; all three works were originally together
+in
+the Medici residence of Poggio Imperiale, and there can be little doubt
+are intimately related in origin to one another. Bellini's latest
+biographer, Mr. Roger Fry, places this Allegory about the years 1486-8,
+a date which points to a very early origin for the <a name="Page_16"></a>other
+two.<a name="FNanchor_18"></a><a href="#Footnote_18"><sup>[18]</sup></a>
+For
+it is extremely likely that the young Giorgione was inspired by his
+master's example, and that he may have produced his companion pieces as
+early as 1493. With this deduction Morelli is in accord: "In character
+they belong to the fifteenth century, and may have been painted by
+Giorgione in his sixteenth or eighteenth year."<a name="FNanchor_19"></a><a
+ href="#Footnote_19"><sup>[19]</sup></a></p>
+<p style="text-align: center;"><img style="width: 313px; height: 423px;"
+ alt="THE TRIAL OF MOSES" title="THE TRIAL OF MOSES"
+ src="images/drg040.jpg"><a name="THE_TRIAL_OF_MOSES"></a><br>
+</p>
+<p>Here, then, is a clue to the young artist's earliest predilections.
+He
+fastens eagerly upon that phase of Bellini's art to which his own
+poetic
+temperament most readily responds. But he goes a step further than his
+master. He takes his subjects not from mediaeval romances, but from the
+Bible or rabbinical writings, and actually interprets them also in this
+new and unorthodox way. So bold a departure from traditional usage
+proves the independence and originality of the young painter. These two
+little pictures thus become historically the first-fruits of the
+neo-pagan spirit which was gradually supplanting the older
+ecclesiastical thought, and Giorgione, once having cast conventionalism
+aside, readily turns to classical mythology to find subjects for the
+free play of fancy. The "Adrastus and Hypsipyle" thus follows naturally
+upon "The Judgment of Solomon" and "Trial of Moses," and the pages of
+Virgil, Ovid, Statius, and Valerius Flaccus&#8212;all treasure-houses of
+golden legend&#8212;yield subjects suggestive of romance. The titles of some
+of these <i>poesie</i>, as they were called, are preserved in the
+pages of
+Ridolfi.<a name="FNanchor_20"></a><a href="#Footnote_20"><sup>[20]</sup></a></p>
+<p>[Illustration: <i>Alinari photo. Uffizi Gallery, Florence</i></p>
+<p>THE TRIAL OF MOSES]</p>
+<p><a name="Page_17"></a>The tall and slender figures, the attitudes,
+and the general
+<i>mise-en-sc&egrave;ne</i> vividly recall the earlier style of
+Carpaccio, who was
+at this very time composing his delightful fairy tales of the "Legend
+of
+S. Ursula."<sup><a href="#Footnote_21">[21]</a></sup> Common to both
+painters is a gaiety and love of beauty
+and colour. There is also in both a freedom and ease, even a homeliness
+of conception, which distinguishes their work from the pageant pictures
+of Gentile Bellini, whose "Corpus Christi Procession" was produced two
+or three years later, in 1496.<a name="FNanchor_21"></a><a
+ href="#Footnote_21"><sup>[21]</sup></a> But Giorgione's art is
+instinct with
+a lyrical fancy all his own, the story is subordinated to the mood of
+the moment, and he is much more concerned with the beauty of the scene
+than with its dramatic import.</p>
+<p style="text-align: left;">The repainted condition of "The Judgment
+of Solomon" has led some good
+judges to pronounce it a copy. It certainly lacks the delicacy that
+distinguishes its companion piece, but may we not&#8212;with Crowe and
+Cavalcaselle and Morelli&#8212;register it rather as a much defaced original?<br>
+<br>
+</p>
+<p style="text-align: center;"><a name="CHRIST_BEARING_THE_CROSS"></a><img
+ style="width: 314px; height: 445px;" alt="CHRIST BEARING THE CROSS"
+ title="CHRIST BEARING THE CROSS"
+ src="images/drg005.jpg"></p>
+<p>So far as we have at present examined Giorgione's pictures, the
+trend of
+thought they display has been mostly in the direction of secular
+subjects. The two early examples just described show that even where
+the
+subject is quasi-religious, the revolutionary spirit made itself felt;
+but it would be perfectly natural to <a name="Page_18"></a>find the
+young artist also
+following his master Giambellini in the painting of strictly sacred
+subjects. No better example could be found than the "Christ bearing the
+Cross," the small work which has recently left Italy for America. We
+are
+told by the Anonimo that there was in his day (1525) a picture by
+Bellini of this subject, and it is remarkable that four separate
+versions exist to-day which, without being copies of one another, are
+so
+closely related that the existence of a common original is a legitimate
+inference. That this was by Bellini is more than probable, for the
+different versions are clearly by different painters of his school. By
+far the finest is the example which Crowe and Cavalcaselle and Morelli
+unhesitatingly ascribe to the young Giorgione; this version is,
+however,
+considered by Signor Venturi inferior to the one now belonging to Count
+Lanskeronski in Vienna.<a name="FNanchor_22"></a><a href="#Footnote_22"><sup>[22]</sup></a>
+Others who, like the writer, have seen both
+works, agree with the older view, and regard the latter version, like
+the others at Berlin and Rovigo, as a contemporary repetition of
+Bellini's lost original.<a name="FNanchor_23"></a><a href="#Footnote_23"><sup>[23]</sup></a></p>
+<p>Characteristic of Giorgione is the abstract thought, the dreaminess
+of
+look, the almost furtive glance. The minuteness of finish reminds us of
+Antonello, and the turn of the head suggests several of the latter's
+portraits. The delicacy with which the features are modelled, <a
+ name="Page_19"></a>the high forehead, and the lighting of the face are
+points to be noted,
+as we shall find the same characteristics elsewhere.</p>
+<div style="text-align: center;"><a name="THE_KNIGHT_OF_MALTA"></a><img
+ style="width: 323px; height: 446px;" alt="THE KNIGHT OF MALTA"
+ title="THE KNIGHT OF MALTA" src="images/drg006.jpg"><br>
+</div>
+<p>The "Knight of Malta," in the Uffizi, is a more mature work, and
+reveals
+Giorgione to us as a portrait painter of remarkable power. The
+conception is dignified, the expression resolute, yet tempered by that
+look of abstract thought which the painter reads into the faces of his
+sitters. The hair parted in the middle, and brought down low at the
+sides of the forehead, was peculiarly affected by the Venetian
+gentlemen
+of the day, and this style seems to have particularly pleased
+Giorgione,
+who introduces it in many other pictures besides portraits. The oval of
+the face, which is strongly lighted, is also characteristic. This work
+shows no direct connection with Bellini's portraiture, but far more
+with
+that which we are accustomed to associate with the names of Titian and
+Palma. It dates probably from the early part of the sixteenth century,
+at a time when Giorgione was breaking with the older tradition which
+had
+strictly limited portraiture to the representation of the head only, or
+at most to the bust. The hand is here introduced, though Giorgione
+feels
+still compelled to account for its presence by introducing a rosary of
+large beads. In later years, as we shall see, the expressiveness of the
+human hand <i>per se</i> will be recognised; but Giorgione already
+feels its
+significance in portraiture, and there is not one of his portraits
+which
+does not show this.<a name="FNanchor_24"></a><a href="#Footnote_24"><sup>[24]</sup></a></p>
+<p><a name="Page_20"></a>The list of Giorgione's works now numbers
+seven; the next three to be
+discussed are those that Crowe and Cavalcaselle added on their own
+account, but about which Morelli expressed no opinion. Two are in
+English private collections, the third in the National Gallery. This is
+the small "Knight in Armour," said to be a study for the figure of S.
+Liberale in the Castelfranco altar-piece. The main difference is that
+in
+the latter the warrior wears his helmet, whilst in the National Gallery
+example he is bareheaded. By some this little figure is believed to be
+a
+copy, or repetition with variations, of Giorgione's original, but it
+must honestly be confessed that absolutely no proof is forthcoming in
+support of this view. The quality of this fragment is unquestionable,
+and its very divergence from the Castelfranco figure is in its favour.
+It would perhaps be unsafe to dogmatise in a case where the material is
+so slight, but until its genuineness can be disproved by indisputable
+evidence, the claim to authenticity put forward in the National Gallery
+catalogue, following Crowe and Cavalcaselle's view, must be allowed.</p>
+<p>The two remaining pictures definitely placed by Crowe and
+Cavalcaselle
+among the authentic productions of Giorgione are the "Adoration of the
+Shepherds," belonging to Mr. Wentworth Beaumont, and the "Judgment of
+Solomon," in the possession of Mr. Ralph Bankes at Kingston Lacy,
+Dorsetshire.</p>
+<div style="text-align: center;"><a
+ name="THE_ADORATION_OF_THE_SHEPHERDS"></a><img
+ style="width: 445px; height: 342px;"
+ alt="THE ADORATION OF THE SHEPHERDS"
+ title="THE ADORATION OF THE SHEPHERDS" src="images/drg007.jpg"></div>
+<p><a name="Page_21"></a>The former (of which an inferior replica with
+differences of landscape
+exists in the Vienna Gallery) is one of the most poetically conceived
+representations of this familiar subject which exists. The actual group
+of figures forms but an episode in a landscape of the most entrancing
+beauty, lighted by the rising sun, and wrapped in a soft atmospheric
+haze. The landscapes in the two little Uffizi pictures are immediately
+suggested, yet the quality of painting is here far superior, and is
+much
+closer in its rendering of atmospheric effects to the "Adrastus and
+Hypsipyle." The figures, on the other hand, are weak, very unequal in
+size, and feebly expressed, except the Madonna, who has charm. The
+lights and shadows are treated in a masterly way, and contrasts of
+gloom
+and sunlight enhance the solemnity of the scene. The general tone is
+rich and full of subdued colour.</p>
+<p>Now if the name of Giorgione be denied this "Nativity," to which of
+the
+followers of Bellini are we to assign it?&#8212;for the work is clearly of
+Bellinesque stamp. The name of Catena has been proposed, but is now no
+longer seriously supported.<a name="FNanchor_25"></a><a
+ href="#Footnote_25"><sup>[25]</sup></a> If for no other reason, the
+colour
+scheme is sufficient to exclude this able artist, and, versatile as he
+undoubtedly was, it may be questioned whether he ever could have
+attained to the mellowness and glow which suffuse this picture. The
+latest view enunciated<a name="FNanchor_26"></a><a href="#Footnote_26"><sup>[26]</sup></a>
+is that "we are in the presence of a painter
+as yet anonymous, whom in German fashion we might provisionally name
+'The Master of the Beaumont "Adoration."'" Now this <a name="Page_22"></a>system
+of labelling
+certain groups of paintings showing common characteristics is all very
+well in cases where the art history of a particular school or period is
+wrapt in obscurity, and where few, if any, names have come down to us,
+but in the present instance it is singularly inappropriate. To begin
+with, this anonymous painter is the author, so it is believed, of only
+three works, this "Adoration," the "Epiphany," in the National Gallery,
+No. 1160, and a small "Holy Family," belonging to Mr. Robert Benson in
+London, for all three works are universally admitted to be by the same
+hand. Next, this anonymous painter must have been a singularly refined
+and poetical artist, a master of brilliant colour, and an accomplished
+chiaroscurist. Truly a <i>deus ex machina</i>! Next you have to find a
+vacancy for such a phenomenon in the already crowded lists of Bellini's
+pupils and followers, as if there were not more names than enough
+already to fully account for every Bellinesque production.<a
+ name="FNanchor_27"></a><a href="#Footnote_27"><sup>[27]</sup></a> No,
+this
+is no question of compromise, of the dragging to light some hitherto
+unknown genius whose identity has long been merged in that of bigger
+men, but it is the recognition of the fact that the greater comprises
+the less. Admitting, as we may, that these three pictures are inferior
+in "depth, significance, cohesion, and poetry" (!) to the Castelfranco
+"Madonna," there is nothing to show that they are not characteristic of
+Giorgione, that they do not form part of a consistent whole. As a
+matter
+of fact, this "Adoration of the Shepherds" connects very well with the
+early <i>po&eacute;sie</i> already discussed. There is some <a
+ name="Page_23"></a>opposition between the
+sacred theme and Giorgione's natural dislike to tell a mere story; but
+he has had to conform to traditional methods of representation, and the
+feeling of restraint is felt in the awkward drawing of the figures, and
+their uneven execution. That he felt dissatisfied with this portion of
+the work, the drawing at Windsor plainly shows, for the figures appear
+here in a different position, as if he had tried to recast his scheme.</p>
+<p>Some may object that the drawing of the shepherd is atrocious, and
+that
+the figures are of disproportionate sizes. Such failings, they say,
+cannot be laid to a great master's charge. This is an appeal to the old
+argument that it is not <i>good</i> enough, whereas the true test lies
+in the
+question, Is it <i>characteristic</i>? Of Giorgione it certainly is a
+characteristic to treat each figure in a composition more or less by
+itself; he isolates them, and this conception is often emphasised by an
+outward disparity of size. The relative disproportion of the figures in
+the Castelfranco altar-piece, and of those of Aeneas and Evander in the
+Vienna picture can hardly be denied, yet no one has ever pleaded this
+as
+a bar to their authenticity. Instances of this want of cohesion, both
+in
+conception and execution, between the various figures in a scene could
+be multiplied in Giorgione's work, no more striking instance being
+found
+than in the great undertaking he left unfinished&#8212;the large "Judgment of
+Solomon," next to be discussed. Moreover, eccentricities of drawing are
+not uncommon in his work, as a reference to the "Adrastus and
+Hypsipyle," and later works, like the "F&ecirc;te Champ&ecirc;tre" (of
+the Louvre),
+will show.</p>
+<p><a name="Page_24"></a>I have no hesitation, therefore, in
+recognising this "Adoration of the
+Shepherds" as a genuine work of Giorgione, and, moreover, it appears to
+be the masterpiece of that early period when Bellini's influence was
+still strong upon him.</p>
+<p>The Vienna replica, I believe, was also executed by Giorgione
+himself.
+Until recent times, when an all too rigorous criticism condemned it to
+be merely a piece of the "Venezianische Schule um 1500" (which is
+correct as far as it goes),<a name="FNanchor_28"></a><a
+ href="#Footnote_28"><sup>[28]</sup></a> it bore Giorgione's name, and
+is so
+recorded in an inventory of the year 1659. It differs from the Beaumont
+version chiefly in its colouring, which is silvery and of delicate
+tones. It lacks the rich glow, and has little of that mysterious
+glamour
+which is so subtly attractive in the former. The landscape is also
+different. We must be on our guard, therefore, against the view that it
+is merely a copy; differences of detail, especially in the landscape,
+show that it is a parallel work, or a replica. Now I believe that these
+two versions of the "Nativity" are the two pictures of "La Notte," by
+Giorgione, to which we have allusion in a contemporary document.<a
+ name="FNanchor_29"></a><a href="#Footnote_29"><sup>[29]</sup></a> The
+description, "Una Notte," obviously means what we term "A Nativity"
+(Correggio's "Heilige Nacht" at Dresden is a familiar instance of the
+same usage), and the difference in quality between the two versions is
+significantly mentioned. It seems that Isabella d'Este, the celebrated
+Marchioness of Mantua, had commissioned one of her agents in Venice to
+procure for her gallery a picture by Giorgione. The agent writes to <a
+ name="Page_25"></a>his
+royal mistress and tells her (October 1510) that the artist is just
+dead, and that no such picture as she describes&#8212;viz. "Una Nocte"&#8212;is
+to be found among his effects. However, he goes on, Giorgione did paint
+two such pictures, but these were not for sale, as they belonged to two
+private owners who would not part with them. One of these pictures was
+of better design and more highly finished than the other, the latter
+being, in his opinion, not perfect enough for the royal collection. He
+regrets accordingly that he is unable to obtain the picture which the
+Marchioness requires.</p>
+<p>If my conjecture be right, we have in the Beaumont and Vienna
+"Nativities" the only two pictures of Giorgione to which allusion is
+made in an absolutely contemporary document, and they thus become
+authenticated material with which to start a study of the master.</p>
+<p>The next picture, which Crowe and Cavalcaselle accept without
+question,
+is the large "Judgment of Solomon," belonging to Mr. Bankes at Kingston
+Lacy. The scene is a remarkable one, conceived in an absolutely unique
+way; Solomon is here posed as a Roman Praetor giving judgment in the
+Atrium, supported on each side by onlookers attired in fanciful costume
+of the Venetian period, or suggestive of classical models. It is the
+strangest possible medley of the Bellinesque and the antique, knit
+together by harmonious colouring and a clever grouping of figures in a
+triangular design. As an interpretation of a dramatic scene it is
+singularly ineffective, partly because it is unfinished, some of the
+elements of the tragedy being entirely wanting, partly because of an
+<a name="Page_26"></a>obvious stageyness in the action of the figures
+taking part in the
+scene. There is a want of dramatic unity in the whole; the figures are
+introduced in an accidental way, and their relative proportion is not
+accurately preserved; the executioner, for example, is head and
+shoulders larger than anyone else, whilst the two figures standing on
+the steps of Solomon's throne are in marked contrast. The one with the
+shield, on the left, is as monumental as one of Bramante's creations,
+the old gentleman with the beard, on the right, is mincing and has no
+shoulders. Solomon himself appears as a young man of dark complexion,
+in
+an attitude of self-contained determination; the way his hands rest on
+the sides of the throne is very expressive. His drapery is cast in
+curious folds of a zig-zag character, following the lines of the
+composition, whilst the dresses of the other personages fall in broad
+masses to the ground. The light and shade are cleverly handled, and the
+spaciousness of the scene is enhanced by the rows of columns and the
+apse of mosaics behind Solomon's head. The painter was clearly versed
+in
+the laws of perspective, and indicates depth inwards by placing the
+figures behind one another on a tesselated pavement or on the receding
+steps of the throne, giving at the same time a sense of atmospheric
+space between one figure and another. The colour scheme is delightful,
+full-toned orange and red alternating with pale blues, olive green, and
+delicate pink, the contrasts so subdued by a clever balance of light
+and
+shade as to harmonise the whole in a delicate silvery key.</p>
+<div style="text-align: center;"><a
+ name="THE_JUDGMENT_OF_SOLOMON_Unfinished"></a><img
+ style="width: 461px; height: 342px;"
+ alt="THE JUDGMENT OF SOLOMON (Unfinished)"
+ title="THE JUDGMENT OF SOLOMON (Unfinished)" src="images/drg008.jpg"><br>
+</div>
+<p>The unfinished figure of the executioner evidently <a name="Page_27"></a>caused
+the artist much trouble, for <i>pentimenti</i> are frequent, and
+other outlines can be distinctly traced through the nude body. The
+effect of this clumsy figure is far from satisfactory; the limbs are
+not
+articulated distinctly; moreover, the balance of the whole composition
+is seriously threatened by the tragedy being enacted at the side
+instead
+of in the middle. The artist appears to have felt this difficulty so
+much that he stopped short at this point; at any rate, the living child
+remains unrepresented, nor is there any second child such as is
+required
+to illustrate the story. It looks as though the scheme was not
+carefully
+worked out before commencing, and that the artist found himself in
+difficulties at the last, when he had to introduce the dramatic motive,
+which apparently was not to his taste.</p>
+<p>Now, all this fits in exactly with what we know of Giorgione's
+temperament; lyrical by nature, he would shrink from handling a great
+dramatic scene, and if such a task were imposed upon him he would
+naturally treat three-fourths of the subject in his own fantastic way,
+and do his best to illustrate the action required in the remaining
+part.
+The result would be (what might be expected) forced or stagey, and the
+action rhetorical, and that is exactly what has happened in this
+"Judgment of Solomon."</p>
+<p>It is a natural inference that, supposing Giorgione to be the
+painter,
+he would never have selected such a subject of his own free will to be
+treated, as this is, on so large a scale. There may be, therefore,
+something in the suggestion which Crowe and Cavalcaselle make that this
+may be the large canvas ordered of <a name="Page_28"></a>Giorgione for
+the audience chamber
+of the Council, "for which purpose," they add, "the advances made to
+him
+in the summer of 1507 and in January 1508 show that the work he had
+undertaken was of the highest consequence."<a name="FNanchor_30"></a><a
+ href="#Footnote_30"><sup>[30]</sup></a></p>
+<p>Be this as it may, the picture was in Venice, in the Casa Grimani di
+Santo Ermagora,<a name="FNanchor_31"></a><a href="#Footnote_31"><sup>[31]</sup></a>
+in Ridolfi's day (1646), and that writer specially
+mentions the unfinished executioner. It passed later into the
+Marescalchi Gallery at Bologna, where it was seen by Lord Byron (1820),
+and purchased at his suggestion by his friend Mr. Bankes, in whose
+family it still remains.<a name="FNanchor_32"></a><a href="#Footnote_32"><sup>[32]</sup></a></p>
+<p>It will be gathered from what I have written that Giorgione and no
+other
+is, in my opinion, the author of this remarkable work. Certain of the
+figures are reminiscent of those by him elsewhere&#8212;e.g. the old man with
+the beard is like the Evander in the Vienna picture, the young man next
+the executioner resembles the Adrastus in the Giovanelli figures, and
+the young man stooping forward next to Solomon recurs in the "Three
+Ages," in the Pitti, which Morelli considered to be by Giorgione. The
+most obvious resemblances, however, are to be found in the Glasgow
+"Adulteress before Christ," a work which several modern critics assign
+to Cariani, although Dr. Bode, Sir Walter Armstrong, and others,
+maintain it to be a real <a name="Page_29"></a>Giorgione. Consistently
+enough, those who
+believe in Cariani's authorship in the one case, assert it in the
+other,<a name="FNanchor_33"></a><a href="#Footnote_33"><sup>[33]</sup></a>
+and as consistently I hold that both are by Giorgione. It is
+conceivable that Cariani may have copied Giorgione's types and
+attitudes, but it is inconceivable to me that he can have so entirely
+assimilated Giorgione's temperament to which this "Judgment of Solomon"
+so eloquently witnesses. Moreover, let no one say that Cariani executed
+what Giorgione designed, for, in spite of its imperfect condition, the
+technique reveals a painter groping his way as he works, altering
+contours, and making corrections with his brush; in fact, it has all
+the
+spontaneity which characterises an original creation.</p>
+<p>The date of its execution may well have been 1507-8, perhaps even
+earlier; at any rate, we must not argue from its unfinished state that
+the painter's death prevented completion, for the style is not that of
+Giorgione's last works. Rather must we conclude that, like the "Aeneas
+and Evander," and several other pictures yet to be mentioned, Giorgione
+stopped short at his work, unwilling to labour at an uncongenial task
+(as, perhaps, in the present case), or from some feeling of
+dissatisfaction at the result, nay, even despair of ever realising his
+poetical conceptions.</p>
+<p>To this important trait in Giorgione's character further reference
+will
+be made when all the available material has been examined; suffice it
+for the moment that this "Judgment of Solomon" is to me a most <i>typical</i>
+example of the great artist's work, a revelation alike of his
+weaknesses
+as of his powers.</p>
+<p><a name="Page_30"></a>Following our method of investigation we will
+next consider the
+pictures which Morelli accredits to Giorgione over and above the seven
+already discussed, wherein he concurs with Crowe and Cavalcaselle.
+These
+are twelve in number, and include some of the master's finest works,
+some of them unknown to the older authorities, or, at any rate,
+unrecorded by them. Here, therefore, the opinions of Crowe and
+Cavalcaselle are not of so much weight, so it will be necessary to see
+how far Morelli's views have been confirmed by later writers during the
+last twenty years.</p>
+<p>Three portraits figure in Morelli's list&#8212;one at Berlin, one at
+Buda-Pesth, and one in the Borghese Gallery at Rome.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_YOUNG_MAN"></a><img
+ style="width: 342px; height: 462px;" alt="PORTRAIT OF A YOUNG MAN"
+ title="PORTRAIT OF A YOUNG MAN" src="images/drg009.jpg"><br>
+</p>
+<p>First, as to the Berlin "Portrait of a Young Man," which, when
+Morelli
+wrote, belonged to Dr. Richter, and was afterwards acquired for the
+Berlin Gallery. "In it we have one of those rare portraits such as only
+Giorgione, and occasionally Titian, were capable of producing, highly
+suggestive, and exercising over the spectator an irresistible
+fascination."<a name="FNanchor_34"></a><a href="#Footnote_34"><sup>[34]</sup></a>
+Such are the great critic's enthusiastic words, and no
+one surely to-day would be found to gainsay them. We may note the
+characteristic treatment of the hair, the thoughtful look in the eyes,
+and the strong light on the face in contrast to the dark frame of hair,
+points which this portrait shares in common with the "Knight of Malta"
+in the Uffizi. Particularly to be noticed, however, is the parapet on
+which the fingers of one <a name="Page_31"></a>hand are visible, and
+the mysterious letters VV.<a name="FNanchor_35"></a><a
+ href="#Footnote_35"><sup>[35]</sup></a> Allusion has
+already been made to the growing practice in Venetian art of
+introducing
+the hand as a significant feature in portrait painting, and here we get
+the earliest indications of this tendency in Giorgione; for this
+portrait certainly ante-dates the "Knight of Malta." It would seem to
+have been painted quite early in the last decade of the fifteenth
+century, when Bellini's art would still be the predominant influence
+over the young artist.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN"></a><img
+ style="width: 342px; height: 462px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg010.jpg"><br>
+</p>
+<p>It is but a step onward to the next portrait, that of a young man,
+in
+the Gallery at Buda-Pesth, but the supreme distinction which marks this
+wonderful head stamps it as a masterpiece of portraiture. Venetian art
+has nothing finer to show, whether for its interpretative qualities, or
+for the subtlety of its execution. Truly Giorgione has here
+foreshadowed
+Velasquez, whose silveriness of tone is curiously anticipated; yet the
+true Giorgionesque quality of magic is felt in a way that the
+impersonal
+Spaniard never realised. Only those who have seen the original can know
+of the wonderful atmospheric background, with sky, clouds, and
+hill-tops
+just visible. The reproduction, alas! gives no hint of all this. Nor
+can
+one appreciate the superb painting of the black quilted dress, with its
+gold braid, or of the shining black hair, confined in a brown net. The
+artist must have been in keen sympathy with this melancholy figure, for
+the expression is so intense that, as Morelli says, "he seems about to
+confide to us the secret of his life."<a name="FNanchor_36"></a><a
+ href="#Footnote_36"><sup>[36]</sup></a></p>
+<p><a name="Page_32"></a>Several points claim our attention. First, the
+parapet has an almost
+illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the
+young man's name. Further, we may notice the recurrence of the letter V
+on a black device, and there is a second curious black tablet, which,
+however, has nothing on it. Between the two is a circle with a device
+of
+three heads in one surrounded by a garland of flowers. No satisfactory
+explanation of these symbols can be offered, but if the second black
+tablet had originally another V, we might conclude that these letters
+were in some mysterious way connected with Giorgione, as they appear
+also on the Berlin portrait. I shall be able to show that another
+instance of this double V exists on yet another portrait by
+Giorgione.<a name="FNanchor_37"></a><a href="#Footnote_37"><sup>[37]</sup></a></p>
+<p>Finally, the expressiveness of the human hand is here fully
+realised.
+This feature alone points to a later date than the "Knight of Malta,"
+and considerably after the still earlier Berlin portrait. The
+consummate
+mastery of technique, moreover, indicates that Giorgione has here
+reached full maturity, so that it would be safe to place this portrait
+about the year 1508.</p>
+<p>Signor Venturi ("La Galleria Crespi") ascribes this portrait to
+Licinio.
+This is one of those inexplicable perversions of judgment to which even
+the best critics are at times liable. In <i>L'Arte</i>, 1900, p. 24,
+the same
+writer mentions that a certain Antonio Broccardo, son of Marino, made
+his will in 1527, and that the same name occurs among those who
+frequented the University of <a name="Page_33"></a>Bologna in 1525.
+There is nothing to prevent Giorgione having painted
+this man's portrait when younger.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_LADY"></a><img
+ style="width: 342px; height: 462px;" alt="PORTRAIT OF A LADY"
+ title="PORTRAIT OF A LADY" src="images/drg011.jpg"><br>
+</p>
+<p>The third portrait in Morelli's list has not had the same friendly
+reception at the hands of later critics as the preceding two have had.
+This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose
+discovery by Morelli is so graphically described in a well-known
+passage.<a name="FNanchor_38"></a><a href="#Footnote_38"><sup>[38]</sup></a>
+And in truth it must be confessed that the authorship of
+this portrait is not at first sight quite so evident as in the other
+cases; nevertheless I am firmly convinced that Morelli saw further than
+his critics, and that his intuitive judgment was in this instance
+perfectly correct.<a name="FNanchor_39"></a><a href="#Footnote_39"><sup>[39]</sup></a>
+The simplicity of conception, the intensity of
+expression, the pose of the figure alike proclaim the master, whose
+characteristic touch is to be seen in the stone ledge, the fancy
+head-dress, the arrangement of hair, and the modelling of the features.
+The presence of the hands is characteristically explained by the
+handkerchief stretched tight between them, the action being expressive
+of suppressed excitement: "She stands at a window ... gazing out with a
+dreamy, yearning expression, as if seeking to descry one whom she
+awaits."</p>
+<p>Licinio, whose name has been proposed as the painter, did indeed
+follow
+out this particular vein of Giorgione's portraiture, so that "Style of
+Licinio" is not an altogether inapt attribution; but there is just that
+difference of quality between the one man's work <a name="Page_34"></a>and
+the other, which
+distinguishes any great man from his followers, whether in literature
+or
+in art. How near (and yet how far!) Licinio came to his great prototype
+is best seen in Lady Ashburton's "Portrait of a Young Man,"<a
+ name="FNanchor_40"></a><a href="#Footnote_40"><sup>[40]</sup></a> but
+that
+he could have produced the Borghese "Lady" presupposes qualities he
+never possessed. "To Giorgione alone was it given to produce portraits
+of such astonishing simplicity, yet so deeply significant, and capable,
+by their mystic charm, of appealing to our imagination in the highest
+degree."<a name="FNanchor_41"></a><a href="#Footnote_41"><sup>[41]</sup></a></p>
+<p>The actual condition of this portrait is highly unsatisfactory, and
+is
+adduced by some as a reason for condemning it. Yet the spirit of the
+master seems still to breathe through the ruin, and to justify
+Morelli's
+ascription, if not the enthusiastic language in which he writes.</p>
+<p style="text-align: center;"><a name="APOLLO_AND_DAPHNE"></a><img
+ style="width: 462px; height: 294px;" alt="APOLLO AND DAPHNE"
+ title="APOLLO AND DAPHNE" src="images/drg012.jpg"><br>
+</p>
+<p>With the fourth addition on Morelli's list we pass into a totally
+different sphere of art&#8212;the decoration of <i>cassoni</i>, and other
+pieces
+of furniture. We have seen Giorgione at work on legendary stories or
+classic myths, creating out of these materials pages of beauty and
+romance in the form of easel paintings, and now we have the same thing
+as applied art&#8212;that is, art used for purely decorative purposes. The
+"Apollo and Daphne" in the Seminario at Venice was probably a panel of
+a
+<i>cassone</i>; but although intended for so humble a place, it is
+instinct
+with rare poetic feeling and beauty. Unfortunately it is in such a bad
+state that little remains of the original work, and <a name="Page_35"></a>Giorgione's
+touch is scarcely to be recognised in the damaged parts.
+Nevertheless, his spirit breathes amidst the ruin, and modern critics
+have recognised the justice of Morelli's view, rather than that of
+Crowe
+and Cavalcaselle, who suggested Schiavone as the "author."<a
+ name="FNanchor_42"></a><a href="#Footnote_42"><sup>[42]</sup></a> And,
+indeed, a comparison with the "Adrastus and Hypsipyle" is enough to
+show
+a common origin, although, as we might expect, the same consummate
+skill
+is scarcely to be found in the <i>cassone</i> panel as in the easel
+picture.
+There is a rare daintiness, however, in these graceful figures, so
+essentially Giorgionesque in their fanciful presentation, the young
+Apollo, a lovely, fair-haired boy, pursuing a maiden with flowing
+tresses, whose identity with Daphne is only to be recognised by the
+laurel springing from her fingers. The story is but an episode in a
+sylvan scene, where other figures, in quaint costumes, seem to be
+leading an idyllic existence, untroubled by the cares of life, and
+utterly unconcerned at the strange event passing before their eyes.</p>
+<p>From the "Apollo and Daphne" it is an easy transition to the
+"Venus,"
+that great discovery which we owe to Morelli, and now universally
+recognised by modern critics. The one point on which Morelli did not,
+perhaps, lay sufficient stress, is the co-operation in this work of
+Titian with Giorgione, for here we have an additional proof that the
+latter left some of his work unfinished. It is a fair inference that
+Titian completed the Cupid (now removed), and that he had a hand in
+finishing the landscape; the Anonimo, indeed, states as much, and
+Ridolfi confirms it, and <a name="Page_36"></a>this view is officially
+adopted in the latest
+edition of the Dresden Catalogue. The style points to Giorgione's
+maturity, though scarcely to the last years of his life; for, in spite
+of the freedom and breadth of treatment in the landscape, there is a
+restraint in the figure, and a delicacy of form which points to a
+period
+preceding, rather than contemporary with, the Louvre "Concert" and
+kindred works, where the forms become fuller and rounder, and the
+feeling more exuberant.</p>
+<p style="text-align: center;"><a name="VENUS"></a><img
+ style="width: 461px; height: 328px;" alt="VENUS" title="VENUS"
+ src="images/drg013.jpg"><br>
+</p>
+<p>It would be mere repetition, after all that has been written on the
+Dresden "Venus," to enlarge on the qualities of refinement and grace
+which characterise the fair form of the sleeping goddess. One need but
+compare it with Titian's representations of the same subject, and still
+more with Palma's versions at Dresden and Cambridge, or with Cariani's
+"Venus" at Hampton Court, to see the classic purity of form, the ideal
+loveliness of Giorgione's goddess.<a name="FNanchor_43"></a><a
+ href="#Footnote_43"><sup>[43]</sup></a> It is no mere accident that
+she
+alone is sleeping, whilst they solicit attention. Giorgione's
+conception
+is characteristic in that he endeavours to avoid any touch of realism
+abhorrent to his nature, which was far more sensitive than that of
+Palma, Cariani, or even Titian.</p>
+<p>The extraordinary beauty and subtlety of the master's "line" is
+admirably shown. He has deliberately forgone anatomical precision in
+order to accentuate artistic effect. The splendour of curve, the beauty
+of unbroken contour, the rhythm and balance of composition is attained
+at a cost of academic correctness; but the long-drawn horizontal lines <a
+ name="Page_37"></a>heighten the sense of repose, and the eye is
+soothed by the sinuous
+undulations of landscape and figure. The artistic effect is further
+enhanced by the relief of exquisite flesh tones against the rich
+crimson
+drapery, and although the atmospheric glow has been sadly destroyed by
+abrasion and repainting, we may still feel something of the magic charm
+which Giorgione knew so well how to impart.</p>
+<p>This "Venus" is the prototype of all other Venetian versions; it is
+in
+painting what the "Aphrodite" of Praxiteles was in sculpture, a perfect
+creation of a master mind.</p>
+<p style="text-align: center;"><a name="JUDITH"></a><img
+ style="width: 248px; height: 507px;" alt="JUDITH" title="JUDITH"
+ src="images/drg014.jpg"><br>
+</p>
+<p>Scarcely less wonderful than the "Venus," and even surpassing it in
+solemn grandeur of conception, is the "Judith" at St. Petersburg.
+Morelli himself had never seen the original, and includes it in his
+list
+with the reservation that it might be an old copy after Giorgione, and
+not the original. It would be presumptuous for anyone not familiar with
+the picture to decide the point, but I have no hesitation in following
+the judgment of two competent modern critics, both of whom have
+recently
+visited St. Petersburg, and both of whom have decided unhesitatingly in
+favour of its being an original by Giorgione. Dr. Harck has written
+enthusiastically of its beauty. "Once seen," he says, "it can never be
+forgotten; the same mystic charm, so characteristic of the other great
+works of Giorgione, pervades it; ... it bears on the face of it the
+stamp of a great master."<a name="FNanchor_44"></a><a
+ href="#Footnote_44"><sup>[44]</sup></a> Even more decisive is the
+verdict of Mr.
+Claude Phillips.<a name="FNanchor_45"></a><a href="#Footnote_45"><sup>[45]</sup></a>
+"All doubts," he says, "vanish <a name="Page_38"></a>like sun-drawn
+mist
+in the presence of the work itself; the first glance carries with it
+conviction, swift and permanent. In no extant Giorgione is the golden
+glow so well preserved, in none does the mysterious glamour from which
+the world has never shaken itself free, assert itself in more
+irresistible fashion.... The colouring is not so much Giorgionesque as
+Giorgione's own&#8212;a widely different thing.... Wonderful touches which
+the imitative Giorgionesque painter would not have thought of are the
+girdle, a mauve-purple now, with a sharply emphasised golden fringe,
+and
+the sapphire-blue jewel in the brooch. Triumphs of execution, too, but
+not in the broad style of Venetian art in its fullest expansion, are
+the
+gleaming sword held in so dainty and feminine a fashion, and the
+flowers
+which enamel the ground at the feet of the Jewish heroine." This
+"Judith," after passing for many years under the names of Raphael and
+Moretto,<a name="FNanchor_46"></a><a href="#Footnote_46"><sup>[46]</sup></a>
+is now officially recognised as Giorgione's work, an
+identification first made by the late Herr Penther, the keeper of the
+Vienna Academy, whom Morelli quotes.</p>
+<p>The conception is wholly Giorgionesque, the mood one of calm
+contemplation, as this lovely figure stands lost in reverie, with eyes
+cast down, gazing on the head on which her foot is lightly laid. The
+head and sword proclaim her story, they are symbols of her mission,
+else
+she had been taken for an embodiment of feminine modesty and gentle
+submissiveness.<a name="FNanchor_47"></a><a href="#Footnote_47"><sup>[47]</sup></a></p>
+<p>Characteristic of the master is the introduction of <a
+ name="Page_39"></a>the great tree-trunk, conveying a sense of grandeur
+and solemn mystery
+to the scene; characteristic, too, is the distant landscape, the
+splendid glow of which evokes special praise from the writers just
+mentioned. Again we find the parapet, or ledge, with its flat surface
+on
+which the play of light can be caught, and again the same curious
+folds,
+broken and crumpled, such as are seen on Solomon's robe in the Kingston
+Lacy picture, and somewhat less emphatically in the Castelfranco
+"Madonna."</p>
+<p>Consistent, moreover, with that weakness we have already noticed
+elsewhere, is the design of the leg and foot, the drawing of which is
+far from impeccable. That the execution in this respect is not equal to
+the supreme conception of the whole, is no valid reason for the belief
+that this "Judith" is only a copy of a lost original, a belief that
+could apparently only be held by those who have never stood before the
+picture itself.<a name="FNanchor_48"></a><a href="#Footnote_48"><sup>[48]</sup></a>
+But even in the reproduction this "Judith" stands
+confessed as the most impressive of all Giorgione's single figures, and
+it may well rank as the masterpiece of the earlier period immediately
+preceding the Castelfranco picture of about 1504, to which in style it
+closely approximates.</p>
+<p style="text-align: center;"><a name="A_PASTORAL_SYMPHONY"></a><img
+ style="width: 396px; height: 340px;" alt="A PASTORAL SYMPHONY"
+ title="A PASTORAL SYMPHONY" src="images/drg015.jpg"><br>
+</p>
+<p>The next picture on Morelli's list is the "F&ecirc;te
+Champ&ecirc;tre" of the
+Louvre, or, as it is often called, the "Concert." This lovely "Pastoral
+Symphony" (which appears to me a more suitable English title) is by no
+means universally regarded as a creation of Giorgione's hand and brain,
+and several modern critics have been at pains to show that Campagnola,
+or some <a name="Page_40"></a>other Venetian imitator of the great
+master, really produced
+it.<a name="FNanchor_49"></a><a href="#Footnote_49"><sup>[49]</sup></a>
+In this endeavour Crowe and Cavalcaselle led the way by
+suggesting the author was probably an imitator of Sebastiano del
+Piombo.
+But all this must surely seem to be heresy when we stand before the
+picture itself, thrilled by the gorgeousness of its colour, by the
+richness of the paradise" in which the air is balmy, and the landscape
+ever green; where life is a pastime, and music the only labour; where
+groves are interspersed with meadows and fountains; where nymphs sit
+playfully on the grass, or drink at cool springs."<a name="FNanchor_50"></a><a
+ href="#Footnote_50"><sup>[50]</sup></a> Was ever such a
+gorgeous idyll? In the whole range of painted poetry can the like be
+found?</p>
+<p>Yet let us be more precise in our analysis. Granted that the scene
+is
+one eminently adapted to Giorgione's poetic temperament, is the
+execution analogous to that which we have found in the preceding
+examples? No one will deny, I suppose, that there is a difference
+between the intensely refined forms of the Venus, or the earlier
+Hypsipyle, or the Daphne, and the coarser nudes in the Louvre picture.
+No one will deny a certain carelessness marks the delineation of form,
+no one will gainsay a frankly sensuous charm pervades the scene, a
+feeling which seems at first sight inconsistent with that reticence and
+modesty so conspicuous elsewhere. Yet I think all this is perfectly
+explicable on the basis of natural evolution. Exuberance <a
+ name="Page_41"></a>of feeling is the logical outcome of a lifetime
+spent in an atmosphere
+of lyrical thought, and certainly Giorgione was not the sort of man to
+control those natural impulses, which grew stronger with advancing
+years. Both traditions of his death point in this direction; and,
+unless
+I am mistaken, the quality of his art, as well as its character,
+reflects this tendency. In his later years, 1508-10, he attains indeed
+a
+magnificence and splendour which dazzles the eye, but it is at the cost
+of that feeling of restraint which gives the earlier work such
+exquisite
+charm. In such a work as the Louvre "Concert," Giorgio has become
+Giorgione; he is riper in experience and richer in feeling, and his art
+assumes a corresponding exuberance of style, his forms become larger,
+his execution grows freer. Nay, more, that strain of carelessness is
+not
+wanting which so commonly accompanies such evolutions of character. And
+so this "Pastoral Symphony" becomes a characteristic production&#8212;that
+is, one which a man of Giorgione's temperament would naturally produce
+in the course of his developing. Peculiar, however, to an artist of
+genius is the subtlety of composition, which is held together by
+invisible threads, for nowhere else, perhaps, has Giorgione shown a
+greater mastery of line. The diagonal line running from behind the nude
+figure on the left down to the foot so cunningly extended of the seated
+youth, is beautifully balanced by the line which is formed by the
+seated
+figure of the woman. The artist has deliberately emphasised this line
+by
+the curious posture of the legs. The figure, indeed, does not sit at
+all, but the balance of the composition <a name="Page_42"></a>is the
+better assured. What
+exquisite curves the standing woman presents! how cleverly the drapery
+continues the beautiful line, which Giorgione takes care not to break
+by
+placing the left leg and foot out of sight. How marvellously
+expressive,
+nay, how <i>inevitable</i> is the hand of the youth who is playing.
+Surely
+neither Campagnola nor any other second-rate artist was capable of such
+things!</p>
+<p style="text-align: center;"><img style="width: 396px; height: 340px;"
+ alt="THE THREE AGES OF MAN" title="THE THREE AGES OF MAN"
+ src="images/drg016.jpg"><a name="THE_THREE_AGES_OF_MAN"></a><br>
+</p>
+<p>The eighth picture cited by Morelli as, in his opinion, a genuine
+Giorgione, is the so-called "Three Ages of Man," in the Pitti at
+Florence&#8212;a damaged picture, but parts of which, as he says, "are still
+so splendid and so thoroughly Giorgionesque that I venture to ascribe
+it
+without hesitation to Giorgione."<a name="FNanchor_51"></a><a
+ href="#Footnote_51"><sup>[51]</sup></a> The three figures are grouped
+naturally, and are probably portraits from life. The youth in the
+centre
+we have already met in the Kingston Lacy "Judgment of Solomon"; the man
+on the right recurs in the "Family Concert" at Hampton Court, and is
+strangely like the S. Maurice in the signed altar-piece at Berlin by
+Luzzi da Feltre.<a name="FNanchor_52"></a><a href="#Footnote_52"><sup>[52]</sup></a>
+But like though they be in type, in quality the
+heads in the "Three Ages" are immensely superior to those in the Berlin
+picture. The same models may well have served Giorgione and his friend
+and pupil Luzzi, or, as he is generally called, Morto da Feltre. A
+recent study of the few authenticated works by this feeble artist still
+at Feltre, his native place, forces me to dissent from the opinion that
+the Pitti "Three Ages" is the work of his hand.<a name="FNanchor_53"></a><a
+ href="#Footnote_53"><sup>[53]</sup></a><a name="Page_43"></a>Still
+less do I hold with the view that Lotto is the author.<a
+ name="FNanchor_54"></a><a href="#Footnote_54"><sup>[54]</sup></a>
+Here,
+again, I believe Morelli saw further than other critics, and that his
+attribution is the right one. The simplicity, the apparently unstudied
+grouping, the refinement of type, the powerful expression, are worthy
+of
+the master; the play of light on the faces, especially on that of the
+youth, is most characteristic, and the peculiar chord of colour reveals
+a sense of originality such as no imitator would command. Unless I am
+mistaken, the man on the right is none other than the Aeneas in the
+Vienna picture, and his hand with the pointing forefinger is such as we
+see two or three times over in the "Judgment of Solomon" and elsewhere.
+Certainly here it is awkwardly introduced, obviously to bring the
+figure
+into direct relation with the others; but Giorgione is by no means
+always supreme master of natural expression, as the hands in the
+"Adrastus and Hypsipyle" and Vienna pictures clearly show.</p>
+<p>Here, for the first time, we meet Giorgione in those studies of
+human
+nature which are commonly called "conversation pieces," or
+"concerts"&#8212;natural groups of generally three people knit together by
+some common bond, which is usually music in one form or another. It is
+not the idyll of the "Pastoral Symphony," but akin to it as an
+expression of some exquisite moment of thought or feeling, an ideal
+instant "in which, arrested thus, we seem to be spectators of all the
+fulness of existence, and which is like some consummate extract or
+quintessence of life."<a name="FNanchor_55"></a><a href="#Footnote_55"><sup>[55]</sup></a>
+<a name="Page_44"></a>No one before Giorgione's time had painted
+such ideas, such poems without articulated story; and to have reached
+this stage of development presupposes a familiarity with set subjects
+such as a classic myth or mediaeval romance would offer for treatment.
+And so this "Three Ages" dates from his later years.</p>
+<p style="text-align: center;"><a name="NYMPH_AND_SATYR"></a><img
+ style="width: 440px; height: 345px;" alt="NYMPH AND SATYR"
+ title="NYMPH AND SATYR" src="images/drg017.jpg"><br>
+</p>
+<p>Another picture in the Pitti was also recognised by Morelli as
+Giorgione's work&#8212;"The Nymph pursued by a Satyr." Modern criticism seems
+undecided on the justice of this view, some writers inclining to the
+belief that this is a Giorgionesque production of Dosso Dossi, others
+preserving a discreet silence, or making frank avowal of their
+inability
+to decide. Nevertheless, I venture to agree with Morelli that "we have
+all the characteristics of an early (?) work of Giorgione&#8212;the type of
+the nymph with the low forehead, the charming arrangement of the hair
+upon the temples, the eyes placed near together, and the hand with
+tapering fingers."<a name="FNanchor_56"></a><a href="#Footnote_56"><sup>[56]</sup></a>
+The oval of the face recalls the "Knight of
+Malta," the high cranium and treatment of the hair such as we find in
+the Dresden "Venus" and elsewhere. The delicacy of modelling, the
+beauty
+of the features are far beyond Dosso's powers, who, brilliant artist as
+he sometimes was, was of much coarser fibre than the painter of these
+figures. The difference of calibre between the two is well illustrated
+by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone"
+in the Modena Gallery, or with those uncouth productions, also in the
+Pitti, the "S. John <a name="Page_45"></a>Baptist" and the
+"Bambocciate."<a name="FNanchor_57"></a><a href="#Footnote_57"><sup>[57]</sup></a>
+Were the repaints removed, I think
+all doubts as to the authorship would be set at rest, and the "Nymph
+and
+Satyr" would take its place among the slighter and more summary
+productions of Giorgione's brush.</p>
+<p style="text-align: center;"><a name="Madonna_and_saints"></a><img
+ style="width: 452px; height: 359px;" alt="MADONNA AND SAINTS"
+ title="MADONNA AND SAINTS" src="images/drg018.jpg"><br>
+</p>
+<p>Only one sacred subject figures in the additions made by Morelli to
+the
+list of genuine Giorgiones. This is the small altar-piece at Madrid,
+with Madonna seated between S. Francis and S. Roch. Traditionally
+accredited to Pordenone, it has now received official recognition as a
+masterpiece of Giorgione, an attribution that, so far as I am aware, no
+one has seriously contested.<a name="FNanchor_58"></a><a
+ href="#Footnote_58"><sup>[58]</sup></a> And, indeed, it is hard to
+conceive
+wherein any objection could possibly lie, for it is a typical creation
+of the master, <i>usque ad unguem</i>. Not only in types, colour,
+light and
+shade, and particularly in feeling, is the picture characteristic, but
+it again shows the artist leaving work unfinished, and again reveals
+the
+fact that the work grew in conception as it was actually being painted.
+I mean that the whole figure of S. Roch has been painted in over the
+rest, and that the S. Francis has also probably been introduced
+afterwards. I have little doubt that originally Giorgione intended to
+paint a simple Madonna and Child, and afterwards extended the scheme.
+The composition of three figures, practically in a row, is moreover
+most
+unusual, and contrary to that triangular scheme particularly favoured
+by
+the master, whereas <a name="Page_46"></a>the lovely sweep of
+Madonna's dress by itself
+creates a perfect design on a triangular basis. A great artist is here
+revealed, one whose feeling for line is so intense that he wilfully
+casts the drapery in unnatural folds in order to secure an artistic
+triumph. The working out of the dress within this line has yet to be
+done, the folds being merely suggested, and this task has been left
+whilst forwarding other parts. The freedom of touch and thinness of
+paint indicates how rapidly the artist worked. There is little
+deliberation apparent: indeed, the effect is that of hasty
+improvisation. Velasquez could not have painted the stone on which S.
+Roch rests his foot with greater precision or more consummate mastery;
+the delicacy of flesh tints is amazing. The bit of landscape behind S.
+Roch (invisible in the reproduction), with its stately tree trunk
+rising
+solitary beside the hanging curtain, strikes a note of romance, fit
+accompaniment to the bizarre figure of the saint in his orange jerkin
+and blue leggings. How mysterious, too, is S. Francis!&#8212;rapt in his own
+thoughts, yet strangely human.</p>
+<p style="text-align: center;"><a
+ name="COPY_OF_A_PORTION_OF_GIORGIONES_BIRTH_OF_PARIS"></a><img
+ style="width: 327px; height: 496px;"
+ alt="COPY OF A PORTION OF GIORGIONE'S &quot;BIRTH OF PARIS&quot;"
+ title="COPY OF A PORTION OF GIORGIONE'S &quot;BIRTH OF PARIS&quot;"
+ src="images/drg019.jpg"><br>
+</p>
+<p>We have now examined ten of the twelve pictures added, on Morelli's
+initiative, to the list of genuine works, and we have found very
+little,
+if any, serious opposition on the part of later writers to his views.
+Not so, however, with regard to the remaining two pictures. The first
+of
+these is a fragment in the gallery of Buda-Pesth, representing two
+figures in a landscape. All modern critics are agreed that Morelli has
+here mistaken an old copy after Giorgione for an original, a mistake we
+may readily pardon in consideration of the successful identification he
+has made of these <a name="Page_47"></a>figures with the Shepherds, in
+the composition seen and described by
+the Anonimo in 1525 as the "Birth of Paris," by Giorgione. This
+identification is fully confirmed by the engraving made by Th. von
+Kessel for the <i>Theatrum Pictorium</i>, which shows how these two
+figures
+are placed in the composition. Where, as in the present case, the
+original is missing, even a partial copy is of great value, for in it
+we
+can see the mind, if not the hand, of the great master. The Anonimo
+tells us this "Birth of Paris" was one of Giorgione's early works, a
+statement worthy of credence from the still Bellinesque stamp and
+general likeness of one of the Shepherds to the "Adrastus" in the
+Giovanelli picture. In pose, type, arrangement of hair, and in
+landscape
+this fragment is thoroughly Giorgionesque, and we have, moreover, those
+most characteristic traits, the pointing forefinger, and the unbroken
+curve of outline. The execution is, however, raw and crude, and
+entirely
+wanting in the magic quality of the master's own touch.<a
+ name="FNanchor_59"></a><a href="#Footnote_59"><sup>[59]</sup></a></p>
+<p style="text-align: center;"><a name="THE_SHEPHERD_BOY."></a><img
+ style="width: 327px; height: 496px;" alt="THE SHEPHERD BOY."
+ title="THE SHEPHERD BOY." src="images/drg020.jpg"><a
+ name="PORTRAIT_OF_A_MAN_TORBIDO"></a><img
+ style="width: 327px; height: 496px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg021.jpg"><br>
+</p>
+<p>Finally, on Morelli's list figures the "Shepherd" at Hampton Court,
+for
+the genuineness of which the critic would not absolutely vouch, as he
+had only seen it in a bad light. Perhaps no picture has been so
+strongly
+championed by an enthusiastic writer as has been this "Shepherd" by Mr.
+Berenson, who strenuously advocates its title to genuineness.<a
+ name="FNanchor_60"></a><a href="#Footnote_60"><sup>[60]</sup></a>
+Nevertheless, several modern authorities remain unconvinced in presence
+of the work itself. The conception <a name="Page_48"></a>is
+unquestionably Giorgione's own,
+as we may see from a picture now in the Vienna Gallery, where this head
+is repeated in a representation of the young David holding the head of
+Goliath. The Vienna picture is, however, but a copy of a lost original
+by Giorgione, the existence of which is independently attested by
+Vasari.<a name="FNanchor_61"></a><a href="#Footnote_61"><sup>[61]</sup></a>
+Now, the question naturally arises, What relation does the
+Hampton Court "Shepherd" bear to this "David," Giorgione's lost
+original? It is possible, of course, that the master repeated himself,
+merely transforming the David into a Shepherd, or <i>vice vers&acirc;</i>,
+and it
+is equally possible that some other and later artist adapted
+Giorgione's
+"David" to his own end, utilising the conception that is, and carrying
+it out in his own way. Arguing purely <i>a priori</i>, the latter
+possibility
+is the more likely, inasmuch as we know Giorgione hardly ever repeats a
+figure or a composition, whereas Titian, Cariani, and other later
+Venetian artists freely adopted Giorgione's ideas, his types, and his
+compositions for their own purposes. Internal evidence appears to me,
+moreover, to confirm this view, for the general style of painting seems
+to indicate a later period than 1510, the year of Giorgione's death.
+The
+flimsy folds, in particular, are not readily recognisable as the
+master's own. A comparison with a portrait in the Gallery of Padua
+reveals, particularly in this respect, striking resemblances. This fine
+portrait was identified by both Crowe and Cavalcaselle and by Morelli
+as
+the work of Torbido, and I venture to place the reproduction of it
+beside that of the "Shepherd" for comparison. It is not easy to
+pronounce on <a name="Page_49"></a>the technical qualities of either
+work, for both have suffered from
+re-touching and discolouring varnish, and the hand of the "Shepherd" is
+certainly damaged. Yet, whilst admitting that the evidence is
+inconclusive, I cannot refrain from suggesting Torbido's name as
+possible author of the "Shepherd," the more so as we know he carefully
+studied and formed his style upon Giorgione's work.<a name="FNanchor_62"></a><a
+ href="#Footnote_62"><sup>[62]</sup></a> It is at least
+conceivable that he took Giorgione's "David with the Head of Goliath,"
+and by a simple, and in this case peculiarly appropriate,
+transformation, changed him into a shepherd boy holding a flute.</p>
+<p>We have now taken all the pictures which either Crowe and
+Cavalcaselle
+or Morelli, or both, assign to Giorgione himself. There still remain,
+however, three or four works to be mentioned where these authorities
+hold opposite views which require some examination.</p>
+<p>First and foremost comes the "Concert" in the Pitti Gallery, a work
+which was regarded by Crowe and Cavalcaselle not only as a genuine
+example of Giorgione's art, but as "not having its equal in any period
+of Giorgione's practice. It gives," they go on, "a just measure of his
+skill, and explains his celebrity."<a name="FNanchor_63"></a><a
+ href="#Footnote_63"><sup>[63]</sup></a> Morelli, on the contrary,
+holds:
+"It has unfortunately been so much damaged by a restorer that little
+enough remains of the original, yet from the form of the hands and of
+the ear, and from the gestures of the figures, we are led to infer that
+it is not a work of Giorgione, <a name="Page_50"></a>but belongs to a
+somewhat later period.
+If the repaint covering the surface were removed we should, I think,
+find that it is an early work by Titian."<a name="FNanchor_64"></a><a
+ href="#Footnote_64"><sup>[64]</sup></a> Where Morelli hesitated
+his followers have decided, and accordingly, in Mr. Berenson's list, in
+Mr. Claude Phillips' "Life of Titian," and in the latest biography on
+that master, published by Dr. Gronau, we find the "Concert" put down to
+Titian. On the other hand, Dr. Bode, Signor Conti in his monograph on
+Giorgione, M. M&uuml;ntz, and the authorities in Florence support the
+traditional view that the "Concert" is a masterpiece of Giorgione.</p>
+<p style="text-align: center;"><a name="THE_CONCERT"></a><img
+ style="width: 384px; height: 347px;" alt="THE CONCERT"
+ title="THE CONCERT" src="images/drg022.jpg"><br>
+</p>
+<p>Which view is the right one? To many this may appear an academic
+discussion of little value, for, <i>ipso facto</i>, the quality of the
+work
+is admitted by all. The picture is a fine thing, in spite of its
+imperfect condition, and what matter whether Titian or Giorgione be the
+author? But to this sort of argument it may be said that until we do
+know what is Giorgione's work and what is not, it is impossible to
+gauge
+accurately the nature and scope of his art, or to reach through that
+channel the character of the artist behind his work. In the case of
+Giorgione and Titian, the task of drawing the dividing line is one of
+unusual difficulty, and a long and careful study of the question has
+convinced me that this will have to be done in a way that modern
+criticism has not yet attempted. From the very earliest days the two
+have been so inextricably confused that it will require a very
+exhaustive re-examination of all the evidence in the light of modern
+discoveries, documentary and pictorial, coupled, I am <a name="Page_51"></a>afraid,
+with the recognition of the fact that
+much modern criticism on
+this point has been curiously at fault. This is neither the time nor
+the
+place to discuss the question of Titian's early work, but I feel sure
+that this chapter of art history has yet to be correctly written.<a
+ name="FNanchor_65"></a><a href="#Footnote_65"><sup>[65]</sup></a>
+One of the determining factors in the discussion will be the authorship
+of the Pitti "Concert," for our estimate of Giorgione or Titian must be
+coloured appreciably by the recognition of such an epoch-making picture
+as the work of one or the other.</p>
+<p>It is, therefore, peculiarly unfortunate that the two side figures
+in
+this wonderful group are so rubbed and repainted as almost to defy
+certainty of judgment. In conception and spirit they are typically
+Giorgionesque, and Morelli, I imagine, would scarcely have made the
+bold
+suggestion of Titian's authorship but for the central figure of the
+young monk playing the harpsichord. This head stands out in grand
+relief, being in a far purer state of preservation than the rest, and
+we
+are able to appreciate to some extent the extraordinarily subtle
+modelling of the features, the clear-cut contours, the intensity of
+expression. The fine portrait in the Louvre, known as "L'homme au
+gant,"
+an undoubted early work of Titian, is singularly close in character and
+style, as was first pointed out by Mr. Claude Phillips,<a
+ name="FNanchor_66"></a><a href="#Footnote_66"><sup>[66]</sup></a> and
+it was
+this general reminiscence, more than points of detail in an admittedly
+imperfect work that seemingly induced Morelli to suggest Titian's name
+as possible author of the "Concert." Nevertheless, I cannot allow this
+plausible comparison to outweigh other and more vital considerations.
+The subtlety of <a name="Page_52"></a>the composition, the bold sweep
+of diagonal lines, the
+way the figure of the young monk is "built up" on a triangular design,
+the contrasts of black and white, are essentially Giorgione's own. So,
+too, is the spirit of the scene, so telling in its movement, gesture,
+and expression. Surely it is needless to translate all that is most
+characteristic of Giorgione in his most personal expression into a
+"Giorgionesque" mood of Titian. No, let us admit that Titian owed much
+to his friend and master (more perhaps than we yet know), but let us
+not
+needlessly deprive Giorgione of what is, in my opinion at least, the
+great creation of his maturer years, the Pitti "Concert." I am inclined
+to place it about 1506-7, and to regard it as the earliest and finest
+expression in Venetian art of that kind of genre painting of which we
+have already studied another, though later example, "The Three Ages"
+(in
+the Pitti). The second work where Crowe and Cavalcaselle hold a
+different view from Morelli is a "Portrait of a Man" in the Gallery of
+Rovigo (No. 11). The former writers declare that it, "perhaps more than
+any other, approximates to the true style of Giorgione."<a
+ name="FNanchor_67"></a><a href="#Footnote_67"><sup>[67]</sup></a> With
+such
+praise sounding in one's ears it is somewhat of a shock to discover
+that
+this "grave and powerfully wrought creation" is a miniature 7 by 6
+inches in size. Such an insignificant fragment requires no serious
+consideration; at most it would seem only to be a reduced copy after
+some lost original. Morelli alludes to it as a copy after Palma, but
+one
+may well doubt whether he is not referring to another portrait in the
+same gallery (No. 123). Be that as it may, this "Giorgione" <a
+ name="Page_53"></a>miniature is sadly out of place among genuine
+pieces of the master.<a name="FNanchor_68"></a><a href="#Footnote_68"><sup>[68]</sup></a></p>
+<p style="text-align: center;"><a name="THE_ADORATION_OF_THE_MAGI"></a><img
+ style="width: 473px; height: 253px;" alt="THE ADORATION OF THE MAGI"
+ title="THE ADORATION OF THE MAGI" src="images/drg023.jpg"><br>
+</p>
+<p>One other picture, of special interest to English people, is in
+dispute.
+By Crowe and Cavalcaselle "The Adoration of the Magi," now in the
+National Gallery (No. 1160), is attributed to the master himself; by
+Morelli it was assigned to Catena.<a name="FNanchor_69"></a><a
+ href="#Footnote_69"><sup>[69]</sup></a> This brilliant little panel is
+admittedly by the same hand that painted the Beaumont "Adoration of the
+Shepherds," and yet another picture presently to be mentioned. We have
+already agreed to the propriety of attribution in the former case; it
+follows, therefore, that here also Giorgione's name is the correct one,
+and his name, we are glad to see, has recently been placed on the label
+by the Director of the Gallery.</p>
+<p>This beautiful little panel, which came from the Leigh Court
+Collection,
+under Bellini's name, has much of the depth, richness, and glow which
+characterises the Beaumont picture, although the latter is naturally
+more attractive, owing to the wonderful landscape and the more
+elaborate
+chiaroscuro. The figures are Bellinesque, yet with that added touch of
+delicacy and refinement which Giorgione always knows how to impart. The
+richness of colouring, the depth of tone, the glamour of the whole is
+far superior to anything that we can point to with certainty as
+Catena's
+work; and no finer example of his "Giorgionesque" phase is to be found
+than the sumptuous "Warrior adoring the <a name="Page_54"></a>Infant
+Christ," which hangs
+close by, whilst his delicate little "S. Jerome in his Study," also in
+the same room, challenges comparison. Catena's work seems cold and
+studied beside the warmth and spontaneity of Giorgione's little panel,
+which is, indeed, as Crowe and Cavalcaselle assert, "of the most
+picturesque beauty in distribution, colour, and costume."<a
+ name="FNanchor_70"></a><a href="#Footnote_70"><sup>[70]</sup></a> It
+must
+date from before 1500, probably just before the Beaumont "Nativity,"
+and
+proves how, even at that early time, Giorgione's art was rapidly
+maturing into full splendour.</p>
+<p>The total list of genuine works so far amounts to but twenty-three.
+Let
+us see if we can accept a few others which later writers incline to
+attribute to the master. I propose to limit the survey strictly to
+those
+pictures which have found recognised champions among modern critics of
+repute, for to challenge every "Giorgione" in public and private
+collections would be a Herculean task, well calculated to provoke an
+incredulous smile!</p>
+<p style="text-align: center;"><a name="PAGE_OF_VANDYCKS_SKETCH-BOOK"></a><img
+ style="width: 321px; height: 474px;"
+ alt="PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S &quot;CHRIST BEARING THE CROSS,&quot; IN THE CHURCH OF S. ROCCO, VENICE"
+ title="PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S &quot;CHRIST BEARING THE CROSS,&quot; IN THE CHURCH OF S. ROCCO, VENICE"
+ src="images/drg024.jpg"><br>
+</p>
+<p>Mr. Berenson, in his <i>Venetian Painters</i>, includes two other
+pictures in
+an extremely exclusive list of seventeen genuine Giorgiones. These are
+both in Venice, "The Christ bearing the Cross" (in S. Rocco), and "The
+Storm calmed by S. Mark" (in the Academy). The question whether or no
+we
+are to accept the former of these pictures has its origin in a curious
+contradiction of Vasari, who, in the first edition of his Lives (1550),
+names Giorgione as the painter, whilst in the second (1565), he assigns
+the authorship to Titian. Later writers follow the latter statement,
+and <a name="Page_55"></a>to this day the local guides adhere to this
+tradition. That the
+attribution to Giorgione, however, was still alive in 1620-5, is proved
+by the sketch of the picture made by the young Van Dyck during his
+visit
+to Italy, for he has affixed Giorgione's name to it, and not that of
+Titian.<a name="FNanchor_71"></a><a href="#Footnote_71"><sup>[71]</sup></a>
+I am satisfied that this tradition is correct. Giorgione,
+and not Titian, painted the still lovely head of Christ, and Giorgione,
+not Titian, drew the arm and hand of the Jew who is dragging at the
+rope. Characteristic touches are to be seen in the turn of the head,
+the
+sloping axis of the eyes, and especially the fine oval of the face, and
+bushy hair. This is the type of Giorgione's Christ; "The Tribute Money"
+(at Dresden) shows Titian's. Unfortunately the panel has lost all its
+tone, all its glow, and most of its original colour, and we can
+scarcely
+any longer admire the picture which, in Vasari's graphic language, "is
+held in the highest veneration by many of the faithful, and even
+performs miracles, as is frequently seen"; and again (in his <i>Life
+of
+Titian</i>), "it has received more crowns as offerings than have been
+earned by Titian and Giorgione both, through the whole course of their
+lives."</p>
+<p>The other picture included by Mr. Berenson in his list is the large
+canvas in the Venice Academy, with "The Storm calmed by S. Mark."
+According to this critic it is a late work, finished, in small part, by
+Paris Bordone. In my opinion, it would be far wiser to <a
+ name="Page_56"></a>withhold
+definite judgment in a case where a picture has been so entirely
+repainted. Certainly, in its present state, it is impossible to
+recognise Giorgione's touch, whilst the glaring red tones of the flesh
+and the general smeariness of the whole render all enjoyment out of
+question. I am willing to admit that the conception may have been
+Giorgione's, although even then it would stand alone as evidence of an
+imagination almost Michelangelesque in its <i>terribilit&agrave;.</i>
+Zanetti (1760)
+was the first to connect Giorgione's name with this canvas, Vasari
+bestowing inordinate praise upon it as the work of Palma Vecchio! It
+only remains to add that this is the companion piece to the well-known
+"Fisherman presenting the Ring to the Doge," by Paris Bordone, which
+also hangs in the Venice Academy. Both illustrate the same legend, and
+both originally hung in the Scuola di S. Marco.</p>
+<p style="text-align: center;"><img style="width: 473px; height: 291px;"
+ alt="FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES"
+ title="FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES"
+ src="images/drg025.jpg"><a
+ name="FRONTS_OF_TWO_CASSONES"></a></p>
+<p>Finally, two <i>cassone</i> panels in the gallery at Padua have
+been
+acclaimed by Signor Venturi as the master's own,<a name="FNanchor_72"></a><a
+ href="#Footnote_72"><sup>[72]</sup></a> and with that view
+I am entirely agreed. The stories represented are not easily
+determinable (as is so often the case with Giorgione), but probably
+refer to the legends of Adonis.<a name="FNanchor_73"></a><a
+ href="#Footnote_73"><sup>[73]</sup></a> The splendour of colour, the
+lurid
+light, the richness of effect, are in the highest degree impressive.
+What artist but Giorgione would have so revelled in the glories of the
+evening sunset, the orange horizon, the distant blue hills? The same
+gallery affords several instances of similar decorative <a
+ name="Page_57"></a>pieces by other Venetian artists which serve
+admirably to show the
+great gulf fixed in quality between Giorgione's work and that of the
+Schiavones, the Capriolis, and others who imitated him.<a
+ name="FNanchor_74"></a><a href="#Footnote_74"><sup>[74]</sup></a></p>
+<p><a name="Page_58"></a><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_11"></a><a href="#FNanchor_11">[11]</a>
+<div class="note">
+<p> Oxford Lecture, reported in the <i>Pall Mall Gazette</i>, Nov.
+10, 1884.</p>
+</div>
+<a name="Footnote_12"></a><a href="#FNanchor_12">[12]</a>
+<div class="note">
+<p> See <i>postea</i>, <a href="#Page_63">p. 63.</a></p>
+</div>
+<a name="Footnote_13"></a><a href="#FNanchor_13">[13]</a>
+<div class="note">
+<p> Bellini adopted it later in his S. Giov. Crisostomo
+altar-piece of 1513.</p>
+</div>
+<a name="Footnote_14"></a><a href="#FNanchor_14">[14]</a>
+<div class="note">
+<p> All the more surprising is it that it receives no mention
+from Vasari, who merely states that the master worked at Castelfranco.</p>
+</div>
+<a name="Footnote_15"></a><a href="#FNanchor_15">[15]</a>
+<div class="note">
+<p> I unhesitatingly adopt the titles recently given to these
+pictures by Herr Franz Wickhoff (<i>Jahrbuch der Preussischen
+Kunstsammlungen</i>, Heft. i. 1895), who has at last succeeded in
+satisfactorily explaining what has puzzled all the writers since the
+days of the Anonimo.</p>
+</div>
+<a name="Footnote_16"></a><a href="#FNanchor_16">[16]</a>
+<div class="note">
+<p> Statius: <i>Theb</i>. iv. 730 <i>ff</i>. See p. 135.</p>
+</div>
+<a name="Footnote_17"></a><a href="#FNanchor_17">[17]</a>
+<div class="note">
+<p> <i>Aen.</i> viii. 306-348.</p>
+</div>
+<a name="Footnote_18"></a><a href="#FNanchor_18">[18]</a>
+<div class="note">
+<p> Fry: <i>Giovanni Bellini</i>, p. 39.</p>
+</div>
+<a name="Footnote_19"></a><a href="#FNanchor_19">[19]</a>
+<div class="note">
+<p> ii. 214.</p>
+</div>
+<a name="Footnote_20"></a><a href="#FNanchor_20">[20]</a>
+<div class="note">
+<p> Ridolfi mentions the following as having been painted by
+Giorgione:&#8212;"The Age of Gold," "Deucalion and Pyrrha," "Jove hurling
+Thunderbolts at the Giants," "The Python," "Apollo and Daphne," "Io
+changed into a Cow," "Phaeton, Diana, and Calisto," "Mercury stealing
+Apollo's Arms," "Jupiter and Pasiphae," "Cadmus sowing the Dragon's
+Teeth," "Dejanira raped by Nessus," and various episodes in the life of
+Adonis.</p>
+</div>
+<a name="Footnote_21"></a><a href="#FNanchor_21">[21]</a>
+<div class="note">
+<p> In the Venice Academy.</p>
+</div>
+<a name="Footnote_22"></a><a href="#FNanchor_22">[22]</a>
+<div class="note">
+<p> <i>Archivio, Anno VI</i>., where reproductions of the two are
+given side by side, <i>fasc</i>. vi. p. 412.</p>
+</div>
+<a name="Footnote_23"></a><a href="#FNanchor_23">[23]</a>
+<div class="note">
+<p> The Berlin example (by the Pseudo-Basaiti) is reproduced
+in the Illustrated Catalogue of the recent exhibition of Renaissance
+Art
+at Berlin; the Rovigo version (under Leonardo's name!) is possibly by
+Bissolo.
+</p>
+<p>Two other repetitions exist, one at Stuttgart, the other in the
+collection of Sir William Farrer. (Venetian Exhibition, New Gallery,
+1894, No. 76.)</p>
+</div>
+<a name="Footnote_24"></a><a href="#FNanchor_24">[24]</a>
+<div class="note">
+<p> Gentile Bellini's three portraits in the National Gallery
+(Nos. 808, 1213, 1440) illustrate this growing tendency in Venetian
+art;
+all three probably date from the first years of the sixteenth century.
+Gentile died in 1507.</p>
+</div>
+<a name="Footnote_25"></a><a href="#FNanchor_25">[25]</a>
+<div class="note">
+<p> Berenson: <i>Venetian Painters</i>, 3rd edition.</p>
+</div>
+<a name="Footnote_26"></a><a href="#FNanchor_26">[26]</a>
+<div class="note">
+<p> <i>Daily Telegraph</i>, December 29th, 1899.</p>
+</div>
+<a name="Footnote_27"></a><a href="#FNanchor_27">[27]</a>
+<div class="note">
+<p> Even the so-called Pseudo-Basaiti has been separated and
+successfully diagnosed.</p>
+</div>
+<a name="Footnote_28"></a><a href="#FNanchor_28">[28]</a>
+<div class="note">
+<p> 1895 Catalogue.</p>
+</div>
+<a name="Footnote_29"></a><a href="#FNanchor_29">[29]</a>
+<div class="note">
+<p> See <a href="#APPENDIX_I">Appendix</a>, where the letters are
+printed in full.</p>
+</div>
+<a name="Footnote_30"></a><a href="#FNanchor_30">[30]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 142, and note.</p>
+</div>
+<a name="Footnote_31"></a><a href="#FNanchor_31">[31]</a>
+<div class="note">
+<p> Giorgione painted in fresco in the portico of this palace.
+Zanetti has preserved the record of a figure said to be "Diligence," in
+his print published in 1760.</p>
+</div>
+<a name="Footnote_32"></a><a href="#FNanchor_32">[32]</a>
+<div class="note">
+<p> See Byron's <i>Life and Letters</i>, by Thomas Moore, p. 705.</p>
+</div>
+<a name="Footnote_33"></a><a href="#FNanchor_33">[33]</a>
+<div class="note">
+<p> See Berenson's <i>Venetian Painters</i>, illustrated edition.</p>
+</div>
+<a name="Footnote_34"></a><a href="#FNanchor_34">[34]</a>
+<div class="note">
+<p> Morelli, ii. 219.</p>
+</div>
+<a name="Footnote_35"></a><a href="#FNanchor_35">[35]</a>
+<div class="note">
+<p> See <a href="#Page_32">p. 32</a> for a possible explanation of
+these letters.</p>
+</div>
+<a name="Footnote_36"></a><a href="#FNanchor_36">[36]</a>
+<div class="note">
+<p> ii. 218</p>
+</div>
+<a name="Footnote_37"></a><a href="#FNanchor_37">[37]</a>
+<div class="note">
+<p> It has been suggested to me by Dr. Williamson that the
+letters may possibly be intended for ZZ (=Zorzon). In old MSS. the
+capital Z is sometimes made thus <b><i>&#394;</i></b> or <b><i>V.</i></b></p>
+</div>
+<a name="Footnote_38"></a><a href="#FNanchor_38">[38]</a>
+<div class="note">
+<p> i. 248.</p>
+</div>
+<a name="Footnote_39"></a><a href="#FNanchor_39">[39]</a>
+<div class="note">
+<p> The methods by which he arrived at his conclusion are
+strangely at variance with those he so strenuously advocates, and to
+which the name of Morellian has come to be attached.</p>
+</div>
+<a name="Footnote_40"></a><a href="#FNanchor_40">[40]</a>
+<div class="note">
+<p> Reproduced in <i>Venetian Art at the New Gallery</i>, under
+Giorgione's name, but unanimously recognised as a work of Licinio.</p>
+</div>
+<a name="Footnote_41"></a><a href="#FNanchor_41">[41]</a>
+<div class="note">
+<p> i. 249.</p>
+</div>
+<a name="Footnote_42"></a><a href="#FNanchor_42">[42]</a>
+<div class="note">
+<p> Dr. Bode and Signor Venturi both recognise it as
+Giorgione's work.</p>
+</div>
+<a name="Footnote_43"></a><a href="#FNanchor_43">[43]</a>
+<div class="note">
+<p> To what depths of vulgarity the Venetian School could sink
+in later times, Palma Giovane's "Venus" at Cassel testifies.</p>
+</div>
+<a name="Footnote_44"></a><a href="#FNanchor_44">[44]</a>
+<div class="note">
+<p> <i>Repertorium f&uuml;r Kunstwissenschaft</i>. 1896. xix. Band. 6
+Heft.</p>
+</div>
+<a name="Footnote_45"></a><a href="#FNanchor_45">[45]</a>
+<div class="note">
+<p> <i>North American Review</i>, October 1899.</p>
+</div>
+<a name="Footnote_46"></a><a href="#FNanchor_46">[46]</a>
+<div class="note">
+<p> It was photographed by Braun with this attribution.</p>
+</div>
+<a name="Footnote_47"></a><a href="#FNanchor_47">[47]</a>
+<div class="note">
+<p> Catena has adopted this Giorgionesque conception in his
+"Judith" in the Querini-Stampalia Gallery in Venice.</p>
+</div>
+<a name="Footnote_48"></a><a href="#FNanchor_48">[48]</a>
+<div class="note">
+<p> See <i>Gazette des Beaux Arts</i>, 1897, tom, xviii. p. 279.</p>
+</div>
+<a name="Footnote_49"></a><a href="#FNanchor_49">[49]</a>
+<div class="note">
+<p> See <i>Gazette des Beaux Arts</i>, 1893, tom. ix. p. 135 (Prof.
+Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and <i>Repertorium
+f&uuml;r
+Kunstwissenschaft</i>, tom. xiv. p. 316 (Herr von Seidlitz).</p>
+</div>
+<a name="Footnote_50"></a><a href="#FNanchor_50">[50]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 147.</p>
+</div>
+<a name="Footnote_51"></a><a href="#FNanchor_51">[51]</a>
+<div class="note">
+<p> ii. 217.</p>
+</div>
+<a name="Footnote_52"></a><a href="#FNanchor_52">[52]</a>
+<div class="note">
+<p> Dr. Gronau points this out in <i>Rep</i>. xviii. 4, p. 284.</p>
+</div>
+<a name="Footnote_53"></a><a href="#FNanchor_53">[53]</a>
+<div class="note">
+<p> See <i>Guide to the Italian Pictures</i> at Hampton Court, by
+Mary Logan, 1894.</p>
+</div>
+<a name="Footnote_54"></a><a href="#FNanchor_54">[54]</a>
+<div class="note">
+<p> Official Catalogue, and Crowe and Cavalcaselle, ii. 502.</p>
+</div>
+<a name="Footnote_55"></a><a href="#FNanchor_55">[55]</a>
+<div class="note">
+<p> Pater: <i>The Renaissance</i>, p. 158.</p>
+</div>
+<a name="Footnote_56"></a><a href="#FNanchor_56">[56]</a>
+<div class="note">
+<p> ii. 219.</p>
+</div>
+<a name="Footnote_57"></a><a href="#FNanchor_57">[57]</a>
+<div class="note">
+<p> The execution of this grotesque picture is probably due to
+Girolamo da Carpi, or some other assistant of Dosso.</p>
+</div>
+<a name="Footnote_58"></a><a href="#FNanchor_58">[58]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 292, unaccountably suggested
+Francesco Vecellio (!) as the author.</p>
+</div>
+<a name="Footnote_59"></a><a href="#FNanchor_59">[59]</a>
+<div class="note">
+<p> The subject is derived from a passage in the <i>De
+Divinitate</i> of Cicero, as Herr Wickhoff has pointed out.</p>
+</div>
+<a name="Footnote_60"></a><a href="#FNanchor_60">[60]</a>
+<div class="note">
+<p> See <i>Venetian Painting at the New Gallery</i>. 1895.</p>
+</div>
+<a name="Footnote_61"></a><a href="#FNanchor_61">[61]</a>
+<div class="note">
+<p> Unless we are to suppose that Vasari mistook a copy for an
+original.</p>
+</div>
+<a name="Footnote_62"></a><a href="#FNanchor_62">[62]</a>
+<div class="note">
+<p> Francesco Torbido, called "il Moro," born about 1490, and
+still living in 1545. Vasari states that he actually worked under
+Giorgione. Signed portraits by him are in the Brera, at Munich, and
+Naples. Palma Vecchio also deserves serious consideration as possible
+author of the "Shepherd Boy."</p>
+</div>
+<a name="Footnote_63"></a><a href="#FNanchor_63">[63]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 144.</p>
+</div>
+<a name="Footnote_64"></a><a href="#FNanchor_64">[64]</a>
+<div class="note">
+<p> Morelli, ii. 212.</p>
+</div>
+<a name="Footnote_65"></a><a href="#FNanchor_65">[65]</a>
+<div class="note">
+<p> See Appendix, <a href="#Page_123">p. 123</a>.</p>
+</div>
+<a name="Footnote_66"></a><a href="#FNanchor_66">[66]</a>
+<div class="note">
+<p> Quoted by Morelli, ii. 212, note.</p>
+</div>
+<a name="Footnote_67"></a><a href="#FNanchor_67">[67]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 155.</p>
+</div>
+<a name="Footnote_68"></a><a href="#FNanchor_68">[68]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle also cite a portrait in the Casa
+Ajata at Crespano; as I have never seen this piece I cannot discuss it.
+It was apparently unknown to Morelli, nor is it mentioned by other
+critics.</p>
+</div>
+<a name="Footnote_69"></a><a href="#FNanchor_69">[69]</a>
+<div class="note">
+<p> Morelli, ii. 205.</p>
+</div>
+<a name="Footnote_70"></a><a href="#FNanchor_70">[70]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in
+the <i>Gazette des Beaux Arts</i>, 1884, p. 286, rightly admits
+Giorgione's
+authorship.</p>
+</div>
+<a name="Footnote_71"></a><a href="#FNanchor_71">[71]</a>
+<div class="note">
+<p> This sketch is to be found in Van Dyck's note-book, now in
+possession of the Duke of Devonshire at Chatsworth. It is here
+reproduced, failing an illustration of the original picture, which the
+authorities in Venice decline to have made. (A good reproduction has
+now
+(1903) been made by Anderson of Rome.)</p>
+</div>
+<a name="Footnote_72"></a><a href="#FNanchor_72">[72]</a>
+<div class="note">
+<p> <i>Archivio Storico</i>, vi. 409.</p>
+</div>
+<a name="Footnote_73"></a><a href="#FNanchor_73">[73]</a>
+<div class="note">
+<p> Ridolfi tells us Giorgione painted, among a long list of
+decorative pieces, "The Birth of Adonis," "Venus and Adonis embracing,"
+and "Adonis killed by the Boar." It is possible he was alluding to
+these
+very <i>cassone</i> panels.</p>
+</div>
+<a name="Footnote_74"></a><a href="#FNanchor_74">[74]</a>
+<div class="note">
+<p> The other important additions made by Signor Venturi in
+his recent volume, <i>La Galleria Crespi</i>, are alluded to <i>in
+loco</i>,
+further on. I am delighted to find some of my own views anticipated in
+a
+wholly independent fashion.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_III"></a>
+<h2>CHAPTER III<br>
+</h2>
+<h2>INTERMEDIATE SUMMARY</h2>
+<p>It is necessary for anyone who seeks to recover the missing or
+unidentified works of an artist like Giorgione, first to define his
+conception of the artist based upon a study of acknowledged materials.
+The preceding chapter has been devoted to a survey of the best
+authenticated pictures, the evidence for the genuineness of which is,
+as
+we have seen, largely a matter of personal opinion. Nevertheless there
+is, on the whole, a unanimity of judgment sufficient to warrant our
+drawing several inferences as to the general character of Giorgione's
+work, and to attempt a chronological arrangement of the twenty-six
+pictures here accepted as genuine.</p>
+<p>The first and most obvious fact then to be noted is the amazing
+variety
+of subjects handled by the master. Religious paintings, whether
+altar-pieces or easel pictures of a devotional character, are
+interspersed with mediaeval allegories, genre subjects, decorative
+<i>cassone</i> panels, portraiture, and purely lyrical
+"Fantasiest&uuml;cke,"
+corresponding somewhat with the modern "Landscape with Figures." Truly
+an astonishing range! Giorgione, as we have seen, could not have been
+more than eighteen years in active practice, yet in that short time he
+gained successes in all these various fields. <a name="Page_59"></a>His
+many-sidedness shows
+him to have been a man of wide sympathies, whilst the astonishing
+rapidity of his development testifies to the precocity of his talent.
+His versatility and his precocity are, in fact, the two most prominent
+characteristics to be borne in mind in judging his art, for much that
+appears at first sight incongruous, if not utterly irreconcilable, can
+be explained on this basis. For versatility and precocity in an artist
+are qualities invariably attended by unevenness of workmanship, as we
+see in the cases of Keats and Schubert, who were gifted with the
+lyrical
+temperament and powers of expression in poetry and music in
+corresponding measure to Giorgione in painting. It would show want of
+critical acumen to expect from Keats the consistency of Milton, or that
+Schubert should keep the unvarying high level of Beethoven, and it is
+equally unreasonable to exact from Giorgione the uniform excellence
+which characterises Titian. I do not propose at this point to work out
+the comparison between the painter, the musician, and the poet; this
+must be reserved until the final summing-up of Giorgione as artist,
+when
+we have examined all his work. But this point I do insist on, that from
+the very nature of things Giorgione's art is, and must be, uneven, that
+whilst at times it reaches sublime heights, at other times it attains
+to
+a level of only average excellence.</p>
+<p>And so the criticism which condemns a picture claiming to be
+Giorgione's
+because "it is not <i>good</i> enough for him," does not recognise the
+truth
+that for all that it may be <i>characteristic</i>, and, consequently,
+perfectly authentic. Modern criticism has been apt <a name="Page_60"></a>to
+condemn because
+it has expected too much; let us not blind our eyes to the weaknesses,
+even to the failures of great men, who, if they lose somewhat of the
+hero in our eyes, win our sympathy and our love the more for being
+human.</p>
+<p>I have spoken of Giorgione's versatility, his precocity, and the
+natural
+inequality of his work. There is another characteristic which commonly
+exists when these qualities are found united, and that is
+Productiveness. Giorgione, according to all analogy, must have produced
+a mass of work. It is idle to assert, as some modern writers have done,
+that at the utmost his easel pictures could have been but few, because
+most of his short life was devoted to painting frescoes, which have
+perished. It is true that Giorgione spent time and energy over fresco
+painting, and from the very publicity of such work as the frescoes on
+the Fondaco de' Tedeschi, he came to be widely known in this direction,
+but it is infinitely probable that his output in other branches was
+enormous. The twenty-six pictures we have already accepted, plus the
+lost frescoes, cannot possibly represent the sum-total of his artistic
+activities, and to say that everything else has disappeared is, as I
+shall try to show, not correct. We know, moreover, from the Anonimo
+(who
+was almost Giorgione's contemporary) that many pictures existed in his
+day which cannot now be traced,<a name="FNanchor_75"></a><a
+ href="#Footnote_75"><sup>[75]</sup></a> and if we add these and some
+of the
+others cited by Vasari and Ridolfi (without assuming that every one was
+a genuine example), it goes to prove that Giorgione did paint a good
+number of easel pictures. But the <a name="Page_61"></a>evidence of
+the twenty-six themselves
+is conclusive. They illustrate so many different phases, they stand
+sometimes so widely apart, that intermediate links are necessarily
+implied. Moreover, as Giorgione's influence on succeeding artists is
+allowed by all writers, a considerable number of his easel pictures
+must
+have been in circulation, from which these imitators drew inspiration,
+for he certainly never kept, as Bellini did, a body of assistants and
+pupils to hand on his teaching, and disseminate his style.</p>
+<p>Productiveness must then have been a feature of his art, and as so
+few
+pictures have as yet come to be accepted as genuine, the majority must
+have perished or been lost to sight for the time. That much yet remains
+hidden away in private possession I am fully persuaded, especially in
+England and in Italy, and one day we may yet find the originals of the
+several old copies after Giorgione which I enumerate elsewhere.<a
+ name="FNanchor_76"></a><a href="#Footnote_76"><sup>[76]</sup></a> In
+some cases I believe I have been fortunate enough to detect actually
+missing originals, and occasionally restore to Giorgione pieces that
+parade under Titian's name. Much, however, yet remains to be done, and
+the research work now being systematically conducted in the Venetian
+archives by Dr. Gustav Ludwig and Signor Pietro Paoletti may yield rich
+results in the discovery of documents relating to the master himself,
+which may help us to identify his productions, and possibly confirm
+some
+of the conjectures I venture to make in the following chapters.<a
+ name="FNanchor_77"></a><a href="#Footnote_77"><sup>[77]</sup></a></p>
+<p><a name="Page_62"></a>But before proceeding to examine other
+pictures which I am persuaded
+really emanate from Giorgione himself, let us attempt to place in
+approximate chronological order the twenty-six works already accepted
+as
+genuine, for, once their sequence is established, we shall the more
+readily detect the lacunae in the artist's evolution, and so the more
+easily recognise any missing transitional pieces which may yet exist.</p>
+<p>The earliest stage in Giorgione's career is naturally marked by
+adherence to the teaching and example of his immediate predecessors.
+However precocious he may have been, however free from academic
+training, however independent of the tradition of the schools, he
+nevertheless clearly betrays an artistic dependence, above all, on
+Giovanni Bellini. The "Christ bearing the Cross" and the two little
+pictures in the Uffizi are direct evidence of this, and these,
+therefore, must be placed quite early in his career. We should not be
+far wrong in dating them 1493-5. Carpaccio's influence is also
+apparent,
+as we have already noticed, and through this channel Giorgione's art
+connects with the more archaic style of Gentile Bellini, Giovanni's
+elder brother. Thus in him are united the quattrocentist tradition and
+the fresher ideals of the cinquecento, which found earliest expression
+in Giambellini's Allegories of about 1486-90. The poetic element in
+these works strongly appealed to Giorgione's sensitive nature, and we
+find him developing this side of his art in the Beaumont "Adoration,"
+and the National Gallery "Epiphany," both of which are clearly early
+productions. But there is a gap of a few years between the Uffizi
+pictures and <a name="Page_63"></a>
+the London ones, for the latter are maturer in every way, and it is
+clear that the interval must have been spent in constant practice. Yet
+we cannot point with certainty to any of the other pictures in our list
+as standing midway in development, and here it is that a lacuna exists
+in the artist's career. Two or three years, possibly more, remain
+unaccounted for, just at a period, too, when the young artist would be
+most impressionable. I am inclined to think that he may have painted
+the
+"Birth of Paris" during these years, but we have only the copy of a
+part
+of the composition to go by, and the statement of the Anonimo that the
+picture was one of Giorgione's early works.</p>
+<p>The "Adrastus and Hypsipyle" must also be a youthful production
+prior to
+1500, and in the direction of portraiture we have the Berlin "Young
+Man," which, for reasons already given, must be placed quite early. It
+is not possible to assign exact dates to any of these works, all that
+can be said with any certainty is that they fall within the last decade
+of the fifteenth century, and illustrate the rapid development of
+Giorgione's art up to his twenty-fourth year.</p>
+<p>A further stage in his evolution is reached in the Castelfranco
+"Madonna," the first important undertaking of which we have some
+record.
+Tradition connects the painting of this altar-piece with an event of
+the
+year 1504, the death of the young Matteo Costanzo, whose family, so it
+is said, commissioned Giorgione to paint a memorial altar-piece, and
+decorate the family chapel at Castelfranco with frescoes. Certain it is
+that the arms of the Costanzi appear in the picture, but the evidence
+which connects the com<a name="Page_64"></a>mission with the death
+of Matteo seems to rest
+mainly on his alleged likeness to the S. Liberale in the picture, a
+theory, we may remark, which is quite consistent with Matteo being
+still
+alive. Considering the extraordinary rapidity of the artist's
+development, it would be more natural to place the execution of this
+work a year or two earlier than 1504, but, in any case, we may accept
+it
+as typical of Giorgione's style in the first years of the century. The
+"Judith" (at St. Petersburg), as we have already seen, probably
+immediately precedes it, so that we get two masterpieces approximately
+dated.</p>
+<p>In the field of portraiture Giorgione must have made rapid strides
+from
+the very first. Vasari states that he painted the portraits of the
+great
+Consalvo Ferrante, and of one of his captains, on the occasion of their
+visit to the Doge Agostino Barberigo. Now this event presumably took
+place in 1500,<a name="FNanchor_78"></a><a href="#Footnote_78"><sup>[78]</sup></a>
+so that, at that early date, he seems already to have
+been a portrait painter of repute. Confirmatory evidence of this is
+furnished by the statement of Ridolfi, that Giorgione took the portrait
+of Agostino Barberigo himself.<a name="FNanchor_79"></a><a
+ href="#Footnote_79"><sup>[79]</sup></a> Now the Doge died in 1500, so
+that if
+Giorgione really painted him, he could not have been more than
+twenty-three years of age at the time, an extraordinarily early age to
+have been honoured with so important a commission; this fact certainly
+presupposes successes with other patrons, whose portraits Giorgione
+must
+have taken during the years 1495-1500. I hope to be able to identify
+two
+or three <a name="Page_65"></a>of these, but for the moment we may
+note that by 1500
+Giorgione was a recognised master of portraiture. The only picture on
+our list likely to date from the period 1500-1504 is the "Knight of
+Malta," the "Young Man" (at Buda-Pesth) being later in execution.<a
+ name="FNanchor_80"></a><a href="#Footnote_80"><sup>[80]</sup></a></p>
+<p>From 1504 on, the rapid rate of progress is more than fully
+maintained.
+Only six years remain of the artist's short life, yet in that time he
+rose to full power, and anticipated the splendid achievements of
+Titian's maturity some forty years later. First in order, probably,
+come
+the "Venus" (Dresden) and the "Concert" (Pitti), both showing
+originality of conception and mastery of handling. The date of the
+frescoes on the Fondaco de' Tedeschi is known to be 1507-8,<a
+ name="FNanchor_81"></a><a href="#Footnote_81"><sup>[81]</sup></a> but,
+as
+nothing remains but a few patches of colour in one spot high up over
+the
+Grand Canal, we have no visible clue to guide us in our estimate of
+their artistic worth. Vasari's description, and Zanetti's engraving of
+a
+few fragments (done in 1760, when the frescoes were already in decay),
+go to prove that Giorgione at this period studied the antique,
+"commingling statuesque classicism and the flesh and blood of real
+life."<a name="FNanchor_82"></a><a href="#Footnote_82"><sup>[82]</sup></a></p>
+<p>At this period it is most probable we must place the "Judgment of
+Solomon" (at Kingston Lacy), possibly, as I have already pointed out,
+the very work commissioned by the State for the audience chamber of the
+Council, on which, as we know from documents, <a name="Page_66"></a>Giorgione
+was engaged in
+1507 and 1508. It was never finished, and the altogether exceptional
+character of the work places it outside the regular course of the
+artist's development. It was an ambitious venture in an unwonted
+direction, and is naturally marked and marred by unsatisfactory
+features. Giorgione's real powers are shown by the "Pastoral Symphony"
+(in the Louvre), and the "Portrait of the Young Man" (at Buda-Pesth),
+productions dating from the later years 1508-10. The "Three Ages" (in
+the Pitti) may also be included, and if Giorgione conceived and even
+partly executed the "Storm calmed by S. Mark" (Venice Academy), this
+also must be numbered among his last works.</p>
+<p>Morelli states: "It was only in the last six years of his short life
+(from about 1505-11) that Giorgione's power and greatness became fully
+developed."<a name="FNanchor_83"></a><a href="#Footnote_83"><sup>[83]</sup></a>
+I think this is true in the sense that Giorgione was
+ever steadily advancing towards a fuller and riper understanding of the
+world, that his art was expanding into a magnificence which found
+expression in larger forms and richer colour, that he was acquiring
+greater freedom of touch, and more perfect command of the technical
+resources of his art. But sufficient stress is not laid, I think, upon
+the masterly achievement of the earlier times; the tendency is to refer
+too much to later years, and not recognise sufficiently the prodigious
+precocity before 1500. One is tempted at times to question the accuracy
+of Vasari's statement that Giorgione died in his thirty-fourth year,
+which throws his birth back only to 1477. Some modern writers <a
+ name="Page_67"></a>disregard
+this statement altogether, and place his birth "before 1477."<a
+ name="FNanchor_84"></a><a href="#Footnote_84"><sup>[84]</sup></a> Be
+this as it may, it does not alter the fact that by 1500 Giorgione had
+already attained in portraiture to the highest honours, and in this
+sphere, I believe, he won his earliest successes. My object in the
+following chapter will be to endeavour to point out some of the very
+portraits, as yet unidentified, which I am persuaded were produced by
+Giorgione chiefly in these earlier years, and thus partly to fill some
+of the lacunae we have found in tracing his artistic evolution.</p>
+<p><a name="Page_68"></a><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_75"></a><a href="#FNanchor_75">[75]</a>
+<div class="note">
+<p> A list of these is given at <a href="#Page_138">p. 138.</a></p>
+</div>
+<a name="Footnote_76"></a><a href="#FNanchor_76">[76]</a>
+<div class="note">
+<p> <i>Vide</i> List of Works, pp. 124-137.</p>
+</div>
+<a name="Footnote_77"></a><a href="#FNanchor_77">[77]</a>
+<div class="note">
+<p> The results of these archivistic researches are being
+published in the <i>Repertorium f&uuml;r Kunstwissenschaft</i>.</p>
+</div>
+<a name="Footnote_78"></a><a href="#FNanchor_78">[78]</a>
+<div class="note">
+<p> For the evidence, see <i>Magazine of Art</i>, April 1893.</p>
+</div>
+<a name="Footnote_79"></a><a href="#FNanchor_79">[79]</a>
+<div class="note">
+<p> Meravig, i. 126.</p>
+</div>
+<a name="Footnote_80"></a><a href="#FNanchor_80">[80]</a>
+<div class="note">
+<p> Vasari saw Giorgione's portrait of the succeeding Doge
+Leonardo Loredano (1501-1521).</p>
+</div>
+<a name="Footnote_81"></a><a href="#FNanchor_81">[81]</a>
+<div class="note">
+<p> See Crowe and Cavalcaselle, ii. 141.</p>
+</div>
+<a name="Footnote_82"></a><a href="#FNanchor_82">[82]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, <i>ibid</i>.</p>
+</div>
+<a name="Footnote_83"></a><a href="#FNanchor_83">[83]</a>
+<div class="note">
+<p> ii. 213. We now know that he died in 1510.</p>
+</div>
+<a name="Footnote_84"></a><a href="#FNanchor_84">[84]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle, ii. 119. Bode: <i>Cicerone</i>.</p>
+<hr style="height: 2px; width: 65%;"></div>
+<br>
+<h2><a name="CHAPTER_IV"></a>CHAPTER IV</h2>
+<h2>ADDITIONAL PICTURES&#8212;PORTRAITS</h2>
+<p>Vasari, in his <i>Life of Titian</i>, in the course of a somewhat
+confused
+account of the artist's earliest years, tells us how Titian, "having
+seen the manner of Giorgione, early resolved to abandon that of Gian
+Bellino, although well grounded therein. He now, therefore, devoted
+himself to this purpose, and in a short time so closely imitated
+Giorgione that his pictures were sometimes taken for those of that
+master, as will be related below." And he goes on: "At the time when
+Titian began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait of a gentleman of the Barberigo family
+who was his friend, and this was considered very beautiful, the
+colouring being true and natural, and the hair so distinctly painted
+that each one could be counted, as might also the stitches<a
+ name="FNanchor_85"></a><a href="#Footnote_85"><sup>[85]</sup></a> in a
+satin doublet, painted in the same work; in a word, it was so well and
+carefully done, that it would have been taken for a picture by
+Giorgione, if Titian had not written his name on the dark ground." Now
+the statement that Titian began to imitate Giorgione at the age of
+eighteen is inconsistent with Vasari's own <a name="Page_69"></a>words
+of a few paragraphs
+previously: "About the year 1507, Giorgione da Castel Franco, not being
+satisfied with that mode of proceeding (i.e. 'the dry, hard, laboured
+manner of Gian Bellino, which Titian also acquired'), began to give to
+his works an unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian now
+devoted himself to this purpose," etc. In 1507 Titian was thirty years
+old,<a name="FNanchor_86"></a><a href="#Footnote_86"><sup>[86]</sup></a>
+not eighteen, so that both statements cannot be correct. Now it
+is highly improbable that Titian had already discarded the manner of
+Bellini as early as 1495, at the age of eighteen, and had so identified
+himself with Giorgione that their work was indistinguishable.
+Everything, on the contrary, points to Titian's evolution being
+anything
+but rapid; in fact, so far as records go, there is no mention of his
+name until he painted the fa&ccedil;ade of the Fondaco de' Tedeschi in
+company
+with Giorgione in 1507. It is infinitely more probable that Vasari's
+first statement is the more reliable&#8212;viz. that Titian began to adopt
+Giorgione's manner about the year 1507, and it follows, therefore, that
+the portrait of the gentleman of the Barberigo family, if by Titian,
+dates from this time, and not 1495.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_GENTLEMAN"></a><img
+ style="width: 314px; height: 415px;" alt="PORTRAIT OF A GENTLEMAN"
+ title="PORTRAIT OF A GENTLEMAN" src="images/drg026.jpg"><br>
+</p>
+<p>Now there is a picture in the Earl of Darnley's Collection at Cobham
+Hall which answers pretty closely to Vasari's description. It is a
+supposed portrait of Ariosto by Titian, but it is as much unlike the
+court poet of Ferrara as the portrait in the National Gallery (No. 636)
+which, with equal absurdity, long passed for that of Ariosto, a name
+now
+wisely removed <a name="Page_70"></a>from the label. This magnificent
+portrait at Cobham was
+last exhibited at the Old Masters in 1895, and the suggestion was then
+made that it might be the very picture mentioned by Vasari in the
+passage quoted above.<a name="FNanchor_87"></a><a href="#Footnote_87"><sup>[87]</sup></a>
+I believe this ingenious suggestion is
+correct, and that we have in the Cobham "Ariosto" the portrait of one
+of
+the Barberigo family said to have been painted by Titian in the manner
+of Giorgione. "Thoroughly Giorgionesque," says Mr. Claude Phillips, in
+his <i>Life of Titian</i>, "is the soberly tinted yet sumptuous
+picture in
+its general arrangement, as in its general tone, and in this respect it
+is the fitting companion and the descendant of Giorgione's 'Antonio
+Broccardo' at Buda-Pesth, of his 'Knight of Malta' at the Uffizi. Its
+resemblance, moreover, is, as regards the general lines of the
+composition, a very striking one to the celebrated Sciarra
+'Violin-Player,' by Sebastiano del Piombo.... The handsome, manly head
+has lost both subtlety and character through some too severe process of
+cleaning, but Venetian art has hardly anything more magnificent to show
+than the costume, with the quilted sleeve of steely, blue-grey satin,
+which occupies so prominent a place in the picture." Its Giorgionesque
+character is therefore recognised by this writer, as also by Dr. Georg
+Gronau, in his recent <i>Life of Titian</i> (p. 21), <a name="Page_71"></a>who
+significantly remarks, "Its relation to
+the 'Portrait of a Young
+Man' by Giorgione, at Berlin, is obvious."</p>
+<p>It is a pity that both these discerning writers of the modern school
+have not gone a little further and seen that the picture before them is
+not only Giorgionesque, but by Giorgione himself. The mistake of
+confusing Titian and Giorgione is as old as Vasari, who, <i>misled by
+the
+signature</i>, na&iuml;vely remarks, "It would have been taken for a
+picture by
+Giorgione if Titian had not written his name on the dark ground (in
+ombra)." <i>Hinc illae lacrimae!</i> Let us look into this question of
+signatures, the ultimate and irrevocable proof in the minds of the
+innocent that a picture must be genuine. Titian's methods of signing
+his
+well-authenticated works varied at different stages of his career. The
+earliest signature is always "Ticianus," and this is found on works
+dating down to 1522 (the "S. Sebastian" at Brescia). The usual
+signature
+of the later time is "Titianus," probably the earliest picture with it
+being the Ancona altar-piece of 1520. "Tician" is found only twice.
+Now,
+without necessarily condemning every signature which does not accord
+with this practice, we must explain any apparent irregularity, such,
+for
+instance, as the "Titianus F." on the Cobham Hall picture. This form of
+signature points to the period after 1520, a date manifestly
+inconsistent with the style of painting. But there is more than this to
+arouse suspicion. The signature has been painted over another, or
+rather, the F. (= fecit)<a name="FNanchor_88"></a><a href="#Footnote_88"><sup>[88]</sup></a>
+is placed over an older V, which can still
+be traced. A second <a name="Page_72"></a>V appears further to the
+right. It looks as if
+originally the balustrade only bore the double V, and that "Titianus
+F."
+were added later. But it was there in Vasari's day (1544), so that we
+arrive at the interesting conclusion that Titian's signature must have
+been added between 1520 and 1544&#8212;that is, in his own lifetime. This
+singular fact opens up a new chapter in the history of Titian's
+relationship to Giorgione, and points to practices well calculated to
+confuse historians of a later time, and enhance the pupil's reputation
+at the expense of the deceased master. Not that Titian necessarily
+appropriated Giorgione's work, and passed it off as his own, but we
+know
+that on the latter's death Titian completed several of his unfinished
+pictures, and in one instance, we are told, added a Cupid to
+Giorgione's
+"Venus." It may be that this was the case with the "Ariosto," and that
+Titian felt justified in adding his signature on the plea of something
+he did to it in after years; but, explain this as we may, the important
+point to recognise is that in all essential particulars the "Ariosto"
+is
+the creation not of Titian, but of Giorgione. How is this to be proved?
+It will be remembered that when discussing whether Giorgione or Titian
+painted the Pitti "Concert," the "Giorgionesque" qualities of the work
+were so obvious that it seemed going out of the way to introduce
+Titian's name, as Morelli did, and ascribe the picture to him in a
+Giorgionesque phase. It is just the same here. The conception is
+typically Giorgione's own, the thoughtful, dreamy look, the turn of the
+head, the refinement and distinction of this wonderful figure alike
+proclaim him; whilst in the workmanship <a name="Page_73"></a>the
+quilted satin is exactly
+paralleled by the painting of the dress in the Berlin and Buda-Pesth
+portraits. Characteristic of Giorgione but not of Titian, is the oval
+of
+the face, the construction of the head, the arrangement of the hair.
+Titian, so far as I am aware, never introduces a parapet or ledge into
+his portraits, Giorgione nearly always does so; and finally we have the
+mysterious VV which is found on the Berlin portrait, and
+(half-obliterated) on the Buda-Pesth "Young Man." In short, no one
+would
+naturally think of Titian were it not for the misleading signature, and
+I venture to hope competent judges will agree with me that the proofs
+positive of Giorgione's authorship are of greater weight than a
+signature which&#8212;for reasons given&#8212;is not above suspicion.<a
+ name="FNanchor_89"></a><a href="#Footnote_89"><sup>[89]</sup></a></p>
+<p>Before I leave this wonderful portrait of a gentleman of the
+Barberigo
+family (so says Vasari), a word as to its date is necessary. The
+historian tells us it was painted by Titian at the age of eighteen.
+Clearly some tradition existed which told of the youthfulness of the
+painter, but may we assume that Giorgione was only eighteen at the
+time?
+That would throw the date back to 1495. Is it possible he can have
+painted this splendid head so early in his career? The freedom of
+handling, and the mastery of technique certainly suggests a rather
+later
+stage, but I am inclined to believe Giorgione was capable of this
+accomplishment before 1500. The portrait follows the Berlin "Young
+Man,"
+and may well take its place among the portraits <a name="Page_74"></a>which,
+as we have seen,
+Giorgione must have painted during the last decade of the century prior
+to receiving his commission to paint the Doge. And in this connection
+it
+is of special interest to find the Doge was himself a Barberigo. May we
+not conclude that the success of this very portrait was one of the
+immediate causes which led to Giorgione obtaining so flattering a
+commission from the head of the State?</p>
+<p>I mentioned incidentally that four repetitions of the "Ariosto"
+exist,
+all derived presumably from the Cobham original. We have a further
+striking proof of the popularity of this style of portraiture in a
+picture belonging to Mr. Benson, exhibited at the Venetian Exhibition,
+New Gallery, 1894-5, where the painter, whoever he may be, has
+apparently been inspired by Giorgione's original. The conception is
+wholly Giorgionesque, but the hardness of contour and the comparative
+lack of quality in the touch betrays another and an inferior hand.
+Nevertheless the portrait is of great interest, for could we but
+imagine
+it as fine in execution as in conception we should have an original
+Giorgione portrait before us. The features are curiously like those of
+the Barberigo gentleman.</p>
+<hr style="width: 45%;">
+<p>In his recently published <i>Life of Titian</i>, Dr. Gronau passes
+from the
+consideration of the Cobham Hall picture immediately to that of the
+"Portrait of a Lady," known as "La Schiavona," in the collection of
+Signor Crespi in Milan. In his opinion these two works are intimately
+related to one another, and of them he significantly writes thus: "The
+influence of Giorgione upon Titian" (to whom he ascribes both
+portraits)
+"is <a name="Page_75"></a>evident. The connection can be traced even
+in the details of the
+treatment and technique. The separate touches of light on the
+gold-striped head-dress which fastens back the lady's beautiful dark
+hair, the variegated scarf thrown lightly round her waist, the folds of
+the sleeves, the hand with the finger-tips laid on the parapet: all
+these details might indicate the one master as well as the other."<a
+ name="FNanchor_90"></a><a href="#Footnote_90"><sup>[90]</sup></a></p>
+<p>The transition from the Cobham Hall portrait to the "Lady" in the
+Crespi
+Collection is, to my mind, also a natural and proper one. The painter
+of
+the one is the painter of the other. Tradition is herein also perfectly
+consistent, and tradition has in each case a plausible signature to
+support it. The TITIANVS F. of the former portrait is paralleled by the
+T.V.&#8212;i.e. Titianus Vecellio, or Titianus Veneziano of the latter.<a
+ name="FNanchor_91"></a><a href="#Footnote_91"><sup>[91]</sup></a> I
+have already dealt at some length with the question of the former
+signature, which appears to have been added actually during Titian's
+lifetime; in the present instance the letters appear almost, if not
+quite, coeval with the rest of the painting, and were undoubtedly
+intended for Titian's signature. The cases, therefore, are so far
+parallel, and the question naturally arises, Did Titian really have any
+hand in the painting of this portrait? Signor Venturi<a
+ name="FNanchor_92"></a><a href="#Footnote_92"><sup>[92]</sup></a>
+strongly
+denies it; to him the T.V. matters nothing, and he boldly proclaims
+Licinio the author.</p>
+<p>I confess the matter is not thus lightly to be disposed of; there is
+no
+valid reason to doubt the antiquity of the inscription, which, on the
+analogy of the Cobham <a name="Page_76"></a>Hall picture, may well
+have been added in
+Titian's own lifetime, and for the same reason that I there
+suggested&#8212;viz. that Titian had in some way or other a hand in the
+completion, or may be the alteration, of his deceased master's work.<a
+ name="FNanchor_93"></a><a href="#Footnote_93"><sup>[93]</sup></a>
+For it is my certain conviction that the painter of the Crespi "Lady"
+is
+none other than Giorgione himself.</p>
+<p>Before, however, discussing the question of authorship, it is a
+matter
+of some moment to be able to identify the lady represented. An old
+tradition has it that this is Caterina Cornaro, and, in my judgment,
+this is perfectly correct.<a name="FNanchor_94"></a><a
+ href="#Footnote_94"><sup>[94]</sup></a> Fortunately, we possess
+several
+well-authenticated likenesses of this celebrated daughter of the
+Republic. She had been married to the King of Cyprus, and after his
+death had relinquished her quasi-sovereign rights in favour of Venice.
+She then returned home (in 1489) and retired to Asolo, near
+Castelfranco, where she passed a quiet country life, enjoying the
+society of the poets and artists of the day, and reputed for her
+kindliness and geniality. Her likeness is to be seen in three
+contemporary paintings:&#8212;</p>
+<p>1. At Buda-Pesth, by Gentile Bellini, with inscription.</p>
+<p>2. In the Venice Academy, also by Gentile Bellini, who introduces
+her
+and her attendant ladies kneeling in the foreground, to the left, in
+his
+well-known "Miracle of the True Cross," dated 1500.</p>
+<p><a name="Page_77"></a>3. In the Berlin Gallery, by Jacopo de'
+Barbari, where she appears
+kneeling in a composition of the "Madonna and Child and Saints."</p>
+<p style="text-align: center;"><img style="width: 321px; height: 385px;"
+ alt="MARBLE BUST OF CATERINA CORNARO"
+ title="MARBLE BUST OF CATERINA CORNARO" src="images/drg027.jpg"><a
+ name="MARBLE_BUST_OF_CATERINA_CORNARO"></a><a
+ name="PORTRAIT_OF_CATERINA_CORNARO"></a><img
+ style="width: 283px; height: 386px;" alt="PORTRAIT OF CATERINA CORNARO"
+ title="PORTRAIT OF CATERINA CORNARO" src="images/drg028.jpg"><br>
+</p>
+<p>Finally we see Caterina Cornaro in a bust in the Pourtal&egrave;s
+Collection at
+Berlin, here reproduced,<a name="FNanchor_95"></a><a href="#Footnote_95"><sup>[95]</sup></a>
+seen full face, as in the Crespi portrait.
+I know not on what outside authority the identification rests in the
+case of the bust, but it certainly appears to represent the same lady
+as
+in the above-mentioned pictures, and is rightly accepted as such by
+modern German critics.<a name="FNanchor_96"></a><a href="#Footnote_96"><sup>[96]</sup></a></p>
+<p>To my eyes, we have the same lady in the Crespi portrait. Mr.
+Berenson,
+unaware of the identity, thus describes her:<a name="FNanchor_97"></a><a
+ href="#Footnote_97"><sup>[97]</sup></a> "Une grande dame
+italienne est devant nous, &eacute;clatante de sant&eacute; et de
+magnificence,
+&eacute;nergique, d&eacute;bordante, pleine d'une chaude sympathie,
+source de vie et
+de joie pour tous ceux qui l'entourent, et cependant
+r&eacute;fl&eacute;chie,
+p&eacute;n&eacute;trante, un peu ironique bien qu'indulgente."</p>
+<p>Could a better description be given to fit the character of Caterina
+Cornaro, as she is known to us in history? How little likely, moreover,
+that tradition should have dubbed this homely person the ex-Queen of
+Cyprus had it not been the truth!</p>
+<p>Now, if my contention is correct, chronology determines a further
+point.
+Caterina died in 1510, so that <a name="Page_78"></a>this likeness of
+her (which is clearly
+taken from life) must have been done in or before the first decade of
+the sixteenth century.<a name="FNanchor_98"></a><a href="#Footnote_98"><sup>[98]</sup></a>
+This excludes Licinio and Schiavone (both of
+whom have been suggested as the artist), for the latter was not even
+born, and the former&#8212;whose earliest known picture is dated 1520&#8212;must
+have been far too young in 1510 to have already achieved so splendid a
+result. Palma is likewise excluded, so that we are driven to choose
+between Titian and Giorgione, the only two Venetian artists capable of
+such a masterpiece before 1510.</p>
+<p>As to which of these two artists it is, opinions&#8212;so far as any have
+been published&#8212;are divided. Yet Dr. Gronau, who claims it for Titian,
+admits in the same breath that the hand is the same as that which
+painted the Cobham Hall picture and the Pitti "Concert," a judgment in
+which I fully concur. Dr. Bode<a name="FNanchor_99"></a><a
+ href="#Footnote_99"><sup>[99]</sup></a> labels it "Art des Giorgione."
+Finally, Mr. Berenson, with rare insight proclaimed the conception and
+the spirit of the picture to be Giorgione's.<a name="FNanchor_100"></a><a
+ href="#Footnote_100"><sup>[100]</sup></a> But he asserts that
+the execution is not fine enough to be the master's own, and would rank
+it&#8212;with the "Judith" at St. Petersburg&#8212;in the category of contemporary
+copies after lost originals. This view is apparently based on the
+dangerous maxim that where the execution of a picture is inferior to
+the
+conception, the work is <a name="Page_79"></a>presumably a copy. But
+two points must be borne
+in mind, the actual condition of the picture, and the character of the
+artist who painted it. Mr. Berenson has himself pointed out
+elsewhere<a name="FNanchor_101"></a><a href="#Footnote_101"><sup>[101]</sup></a>
+that Giorgione, "while always supreme in his conceptions,
+did not live long enough to acquire a perfection of draughtsmanship and
+chiaroscuro equally supreme, and that, consequently, there is not a
+single universally accepted work of his which is absolutely free from
+the reproaches of the academic pedant." Secondly, the surface of this
+portrait has lost its original glow through cleaning, and has suffered
+other damage, which actually debarred Crowe and Cavalcaselle (who saw
+the picture in 1877) from pronouncing definitely upon the authorship.
+The eyes and flesh, they say,<a name="FNanchor_102"></a><a
+ href="#Footnote_102"><sup>[102]</sup></a> were daubed over, the hair
+was new,
+the colour modern. A good deal of this "restoration" has since been
+removed, but the present appearance of the panel bears witness to the
+harsh treatment suffered years ago. Nevertheless, the original work is
+before us, and not a copy of a lost original, and Mr. Berenson's
+enthusiastic praise ought to be lavished on the actual picture as it
+must have appeared in all its freshness and purity. "Je
+n'h&eacute;siterais
+pas," he declares,<a name="FNanchor_103"></a><a href="#Footnote_103"><sup>[103]</sup></a>
+"&agrave; le proclamer le plus important des portraits
+du ma&icirc;tre, un chef-d'oeuvre ne le c&eacute;dant &agrave; aucun
+portrait d'aucun pays
+ou d'aucun temps."</p>
+<p>And certainly Giorgione has created a masterpiece. The opulence of
+Rubens and the dignity of Titian are most happily combined with a
+delicacy and refinement <a name="Page_80"></a>such as Giorgione alone
+can impart. The intense
+grasp of character here displayed, the exquisite <i>intimit&eacute;</i>,
+places this
+wonderful creation of his on the highest level of portraiture. There is
+far less of that moody abstraction which awakens our interest in most
+of
+his portraits, but much greater objective truth, arising from that
+perfect sympathy between artist and sitter, which is of the first
+importance in portrait-painting. History tells us of the friendly
+encouragement the young Castelfrancan received at the hands of this
+gracious lady, and he doubtless painted this likeness of her in her
+country home at Asolo, near to Castelfranco, and we may well imagine
+with what eagerness he acquitted himself of so flattering a commission.
+Vasari tells us that he saw a portrait of Caterina, Queen of Cyprus,
+painted by Giorgione from the life, in the possession of Messer
+Giovanni
+Cornaro. I believe that picture to be the very one we are now
+discussing.<a name="FNanchor_104"></a><a href="#Footnote_104"><sup>[104]</sup></a>
+The documents quoted by Signor Venturi<a name="FNanchor_105"></a><a
+ href="#Footnote_105"><sup>[105]</sup></a> do not go
+back beyond 1640, so that it is, of course, impossible to prove the
+identity, but the expression "from the life" (as opposed to Titian's
+posthumous portrait of her) applies admirably to our likeness. What a
+contrast to the formal presentation of the queenly lady, crown and
+jewels and all, that Gentile Bellini has left us in his portrait of her
+now at Buda-Pesth!&#8212;and in that other picture of his where she is seen
+kneeling in royal robes, with her train of court ladies, as though
+attending a state function! How Giorgione has penetrated through all
+outward <a name="Page_81"></a>show, and revealed the charm of manner,
+the delightful
+<i>bonhomie</i> of his royal patroness!</p>
+<p>We are enabled, by a simple calculation of dates, to fix
+approximately
+the period when this portrait was painted. Gentile Bellini's picture of
+"The Miracle of the True Cross" is dated 1500&#8212;that is, when Caterina
+Cornaro was forty-six years old (she was born in 1454). In Signor
+Crespi's picture she appears, if anything, younger in appearance, so
+that, at latest, Giorgione painted her portrait in 1500. Thus, again,
+we
+arrive at the same conclusion, that the master distinguished himself
+very early in his career in the field of portraiture, and the
+similarity
+in style between this portrait and the Cobham Hall one is accounted for
+on chronological grounds. All things considered, it is very probable
+that this portrait was his earliest real success, and proved a passport
+to the favourable notice of the fashionable society of Venice, leading
+to the commission to paint the Doge, and the Gran Signori, who visited
+the capital in the year 1500. That Giorgione was capable of such an
+achievement before his twenty-fourth year constitutes, we may surely
+admit, his strongest right to the title of Genius.<a name="FNanchor_106"></a><a
+ href="#Footnote_106"><sup>[106]</sup></a></p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN_national"></a><img
+ style="width: 319px; height: 441px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg029.jpg"><br>
+</p>
+<p>The Barberigo gentleman and the Caterina Cornaro are comparatively
+unfamiliar, owing to their seclusion in private galleries. Not so the
+third portrait, which hangs in the National Gallery, and which, in my
+opinion, should be included among Giorgione's authentic productions.
+This is No. 636, "Portrait of a Poet," attributed to Palma Vecchio; and
+the catalogue continues: "<a name="Page_82"></a>This portrait of an
+unknown personage was
+formerly ascribed to Titian, and supposed to represent Ariosto; it has
+long since been recognised as a fine work by Palma." I certainly do not
+know by whom this portrait was first recognised as such, but as the
+transformation was suddenly effected one day under the late Sir
+Frederic
+Burton's <i>regime</i>, it is natural to suppose he initiated it. No
+one
+to-day would be found, I suppose, to support the older view, and the
+rechristening certainly received the approval of Morelli;<a
+ name="FNanchor_107"></a><a href="#Footnote_107"><sup>[107]</sup></a>
+modern
+critics apparently acquiesce without demur, so that it requires no
+little courage to dissent from so unanimous an opinion. I confess,
+therefore, it was no small satisfaction to me to find the question had
+been raised by an independent inquirer, Mr. Dickes, who published in
+the
+<i>Magazine of Art</i>, 1893, the results of his investigations, the
+conclusion at which he arrived being that this is the portrait of
+Prospero Colonna, Liberator of Italy, painted by Giorgione in the year
+1500.</p>
+<p>Briefly stated, the argument is as follows:&#8212;</p>
+I. [1] The person represented closely resembles<br>
+<span style="margin-left: 3.5em;">Prospero Colonna (1464-1523), whose
+authentic</span><br>
+<span style="margin-left: 3.5em;">likeness is to be seen&#8212;</span><br>
+<br>
+<span style="margin-left: 3.5em;">(<i>a</i>) In an engraving in
+Pompilio Totti's</span><br>
+<span style="margin-left: 6em;">"Ritratti et Elogie di Capitani
+illustri.</span><br>
+<span style="margin-left: 6em;">Rome, 1635."</span><br>
+<br>
+<span style="margin-left: 3.5em;">(<i>b</i>) In a bust in the Colonna
+Gallery, Rome.</span><br>
+<br>
+<span style="margin-left: 3.5em;">(<i>c</i>) In an engraving in the
+"Columnensium</span><br>
+<span style="margin-left: 6em;">Procerum" of the Abbas Domenicus</span><br>
+<span style="margin-left: 6em;">de Santis. Rome, 1675.</span><br>
+<p>(All three are reproduced in the article in question.)</p>
+<a name="Page_83"></a><span style="margin-left: 2em;">[2] The
+description of Prospero
+Colonna, given</span><br>
+<span style="margin-left: 4em;">by Pompilio Totti (in the above book)</span><br>
+<span style="margin-left: 4em;">tallies with our portrait.</span><br>
+<br>
+<span style="margin-left: 2em;">[3] The accessories in the picture
+confirm the</span><br>
+<span style="margin-left: 4em;">identity&#8212;e.g. the St Andrew's Cross, or</span><br>
+<span style="margin-left: 4em;">saltire, is on the Colonna family
+banner;</span><br>
+<span style="margin-left: 4em;">the bay, emblem of victory, is naturally</span><br>
+<span style="margin-left: 4em;">associated with a great captain; the
+rosary</span><br>
+<span style="margin-left: 4em;">may refer to the fact of Prospero's
+residence</span><br>
+<span style="margin-left: 4em;">as lay brother in the monastery of the</span><br>
+<span style="margin-left: 4em;">Olivetani, near Fondi, which was rebuilt</span><br>
+<span style="margin-left: 4em;">by him in 1500.</span><br>
+<br>
+II. Admitting the identity of person, chronology<br>
+<span style="margin-left: 4em;">determines the probable date of the
+execution</span><br>
+<span style="margin-left: 4em;">of this portrait, for Prospero visited</span><br>
+<span style="margin-left: 4em;">Venice presumably in the train of
+Consalvo</span><br>
+<span style="margin-left: 4em;">Ferrante in 1500. He was then thirty-six</span><br>
+<span style="margin-left: 4em;">years of age.</span><br>
+<br>
+III. Assuming this date to be correct, no other Venetian<br>
+<span style="margin-left: 4em;">artist but Giorgione was capable of
+producing</span><br>
+<span style="margin-left: 4em;">so fine and admittedly "Giorgionesque"</span><br>
+<span style="margin-left: 4em;">a portrait at so early a date.</span><br>
+<br>
+IV. Internal evidence points to Giorgione's authorship.<br>
+<p>It will be seen that the logic employed is identical with that by
+which
+I have tried to establish the identity of Signor Crespi's picture. In
+the present case, I should like to insist on the fourth consideration
+rather than on the other points, iconographical or chrono<a
+ name="Page_84"></a>logical, and
+see how far our portrait bears on its face the impress of Giorgione's
+own spirit.</p>
+<p>The conception, to begin with, is characteristic of him&#8212;the pensive
+charm, the feeling of reserve, the touch of fanciful imagination in the
+decorative accessories, but, above all, the extreme refinement. All
+this
+very naturally fits the portrait of a poet, and at a time when it was
+customary to label every portrait with a celebrated name, what more
+appropriate than Ariosto, the court poet of Ferrara? But this dreamy
+reserve, this intensity of suppressed feeling is characteristic of all
+Giorgione's male portraits, and is nowhere more splendidly expressed
+than in this lovely figure. 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. Both are
+below the level of Giorgione in refinement; neither ever made of a
+portrait such a thing of sheer beauty as this. If this be Palma's work,
+it stands alone, not only far surpassing his usual productions in
+quality, but revealing him in a wholly new phase; it is a difference
+not
+of degree, but of kind.</p>
+<p>Positive proofs of Giorgione's hand are found in the way the hair is
+rendered&#8212;that lovely dark auburn hair so often seen in his work,&#8212;in
+the radiant oval of the face, contrasting so finely with the shadows,
+which are treated exactly as in the Cobham picture, only that here the
+chiaroscuro is more masterly, in the delicate modelling of the
+features,
+the pose of the head, and in the superb colour of the whole. In short,
+there is not a stroke that does not reveal the great master, and no
+other, and it is incredible that modern criticism has <a name="Page_85"></a>not
+long ago united in recognising Giorgione's
+handiwork.<a name="FNanchor_108"></a><a href="#Footnote_108"><sup>[108]</sup></a></p>
+<p>The date suggested&#8212;1500&#8212;is also consistent with our own deductions
+as
+to Giorgione's rapid development, and the distinguished character of
+his
+sitter&#8212;if it be Prospero Colonna&#8212;is quite in keeping with the vogue
+the artist was then enjoying, for it was in this very year, it will be
+remembered, that he painted the Doge Agostino Barberigo.</p>
+<p>I therefore consider that Mr. Dickes' brilliant conjectures have
+much to
+support them, and, so far as the authorship is concerned, I
+unhesitatingly accept the view, which he was the first to express, that
+Giorgione, and no other, is the painter. Our National Collection
+therefore boasts, in my opinion, a masterpiece of his portraiture.</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN_Unfinished"></a><img
+ style="width: 314px; height: 440px;"
+ alt="PORTRAIT OF A MAN (Unfinished)"
+ title="PORTRAIT OF A MAN (Unfinished)"
+ src="images/drg030.jpg"></p>
+<p>If it were not that Morelli, Mr. Berenson and others have recognised
+in
+the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
+Venice, the same hand as in the National Gallery picture, one might
+well
+hesitate to claim it for Giorgione, so repainted is its present
+condition. I make bold, however, to include it in my list, and the more
+readily as Signor Venturi definitely assigns it to Giorgione himself,
+whose name, moreover, it has always borne. This unfinished portrait is,
+despite its repaint, extraordinarily attractive, the rich browns and
+reds forming a colour-scheme of great beauty. It cannot compare,
+however, in quality with our National Gallery highly-finished example,
+to which it is also inferior in beauty of conception. These <a
+ name="Page_86"></a>two
+portraits illustrate the variableness of the painter; both were
+probably
+done about the same time&#8212;the one seemingly <i>con amore</i>, the other
+left
+unfinished, as though the artist or his sitter were dissatisfied.
+Certainly the cause could not have been Giorgione's death, for the
+style
+is obviously early, probably prior to 1500.</p>
+<p>The view expressed by Morelli<a name="FNanchor_109"></a><a
+ href="#Footnote_109"><sup>[109]</sup></a> that this may be a portrait
+of one of
+the Querini family, who were Palma's patrons, has nothing tangible to
+support it, once Palma's authorship is contested. But the unimaginative
+Palma was surely incapable of such things as this and the National
+Gallery portrait!</p>
+<p style="text-align: center;"><a name="PORTRAIT_OF_A_MAN_meynell"></a><img
+ style="width: 314px; height: 440px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg031.jpg"><a
+ name="PORTRAIT_OF_A_MAN_vienna"></a><img
+ style="width: 311px; height: 440px;" alt="PORTRAIT OF A MAN"
+ title="PORTRAIT OF A MAN" src="images/drg032.jpg"><br>
+</p>
+<p>England boasts, I believe, yet another magnificent original
+Giorgione
+portrait, and one that is probably totally unfamiliar to connoisseurs.
+This is the "Portrait of an Unknown Man," in the possession of the Hon.
+Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
+ill-executed print of it was published in the <i>Magazine of Art</i>,
+April
+1893, where it was attributed to Titian. Its Giorgionesque character is
+apparent at first glance, and I venture to hope that all those who may
+be fortunate enough to study the original, as I have done, will
+recognise the touch of the great master himself. Its intense
+expression,
+its pathos, the distant look tinged with melancholy, remind us at once
+of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
+its modelling vividly recalls the central figure of the Pitti
+"Concert,"
+the painting of sleeve and gloves is like that in the National Gallery
+and Querini-Stampalia portraits just discussed. The general pose is
+most
+like that of the Borghese "Lady." <a name="Page_87"></a>The parapet,
+the wavy hair, the high cranium
+are all so many outward
+and visible signs of Giorgione's spirit, whilst none but he could have
+created such magnificent contrasts of colour, such effects of light and
+shade. This is indeed Giorgione, the great master, the magician who
+holds us all fascinated by his wondrous spell.</p>
+<p>Last on the list of portraits which I am claiming as Giorgione's,
+and
+probably latest in date of execution, comes the splendid so-called
+"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
+describe it: "This masterly portrait is one of the noblest creations of
+its kind, finished with a delicacy quite surprising, and modelled with
+the finest insight into the modulations of the human flesh....
+Notwithstanding, the touch and the treatment are utterly unlike
+Titian's, having none of his well-known freedom and none of his
+technical peculiarities. Yet if asked to name the artist capable of
+painting such a likeness, one is still at a loss. It is considered to
+be
+identical with the portrait mentioned by Ridolfi as that of 'Parma' in
+the collection of B. della Nave (Merav., i. 220); but this is not
+proved, nor is there any direct testimony to show that it is by Titian
+at all."<a name="FNanchor_110"></a><a href="#Footnote_110"><sup>[110]</sup></a></p>
+<p>Herr Wickhoff<a name="FNanchor_111"></a><a href="#Footnote_111"><sup>[111]</sup></a>
+goes a step further. He says: "Un autre portrait qui
+porte le nom de Titien est &eacute;galement l'une des oeuvres les plus
+remarquables du Mus&eacute;e. On pr&eacute;tend qu'il repr&eacute;sente
+le 'M&eacute;decin du
+Titien, Parma'; mais c'est l&agrave; une pure invention,
+imagin&eacute;e par un ancien
+directeur du Mus&eacute;e, M. Rosa, et admise de confiance par ses
+successeurs.
+M. Rosa <a name="Page_88"></a>avait &eacute;t&eacute; amen&eacute;
+&agrave; la concevoir par la lecture d'un passage de
+Ridolfi. Le costume suffirait &agrave; lui seul, pourtant, pour la
+d&eacute;mentir:
+c'est le costume officiel d'un s&eacute;nateur v&eacute;nitien, et qui
+par suite ne
+saurait avoir &eacute;t&eacute; port&eacute; par un m&eacute;decin. Le
+tableau est incontestablement
+de la m&ecirc;me main que les deux 'Concerts' du Palais Pitti et du
+Louvre,
+qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
+tableaux au Giorgione, c'est &agrave; lui aussi qu'il faut attribuer le
+portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
+Palais Pitti au Titien, il faut approuver l'attribution actuelle de
+notre portrait au m&ecirc;me ma&icirc;tre." I am glad that Herr
+Wickhoff recognises
+the same hand in all three works. I am sorry that in his opinion this
+should be Domenico Campagnola's. I have already referred to this
+opinion
+when discussing the Louvre "Concert," and must again emphatically
+dissent from this view. Campagnola, as I know him in his pictures and
+frescoes at Padua,&#8212;the only authenticated examples by which to judge
+him,<a name="FNanchor_112"></a><a href="#Footnote_112"><sup>[112]</sup></a>
+was
+utterly inadequate to such tasks. The grandeur and
+dignity of the Vienna portrait is worthy of Titian, whose virility
+Giorgione more nearly approaches here than anywhere else. But I agree
+with the verdict of Crowe and Cavalcaselle that his is not the hand
+that
+painted it, and believe that the author of the Temple Newsam "Man" also
+produced this portrait, probably a few years later, at the close of his
+career.</p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_85"></a><a href="#FNanchor_85">[85]</a>
+<div class="note">
+<p> Or "points" (<i>punte</i>). The translation is that used by
+Blashfield and Hopkins, vol. iv. 260.</p>
+</div>
+<a name="Footnote_86"></a><a href="#FNanchor_86">[86]</a>
+<div class="note">
+<p> Assuming he was born in 1477, which is by no means
+certain.</p>
+</div>
+<a name="Footnote_87"></a><a href="#FNanchor_87">[87]</a>
+<div class="note">
+<p> Dr. Richter in the <i>Art Journal</i>, 1895, p. 90. Mr. Claude
+Phillips, in his <i>Earlier Work of Titian</i>, p. 58, note, objects
+that
+Vasari's "giubone di raso inargentato" is not the superbly luminous
+steel-grey sleeve of this "Ariosto," but surely a vest of satin
+embroidered with silver. I think we need not examine Vasari's casual
+descriptions quite so closely; "a doublet of silvered satin wherein the
+stitches could be counted" is fairly accurate. "Quilted sleeves" would
+no doubt be the tailor's term.</p>
+</div>
+<a name="Footnote_88"></a><a href="#FNanchor_88">[88]</a>
+<div class="note">
+<p> It is not quite clear whether the single letter is F or
+T.</p>
+</div>
+<a name="Footnote_89"></a><a href="#FNanchor_89">[89]</a>
+<div class="note">
+<p> A curious fact, which corroborates my view, is that the
+four old copies which exist are all ascribed to Giorgione (at Vicenza,
+Brescia, and two lately in English collections). See Crowe and
+Cavalcaselle, p. 201.</p>
+</div>
+<a name="Footnote_90"></a><a href="#FNanchor_90">[90]</a>
+<div class="note">
+<p> Gronau: <i>Tizian</i>, p. 21.</p>
+</div>
+<a name="Footnote_91"></a><a href="#FNanchor_91">[91]</a>
+<div class="note">
+<p> See, however, note on <a href="#Page_133">p. 133</a>.</p>
+</div>
+<a name="Footnote_92"></a><a href="#FNanchor_92">[92]</a>
+<div class="note">
+<p> <i>La Galleria Crespi</i>.</p>
+</div>
+<a name="Footnote_93"></a><a href="#FNanchor_93">[93]</a>
+<div class="note">
+<p> The documents quoted by Signor Venturi show the signature
+was there in 1640.</p>
+</div>
+<a name="Footnote_94"></a><a href="#FNanchor_94">[94]</a>
+<div class="note">
+<p> When in the Martinengo Gallery at Brescia (1640) it bore
+this name. See Venturi, <i>op. cit</i>., and Crowe and Cavalcaselle,
+<i>Titian</i>, ii. 58.</p>
+</div>
+<a name="Footnote_95"></a><a href="#FNanchor_95">[95]</a>
+<div class="note">
+<p> From <i>Das Museum</i>, No. 79. "<i>Unbekannter Meister um</i>
+1500.
+<i>Bildnis der Caterina Cornaro</i>." I am informed the original is now
+in
+the possession of the German Ambassador at The Hague, and that a
+plaster
+cast is at Berlin.</p>
+</div>
+<a name="Footnote_96"></a><a href="#FNanchor_96">[96]</a>
+<div class="note">
+<p> Dr. Bode <i>(Jahrbuch</i>, 1883, p. 144) says that Count
+Pourtal&egrave;s acquired this bust at Asolo.</p>
+</div>
+<a name="Footnote_97"></a><a href="#FNanchor_97">[97]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts</i>, 1897, pp. 278-9. Since (1901)
+republished in his <i>Study and Criticism of Italian Art</i>, vol. i.
+p. 85.</p>
+</div>
+<a name="Footnote_98"></a><a href="#FNanchor_98">[98]</a>
+<div class="note">
+<p> Titian's posthumous portrait of Caterina is lost. The best
+known copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed
+out
+the absurdity of regarding this fancy portrait as a true likeness of
+the
+long deceased queen. It bears no resemblance whatever to the Buda-Pesth
+portrait, which is the latest of the group.</p>
+</div>
+<a name="Footnote_99"></a><a href="#FNanchor_99">[99]</a>
+<div class="note">
+<p> <i>Cicerone</i>, sixth edition.</p>
+</div>
+<a name="Footnote_100"></a><a href="#FNanchor_100">[100]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts</i>, 1897, pp. 278-9.</p>
+</div>
+<a name="Footnote_101"></a><a href="#FNanchor_101">[101]</a>
+<div class="note">
+<p> <i>Venetian Painting at the New Gallery</i>, 1895, p. 41.</p>
+</div>
+<a name="Footnote_102"></a><a href="#FNanchor_102">[102]</a>
+<div class="note">
+<p> <i>Titian</i>, ii. 58.</p>
+</div>
+<a name="Footnote_103"></a><a href="#FNanchor_103">[103]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts, loc cit</i>.</p>
+</div>
+<a name="Footnote_104"></a><a href="#FNanchor_104">[104]</a>
+<div class="note">
+<p> <i>Life of Giorgione</i>. The letters T.V. either were added
+after 1544, or Vasari did not interpret them as Titian's signature.</p>
+</div>
+<a name="Footnote_105"></a><a href="#FNanchor_105">[105]</a>
+<div class="note">
+<p> <i>La Galleria Crespi, op. cit</i>.</p>
+</div>
+<a name="Footnote_106"></a><a href="#FNanchor_106">[106]</a>
+<div class="note">
+<p> The importance of this portrait in the history of the
+Renaissance is discussed, <i>postea</i>, <a href="#Page_113">p. 113.</a></p>
+</div>
+<a name="Footnote_107"></a><a href="#FNanchor_107">[107]</a>
+<div class="note">
+<p> ii. 19.</p>
+</div>
+<a name="Footnote_108"></a><a href="#FNanchor_108">[108]</a>
+<div class="note">
+<p> This picture was transferred in 1857 from panel to
+canvas, but is otherwise in fine condition.</p>
+</div>
+<a name="Footnote_109"></a><a href="#FNanchor_109">[109]</a>
+<div class="note">
+<p> Morelli, ii. 19, note.</p>
+</div>
+<a name="Footnote_110"></a><a href="#FNanchor_110">[110]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle: <i>Titian</i>, p. 425.</p>
+</div>
+<a name="Footnote_111"></a><a href="#FNanchor_111">[111]</a>
+<div class="note">
+<p> <i>Gazette des Beaux Arts</i>, 1893, p. 135.</p>
+</div>
+<a name="Footnote_112"></a><a href="#FNanchor_112">[112]</a>
+<div class="note">
+<p> It is customary to cite the Prague picture of 1525 as his
+work. The clumsy signature CAM was probably intended for Campi, the
+real
+author, and its genuineness is not above suspicion. It is a curious
+<i>quid pro quo</i>.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_V"></a>
+<h2><a name="Page_89"></a>CHAPTER V<br>
+</h2>
+<h2>ADDITIONAL PICTURES OTHER THAN PORTRAITS</h2>
+<p>I have now pointed out six portraits which, in my opinion, should be
+included in the roll of genuine Giorgiones. No doubt others will, in
+time, be identified, but I leave this fascinating quest to pass to the
+consideration of other paintings illustrating a different phase of the
+master's art.<a name="FNanchor_113"></a><a href="#Footnote_113"><sup>[113]</sup></a></p>
+<p>We know that the romantic vein in Giorgione was particularly strong,
+that he naturally delighted in producing fanciful pictures where his
+poetic imagination could find full play; we have seen how the classic
+myth and the mediaeval romance afforded opportunities for him to
+indulge
+his fancy, and we have found him adapting themes derived from these
+sources to the decoration of <i>cassoni</i>, or marriage chests.
+Another
+typical example of this practice is afforded by his "Orpheus and
+Eurydice," in the gallery at Bergamo, a splendid little panel,
+probably,
+like the "Apollo and Daphne" in the Seminario at Venice, intended as a
+decorative piece of applied art. Although <a name="Page_90"></a>bearing
+Giorgione's name by
+tradition, modern critics have passed it by presumably on the ground
+that "it is not good enough,"&#8212;that fatal argument which has thrown dust
+in the eyes of the learned. As if the artist would naturally expend as
+much care on a trifle of this kind as on the Castelfranco altar-piece,
+or the Dresden "Venus"! Yet what greater beauty of conception, what
+more
+poetic fancy is there in the "Apollo and Daphne" (which is generally
+accepted as genuine) than in this little "Orpheus and Eurydice"? Nay,
+the execution, which is the point contested, appears to me every whit
+as
+brilliant, and in preservation the latter piece has the advantage. Not
+a
+touch but what can be paralleled in a dozen other works&#8212;the feathery
+trees against the luminous sky, the glow of the horizon, the splendid
+effects of light and shadow, the impressive grandeur of the wild
+scenery, the small figures in mid-distance, even the cast of drapery
+and
+shape of limbs are repeated elsewhere. Let anyone contrast the delicacy
+and the glow of this little panel with several similar productions of
+the Venetian school hanging in the same gallery, and the gulf that
+separates Giorgione from his imitators will, I think, be apparent.</p>
+<p style="text-align: center;"><a name="ORPHEUS_AND_EURYDICE"></a><img
+ style="width: 454px; height: 342px;" alt="ORPHEUS AND EURYDICE"
+ title="ORPHEUS AND EURYDICE" src="images/drg033.jpg"><br>
+</p>
+<p>In the same category must be ranked two very small panels in the
+Gallery
+at Padua (Nos. 42 and 43), attributed with a query to Giorgione. These
+are apparently fragments of some decorative series, of which the other
+parts are missing. The one represents "Leda and the Swan," the other a
+mythological subject, where a woman is seated holding a child, and a
+man, also seated, holds flowers. The latter recalls <a name="Page_91"></a>one
+of the figures in the National Gallery
+"Epiphany." The charm of
+these fragments lies in the exquisite landscapes, which, in minuteness
+of finish and loving care, Giorgione has nowhere surpassed. The gallery
+at Padua is thus, in my opinion, the possessor of four genuine examples
+of Giorgione's skill as a decorator, for we have already mentioned the
+larger <i>cassone</i> pieces<a name="FNanchor_114"></a><a
+ href="#Footnote_114"><sup>[114]</sup></a> (Nos. 416 and 417).</p>
+<p>Of greater importance is the "Unknown Subject," in the National
+Gallery
+(No. 1173), a picture which, like so many others, has recently been
+taken from Giorgione, its author, and vaguely put down to his "School."
+But it is time to protest against such needless depreciation!</p>
+<p>In spite of abrasion, in spite of the loss of glow, in spite of much
+that disfigures, nay disguises, the master's own touch, I feel
+confident
+that Giorgione and no other produced this beautiful picture.<a
+ name="FNanchor_115"></a><a href="#Footnote_115"><sup>[115]</sup></a>
+Surely
+if this be only school work, we are vainly seeking a mythical master,
+an
+ideal who never could have existed. What more dainty figures, what more
+delicate hues, what more exquisite feeling could one look for than is
+here to be found? True, the landscape has been renovated, <a
+ name="Page_92"></a>true, the
+Giorgionesque depth and richness is gone, the mellow glow of the
+"Epiphany," which hangs just below, is sadly wanting, but who can deny
+the charm of the picturesque scenery, which vividly recalls the
+landscape backgrounds elsewhere in the master's own work, who can fail
+to admire the natural and unstudied grouping of the figures, the
+artlessness of the whole, the loving simplicity with which the painter
+has done his work? All is spontaneous; the spirit is not that of a
+laborious imitator, painfully seeking "effects" from another's
+inspiration; sincerity and na&iuml;vet&eacute; are too apparent for
+this to be the
+work of any but a quite young artist, and one whose style is so
+thoroughly "Giorgionesque" as to be none other than the young Giorgione
+himself. In my opinion this is one of his earliest essays into the
+region of romance, painted probably before his twenty-first year,
+betraying, like the little legendary pictures in the Uffizi, a strong
+affinity with Carpaccio.<a name="FNanchor_116"></a><a
+ href="#Footnote_116"><sup>[116]</sup></a></p>
+<p style="text-align: center;"><a name="THE_GOLDEN_AGE"></a><img
+ style="width: 317px; height: 417px;" alt="? THE GOLDEN AGE"
+ title="? THE GOLDEN AGE" src="images/drg034.jpg"><br>
+</p>
+<p>As to the subject many conjectures have been made: Aristotle
+surrounded
+by emblems illustrating the objects with which his philosophy was
+concerned, an initiation into some mystic rite, the poet musing in
+sadness on the mysteries of life, the philosopher imparting wisdom to
+the young, etc. etc. I believe Giorgione is simply giving us a poetical
+rendering of "The Golden Age," where, like Plato's philosopher-king,
+the
+seer all-wise and all-powerful holds sway, before whom the arts and
+sciences do homage; in this earthly<br>
+<a name="Page_93"></a>paradise even strange animals live in happy
+harmony, and all is peace.
+Such a theme would well have suited Giorgione's temperament, and
+Ridolfi
+actually tells us that this very subject was taken by Giorgione from
+the
+pages of Ovid, and adapted by him to his own ends.<a name="FNanchor_117"></a><a
+ href="#Footnote_117"><sup>[117]</sup></a> But whether this
+represents "The Golden Age," or some other allegory or classic story,
+the picture is completely characteristic of all that is most individual
+in Giorgione, and I earnestly hope the slur now cast upon its character
+by the misleading label will be speedily removed.<a name="FNanchor_118"></a><a
+ href="#Footnote_118"><sup>[118]</sup></a> For the public
+believes more in the labels it reads, than the pictures it sees.</p>
+<p>Finally, in the "Venus disarming Cupid," of the Wallace collection,
+we
+have, in my opinion, the wreck of a once splendid Giorgione. In the
+recent re-arrangement of the Gallery, this picture, which used to hang
+in an upstairs room, and was practically unknown, has been hung
+prominently on the line, so that its beauties, and, alas! its defects,
+can be plainly seen. The outlines are often distorted and blurred, the
+Cupid has become monstrous, the delicacy of the whole effaced by
+ill-usage and neglect. Yet the splendour of colour, the cast of
+drapery,
+the flow of line, proclaims the great master himself. There is no room,
+moreover, for such a mythical compromise as that which is proposed by
+the catalogue, "It stands midway in style between Giorgione and Titian
+in his Giorgionesque phase." No better instance could be adduced of the
+fallacy of perfection implied in the minds of most <a name="Page_94"></a>critics
+at the
+mention of Giorgione's name; yet if we accept the Louvre "Concert," if
+we accept the Hermitage "Judith," why dispute Giorgione's claim on the
+ground of "weakness of construction"? This "Venus and Cupid" is vastly
+inferior in quality to the Dresden "Venus,"&#8212;let us frankly admit
+it,&#8212;but it is none the less characteristic of the artist, who must not
+be judged by the standard of his exceptional creations, but by that of
+his normal productions.<a name="FNanchor_119"></a><a
+ href="#Footnote_119"><sup>[119]</sup></a></p>
+<p style="text-align: center;"><a name="VENUS_AND_ADONIS"></a><img
+ style="width: 463px; height: 312px;" alt="VENUS AND ADONIS"
+ title="VENUS AND ADONIS" src="images/drg035.jpg"><br>
+</p>
+<p>Just such another instance of average merit is afforded by the
+"Venus
+and Adonis" of the National Gallery (No. 1123), from which, had not an
+artificial standard of excellence been falsely raised, Giorgione's name
+would never have been removed. I am happily not the first to call
+attention to the propriety of the old attribution, for Sir Edward
+Poynter claims that the same hand that produced the Louvre "Concert" is
+also responsible for the "Venus and Adonis."<a name="FNanchor_120"></a><a
+ href="#Footnote_120"><sup>[120]</sup></a> I fully share this
+opinion. The figures, with their compactly built and rounded limbs, are
+such as Giorgione loved to model, the sweep of draperies and the
+splendid line indicate a consummate master, the idyllic landscape
+framing episodes from the life of Adonis is just such as we see in the
+Louvre picture and elsewhere, the glow and splendour of the whole
+reveal
+a master of tone and colouring. Some good judges would give the work to
+the young Titian, but it appears too intimately "Giorgionesque" to be
+his, although I admit the extreme difficulty in drawing the line of
+division. <a name="Page_95"></a>Passages in the "Sacred and Profane
+Love" of
+the Borghese Gallery are
+curiously recalled, but the National Gallery picture is clearly the
+work
+of a mature and experienced hand, and not of any young artist. In my
+opinion it dates from about 1508, and illustrates the later phase of
+Giorgione's art as admirably as do the "Epiphany" (No. 1160) and the
+"Golden Age" (No. 1173) his earliest style. Between these extremes fall
+the "Portrait" (No. 636), and the "S. Liberale" (No. 269), the National
+Gallery thus affording unrivalled opportunity for studying the varying
+phases of the great Venetian master at different stages of his career.</p>
+<hr style="height: 2px; width: 25%;">
+<p>We may now pass from the realm of "fancy" subjects to that of sacred
+art&#8212;that is, to the consideration of the "Madonnas," "Holy Families,"
+and "Santa Conversazione" pictures, other than those already described.
+The Beaumont "Adoration of the Shepherds," with its variant at Vienna,
+the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony
+and
+S. Roch," and the Castelfranco altar-piece are the only instances so
+far
+of Giorgione's sacred art, yet Vasari tells us that the master "in his
+youth painted very many beautiful pictures of the Virgin."</p>
+<p>This statement is on the face of it likely enough, for although the
+young Castelfrancan early showed his independence of tradition and his
+preference for the more modern phases of Bellini's art, it is extremely
+probable he was also called upon to paint some smaller devotional
+pieces, such, for instance, as "The Christ bearing the Cross," lately
+in
+the Casa Loschi at <a name="Page_96"></a>Vicenza.<a name="FNanchor_121"></a><a
+ href="#Footnote_121"><sup>[121]</sup></a> It is noteworthy, all the
+same, that
+scarcely any "Madonna" picture exists to which his name still attaches,
+and only one "Holy Family," so far as I am aware, is credibly reputed
+to
+be his work. This is Mr. Benson's little picture, in all respects a
+worthy companion to the Beaumont and National Gallery examples. There
+is
+even a purer ring about this lovely little "Holy Family," a child-like
+sincerity and a simplicity which is very touching, while for sheer
+beauty of colour it is more enjoyable than either of the others. It may
+not have the depth of tone and mastery of chiaroscuro which make the
+Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
+and daintiness of treatment it is not surpassed by any other of
+Giorgione's works. In its obvious defects, too, it is as thoroughly
+characteristic; it is needless to repeat here what I said when
+discussing the Beaumont and Vienna "Adoration"; the reader who compares
+the reproductions will readily see the same features in both works. Mr.
+Benson's little picture has this additional interest, that more than
+either of its companion pieces it points forward to the Castelfranco
+"Madonna" in the bold sweep of the draperies, the play of light on
+horizontal surfaces, and the exquisite gaiety of its colour.</p>
+<p style="text-align: center;"><a name="THE_GIPSY_MADONNA"></a><img
+ style="width: 394px; height: 339px;" alt="THE &quot;GIPSY&quot; MADONNA"
+ title="THE &quot;GIPSY&quot; MADONNA" src="images/drg036.jpg"><br>
+</p>
+<p>In claiming this picture for Giorgione I am claiming nothing new,
+for
+his name, in spite of modern critics, has here persistently survived.
+Not so with a group of three Madonnas, one of which has for at least
+two
+centuries borne Titian's name, another which passes also for a work of
+the same painter, whilst the <a name="Page_97"></a>third was claimed
+by Crowe and Cavalcaselle
+again for Titian, partly on
+the analogy of the first-mentioned one.<a name="FNanchor_122"></a><a
+ href="#Footnote_122"><sup>[122]</sup></a> The first is the so-called
+"Gipsy Madonna" in the Vienna Gallery, the second is a "Madonna" in the
+Bergamo Gallery, and the third is a "Madonna" again in Mr. Benson's
+collection.</p>
+<p>I am happily not the first to identify the "Gipsy Madonna" as
+Giorgione's work, for it requires no little courage to tilt at what has
+been unquestioningly accepted as "the earliest known Madonna of
+Titian."
+I am indebted, therefore, to Signor Venturi for the lead,<a
+ name="FNanchor_123"></a><a href="#Footnote_123"><sup>[123]</sup></a>
+although
+I have the satisfaction of feeling that independent study of my own had
+already brought me to the same conclusion.</p>
+<p>Of course, all modern writers have recognised the "Giorgionesque"
+elements in this supposed Titian. "In the depth, strength, and richness
+of the colour-chord, in the atmospheric spaciousness and charm of the
+landscape background, in the breadth of the draperies, it is already,"
+says Mr. Claude Phillips,<a name="FNanchor_124"></a><a
+ href="#Footnote_124"><sup>[124]</sup></a> "Giorgionesque." Yet, he
+goes on, the
+Child is unlike Giorgione's type in the Castelfranco and Madrid
+pictures, and the Virgin has a less spiritualised nature than
+Giorgione's Madonnas in the same two pictures. On the other hand, Dr.
+Gronau, Titian's latest biographer, declares<a name="FNanchor_125"></a><a
+ href="#Footnote_125"><sup>[125]</sup></a> that the thoughtful
+expression ("der tief empfundene Ausdruck") of the Madonna is
+essentially Giorgionesque. Morelli, with peculiar in<a name="Page_98"></a>sight,
+protested
+against its being considered a very <i>early</i> work of Titian,
+basing his
+protest on the advanced nature of the landscape, which, he says,<a
+ name="FNanchor_126"></a><a href="#Footnote_126"><sup>[126]</sup></a>
+"must have been painted six or eight years later than the end of the
+fifteenth century." But even he fell into line with Crowe and
+Cavalcaselle in ascribing the picture to Titian, failing to see that
+all
+difficulties of chronology and discrepancies of judgment between
+himself
+and the older historians could be reconciled on the hypothesis of
+Giorgione's authorship. For Giorgione, as Morelli rightly saw,
+developed
+far more rapidly than Titian, so that a Titian landscape of, say,
+1506-8
+(if any such exist!) would correspond with one by Giorgione of, say,
+1500. I agree with Crowe and Cavalcaselle and those writers who date
+back the "Gipsy Madonna" to the end of the fifteenth century, but I
+must
+emphatically support Signor Venturi in his claim that Giorgione is the
+author.</p>
+<p>Before, however, looking at internal evidence to prove this
+contention,
+we may note that another example of the same composition exists in the
+Gallery of Rovigo, identical save for a cartellino on which is
+inscribed
+TITIANVS. To Crowe and Cavalcaselle this was evidence to confirm
+Titian's claim to be the painter of what they considered the original
+work&#8212;viz. the Vienna picture, of which the Rovigo example was, in their
+opinion, a later copy. A careful examination, however, of the latter
+picture has convinced me that they were curiously right and curiously
+wrong. That the Rovigo work is posterior to the Vienna one is, I think,
+patent to anyone conversant with Venetian <a name="Page_99"></a>painting,
+but why should the
+one bear Titian's name on an apparently authentic cartellino, and not
+the other? The simple and straightforward explanation appears the
+best&#8212;viz. that the Rovigo picture is actually by Titian, who has taken
+the Vienna picture (which I attribute to Giorgione) as his model and
+directly repeated it. The qualities of the work are admirable, and
+worthy of Titian, and I venture to think this "Madonna" would long ago
+have taken its rightful place among the pictures of the master had it
+not hung in a remote provincial gallery little visited by travellers,
+and in such a dark corner as to escape detection. The form TITIANVS
+points to a period after 1520,<a name="FNanchor_127"></a><a
+ href="#Footnote_127"><sup>[127]</sup></a> when Giorgione had been some
+years
+dead, so that it was not unnatural that in after times the credit of
+invention rested with the author of the signed picture, and that his
+name came gradually to be attached also to the earlier example. The
+engraving of Meyssen (<i>circa</i> 1640) thus bears Titian's name, and
+both
+engraving and the repetition at Rovigo are now adduced as evidence of
+Titian's authorship of the Vienna "Gipsy Madonna."</p>
+<p>But is there any proof that Titian ever copied or repeated any other
+work of Giorgione? There is, fortunately, one great and acknowledged
+precedent, the "Venus" in the Tribune of the Uffizi, which is <i>directly</i>
+taken from Giorgione's Dresden "Venus," The accessories, it is true,
+are
+different, but the nude figures are line for line identical.<a
+ name="FNanchor_128"></a><a href="#Footnote_128"><sup>[128]</sup></a>
+Other
+painters, <a name="Page_100"></a>Palma, Cariarli, and Titian,
+elsewhere, derived inspiration
+from Giorgione's prototype, but Titian actually repeats the very figure
+in this "Venus"; so that there is nothing improbable in my contention
+that Titian also repeated Giorgione's "Gipsy Madonna," adding his
+signature thereto, to the confusion and confounding of later
+generations.</p>
+<p style="text-align: center;"><a name="MADON_AND_CHILD"></a><img
+ style="width: 394px; height: 341px;" alt="MADONNA AND CHILD"
+ title="MADONNA AND CHILD" src="images/drg037.jpg"><br>
+</p>
+<p>It is worthy of note that not a single "Madonna and Child" by Titian
+exists, except the little picture in Mr. Mond's collection, painted
+quite in the artist's old age. Titian invariably paints "Madonna and
+Saints," or a "Holy Family," so that the three Madonna pictures I am
+claiming for Giorgione are marked off by this peculiarity from the bulk
+of Titian's work. This in itself is not enough to disqualify Titian,
+but
+it is a factor in that cumulative proof by which I hope Giorgione's
+claim may be sustained. The marble parapet again is a feature in
+Giorgione's work, but not in Titian's. But the most convincing evidence
+to those who know the master lies in the composition, which forms an
+almost equilateral triangle, revealing Giorgione's supreme sense of
+beauty in line. The splendid curves made by the drapery, the pose of
+the
+Child, so as to obtain the same unbroken sweep of line, reveals the
+painter of the Dresden "Venus." The painting of the Child's hand over
+the Madonna's is precisely as in the Madrid picture, where, moreover,
+the pose of the Child is singularly alike. The folds of drapery on the
+sleeve recur in the same picture, the landscape with the small figure
+seated beneath <a name="Page_101"></a>the tree is such as can be found
+in any
+Giorgione background. The oval
+of the face and the delicacy of the features are thoroughly
+characteristic, as is the spirit of calm reverie and tender simplicity
+which Giorgione has breathed into his figures.</p>
+<p>The second and third Madonna pictures&#8212;viz. the one at Bergamo, and
+its
+counterpart in Mr. Benson's collection&#8212;appear to be somewhat later in
+date of execution, but reveal many points in common with the "Gipsy
+Madonna." The beauty of line is here equally conspicuous; the way the
+drapery is carried out beyond the elbow so as to form one long unbroken
+curve, the triangular composition, the marble parapet, are so many
+proofs of Giorgione's hand. Moreover, we find in Mr. Benson's picture
+the characteristic tree-trunks, so suggestive of solemn grandeur,<a
+ name="FNanchor_129"></a><a href="#Footnote_129"><sup>[129]</sup></a>
+and the striped scarf,<a name="FNanchor_130"></a><a href="#Footnote_130"><sup>[130]</sup></a>
+so cunningly disposed to give more flowing
+line and break the stiffness of contour.</p>
+<p>The Bergamo picture closely resembles Mr. Benson's "Madonna," from
+which, indeed, it varies chiefly in the pose of the Child (whose left
+leg here sticks straight out), whilst the landscape is seen on the left
+side, and there are no tree-trunks. I cannot find that any writer has
+made allusion to this little gem, which hangs high up on the end wall
+of
+the Lochis section of the gallery (No. 232); I hope others will examine
+this new-found work at a less inconvenient height, as I have done, and
+that their opinion will coincide with <a name="Page_102"></a>mine that
+the same hand painted
+the Benson "Madonna," and that that hand is Giorgione's.</p>
+<p>Before quitting the subject of the "Madonna and Child," another
+example
+may be alluded to, about which it would be unwise to express any
+decided
+opinion founded only on a study of the photograph. This is a picture at
+St. Petersburg, to which Mr. Claude Phillips first directed
+attention,<a name="FNanchor_131"></a><a href="#Footnote_131"><sup>[131]</sup></a>
+stating his then belief that it might be a genuine
+Giorgione. After a recent visit to St. Petersburg, however, he has seen
+fit to register it as a probable copy after a lost original by the
+master, on the ground that "it is not fine enough in execution."<a
+ name="FNanchor_132"></a><a href="#Footnote_132"><sup>[132]</sup></a>
+This, as I have often pointed out, is a dangerous test to apply in
+Giorgione's case, and so the authenticity of this "Madonna" may still
+be
+left an open question.</p>
+<p>Finally, in the category of Sacred Art come two well-known pictures,
+both in public galleries, and both accredited to Giorgione. The first
+is
+the "Christ and the Adulteress" of the Glasgow Gallery, the second the
+"Madonna and Saints" of the Louvre. Many diverse opinions are held
+about
+the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
+It is asserted by some that the same hand painted the Kingston Lacy
+"Judgment of Solomon," but that it is not the hand of Giorgione, and
+finally&#8212;to come to the view which I believe is the correct one&#8212;Dr.
+Bode and Sir Walter Armstrong<a name="FNanchor_133"></a><a
+ href="#Footnote_133"><sup>[133]</sup></a> both believe that Giorgione
+is the
+painter.</p>
+<p style="text-align: center;"><a name="THE_ADULTERESS_BEFORE_CHRIST"></a><img
+ style="width: 405px; height: 341px;" alt="THE ADULTERESS BEFORE CHRIST"
+ title="THE ADULTERESS BEFORE CHRIST" src="images/drg038.jpg"></p>
+<p><a name="Page_103"></a>The whole difficulty, as it seems to me,
+arises from the deep-rooted
+misapprehension in the minds of most critics of the character of
+Giorgione's art. In their eyes, he is something so perfect as to be
+incapable of producing anything short of the ideal. He could never have
+drawn so badly, he never could have composed so awkwardly, he never
+could have been so inexpressive!&#8212;such is the usual criticism. I have
+elsewhere insisted upon the unevenness which invariably characterises
+the productions of men who are gifted with a strong artistic
+temperament, and in Giorgione's case, as I believe, this is
+particularly
+true. The Glasgow picture is but one instance of many where, if
+correctness of drawing, perfection of composition, and inevitableness
+of
+expression are taken as final tests, the verdict must go against the
+painter. He either failed in these cases to come up to the standard
+reached elsewhere, or he is not the painter. Modern negative criticism
+generally adopts the latter solution, with the result that not a score
+of pictures pass muster, and the virtues of these chosen few are so
+extolled as to make it all but impossible to see the reverse of the
+medal. But those who accept the "Judith" at St. Petersburg, the Louvre
+"Concert," the Beaumont "Adoration of the Shepherds" (to name only
+three
+examples where the drawing is strange), cannot consistently object to
+admit the Glasgow "Christ and the Adulteress" into the fold. Nay, if
+gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
+brilliancy of technique are qualities which go to make up great
+painting, then the Glasgow picture must take high rank, even in a
+school
+where such qualities found their grandest expression.</p>
+<p><a name="Page_104"></a>Comparisons of detail may be noted, such as
+the resemblance in posture
+and type of the Accuser with the S. Roch of the Madrid picture, the
+figure of the Adulteress with that of the False Mother in the Kingston
+Lacy picture, the pointing forefingers, the typical landscape, the cast
+of the draperies, details which the reader can find often repeated
+elsewhere. But it is in the treatment of the subject that the most
+characteristic features are revealed. The artist was required&#8212;we know
+not why&#8212;to paint this dramatic scene; he had to produce a "set piece,"
+where action and graphic representation was urgently needed. How little
+to his taste! How uncongenial the task! The case is exactly paralleled
+by the "Judgment of Solomon," the only other dramatic episode Giorgione
+appears to have attempted, and the result in each case is the same&#8212;no
+real dramatic unity, but an accidental arrangement of the figures, with
+rhetorical action. The want of repose in the Christ offends, the
+stageyness of the whole repels. How different when Giorgione worked <i>con
+amore</i>! For it seems this composition gave him much trouble. Of this
+we
+have a most interesting proof in an almost contemporary Venetian
+version
+of the same subject, where the scheme has been recast. This picture
+belongs to Sir Charles Turner, in London, and, so far as
+intelligibleness of composition goes, may be said to be an improvement
+on the Glasgow version. It is highly probable that this painting
+derives
+from some alternative drawing for the original picture. That the
+Glasgow
+version acquired some celebrity we have further proof in an almost
+exact
+copy (with one more figure added on the <a name="Page_105"></a>right),
+which hangs in the Bergamo Gallery
+under Cariani's name, a
+painting which, in all respects, is utterly inferior to the
+original.<a name="FNanchor_134"></a><a href="#Footnote_134"><sup>[134]</sup></a></p>
+<p>The "Christ and the Adulteress," then, becomes for us a revelation
+of
+the painter's nature, of his methods and aims; but, with all its
+technical excellences, shall we not also frankly recognise the
+limitations of his art?<a name="FNanchor_135"></a><a
+ href="#Footnote_135"><sup>[135]</sup></a></p>
+<p style="text-align: center;"><a name="MADON_AND_SAINTS"></a><img
+ style="width: 443px; height: 342px;" alt="MADONNA AND SAINTS"
+ title="MADONNA AND SAINTS" src="images/drg039.jpg"><br>
+</p>
+<p>The "Madonna and Saints" of the Louvre, which persistently bears
+Giorgione's name, in spite of modern negative criticism, is marked by a
+lurid splendour of colour and a certain rough grandeur of expression,
+well calculated to jar with any preconceived notion of Giorgionesque
+sobriety or reserve. Yet here, if anywhere, we get that <i>fuoco
+Giorgionesco</i> of which Vasari speaks, that intensity of feeling,
+rendered with a vivacity and power to which the artist could only have
+attained in his latest days. In this splendid group there is a
+masculine
+energy, a fulness of life, and a grandeur of representation which
+carries <i>le grand style</i> to its furthest limits, and if Giorgione
+actually completed the picture before his death, he anticipated the
+full
+splendour of the riper Renaissance. To him is certainly due the general
+composition, with its superb lines, its beautiful curves, its majestic
+and dignified postures, its charming sunset background, to him is
+certainly due the splendid chiaroscuro and magic colour-chord; but it
+becomes a question whether some of the <a name="Page_106"></a>detail
+was not actually finished
+by Giorgione's pupil, Sebastiano del Piombo.<a name="FNanchor_136"></a><a
+ href="#Footnote_136"><sup>[136]</sup></a> The drawing, for
+instance, of the hands vividly suggests his help, the type of S. Joseph
+in the background reminds us of the figure of S. Chrysostom in
+Sebastiano's Venice altar-piece, while the S. Catherine recalls the
+Angel in Sebastiano's "Holy Family" at Naples. If this be the case, we
+here have another instance of the pupil finishing his master's work,
+and
+this time probably after his death, for, as already pointed out, the
+"Evander and Aeneas" (at Vienna) must have been left by Giorgione
+well-nigh complete at an earlier stage than the year of his death.</p>
+<p>That Sebastiano stood in close relation to his master, Giorgione, is
+evidenced not only by Vasari's statement, but by the obvious dependence
+of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque
+models. Moreover, the "Violin Player," formerly in the Sciarra Palace,
+at once reminds us of the "Barberigo" portrait at Cobham, while the
+"Herodias with the Head of John Baptist," dated 1510, now in the
+collection of Mr. George Salting, shows conclusively how closely
+related
+were the two painters in the last year of Giorgione's life. Sebastiano
+was twenty-five years of age in 1510, and appears to have worked under
+Giorgione for some time before removing to Rome, which he did on, or
+shortly before, his master's death. His departure left Titian, his
+associate under <a name="Page_107"></a>Giorgione, master of the field;
+he, too, had a hand in
+finishing some of the work left incomplete in the atelier, and his
+privilege it became to continue the Giorgionesque tradition, and to
+realise in utmost perfection in after years the aspirations and ideals
+so brilliantly anticipated by the young genius of Castelfranco.<a
+ name="FNanchor_137"></a><a href="#Footnote_137"><sup>[137]</sup></a></p>
+<p><a name="Page_108"></a><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_113"></a><a href="#FNanchor_113">[113]</a>
+<div class="note">
+<p> The Doges Agostino Barberigo, and Leonardo Loredano,
+Consalvo of Cordova, Giovanni Borgherini and his tutor, Luigi Crasso,
+and others, are mentioned as having sat to Giorgione for their
+portraits. Modern criticism has recently distributed several
+"Giorgionesque" portraits in English collections among Licinio, Lotto,
+and even Polidoro! But this disintegrating process may be, and has
+been,
+carried too far.</p>
+</div>
+<a name="Footnote_114"></a><a href="#FNanchor_114">[114]</a>
+<div class="note">
+<p> Two more small works may be mentioned which may
+tentatively be ascribed to Giorgione. "The Two Musicians," in the
+Glasgow Gallery (recently transferred to Campagnola), and a "Sta.
+Justina" (known to me only from a photograph), which has passed lately
+into the collection of Herr von Kauffmann at Berlin.
+</p>
+<p>Signor Venturi (<i>L'Arte</i>, 1900) has just acquired for the
+National
+Gallery in Rome a "St. George slaying the Dragon." Judging only from
+the
+photograph, I should say he is correct in his identification of this as
+Giorgione's work. It seems to be akin to the "Apollo and Daphne," and
+"Orpheus and Eurydice."</p>
+</div>
+<a name="Footnote_115"></a><a href="#FNanchor_115">[115]</a>
+<div class="note">
+<p> I am pleased to find Signor Venturi has anticipated my
+own conclusion in his recently published <i>La Galleria Crespi</i>.</p>
+</div>
+<a name="Footnote_116"></a><a href="#FNanchor_116">[116]</a>
+<div class="note">
+<p> Mr. Cosmo Monkhouse (<i>In the National Gallery</i>, p. 223)
+has already rightly recognised the same hand in this picture and in the
+"Epiphany" hanging just below.</p>
+</div>
+<a name="Footnote_117"></a><a href="#FNanchor_117">[117]</a>
+<div class="note">
+<p> Meravig, i. 124.</p>
+</div>
+<a name="Footnote_118"></a><a href="#FNanchor_118">[118]</a>
+<div class="note">
+<p> By a happy accident the new "Giorgione" label, intended
+for the "Epiphany," No. 1160, was for some time affixed to No. 1173.</p>
+</div>
+<a name="Footnote_119"></a><a href="#FNanchor_119">[119]</a>
+<div class="note">
+<p> When in the Orleans Gallery the picture was engraved
+under Giorgione's name by de Longueil and Halbon.</p>
+</div>
+<a name="Footnote_120"></a><a href="#FNanchor_120">[120]</a>
+<div class="note">
+<p> New illustrated edition of the National Gallery
+Catalogue, 1900.</p>
+</div>
+<a name="Footnote_121"></a><a href="#FNanchor_121">[121]</a>
+<div class="note">
+<p> Now in America, in Mrs. Gardner's Collection.</p>
+</div>
+<a name="Footnote_122"></a><a href="#FNanchor_122">[122]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle: <i>Titian</i>, i. p. III. This picture
+was then at Burleigh House.</p>
+</div>
+<a name="Footnote_123"></a><a href="#FNanchor_123">[123]</a>
+<div class="note">
+<p> See <i>La Galleria Crespi</i>, 1900.</p>
+</div>
+<a name="Footnote_124"></a><a href="#FNanchor_124">[124]</a>
+<div class="note">
+<p> <i>The Earlier Work of Titian</i> p. 24. <i>Portfolio</i>,
+October
+1897.</p>
+</div>
+<a name="Footnote_125"></a><a href="#FNanchor_125">[125]</a>
+<div class="note">
+<p> <i>Tizian</i>, p. 16.</p>
+</div>
+<a name="Footnote_126"></a><a href="#FNanchor_126">[126]</a>
+<div class="note">
+<p> Morelli, ii. 57, note.</p>
+</div>
+<a name="Footnote_127"></a><a href="#FNanchor_127">[127]</a>
+<div class="note">
+<p> See <i>antea</i>, <a href="#Page_71">p. 71.</a></p>
+</div>
+<a name="Footnote_128"></a><a href="#FNanchor_128">[128]</a>
+<div class="note">
+<p> With the exception of the right arm, which Titian has let
+fall, instead placing it behind the head of the sleeping goddess. The
+effect of the beautiful curve is thereby lost, and Titian shows himself
+Giorgione's inferior in quality of line.</p>
+</div>
+<a name="Footnote_129"></a><a href="#FNanchor_129">[129]</a>
+<div class="note">
+<p> As in the "Aeneas and Evander" (Vienna), the "Judith"
+(St. Petersburg), the Madrid "Madonna and Saints," etc.</p>
+</div>
+<a name="Footnote_130"></a><a href="#FNanchor_130">[130]</a>
+<div class="note">
+<p> As in the "Caterina Cornare" of the Crespi collection at
+Milan.</p>
+</div>
+<a name="Footnote_131"></a><a href="#FNanchor_131">[131]</a>
+<div class="note">
+<p> <i>Magazine of Art</i>. July 1895.</p>
+</div>
+<a name="Footnote_132"></a><a href="#FNanchor_132">[132]</a>
+<div class="note">
+<p> <i>North American Review</i>. October 1899.</p>
+</div>
+<a name="Footnote_133"></a><a href="#FNanchor_133">[133]</a>
+<div class="note">
+<p> <i>Magazine of Art</i>, 1890, pp. 91 and 138.</p>
+</div>
+<a name="Footnote_134"></a><a href="#FNanchor_134">[134]</a>
+<div class="note">
+<p> The small divergencies of detail in the dress of the
+"Adulteress," etc., are just such as an imitator might have ventured to
+make. The hand and arm of the Christ have, however, been altered for
+the
+better.</p>
+</div>
+<a name="Footnote_135"></a><a href="#FNanchor_135">[135]</a>
+<div class="note">
+<p> This is the first time in Venetian art that the subject
+appears. It is frequently found later.</p>
+</div>
+<a name="Footnote_136"></a><a href="#FNanchor_136">[136]</a>
+<div class="note">
+<p> Cariani is by some made responsible for the whole
+picture. A comparison with an authentic example hanging (in the new
+arrangement of the Long Gallery), close by, ought surely to convince
+the
+advocates of Cariani of their mistake.</p>
+</div>
+<a name="Footnote_137"></a><a href="#FNanchor_137">[137]</a>
+<div class="note">
+<p> Morto da Feltre is mentioned by Vasari as having assisted
+Giorgione in the decoration of the Fondaco de' Tedeschi. This was in
+1508. Otherwise, we know of no pupils or assistants employed by the
+master, a fact which goes to show that his influence was felt, not so
+much through any personal teaching, as through his work.</p>
+</div>
+<hr style="width: 65%;">
+<a name="CHAPTER_VI"></a>
+<h2>CHAPTER VI</h2>
+<h2>GIORGIONE'S ART, AND PLACE IN HISTORY</h2>
+<br>
+<p>The examination in detail of all those pictures best entitled, on
+internal evidence, to rank as genuine productions of Giorgione has
+incidentally revealed to us much that is characteristic of the man
+himself. We started with the axiom that a man's work is his best
+autobiography, and where, as in Giorgione's case, so little historical
+or documentary record exists, such indications of character as may be
+gleaned from a study of his life's work become of the utmost value. <i>Le
+style c'est l'homme</i> is a saying eminently applicable in cases
+where, as
+with Giorgione, the personal element is strongly marked. The subject,
+as
+we have seen over and over again, is so highly charged with the
+artist's
+mood, with his individual feelings and emotions, that it becomes
+unrecognisable as mere illustration, and the work passes by virtue of
+sheer inspiration into the higher realms of creative art. Such fusion
+of
+personality and subject is the characteristic of lyrical art, and in
+this domain Giorgione is a supreme master. His genius, as Morelli
+rightly pointed out, is essentially lyrical in contradistinction to
+Titian's, which is essentially dramatic. Take the epithets that we have
+constantly applied to his pictures in the course of our survey, and see
+how they <a name="Page_109"></a>bear out this statement&#8212;epithets such
+as romantic, fantastic,
+picturesque, gay, or again, delicate, refined, sensitive, serene, and
+the like; these bear witness to qualities of mind where the keynote is
+invariably exquisite feeling. Giorgione was, in fact, what is commonly
+called a poet-painter, gifted with the artistic temperament to an
+extraordinary degree, essentially impulsive, a man of moods. It is
+inevitable that such a man produces work of varying merit; inequality
+must be a characteristic feature of his art. In less fortunate
+circumstances than those in which Giorgione was placed, such
+temperaments as his become peevish, morose, morbid; but his lines were
+cast in pleasant places, and his moods were healthy, joyous, and
+serene.
+He does not concern himself with the tragedy of life, with its pathos
+or
+its disappointments. In his two renderings of "Christ bearing the
+Cross"<a name="FNanchor_138"></a><a href="#Footnote_138"><sup>[138]</sup></a>
+the
+only instances we have of his portrayal of the Man of
+Sorrows&#8212;he appeals more to our sense of the dignity of humanity, and to
+the nobility of the Christ, than to our tenderer sympathies. How
+different from the pathetic Piet&agrave;s of his master, Giambellini!
+This
+shrinking from pain and sorrow, this dislike to the representation of
+suffering is, however, as much due to the natural gaiety and elasticity
+of youth as to the happy accident of his surroundings. We must never
+forget that Giorgione's whole achievement was over at an age when some
+men's life-work has hardly begun. The eighteen years of his activity
+were what we sometimes call the years of promise, and he must <a
+ name="Page_110"></a>not be
+judged as we judge a Titian or a Michel Angelo. He is the wonderful
+youth, full of joyous aspirations, gilding all he touches with the
+radiance of his spirit. His pictures, suffused with a golden glow, are
+the reflection of his sunny life; the vividness and intensity of his
+passion are expressed in the gorgeousness of his colours.</p>
+<p>I have elsewhere dwelt upon the precocity of Giorgione's talent,
+with
+its accompanying qualities of versatility, inequality, and
+productiveness, and I have pointed out the analogous phenomena in music
+and poetry. Giorgione, Schubert, and Keats are alike in temperament and
+quality of expression. They are curiously alike in the shortness of
+their lives,<a name="FNanchor_139"></a><a href="#Footnote_139"><sup>[139]</sup></a>
+and the fever-heat of their production. But they are
+strangely distinct in the manner of their lives. The disparity of
+outward circumstances accounts for the healthy tone of Giorgione's art,
+when contrasted with the morbid utterances of Keats. Schubert suffered
+privations and poverty, and his song was wrung from him alike at
+moments
+of inspiration and of necessity. But Giorgione is all aglow with
+natural
+energy; he suffered no restraints, nor is his art forced or morbid.
+Confine his spirit, check the play of his fancy, set him a task
+prescribed by convention or hampered by conditions, and you get proof
+of
+the fretfulness, the impatience of restraint which the artist felt. The
+"Judgment of Solomon" and "The Adulteress before Christ," the only two
+"set" pieces he ever attempted, eloquently show how he fell short when
+struggling athwart his <a name="Page_111"></a>genius. For to register
+a fact was utterly
+foreign to his nature; he records an impression, frankly surrendering
+his spirit to the sense of joy and beauty. He is not seldom incoherent,
+and may even grow careless, but in power of imagination and exuberance
+of fancy he is always supreme.</p>
+<p>In one respect, however, Giorgione shows himself a greater than
+Schubert
+or Keats. He has a profounder insight into human nature in its varying
+aspects than either the musician or the poet. He is less a visionary,
+because his experience of men and things is greater than theirs; his
+outlook is wider, he is less self-centred. This power of grasping
+objective truth naturally shows itself most readily in the portraits he
+painted, and it was due to the force of circumstances, as I believe,
+that this faculty was trained and developed. Had Giorgione lived aloof
+from the world, had not his natural reticence and sensitiveness been
+dominated by outside influences, he might have remained all his life
+dreaming dreams, and seeing visions, a lyric poet indeed, but not a
+great and living, influence in his generation. Yet such undoubtedly he
+was, for he effected nothing short of a revolution in the contemporary
+art of Venice. Can the same be said of Schubert or Keats? The truth is
+that Giorgione had opportunities of studying human nature such as the
+others never enjoyed; fortune smiled upon him in his earliest years,
+and
+he found himself thrust into the society of the great, who were eager
+to
+sit to him for their portraits. How the young Castelfrancan first
+achieved such distinction is not told us by the historians, but I have
+ventured to connect his start in life with <a name="Page_112"></a>the
+presence of the ex-Queen
+of Cyprus, Caterina Cornaro, at Asolo, near Castelfranco; I think it
+more than probable that her patronage and recommendation launched the
+young painter on his successful career in Venice. Certain it is that he
+painted her portrait in his earlier days, and if, as I have sought to
+prove, Signor Crespi's picture is the long-lost portrait of the great
+lady, we may well understand the instant success such an achievement
+won.</p>
+<p>Here, if anywhere, we get Giorgione's great interpretative
+qualities,
+his penetration into human nature, his reading of character. It is an
+astonishing thing for one so young to have done, explicable
+psychologically on the existence of a lively sympathy between the great
+lady and the poet-painter. Had we other portraits of the fair sex by
+Giorgione, I venture to think we should find in them his reading of the
+human soul even more plainly evidenced than in the male portraits we
+actually possess.<a name="FNanchor_140"></a><a href="#Footnote_140"><sup>[140]</sup></a>
+For it is clear that the artist was
+"impressionable," and he would have given us more sympathetic
+interpretations of the fair sex than those which Titian has left us.
+The
+so-called "Portrait of the Physician Parma" (at Vienna) is another
+instance of Giorgione's grasp of character, the virility and suppressed
+energy being admirably seized, the conception approaching more nearly
+to
+Titian's in its essential dignity than is usually the case with
+Giorgione's portraits. It is a matter of more regret, therefore, that
+the likenesses of the Doges Agostino Barberigo and Leonardo Loredano
+are
+missing, for <a name="Page_113"></a>in them we might have had
+specimens of work comparable to
+the Caterina Cornaro, which, in my opinion at all events, is
+Giorgione's
+masterpiece of portraiture.</p>
+<p>I have given reasons elsewhere for dating this portrait at latest
+1500.
+It is probably anterior by a few years to the close of the century.
+This
+deduction, if correct, has far-reaching consequences: it becomes
+actually the first <i>modern</i> portrait ever painted, for it is the
+earliest instance of a portrait instinct with the newer life of the
+Renaissance. And this brings us to the question: What was Giorgione's
+relation to that great awakening of the human spirit which we call the
+Renaissance? Mr. Berenson answers the question thus: "His pictures are
+the perfect reflex of the Renaissance at its height."<a
+ name="FNanchor_141"></a><a href="#Footnote_141"><sup>[141]</sup></a>
+If this be
+taken to mean that Giorgione <i>anticipated</i> the aspirations and
+ideals of
+the riper Renaissance, I think we may acquiesce in the phrase; but that
+the onward movement of this great revival coincided only with the
+artist's years, and culminated at his death, is not historically
+correct. The wave had not reached its highest point by the year 1510,
+and Titian was yet to rise to a fuller and grander expression of the
+human soul. But Giorgione may rightly be called the Herald of the
+Renaissance, not only by virtue of the position he holds in Venetian
+painting, but by priority of appearance on the wider horizon of Italian
+Art.</p>
+<p>Let us take the four great representative exponents of Italian Art
+at
+its best, Raphael, Correggio, Leonardo, and Michel Angelo.
+Chronologically, Giorgione precedes Raphael and Correggio, though
+Leonardo and <a name="Page_114"></a>Michel Angelo were born before him.<a
+ name="FNanchor_142"></a><a href="#Footnote_142"><sup>[142]</sup></a>
+But had either of
+the latter proclaimed a new order of things as early as 1495? Michel
+Angelo was just twenty years old, and he had not yet carved his
+"Piet&agrave;"
+for S. Peter's. Leonardo, a man of forty-three, had not completed his
+"Cenacolo," and the "Mona Lisa" would not be created for another five
+or
+six years. Giorgione's "Caterina Cornaro," therefore, becomes the first
+masterpiece of the earlier Renaissance, and proclaims a revolution in
+the history of portraiture. In Venice itself we have only to look at
+the
+contemporary portraits by Alvise Vivarini and Gentile Bellini, and at
+the slightly earlier busts by Antonello da Messina, to see what a world
+of difference in feeling and interpretation there is between them and
+Giorgione's portraits. What a splendid array of artistic triumphs must
+have sprung up around this masterpiece! The Cobham portrait and the
+National Gallery "Poet" are alone left us in much of their pristine
+splendour, but what of the lost portraits of the great Consalvo and of
+the Doge Agostino Barberigo, both of which must date from the year 1500?</p>
+<p>Giorgione is then the Herald of the Renaissance, and never did
+genius
+arise in more fitting season. It was the right psychological moment for
+such a man, and Giorgione "painted pictures so perfectly in touch with
+the ripened spirit of the Renaissance that they met with the success
+which those things only find <a name="Page_115"></a>that at the same
+moment wake us to the
+full sense of a need and satisfy it."<a name="FNanchor_143"></a><a
+ href="#Footnote_143"><sup>[143]</sup></a> This is the secret of his
+overwhelming influence on succeeding painters in Venice,&#8212;not, indeed,
+on his direct pupil Sebastiano del Piombo, and on his friend and
+associate Titian (who may fairly be called his pupil), but on such
+different natures as Lotto, Palma, Bonifazio, Bordone, Pordenone,
+Cariani, Romanino, Dosso Dossi, and a host of smaller men. The School
+of
+Giorgione numbers far more adherents than even the School of Leonardo,
+or the School of Raphael, not because of any direct teaching of the
+master, but because the "Giorgionesque" spirit was abroad, and the
+taste
+of the day required paintings like Giorgione's to satisfy it. But as no
+revolution can be effected without a struggle, and as there are
+invariably people opposed to any reform, whether in art or in anything
+else, we need not be surprised to find the academic faction,
+represented
+by the aged Giambellini and his pupils, resisting the progress of the
+Newer Art. In Giorgione's own lifetime, the exact measure of the
+opposition is not easy to gauge, but it bore fruit a few years later in
+the machinations of the official Bellinesque party to keep Titian out
+of
+the Ducal Palace when he was seeking State recognition,<a
+ name="FNanchor_144"></a><a href="#Footnote_144"><sup>[144]</sup></a>
+Nevertheless, Giambellini, even at his age, found it advisable to
+modulate into the newer key, as may be seen in his "S. Giovanni
+Crisostomo enthroned," where not only is the conception lyrical and the
+treatment romantic, but the <a name="Page_116"></a>actual composition
+is on the lines of the
+essentially Giorgionesque equilateral triangle. This great altar-piece
+was painted three years after Giorgione's death, and no more splendid
+testimonial to the young painter's genius could be found than in the
+forced homage thus paid to his memory by the octogenarian
+Giambellini.<a name="FNanchor_145"></a><a href="#Footnote_145"><sup>[145]</sup></a></p>
+<p>We have already, in the course of our survey of Giorgione's
+pictures,
+noted the points wherein he was an initiator. "Genre subjects," and
+"Landscape with figures," as we should say nowadays, found in him their
+earliest exponent. Before him artists had, indeed, painted figures with
+a landscape background, but the perfect blend of Nature and human
+nature
+was his achievement. This was accomplished by artistic means of the
+simplest, yet irresistibly subtle in their appeal. The quality of line
+and the sensuousness of colour nowhere cast their spells over us more
+strangely than in Giorgione's pictures, and by these means he wrought
+"effects" such as no artist has surpassed. In these purely pictorial
+qualities he is supreme, and claims place with the few quintessential
+artists of the world; to him may be applied by analogy the phrase that
+Liszt applied to Schubert, "Le musicien le plus po&egrave;te que
+jamais."</p>
+<p>As an instrument of expression, then, colour is used by Giorgione
+more
+naturally and effectively than it is by any of the Venetian painters.
+It
+appeals directly to our senses, like rare old stained glass, and seems
+to be of the very essence of the object itself. An engraving or
+photograph after such a picture as the Louvre "Pastoral Symphony" fails
+utterly to convey <a name="Page_117"></a>the sense of exhilaration one
+feels in presence of
+the actual painting, simply because the tonic effect of the colour is
+wholly wanting. The golden shimmer of light, the vibration of the air,
+the saturation of atmosphere with pure colour are not only ingredients
+in, but are of the very essence of the creation. It has been well said
+that almost literally the chief colour on Giorgione's palette was
+sunlight.<a name="FNanchor_146"></a><a href="#Footnote_146"><sup>[146]</sup></a>
+His masterly treatment of light and shadow, in which he
+was scarcely Leonardo's inferior, enabled him to make use of rich and
+full-bodied colours, which are never gaudy, as sometimes with
+Bonifazio,
+or pretty, as with Catena and lesser artists. Nor is he decorative in
+the way that Veronese excels, or lurid like Tintoretto. Compared with
+Titian it is as though his colour-chord sounded in seven sharps, whilst
+the former strikes the key of C natural. A full rich green frequently
+occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a
+deep crimson, contrasting with pure white drapery, or with golden
+flesh-tints, is also characteristic. In the painting of the nude he
+gives us real flesh and blood; his "Venus" has not the supernatural
+radiance that Correggio can give his ethereal beings (Giorgione, by the
+way, never painted an angel, so far as we know), but she glows with
+actual life, the blood is pulsing through the veins, she is very real.
+And in this connection we may notice the extraordinary skill with which
+Giorgione conveys a sense of texture; his painting of rich brocades,
+and
+more especially quilted stuffs and satiny folds, cannot be surpassed
+even by a Terburg.</p>
+<p><a name="Page_118"></a>The quality of line in his work makes itself
+felt in many ways. Beauty
+of contour and unbroken continuity of curve is obtained sometimes by
+sacrificing literal accuracy; a structurally impossible position&#8212;as the
+seated nude figure in the Louvre picture&#8212;is deliberately adopted to
+heighten the effect of line or the balance of composition. The Dresden
+"Venus," if she arose, would appear of strange proportions; but
+expressiveness is enhanced by the long flowing contours of the body, so
+suggestive of repose. We may notice also the emphasis obtained by
+parallelism; for example, the line of the left arm of the "Venus"
+follows the curve of the body, a trick which may be often seen in folds
+of drapery. This picture also illustrates a device to retain continuity
+of line; the right foot is hidden away so as not to interfere with the
+contour. Exactly the same thing may be seen in the standing figure in
+the Louvre "Pastoral Symphony." The trick of making a grand sweep from
+the top of the head downwards is usually found in the Madonna pictures,
+where a cunningly placed veil carries the line usually to the sloping
+shoulders, or else outwards to the point of the elbow, thus introducing
+the triangular scheme to which Giorgione was particularly partial.</p>
+<p>But the question remains, What is Giorgione's position among the
+world's
+great men? Is he intellectually to be ranked with the Great Thinkers of
+all time? Can he aspire to the position which Titian occupies? I fear
+not Beethoven is infinitely greater than Schubert, Shakespeare than
+Keats, and so, though in lesser degree, is Titian than Giorgione. I say
+in lesser degree, because the young poet-painter had <a name="Page_119"></a>something
+of that
+profound insight into human nature, something of that wide outlook on
+life, something of that universal sympathy, and something of that vast
+influence which distinguishes the greatest intellects of all, and this
+it is which lessens the distance between him and Titian. Yet Titian is
+the greater man, for he is "the highest and completest expression of
+his
+own age."<a name="FNanchor_147"></a><a href="#Footnote_147"><sup>[147]</sup></a></p>
+<p>Nevertheless, in that narrower sphere of the great painters, who
+proclaimed the glad tidings of Liberty when the Spirit of Man awoke
+from
+Mediaevalism, may we not add yet a fifth voice to the four-part harmony
+of Raphael, Correggio, Leonardo, and Michel Angelo, the voice of
+Giorgione, the wondrous youth, "the George of Georges," who heralded
+the
+Renaissance of which we are the heirs?</p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_138"></a><a href="#FNanchor_138">[138]</a>
+<div class="note">
+<p> In the Church of San Rocco, Venice, and in Mrs. Gardner's
+Collection in America.</p>
+</div>
+<a name="Footnote_139"></a><a href="#FNanchor_139">[139]</a>
+<div class="note">
+<p> Keats died at the age of twenty-five; Schubert was
+thirty-one; Giorgione thirty-three.</p>
+</div>
+<a name="Footnote_140"></a><a href="#FNanchor_140">[140]</a>
+<div class="note">
+<p> The ruined condition of the Borghese "Lady" prevents any
+just appreciation of the interpretative qualities.</p>
+</div>
+<a name="Footnote_141"></a><a href="#FNanchor_141">[141]</a>
+<div class="note">
+<p> <i>Venetian Painters</i>, p. 30.</p>
+</div>
+<a name="Footnote_142"></a><a href="#FNanchor_142">[142]</a>
+<div class="note">
+<p> Leonardo, 1452-1519; Michel Angelo, 1475-1564; Giorgione,
+1477-1510; Raphael, 1483-1520; Correggio, 1494-1534. Correggio,
+Raphael,
+and Giorgione died at the ages of forty, thirty-seven, and thirty-three
+years respectively. Those whom the gods love die young!</p>
+</div>
+<a name="Footnote_143"></a><a href="#FNanchor_143">[143]</a>
+<div class="note">
+<p> Berenson: <i>Venetian Painters</i>, p. 29. I should prefer to
+substitute "ripening" for "ripened."</p>
+</div>
+<a name="Footnote_144"></a><a href="#FNanchor_144">[144]</a>
+<div class="note">
+<p> Fry: <i>Giovanni Bellini</i>, p. 44.</p>
+</div>
+<a name="Footnote_145"></a><a href="#FNanchor_145">[145]</a>
+<div class="note">
+<p> In S. Giovanni Crisostomo, Venice. It dates from 1513.</p>
+</div>
+<a name="Footnote_146"></a><a href="#FNanchor_146">[146]</a>
+<div class="note">
+<p> Mary Logan: <i>Guide to the Italian Pictures at Hampton
+Court</i>, p. 13.</p>
+</div>
+<a name="Footnote_147"></a><a href="#FNanchor_147">[147]</a>
+<div class="note">
+<p> Berenson: <i>Venetian Painters</i>, p. 48.</p>
+</div>
+<hr style="width: 65%;">
+<a name="APPENDIX_I"></a>
+<h2>APPENDIX I<a name="Page_121"></a>
+</h2>
+<h2>DOCUMENTS</h2>
+<p>The following correspondence between Isabella d'Este, Marchioness of
+Mantua, and her agent Albano in Venice, is reprinted from the <i>Archivio
+Storico dell' Arte</i>, 1888, p. 47 (article by Sig. Alessandro Luzio):&#8212;</p>
+<div class="blkquot">
+<p>"Sp. Amice noster charissime; Intendemo che in le cose et
+heredit&agrave; de Zorzo da Castelfrancho pictore se ritrova una
+pictura de una nocte, molto bella et singulare; quando coss&igrave;
+fusse, desideraressimo haverla, per&ograve; vi pregamo che voliati
+essere cum Lorenzo da Pavia et qualche altro che habbi judicio et
+designo, et vedere se l'&egrave; cosa excellente, et trovando de
+s&igrave; operiati il megio del m'co m. Carlo Valerio, nostro compatre
+charissimo, et de chi altro vi parer&agrave; per apostar questa pictura
+per noi, intendendo il precio et dandone aviso. Et quando vi paresse de
+concludere il mercato, essendo cosa bona, per dubio non fusse levata da
+altri, fati quel che ve parer&agrave;: ch&egrave; ne rendemo certe
+fareti cum ogni avantagio e fede et cum bona consulta. Ofteremone a
+vostri piaceri ecc.</p>
+<p style="margin-left: 40px;"> "Mantua xxv. oct MDX."</p>
+</div>
+<p>The agent replies a few days later&#8212;</p>
+<div class="blkquot">
+<p style="margin-left: 40px;">"Ill<sup>ma</sup> et Exc<sup>ma</sup> M<sup>a</sup>
+mia obser<sup>ma</sup></p>
+<p> "Ho inteso quanto mi scrive la Ex. V. per una sua de xxv. del
+passatto, facendome intender haver inteso ritrovarsi in le cosse et
+eredit&agrave; del q. Zorzo de Castelfrancho una pictura de una notte,
+molto bella et singulare; che essendo coss&igrave; si deba veder de
+haverla.</p>
+<p> "A che rispondo a V. Ex. che ditto Zorzo mor&igrave; pi&ugrave;
+d&igrave; fanno da peste, et per voler servir quella ho parlato cum
+alcuni mei amizi, <a name="Page_122"></a>che havevano grandissime
+praticha cum lui, quali me affirmano non esser in ditta heredit&agrave;
+tal pictura. Ben &egrave; vero che ditto Zorzo ne feze una a m. Thadeo
+Contarini, qual per la informatione ho autta non &egrave; molto
+perfecta sichondo vorebe quela. Un'altra pictura de la nocte feze ditto
+Zorzo a uno Victorio Becharo, qual per quanto intendo &egrave; de
+meglior desegnio et meglio finitta che non &egrave; quella del
+Contarini. Ma esso Becharo, al presente non si atrova in questa terra,
+et sichondo m'&egrave; stato afirmatto n&egrave; l'una n&egrave;
+l'altra non sono da vendere per pretio nesuno; per&ograve; che li hanno
+fatte fare per volerle godere per loro; sich&egrave; mi doglio non
+poter satisfar al dexiderio de quella ecc.</p>
+<p style="margin-left: 40px;"> "Venetijs viii Novembris 1510.</p>
+<p style="text-align: right;"> "Servitor</p>
+<p style="text-align: right;"> "THADEUS ALBANUS."</p>
+</div>
+<p>From this letter we learn definitely (1) that Giorgione died in
+October-November 1510; (2) that he died of the plague.</p>
+<p>I have pointed out in the text that the above description of the two
+pictures "de una notte" corresponds with the actual Beaumont and Vienna
+"Nativities," or "Adoration of the Shepherds," in which I recognise the
+hand of Giorgione.</p>
+<hr style="height: 2px; width: 25%;">
+<p>The following is the only existing document in Giorgione's own
+handwriting. It was published by Molmenti in the <i>Bollettino delle
+Arti</i>, anno ii. No. 2, and reprinted by Conti, p. 50:&#8212;</p>
+<div class="blkquot">
+<p>"El se dichiara per el presente come el clarissimo Messer Aluixe di
+Sesti die a fare a mi Zorzon de Castelfrancho quatro quadri in quadrato
+con le geste di Daniele in bona pictura su telle, et li telleri sarano
+soministrati per dito m. Aluixe, il quale doveva stabilir la spexa di
+detti quadri quando serano compidi et di sua satisfatione entro il
+presente anno 1508.</p>
+<p style="margin-left: 40px;"> "Io Zorzon de Castelfrancho di mia man
+scrissi la presente in
+Venetia li 13 febrar 1508."</p>
+</div>
+<p>Whether or no Giorgione ever completed these four square canvases
+with
+the story of Daniel is unknown. There is no trace of any such pictures
+in modern times.</p>
+<hr style="width: 65%;">
+<a name="APPENDIX_II"></a>
+<h2><a name="Page_123"></a>APPENDIX II</h2>
+<h2>DID TITIAN LIVE TO BE NINETY-NINE YEARS OLD?</h2>
+<p style="text-align: center;"><i>Reprinted from the "Nineteenth
+Century" Jan</i>. 1902</p>
+<br>
+<p>There is something fascinating in the popular belief that Titian,
+the
+greatest of all Venetian painters, reached the patriarchal age of
+ninety-nine years, and was actively at work up to the day of his death.
+The text-books love to tell us the story of the great unfinished
+"Piet&agrave;"
+with its pathetic inscription:</p>
+<div class="poem">
+<div class="stanza"><span>Quod Titianus inchoatum reliquit<br>
+</span><span>Palma reverenter absolvit<br>
+</span><span>Deoq. dicavit opus;<br>
+</span></div>
+</div>
+<p>and traveller, guide-book in hand, and moralist, philosophy in head,
+alike muse upon a phenomenon so startlingly at variance with common
+experience.<a name="FNanchor_148"></a><a href="#Footnote_148"><sup>[148]</sup></a></p>
+<p>But, sentiment aside, is there any historical evidence that Titian
+ever
+worked at his art in his hundredth year? that he even attained such a
+venerable age? The answer is of wider consequence than the mere
+question
+implies, for on the correct determination of Titian's own chronology
+depends the history of the development of the entire Venetian school of
+painting in the early years of the sixteenth century. I say <i>early</i>,
+because it is the date of Titian's birth, and not that of his death,
+which I shall endeavour to fix; the latter event is known beyond
+possibility of doubt to have occurred in August 1576. The question,
+therefore, to consider is, what justification, if any, <a
+ name="Page_124"></a>is there for the
+universal belief that Titian was born in 1476-7, just a hundred years
+previously?</p>
+<p>Anyone, I think, who has ever looked into the history of Titian's
+career
+must have been struck by the fact that for the first thirty-five years
+of his life (according to the usual chronology) there is absolutely no
+documentary record relating to him, whether in the Venetian archives or
+elsewhere. Not a single letter, not a single contract, not a single
+mention of his name occurs from which we can so much as affirm his
+existence before the year 1511.</p>
+<p>On the 2nd of December in that year "Io tician di Cador
+Dp&ntilde;tore" gives a
+receipt for money paid him on completion of some frescoes at Padua, and
+from this date on there are frequent letters and documents in existence
+right down to 1576, the year of his death. Is it not somewhat strange
+that the first thirty-five years of his life (as is commonly believed)
+should be a total blank so far as records go? The fact becomes the more
+inexplicable when we find that during these early years some of his
+finest work is alleged to have been executed, and he must&#8212;if we accept
+the chronology of his biographers&#8212;have been well known to and highly
+esteemed by his contemporaries.<a name="FNanchor_149"></a><a
+ href="#Footnote_149"><sup>[149]</sup></a> Moreover, it is not for want
+of
+diligent search amongst the archives that nothing has been found, for
+Italian and German students have alike sought, but in vain, to discover
+any documentary evidence relating to his career before 1511.</p>
+<p>The absence of any such trustworthy record has had its natural
+result.
+Conjecture has run riot, and no two writers are agreed on the subject
+of
+the nature and development of Titian's earlier art. This is the second
+disquieting fact which <a name="Page_125"></a>any careful student has
+to face. Messrs. Crowe
+and Cavalcaselle, Titian's most exhaustive biographers,<a
+ name="FNanchor_150"></a><a href="#Footnote_150"><sup>[150]</sup></a>
+have filled
+up the first thirty-five years of his career in their own way, but
+their
+chronology has found no favour with later writers, such as Mr. Claude
+Phillips in England<a name="FNanchor_151"></a><a href="#Footnote_151"><sup>[151]</sup></a>
+or Dr. Georg Gronau in Germany,<a name="FNanchor_152"></a><a
+ href="#Footnote_152"><sup>[152]</sup></a> both of
+whom have arrived at independent conclusions. Morelli again had his
+theories on the subject, and M. Lafenestre<a name="FNanchor_153"></a><a
+ href="#Footnote_153"><sup>[153]</sup></a> has his, and the
+ordinary gallery catalogue is usually content to state inaccurate facts
+without further ado.</p>
+<p>Now, if all these conscientious writers arrive at results so widely
+divergent, either their logic or their data must be wrong! One and all
+assume that Titian lived into his hundredth year, and, therefore, was
+born in 1476-7; and starting with this theory as a fact, they have
+tried
+to fit in Vasari's account as best they can, and each has found a
+different solution of the problem. There is only one way out of this
+chaos of conjectures&#8212;we must see what is the evidence for the
+"centenarian" tradition, and if it can be shown that Titian was really
+born later than 1476-7, then the silence of all records about him
+during
+an alleged period of thirty-five years will become at once more
+intelligible, and we may be able to explain some of the other anomalies
+which at present confront Titian's biographers.</p>
+<p>I propose to take the evidence in strictly chronological order.</p>
+<p>The oldest contemporary account of Titian's career is furnished by
+Lodovico Dolce in his <i>L'Aretino, o dialogo della pittura</i>, which
+was
+published at Venice in 1557. Dolce knew Titian personally, and wrote
+his
+treatise just at the time when the painter was at the zenith of his
+fame. He is our sole authority for certain incidents of Titian's early
+career: it will <a name="Page_126"></a>be well, therefore, to quote in
+full the opening
+paragraphs of his narrative:</p>
+<p>"Being born at Cadore of honourable parents, he was sent when a
+child of
+nine years old by his father to Venice to the house of his father's
+brother ... in order that he might be put under some proper master to
+study painting; his father having perceived in him even at that tender
+age strong marks of genius towards the art.... His uncle directly
+carried the child to the house of Sebastiano, father of the
+<i>gentiliss&igrave;mo</i> Valerio and of Francesco Zuccati
+(distinguished masters
+of the art of mosaic, by them brought to that perfection in which we
+now
+see the best pictures) to learn the principles of the art. From them he
+was removed to Gentile Bellini, brother of Giovanni, but much inferior
+to him, who at that time was at work with his brother in the Grand
+Council-Chamber. But Titian, impelled by Nature to greater excellence
+and perfection in his art, could not endure following the dry and
+laboured manner of Gentile, but designed with boldness and expedition.
+Whereupon Gentile told him he would make no progress in painting,
+because he diverged so much from the old style. Thereupon Titian left
+the stupid <i>(goffo)</i> Gentile, and found means to attach himself
+to
+Giovanni Bellini; but not perfectly pleased with his manner, he chose
+Giorgio da Castel Franco. Titian then drawing and painting with
+Giorgione, as he was called, became in a short time so accomplished in
+art, that when Giorgione was painting the fa&ccedil;ade of the Fondaco
+de'
+Tedeschi, or Exchange of the German Merchants, which looks towards the
+Grand Canal, Titian was allotted the other side which faces the
+market-place, being at the time scarcely twenty years old. Here he
+represented a Judith of wonderful design and colour, so remarkable,
+indeed, that when the work came to be uncovered, it was commonly
+thought
+to be the work of Giorgione, and all the latter's friends congratulated
+him as being by far the best thing he had produced. Whereupon
+Giorgione,
+in great displeasure, replied that the work was from the hand of his
+pupil, who showed already how he could surpass his master, and, what
+was
+more, Giorgione shut himself up for some days at home, as if in
+despair,
+seeing that a young man knew more that he did."</p>
+<p>Fortunately, the exact date can be fixed when the frescoes on <a
+ name="Page_127"></a>the
+Fondaco de' Tedeschi were painted, for we have original records
+preserved from which we learn the work was begun in 1507 and completed
+towards the close of 1508.<a name="FNanchor_154"></a><a
+ href="#Footnote_154"><sup>[154]</sup></a> If Titian, then, was
+"scarcely twenty
+years old" in 1507-8, he must have been born in 1488-9. Dolce
+particularly emphasises his youthfulness at the time, calling him <i>un
+giovanetto</i>, a phrase he twice applies to him in the next paragraph,
+when he is describing the famous altar-piece of the 'Assunta,' the
+commission for which, as we know from other sources, was given in 1516.</p>
+<p>"Not long afterwards he was commissioned to paint a large picture
+for
+the High Altar of the Church of the Frati Minori, where Titian, quite a
+young man <i>(pur giovanetto)</i>, painted in oil the Virgin ascending
+to
+Heaven.... This was the first public work which he painted in oil, and
+he did it in a very short time, and while still a young man <i>(e
+giovanetto)</i>."</p>
+<p>This phrase could hardly be applied to a man over thirty, so that
+Titian's birth cannot reasonably be dated before 1486 or so, and is
+much
+more likely to fall later. The previous deduction that it was 1488-9 is
+thus further strengthened.</p>
+<p>The evidence, then, of Dolce, writing in 1557, is clear and
+consistent:
+Titian was born in 1488-9. Now let us see what is stated by Vasari, who
+is the next oldest authority.</p>
+<p>The first edition of the <i>Lives</i> appeared in 1550&#8212;that is,
+just prior
+to Dolce's <i>Dialogue</i>&#8212;but a revised and enlarged edition appeared
+in
+1568, in which important evidence occurs as to Titian's age. After
+enumerating certain pictures by the great Venetian, Vasari adds:</p>
+<p>"(<i>a</i>) All these works, with many others which I omit, to avoid
+prolixity, have been executed up to the present age of our artist,
+which
+is above seventy-six years.... In the year 1566, when Vasari, the
+writer
+of the present history, was at Venice, he went to visit Titian, as one
+who was his friend, and found him, although <a name="Page_128"></a>then
+very old, still with
+the pencil in his hand, and painting busily."<a name="FNanchor_155"></a><a
+ href="#Footnote_155"><sup>[155]</sup></a></p>
+<p>According to Vasari, then, Titian was "above seventy-six years" when
+the
+second edition of the <i>Lives</i> was written, and as from the
+explicit
+nature of the evidence this must have been between 1566, when he
+visited
+Venice, and January 1568, when his book was published, it follows that
+Titian was "above seventy-six years" in 1566-7&#8212;in other words, that he
+was born 1489-90.</p>
+<p>Still confining ourselves to Vasari, we find two other passages
+bearing
+on the question:</p>
+<p>"(<i>b</i>) Titian was born in the year 1480 at Cadore.<a
+ name="FNanchor_156"></a><a href="#Footnote_156"><sup>[156]</sup></a></p>
+<p>"(<i>c</i>) About the year 1507 Giorgione da Castel Franco began to
+give to
+his works unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian early
+resolved to abandon that of Gian Bellino, although well grounded
+therein. He now, therefore, devoted himself to this purpose, and in a
+short time so closely imitated Giorgione that his pictures were
+sometimes taken for those of that master.... At the time when Titian
+began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait," etc.<a name="FNanchor_157"></a><a
+ href="#Footnote_157"><sup>[157]</sup></a></p>
+<p>This passage (<i>c</i>) makes Titian "not more than eighteen about
+the year
+1507," and fixes the date of his birth as 1489-90, therein agreeing
+with
+the previous deduction at which we arrived when examining the passage
+in
+Vasari's second edition. Thus in two places out of three Vasari is
+consistent in fixing 1489-90 as the date. How, then, explain (<i>b</i>),
+which explicitly gives 1480?</p>
+<p>Anyone conversant with Vasari's inaccuracies will hardly be
+surprised to
+find that this statement is dismissed by all Titian's biographers as
+manifestly a mistake. Moreover, it is inconsistent with the two
+passages
+just quoted, and either they are <a name="Page_129"></a>wrong or 1480
+is a misprint for 1489.
+Now, from the nature of the evidence recorded by Vasari, it cannot be a
+matter for any doubt which is the more trustworthy statement. On the
+one
+hand, he speaks as an eye-witness of Titian's old age, and is careful
+to
+record the exact year he visited Venice and the age of the painter; on
+the other hand, he makes a bald statement which he certainly cannot
+have
+verified, and which is inconsistent with his own experience! In any
+case, in Vasari's text the evidence is two to one in favour of 1489-90
+as the right date, and thus we come to the agreeable conclusion that
+our
+two oldest authorities, Dolce and Vasari, are at one in fixing Titian's
+birth between 1488 and 1490&#8212;in other words, about 1489.</p>
+<p>So far, then, all is clear, and as we know from later and
+indisputable
+evidence that Titian died in 1576, it follows that he only attained the
+age of eighty-seven and not ninety-nine. Whence, then, comes the story
+of the ninety-nine years? From none other than Titian himself, and to
+this piece of evidence we must next turn, following out a strict
+chronological order.</p>
+<p>In 1571&#8212;that is, three years after Vasari's second edition was
+published&#8212;Titian addresses a letter to Philip the Second of Spain in
+these terms:<a name="FNanchor_158"></a><a href="#Footnote_158"><sup>[158]</sup></a></p>
+<div class="blkquot">
+<p>"Most potent and invincible King,&#8212;I think your Majesty will have
+received by this the picture of 'Lucretia and Tarquin' which was to
+have been presented by the Venetian Ambassador. I now come with these
+lines to ask your Majesty to deign to command that I should be informed
+as to what pleasure it has given. The calamities of the present times,
+in which every one is suffering from the continuance of war, force me
+to this step, and oblige me at the same time to ask to be favoured with
+some kind proof of your Majesty's grace, as well as with some
+assistance from Spain or elsewhere, since I have not been able for
+years past to obtain any payment either from the Naples grant, or from
+my ordinary <a name="Page_130"></a>pension. The state of my affairs is
+indeed such that I do not know how to live in this my old age, devoted
+as it entirely is to the service of your Catholic Majesty, and to no
+other. Not having for eighteen years past received a <i>quattrino</i>
+for the paintings which I delivered from time to time, and of which I
+forward a list by this opportunity to the secretary Perez, I feel
+assured that your Majesty's infinite clemency will cause a careful
+consideration to be made of the services of an old servant of the age
+of ninety-five, by extending to him some evidence of munificence and
+liberality. Sending two prints of the design of the Beato Lorenzo, and
+most humbly recommending myself,</p>
+<p style="text-align: left; margin-left: 40px;"> "I am Your Catholic
+Majesty's</p>
+<p style="text-align: left; margin-left: 80px;"> "most devoted, humble
+servant,</p>
+<p style="text-align: left; margin-left: 120px;"> "TITIANO VECELLIO.</p>
+<p style="text-align: left; margin-left: 160px;"> "From Venice, the 1st
+of August, 1571."</p>
+</div>
+<p>Here, then, is Titian himself, in the year 1571, declaring that he
+is
+ninety-five years of age&#8212;in other words, dating his birth back to
+1476&#8212;that is, some thirteen years earlier than Dolce and Vasari imply
+was the case. A flagrant discrepancy of evidence! In similar strain he
+thus addresses the king again five years later:<a name="FNanchor_159"></a><a
+ href="#Footnote_159"><sup>[159]</sup></a></p>
+<div class="blkquot">
+<p>"Your Catholic and Royal Majesty,&#8212;The infinite benignity with which
+your Catholic Majesty&#8212;by natural habit&#8212;is accustomed to gratify all
+such as have served and still serve your Majesty faithfully, enboldens
+me to appear with the present (letter) to recall myself to your royal
+memory, in which I believe that my old and devoted service will have
+kept me unaltered. My prayer is this: twenty years have elapsed and I
+have never had any recompense for the many pictures sent on divers
+occasions to your Majesty; but having received intelligence from the
+Secretary Antonio Perez of your Majesty's wish to gratify me, and
+having reached a great old age not without privations, I now humbly beg
+that your Majesty will deign, with accustomed benevolence, to give such
+directions to ministers as will relieve my want. The glorious memory of
+Charles the Fifth, your Majesty's father, having numbered me amongst
+his familiar, nay, most faithful servants, <a name="Page_131"></a>by
+honouring me beyond my deserts with the title of <i>cavaliere</i>, I
+wish to be able, with the favour and protection of your Majesty&#8212;true
+portrait of that immortal emperor&#8212;to support as it deserves the name of
+a cavaliere, which is so honoured and esteemed in the world; and that
+it may be known that the services done by me during many years to the
+most serene house of Austria have met with grateful return, to spend
+what remains of my days in the service of your Majesty. For this I
+should feel the more obliged, as I should thus be consoled in my old
+age, whilst praying to God to concede to your Majesty a long and happy
+life with increase of his divine grace and exaltation of your Majesty's
+Kingdom. In the meanwhile I expect from the royal benevolence of your
+Majesty the fruits of the favour I desire, with due reverence and
+humility, and kissing your sacred hands,</p>
+<p style="margin-left: 40px;"> "I am Your Catholic Majesty's</p>
+<p style="margin-left: 80px;"> "most humble and devoted servant,</p>
+<p style="margin-left: 120px;"> "TITIANO VECELLIO.</p>
+<p style="margin-left: 160px;"> "From Venice, the 27th of February,
+1576."</p>
+</div>
+<p>This is the last letter we have of Titian, who died in August of
+this
+year, according to his own showing, in his hundredth year.</p>
+<p>Now what reliance can be placed on this statement? On the one hand,
+we
+have the evidence of two independent writers, Dolce and Vasari, both
+personally acquainted with Titian, and both agreeing by inference that
+the date of his birth was about 1489. Both had ample opportunity to get
+at the truth, and Vasari is particularly explicit in recording the
+exact
+date when he visited Titian in Venice and the age the painter had then
+reached. Yet five years later Titian is found stating that he is
+ninety-five, and not eighty-two as we should expect! Perhaps the best
+comment is made by Crowe and Cavalcaselle, who significantly remark
+immediately after the last letter: "Titian's appeal to the benevolence
+of the King of Spain looks like that of a garrulous old gentleman proud
+of his longevity, but hoping still to live for many years."<a
+ name="FNanchor_160"></a><a href="#Footnote_160"><sup>[160]</sup></a>
+Exactly! The occasion could well be improved by a little timely
+<a name="Page_132"></a>exaggeration well calculated to appeal to the
+sympathies and "infinite
+benignity" of the monarch, and if, when the writer had actually reached
+the respectable age of eighty-two, he wrote himself down as
+ninety-five,
+who would gainsay him? It added point to his appeal&#8212;that was the chief
+thing&#8212;and as to accuracy, well, Titian was not the man to be
+over-scrupulous when his own interests were involved. But even though
+the statement were not deliberately made to heighten the effect of an
+appeal, we must in any case make allowances for the natural proneness
+to
+exaggerate their age which usually characterises men of advanced years,
+so that any <i>ex parte</i> statement of this kind must be received
+with due
+caution. Where, moreover, as in the present case, we have evidence of a
+directly contradictory kind furnished by independent witnesses, whose
+declarations in this respect are presumably disinterested, such <i>ex
+parte</i> statements are on the face of them unreliable. The balance of
+evidence in this case appears to rest on the side of the older
+historians, Dolce and Vasari, whose statements, as I hold, are in the
+circumstances more reliable than the picturesque exaggeration of a man
+of advanced years.</p>
+<p>I claim, therefore, that any account of Titian's life based solely
+on
+such flimsy evidence as to his age as is found in this letter to Philip
+the Second is, to say the least, open to grave doubt. The whole
+superstructure raised by modern writers on this uncertain foundation is
+full of flaws and incongruities, and I am fully persuaded the future
+historian will have to begin <i>de novo</i> in any attempt at a
+chronological
+reconstruction of Titian's career. The gap of thirty-five years down to
+1511 may prove after all less by twelve or thirteen years than people
+think, so that the young Titian naturally enough first emerges into
+view
+at the age of twenty-two and not thirty-five.</p>
+<p>But we must not anticipate results, for there is still the evidence
+of
+the later writers of the seventeenth century to consider. Two of these
+declare that Titian was born in 1477. The first of these, Tizianello, a
+collateral descendant of the <a name="Page_133"></a>great painter,
+published his little
+<i>Compendio</i> in 1622, wherein he gives a sketchy and imperfect
+biography;
+the other, Ridolfi, repeats the date in his <i>Meraviglie dell' Arte</i>,
+published in 1648. The latter writer is notoriously unreliable in other
+respects, and it is quite likely this is merely an instance of copying
+from Tizianello, whose unsupported statement is chiefly of value as
+showing that the "centenarian" theory had started within fifty years of
+Titian's death. But again we ask: Why should the evidence of a
+seventeenth-century writer be preferred to the personal testimony of
+those who actually knew Titian himself, especially when Vasari gives us
+precise information with which Dolce's independent account is in
+perfect
+agreement? No doubt the great age to which Titian certainly attained
+was
+exaggerated in the next generation after his death, but it is a
+remarkable fact that the contemporary eulogies, mostly in poetic form,
+which appeared on the occasion of his decease, do not allude to any
+such
+phenomenal longevity.<a name="FNanchor_161"></a><a href="#Footnote_161"><sup>[161]</sup></a></p>
+<p>Nevertheless, Ridolfi's statement that Titian was born in 1477 is
+commonly quoted as if there were no better and earlier evidence in
+existence, and, indeed, it is a matter of surprise that conscientious
+modern biographers have not looked more carefully at the original
+authorities instead of being content to follow tradition, and I must
+earnestly plead for a reconsideration of the question of Titian's age
+by
+the future historians of Venetian painting.<a name="FNanchor_162"></a><a
+ href="#Footnote_162"><sup>[162]</sup></a></p>
+<p><a name="Page_134"></a>If, as I believe, Titian was born in or about
+1489 instead of 1476-7,
+it follows that he must have been Giorgione's junior by at least twelve
+years&#8212;a most important deduction&#8212;and it also follows that he cannot
+have produced any work of consequence before, say, 1505, at the age of
+sixteen, and he will have died at eighty-seven and not in his hundredth
+year. The alteration in date would help to explain the silence of all
+records about him before 1511, when he would have been only twenty-two
+and not thirty-five years old; it would fully account for his name not
+being mentioned by D&uuml;rer in his famous letter of 1506, wherein he
+refers
+to the painters of Venice, and it would equally account for the absence
+of his name from the commission to paint the Fondaco frescoes in
+1507-8,
+for he would have been employed simply as Giorgione's young assistant.
+The fact that in 1511 he signs himself simply "Io tician di Cador
+Dp&ntilde;tore" and not <i>Maestro</i> would be more intelligible in a
+young man of
+twenty-two than in an accomplished master of thirty-five, and the
+character of his letter addressed to the Senate in 1513 would be more
+natural to an ambitious aspirant of twenty-four than to a man in his
+maturity of thirty-seven.<a name="FNanchor_163"></a><a
+ href="#Footnote_163"><sup>[163]</sup></a></p>
+<p>Such are some of the obvious results of a change of date, but the
+larger
+question as to the development of Titian's art must be left to the
+future historian, for the importance of fixing a date lies in the
+application thereof.<a name="FNanchor_164"></a><a href="#Footnote_164"><sup>[164]</sup></a>
+HERBERT COOK.</p>
+<a name="Page_135"></a><br>
+<h2>THE DATE OF TITIAN'S BIRTH</h2>
+<p style="text-align: center;"><i>Reply by Dr. Georg Gronau. Translated
+from the "Repertorium
+f&uuml;r
+Kunstwissenschaft," vol. xxiv., 6th part</i></p>
+<br>
+<p>In the January number of the <i>Nineteenth Century</i> appears an
+article by
+Herbert Cook under the title, "Did Titian live to be Ninety-Nine Years
+Old?" The interrogation already suggests that the author comes to a
+negative conclusion. It is, perhaps, not without interest to set forth
+the reasons advanced by the English connoisseur and to submit them to
+adverse criticism.</p>
+<p>(Here follows an abstract of the article.)</p>
+<p>The reasoning, as will have been seen, is not altogether free from
+doubt. It has been usual hitherto in historical investigations to call
+in question the assertions of a man about his own life only when
+thoroughly weighty reasons justified such a course. Is the evidence of
+a
+Dolce and of a Vasari so free from all objection that it outweighs
+Titian's personal statement? Before answering this question it should
+be
+pointed out that we possess two further statements of contemporary
+writers on the subject of Titian's age, statements which have escaped
+the notice of Mr. Cook. One is to be found in a letter from the Spanish
+Consul in Venice, Thomas de Cornoga, to Philip II., dated 8th December
+1567 (published in the very important work by Zarco del Valle<a
+ name="FNanchor_165"></a><a href="#Footnote_165"><sup>[165]</sup></a>).
+After informing the king of Titian's usual requests on the subject of
+his pension, and so on, he continues: "y con los 85 annos de su edad
+servira &agrave; V.M. hasta la muerte."</p>
+<p>Somewhere, then, in the very year in which Titian, according to
+Vasari,
+was "above seventy-six years of age," he seems <a name="Page_136"></a>to
+have been
+eighty-five, according to the report of another and quite independent
+witness, and if so, he would have been born about 1482.</p>
+<p>We have then three definite statements:<br>
+</p>
+<table
+ style="width: 80%; height: 90px; text-align: left; margin-left: auto; margin-right: auto;"
+ border="0" cellspacing="0" cellpadding="0"
+ summary="Titian's age according to different sources">
+  <tbody>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Vasari (1566
+or 1567)</td>
+      <td style="vertical-align: top; text-align: center;">says</td>
+      <td style="vertical-align: top; text-align: left;">"over 76"</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">The Consul
+(1567)</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;"> "85"</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Titian himself
+(1571)</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;">"95"</td>
+    </tr>
+  </tbody>
+</table>
+<p>This new information, instead of helping us, only serves to make
+still
+greater confusion.</p>
+<p>The other piece of evidence not mentioned by Mr. Cook was written
+only a
+few years after Titian's death. Borghini says in his <i>Riposo</i>,
+1584:
+"Mori ultimamente di vecchiezza (!not, then, of the plague?), essendo
+d'et&agrave; d'anni 98 o 99, l'anno 1576." ... This is the first time
+that the
+traditional statement as to the master's age appears in literature. In
+this state of things it is worth while to look closer into the evidence
+of Dolce and Vasari to see if they are not after all the most
+trustworthy witnesses.</p>
+<p>It is always held to be a mistake to take rather vague statements
+quite
+literally, as Mr. Cook has done, and to build thereon further
+conclusions. When Dolce says that Titian painted with Giorgione at the
+Fondaco, "non avendo egli allora appena venti anni," he is only trying
+to make out that his hero, here as everywhere, was a most unusual
+person
+(the whole dialogue is a glorification of the master). For the same
+reason he makes the following remark, which we can absolutely prove to
+be false:&#8212;the Assumption (he says) "fu la prima opera pubblica, che a
+olio facesse." Now at least one work of Titian's was, then, already to
+be seen in a public place&#8212;viz. the "St. Mark Enthroned, with Four
+Saints," in Santo Spirito, afterwards removed to the sacristy of the
+Salute. In other points, too, Dolce can be convicted of small errors
+and
+misrepresentations, partly on literary grounds, partly due to his
+desire
+to enhance the praise of Titian.</p>
+<p><a name="Page_137"></a>Vasari, again, should only be cited as
+witness when he speaks of works
+of art which he has actually seen. In such a case, apart from slips, he
+is always a trustworthy guide. Directly, however, he goes into
+biographical details or questions of chronology accuracy becomes nearly
+always a secondary matter. Titian's biography offers an excellent and
+most instructive example of this. Vasari mentions first the birth and
+upbringing of the boy, then he speaks of Giorgione and the Fondaco
+frescoes, and goes on: "dopo la quale opera fece un quadro grande che
+oggi &egrave; nella salla di messer Andrea Loredano.... Dopo in casa di
+messer
+Giovanni D'Anna ... fece il suo ritratto ...; ed un quadro di Ecce
+Homo,
+..." and he goes on, "L'anno poi 1507...." If it had not been that one
+of these pictures, once in the possession of Giovanni D'Anna, had been
+preserved (now in the Vienna Gallery), and that it bears in a
+conspicuous place the date 1543, it would be recorded in all
+biographies
+of Titian that he painted in 1507 an "Ecce Homo" for this Giovanni
+D'Anna.</p>
+<p>If one goes further into Vasari's account we read that Titian
+published
+his "Triumph of Faith" in 1508. "Dopo condottosi Tiziano a Vicenza,
+dipinse a fresco sotto la loggetta ... il giudizio di Salamone.
+Appresso
+tomato a Venezia, dipinse la facciata de' Grimani; e in Padoa nella
+chiesa di Sant' Antonio alcune storie ... de fatti di quel santo: e in
+quella di Santo Spirito fece ... un San Marco a sedere in mezzo a certi
+Santi." We now know on documentary evidence that the Vicenza fresco
+(which was destroyed later) dated from 1521, and similarly that the
+frescoes at Padua were painted in 1511, whilst the date of the S. Mark
+picture may be fixed with probability at 1504.</p>
+<p>These examples prove how inexact Vasari is here once more. But it
+may be
+objected, supposing that he is inaccurate in statements which refer
+back, can he not be in the right in a case where he comes back, so to
+speak, straight from <a name="Page_138"></a>visiting Titian and writes
+down his observation
+about the master's actual age? To be sure; but when we find that so
+many
+other similar notices of Vasari are wrong, even those that refer to
+people whom he personally knew, we lose faith altogether. In turning
+over the leaves of the sixth volume of the Sansoni edition of Vasari,
+in
+which only his contemporaries, some of them closely connected, too,
+with
+him, are spoken of, we find the following incorrect statements:&#8212;</p>
+<div style="margin-left: 40px;">P. 99. Tribolo was 65 years old (in
+reality only 50).<br>
+P. 209. Bugiardini died at 75 (really 79).<br>
+P. 288. Pontormo at 65 (he died actually in his 63rd year).<br>
+P. 564. Giovanni da Udine at 70 (really 77).<br>
+</div>
+<p>A still more glaring instance is to be found when Vasari not only
+makes
+misstatements about his own life but is actually out by several years
+in
+giving his own age. One and the same event&#8212;viz. his journey with
+Cardinal Passerini to Florence&#8212;is given in his own autobiography to the
+year 1524, in the "Life of Salviati," to the year 1523, and in the
+"Life
+of Michael Angelo" to 1525. When he speaks of himself in the same
+passage in the "Life of Salviati" as the "putto, che allora non aveva
+pi&ugrave; di nove anni," he is making a mistake of at least three
+years in his
+own age. And not less delightful is it to read in the "Life of Giovanni
+da Udine": "Giorgio Vasari, giovinetto di diciotto anni, quando serviva
+il duca Alessandro de' Medici suo primo signore l'anno 1535." We are
+obviously not dealing with Messer Giorgio's strongest point, for, as a
+matter of fact, he was at that time twenty-four years of age! The same
+false statement of age is found again in his own biography (vii. p.
+656,
+with the variation, "poco pi&uacute; di diciotto anni").</p>
+<p>But I think these instances suffice to prove how little one dare
+build
+on such assertions of Vasari. Who dare say if Titian was really only
+seventy-six in 1566 when the Aretine visited him?</p>
+<p>And now a few remarks on the other points raised by Mr. <a
+ name="Page_139"></a>Cook. As a
+fact, it is an astonishing thing that we have no documentary evidence
+about Titian before 1511; but does he not share this fate with very
+many
+of his great countrymen, with Bellini, Giorgione, Sebastiano, and
+others? An unfriendly chance has left us entirely in the dark as to the
+early years of nearly all the great Venetian painters. That D&uuml;rer
+makes
+no mention of Titian's name in his letters gives no cause for surprise,
+for even the most celebrated of the younger artists, Giorgione, is not
+alluded to, and of all those with Bellini, whose fame outshone even
+then
+that of all others, only Barbari is mentioned. That Titian's name does
+not occur in the documents about the Fondaco frescoes may be due to the
+fact that Giorgione alone was commissioned to undertake the frescoes
+for
+the magistrates, and that the latter painter in his turn brought his
+associate Titian into the work.</p>
+<p>Mr. Cook says that Titian still signed himself in 1511 "Dipintore"
+instead of "Maestro." I am not aware whether in this respect definite
+regulations or customs were usual in Venice.<a name="FNanchor_166"></a><a
+ href="#Footnote_166"><sup>[166]</sup></a> At any rate, the
+painter is still described in official documents as late as 1518 as
+"ser
+Tizian depentor" (Lorenzi, "Monumenti," No. 366), when, even according
+to Mr. Cook's theory, he must have been thirty years old; and he is
+actually so called in 1528 (<i>ibid</i>. No. 403), after appearing in
+several
+intermediate documents as "maestro" (Nos. 373, 377). If this argument,
+however, proves unsound, the last point&#8212;viz. that the well-known
+petition to the senate in 1513 reads more like that of a man of
+twenty-four than one of thirty-seven&#8212;must be left to the hypothesis of
+individual conjecture.</p>
+<p>Must we really close these very long inquiries by con<a
+ name="Page_140"></a>fessing they are
+beyond our ken? It almost seems so. For, with regard to the testimony
+afforded by family documents, Dr. Jacobi (whose labours were utilised
+by
+Crowe and Cavalcaselle) so conscientiously examined all that is left,
+that a discovery in this direction is not to be looked for. Is the
+statement of Tizianello that Titian's year of birth was 1477 to be
+rejected without further question when we remember that, as a relative
+of the painter, he could have had in 1622 access to documents possibly
+since lost?</p>
+<p>Under these circumstances the only thing left to do is to question
+the
+works of Titian. Of these, two can be dated, not indeed with certainty,
+but with some degree of probability: the dedicatory painting of the
+Bishop of Pesaro with the portrait of Alexander VI. of 1502-03, and the
+picture of St. Mark, already mentioned, of the year 1504. Both are, to
+judge by the style, clearly early works, and both can be connected with
+definite historical events of the years just mentioned. That these
+paintings, however, could be the work of a fourteen- to
+fifteen-year-old
+artist Mr. Cook will also admit to be impossible.</p>
+<p>Much, far too much, in the story of Venetian painting must, for want
+of
+definite information, be left to conjecture; and however unsatisfactory
+it is, we must make the confession that we know as little about the
+date
+of the birth of the greatest of the Venetians as we know of
+Giorgione's,
+Sebastiano's, Palma's, and the rest. But supposing all of a sudden
+information turned up giving us the exact date of Titian's birth, would
+the picture of the development of Venetian painting be any the
+different
+for it? In no wise. The relation to one another of the individual
+artists of the younger generation is so clearly to be read in each
+man's
+work, that no external particulars, however interesting they might be
+on
+other grounds, could make the smallest difference. Titian's relations
+with Giorgione especially could not be otherwise represented than has
+been long determined, and that whether <a name="Page_141"></a>Titian
+was born in 1476, 1477,
+1480, or even two or three years later.<a name="FNanchor_167"></a><a
+ href="#Footnote_167"><sup>[167]</sup></a> GEORG GRONAU.</p>
+<br>
+<h2>WHEN WAS TITIAN BORN?</h2>
+<p style="text-align: center;"><i>Reply to Dr. Gronau. Reprinted from
+"Repertorium f&uuml;r
+Kunstwissenschaft," vol. xxv., parts 1 and 2</i></p>
+<br>
+<p>I must thank Dr. Georg Gronau for his very fair reply, published in
+these pages<a name="FNanchor_168"></a><a href="#Footnote_168"><sup>[168]</sup></a>
+(to my article in the <i>Nineteenth Century</i> on the
+subject of Titian's age<a name="FNanchor_169"></a><a
+ href="#Footnote_169"><sup>[169]</sup></a>). He has also most kindly
+pointed out two
+pieces of contemporary evidence which had escaped my notice, and
+although neither of these passages is conclusive proof one way or the
+other, they deserve to be reckoned with in arriving at a decision.</p>
+<p>Dr. Gronau formulates the evidence shortly thus:</p>
+<table
+ style="width: 80%; height: 90px; text-align: left; margin-left: auto; margin-right: auto;"
+ border="0" cellspacing="0" cellpadding="0"
+ summary="Titian's age according to different sources">
+  <tbody>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Vasari in 1566
+or 1567</td>
+      <td style="vertical-align: top; text-align: justify;">&nbsp;&nbsp;&nbsp;
+says&nbsp;&nbsp;&nbsp; <br>
+      </td>
+      <td style="vertical-align: top; text-align: left;">Titian is over
+76</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">The Spanish
+Consul in 1567</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;">&nbsp;&nbsp;&nbsp;&nbsp;
+"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; " &nbsp;&nbsp; 85</td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: left;">Titian himself
+in 1571</td>
+      <td style="vertical-align: top; text-align: center;">"</td>
+      <td style="vertical-align: top; text-align: left;">&nbsp;he is
+&nbsp;&nbsp; &nbsp; &nbsp; "&nbsp;&nbsp; 95</td>
+    </tr>
+  </tbody>
+</table>
+<p><br>
+and he adds that this new piece of evidence&#8212;viz. the letter of the
+Spanish Consul to King Philip&#8212;instead of helping us, only makes the
+confusion worse.</p>
+<p>What then are we to think when yet another&#8212;a fourth&#8212;contemporary
+statement turns up, differing from any of the three just quoted? Yet
+such a letter exists, and I am happy in my turn to point out this fresh
+piece of evidence, in the hope that instead of making the confusion
+worse, it will help us to arrive at some decision.</p>
+<p><a name="Page_142"></a>On October the 15th, 1564, Garcia Hernandez,
+Envoy in Venice from King
+Philip II., writes to the King his master that Titian begged that His
+Majesty would condescend to order that he should be paid what was due
+to
+him from the court and from Milan.... For the rest the painter was in
+fine condition, and quite capable of work, and this was the time, if
+ever, to get "other things" from him, as according to some people who
+knew him, Titian was about ninety years old, though he did not show it,
+and for money everything was to be had of him.<a name="FNanchor_170"></a><a
+ href="#Footnote_170"><sup>[170]</sup></a></p>
+<p>In 1564 then the Spanish Envoy writes that Titian was said to be
+about
+ninety. Let us then enlarge Dr. Gronau's table by this additional
+statement, and further complete it by including the earliest piece of
+evidence, the statement of Dolce in 1557 that Titian was scarcely
+twenty
+when he worked at the Fondaco de' Tedeschi frescoes (1507-8). The year
+of Titian's birth thus works out:</p>
+<br>
+<table
+ style="width: 80%; text-align: left; margin-left: auto; margin-right: auto;"
+ border="0" cellspacing="0" cellpadding="0"
+ summary="Year of Birth of Titian">
+  <tbody>
+    <tr>
+      <td style="vertical-align: top;">Writing in</td>
+      <td style="vertical-align: top;">1557<br>
+      </td>
+      <td style="vertical-align: top;">Dolce<br>
+      </td>
+      <td style="vertical-align: top;">makes out Titian was born about</td>
+      <td style="vertical-align: top;">1489<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1566-7<br>
+      </td>
+      <td style="vertical-align: top;">Vasari<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1489<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1564<br>
+      </td>
+      <td style="vertical-align: top;">Spanish Envoy<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1474<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1567<br>
+      </td>
+      <td style="vertical-align: top;">Spanish Consul<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1482<br>
+      </td>
+    </tr>
+    <tr>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1571<br>
+      </td>
+      <td style="vertical-align: top;">Titian himself<br>
+      </td>
+      <td style="vertical-align: top; text-align: center;">"<br>
+      </td>
+      <td style="vertical-align: top;">1476<br>
+      </td>
+    </tr>
+  </tbody>
+</table>
+<p><br>
+Now it is curious to notice that the last three statements are all
+made
+in letters to King Philip, either by Titian himself, or at his request
+by the Spanish agents.</p>
+<p>It is curious to notice these statements as to Titian's great age
+occur
+in begging letters.<a name="FNanchor_171"></a><a href="#Footnote_171"><sup>[171]</sup></a></p>
+<p><a name="Page_143"></a>It is curious to notice they are mutually
+contradictory.</p>
+<p>What are we to conclude?</p>
+<p>Surely that the Spanish Envoy, the Spanish Consul, and Titian
+himself,
+out of their own mouths stand convicted of inconsistency of statement,
+and further that they betray an identical motive underlying each
+representation&#8212;viz. an appeal <i>ad misericordiam.</i></p>
+<p>Before, however, contrasting the value of the evidence as found in
+these
+Spanish letters with the evidence as found in Dolce and Vasari, let us
+note two points in these letters.</p>
+<p>Garcia Hernandez, the Spanish Envoy, writes: "According to some
+people
+who knew him, Titian was about ninety years old, though he did not show
+it." Now, if Titian was really about ninety in the year 1564, he will
+have lived to the age of one hundred and two, a feat of longevity of
+which no one has ever accused him! Apart, therefore, from the healthy
+scepticism which Hernandez betrays in this letter, we may certainly
+conclude that "some people who knew him" were exaggerating Titian's age.</p>
+<p>Secondly, Titian's letter of 1571 says he is ninety-five years old.
+Titian's similar letter of 1576, the year of his death, omits to say he
+is one hundred. Surely a strange omission, considering that he refers
+to
+his old age three times in this one letter.<a name="FNanchor_172"></a><a
+ href="#Footnote_172"><sup>[172]</sup></a> Does not the second
+letter correct the inexactness of the first? and so Titian's statement
+goes for nothing?</p>
+<p>The collective evidence, then, of these Spanish letters amounts to
+this,
+that, in the words of the Envoy, "for money everything was to be had of
+Titian," and accordingly any statement as to his great age when thus
+made for effect must be treated with the greatest suspicion.</p>
+<p>But is the evidence of Dolce and Vasari any more trustworthy? Dr.
+Gronau
+is at pains to show that both these <a name="Page_144"></a>writers
+often made mistakes in
+their dates, a fact which no one can dispute. Their very incorrectness
+is the more reason however for trusting them in this instance, for they
+happen to agree about the date of Titian's birth; and, although neither
+of them expressly gives the year 1489, they indicate separate and
+independent events in his life, the one, Dolce, at the beginning, the
+other, Vasari, at the end, which when looked into give the same result.</p>
+<p>Moreover, be Dolce ever so anxious to cry up his hero Titian, and
+make
+him out to have been precocious, and be Vasari ever so inexact in his
+chronology, we must remember that, when both of them wrote, the
+presumption of unusual longevity had not arisen, and that their
+evidence
+therefore is less likely to be prejudiced in this respect than the
+evidence given in obituary notices, such as occurs in Borghini's
+<i>Riposo</i> of 1584, and in the later writers like Tizianello and
+Ridolfi.</p>
+<p>That Borghini therefore says Titian was ninety-eight or ninety-nine
+when
+he died, and that Tizianello and Ridolfi, thirty-eight and sixty-four
+years later respectively, put him down at ninety-nine, is by no means
+proof that such was the case. It would seem that there had been some
+speculation before and after Titian's death as to his exact age; that
+no
+one quite knew for certain; and that Titian with the credulousness of
+old age had come to regard himself as well-nigh a centenarian. Be this
+as it may, I still hold that the evidence of Dolce and Vasari that
+Titian's birth occurred in 1489 is more trustworthy than either the
+evidence found in the three Spanish letters, or the evidence as given
+in
+the obituary notices of Borghini and others.</p>
+<p>One word more. If Titian was born in 1489, instead of 1476-7, it
+does
+make a great difference in the story of his own career; and, what is
+more, the history of Venetian art in the early sixteenth century, as it
+centres round Giorgione, Palma, and Titian, will have to be carefully
+reconsidered.</p>
+<p>HERBERT COOK.<br>
+<br>
+</p>
+<p style="font-weight: bold;"><a name="Page_145"></a>NOTES:</p>
+<a name="Footnote_148"></a><a href="#FNanchor_148">[148]</a>
+<div class="note">
+<p> The picture now hangs in the Academia at Venice.</p>
+</div>
+<a name="Footnote_149"></a><a href="#FNanchor_149">[149]</a>
+<div class="note">
+<p>E.g. the "Sacred and Profane Love" (so-called) in the
+Borghese Gallery; the "S. Mark" of the Salute; the "Concert" in the
+Pitti; the "Tribute Money" at Dresden; the "Madonna of the Cherries" at
+Vienna, etc., which one or other of his biographers assign to the years
+1500-1510.</p>
+</div>
+<a name="Footnote_150"></a><a href="#FNanchor_150">[150]</a>
+<div class="note">
+<p> <i>The Life and Times of Titian</i>, 2 vols., 1881.</p>
+</div>
+<a name="Footnote_151"></a><a href="#FNanchor_151">[151]</a>
+<div class="note">
+<p> <i>The Earlier and Later Work of Titian. Portfolio</i>,
+October 1897 and July 1898.</p>
+</div>
+<a name="Footnote_152"></a><a href="#FNanchor_152">[152]</a>
+<div class="note">
+<p> <i>Tizian</i>. Berlin, 1901.</p>
+</div>
+<a name="Footnote_153"></a><a href="#FNanchor_153">[153]</a>
+<div class="note">
+<p> <i>La Vie et l'Oeuvre de Titien</i>: Paris, 1886.</p>
+</div>
+<a name="Footnote_154"></a><a href="#FNanchor_154">[154]</a>
+<div class="note">
+<p> See Crowe and Cavalcaselle: <i>Titian</i>, i. 85. The fact
+that Titian's name does not occur in these records is curious and
+suggestive.</p>
+</div>
+<a name="Footnote_155"></a><a href="#FNanchor_155">[155]</a>
+<div class="note">
+<p> Ed. <i>Sansoni</i>, p. 459. The translation is that of
+Blashfield and Hopkins. Bell, 1897.</p>
+</div>
+<a name="Footnote_156"></a><a href="#FNanchor_156">[156]</a>
+<div class="note">
+<p> <i>Ibid</i>. p. 425.</p>
+</div>
+<a name="Footnote_157"></a><a href="#FNanchor_157">[157]</a>
+<div class="note">
+<p> <i>Ibid</i>. p. 428.</p>
+</div>
+<a name="Footnote_158"></a><a href="#FNanchor_158">[158]</a>
+<div class="note">
+<p> The translation is that of Crowe and Cavalcaselle.
+<i>Titian</i>, ii. 391. The original is given by them at p. 538.</p>
+</div>
+<a name="Footnote_159"></a><a href="#FNanchor_159">[159]</a>
+<div class="note">
+<p> Quoted from Crowe and Cavalcaselle.</p>
+</div>
+<a name="Footnote_160"></a><a href="#FNanchor_160">[160]</a>
+<div class="note">
+<p> Crowe and Cavalcaselle. <i>Titian</i>, ii. 409.</p>
+</div>
+<a name="Footnote_161"></a><a href="#FNanchor_161">[161]</a>
+<div class="note">
+<p> There is a collection of these in a volume in the British
+Museum.</p>
+</div>
+<a name="Footnote_162"></a><a href="#FNanchor_162">[162]</a>
+<div class="note">
+<p> Before the discovery of the letter to Philip, Messrs.
+Crowe and Cavalcaselle were quite prepared to admit that Titian was
+born
+"after 1480" (vide <i>N. Italian Painting</i>, ii. 119, 120).
+Unfortunately,
+they took the evidence of the letter as final, but finding themselves
+chronologically in difficulties, they shrewdly remark in their <i>Titian</i>,
+i. 38, note: "The writers of these lines thought, and <i>still think</i>,
+Titian younger than either Giorgione or Palma. They were, however,
+inclined to transpose Titian's birthday to a later date than 1477,
+rather than put back those of Palma and Giorgione to an earlier period,
+and in this they made a mistake." Perhaps they were not so far wrong
+after all!</p>
+</div>
+<a name="Footnote_163"></a><a href="#FNanchor_163">[163]</a>
+<div class="note">
+<p> For this most amusing letter see Crowe and Cavalcaselle.
+<i>Titian</i>, i. p. 153.</p>
+</div>
+<a name="Footnote_164"></a><a href="#FNanchor_164">[164]</a>
+<div class="note">
+<p> The evidence afforded by Titian's own portraits of
+himself (at Berlin and in the Uffizi) is inconclusive, as we do not
+know
+the exact years they were painted. The portrait at Madrid, painted
+1562,
+might represent a man of seventy-three or eighty-six, it is hard to say
+which. But there is a woodcut of 1550 (<i>vide</i> Gronau, p. 164)
+which
+surely shows Titian at the age of sixty-one rather than seventy-four;
+and, finally, Paul Veronese's great "Marriage at Cana" (in the Louvre),
+which was painted between June 1562 and September 1563, distinctly
+points to Titian being then a man of seventy-four and not eighty-seven.
+He is represented, as is well known, seated in the group of musicians
+in
+the centre, and playing the contrabasso.</p>
+</div>
+<a name="Footnote_165"></a><a href="#FNanchor_165">[165]</a>
+<div class="note">
+<p> <i>Jahrbuch der Sammlungen des A.H. Kaiserhauses</i>, vii. p.
+221 <i>ff</i> 1888.</p>
+</div>
+<a name="Footnote_166"></a><a href="#FNanchor_166">[166]</a>
+<div class="note">
+<p> Dr. Ludwig had the kindness to write to me on this
+subject: "Among the thousands of signatures of painters which I have
+seen I have never come across the signature <i>Maestro</i>. Of course,
+someone else can describe a painter as Master; he himself always
+subscribes himself <i>pittor, pictor</i>, or <i>depentor</i>."</p>
+</div>
+<a name="Footnote_167"></a><a href="#FNanchor_167">[167]</a>
+<div class="note">
+<p> Dr. Gronau further points out (in a letter recently sent
+to the writer) that Titian, writing to the emperor in 1545, says: "I
+should have liked to take them (i.e. the paintings) to your Majesty in
+person, but that my age and the length of the journey forbade such a
+course" (C. and C. ii. 103). Writing also in 1548 to Granvella he
+refers
+to his "vechia vita." Would not such expressions (asks Dr. Gronau) be
+more applicable to a man of sixty-eight and seventy-one respectively
+than to one of only fifty-six and fifty-nine?</p>
+</div>
+<a name="Footnote_168"></a><a href="#FNanchor_168">[168]</a>
+<div class="note">
+<p> XXIV. Band. 6 Heft, p. 457.</p>
+</div>
+<a name="Footnote_169"></a><a href="#FNanchor_169">[169]</a>
+<div class="note">
+<p> January 1902, pp. 123-130.</p>
+</div>
+<a name="Footnote_170"></a><a href="#FNanchor_170">[170]</a>
+<div class="note">
+<p> Quoted from Crowe and Cavalcaselle. II. 344. The Spanish
+original is given at p. 535.</p>
+</div>
+<a name="Footnote_171"></a><a href="#FNanchor_171">[171]</a>
+<div class="note">
+<p> I have quoted Titian's letter in full in the <i>Nineteenth
+Century</i>. That of the Spanish Consul is given in the <i>Jahrbuch
+der
+Sammlungen des A.H. Kaiserhauses</i>, vii. p. 221, from which I extract
+the
+passage: "El dicho Ticiano besa pies y manos de V.M., y suplica
+umilmente a V.M. mande le sea pagado lo que le ha corrido de las
+pensiones de que V.M. le tiene echo merced en Milan y en esa corte, y
+la
+trata de Napoles, y con los 85 a&ntilde;os de su edad servira a V.M.
+hasta la
+muerte."</p>
+</div>
+<a name="Footnote_172"></a><a href="#FNanchor_172">[172]</a>
+<div class="note">
+<p> I have quoted this letter also in full in the <i>Nineteenth
+Century.</i> I am indebted to M. Salomon Reinach for making this point
+(<i>Chronique des Arts</i>, Feb. 15, 1902, p. 53, where he expresses
+himself
+a convert to my views).</p>
+</div>
+<hr style="width: 65%;">
+<a name="CATALOGUE_OF_THE_WORKS_OF_GIORGIONE"></a>
+<h2>CATALOGUE OF THE WORKS OF GIORGIONE</h2>
+<h3>ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED</h3>
+<p><a name="Page_146"></a><a name="Page_147"></a><span
+ style="font-weight: bold;">AUSTRIA-HUNGARY</span></p>
+<div style="margin-left: 40px;">BUDA-PESTH GALLERY.
+<br>
+</div>
+<p><br>
+PORTRAIT OF A YOUNG MAN. [No. 94.]</p>
+<p><i>Esterhazy Collection</i>. (See p. 31.)</p>
+<br>
+<p>TWO FIGURES STANDING. [No. 95.]</p>
+<p>Copy of a portion of Giorgione's lost picture of the "Birth of
+Paris."
+These are the two shepherds. (See p. 46.)</p>
+<p>The whole composition was engraved by Th. von Kessel for the <i>Theatrum
+pictorium</i> under Giorgione's name. The original picture was seen and
+described by the Anonimo in 1525.</p>
+<br>
+<p style="margin-left: 40px;">VIENNA GALLERY.</p>
+<br>
+<p>EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF
+ROME.
+Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]</p>
+<p>Seen by the Anonimo in 1525, in Venice, and said by him to have been
+finished by Sebastiano del Piombo. (See <a href="#Page_12">p. 12.</a>)</p>
+<p><i>Collection of the Archduke Leopold William, and registered in the
+inventory of</i> 1659.</p>
+<br>
+<p>ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. x 3 ft. 10 in.
+[No.
+23.]</p>
+<p>Inferior replica by Giorgione of the Beaumont picture in London.</p>
+<p>I have sought to identify this piece with the picture "da una
+Nocte,"
+painted by Giorgione for Taddeo Contarini. <a name="Page_148"></a>(<a
+ href="#Page_24">See
+p. 24</a> and <a href="#APPENDIX_I">Appendix</a>,
+where the original document is quoted.)</p>
+<p><i>From the Collection of the Archduke Leopold William, and
+registered in
+the inventory of 1659 as a Giorgione.</i></p>
+<br>
+<p>VIRGIN AND CHILD. Wood, 2 ft. 2 in. x 2 ft. 9 in. [No. 176.]</p>
+<p>Known as the "Gipsy Madonna," and ascribed to Titian. <i>Collection
+of the
+Archduke Leopold William.</i> (See <a href="#Page_97">p. 97.</a>)</p>
+<br>
+<p>PORTRAIT OF A MAN. Canvas, 3 ft. 5 in. x 2 ft. 9 in. [No. 167.]</p>
+<p>Commonly, though erroneously, called "The Physician Parma," and
+ascribed
+to Titian.</p>
+<p><i>Collection of the Archduke Leopold William.</i> (See <a
+ href="#Page_87">p. 87.</a>)</p>
+<br>
+<p>DAVID WITH THE HEAD OF GOLIATH. Wood, 2 ft. 2 in. x 2 ft. 6 in. [No.
+21.]</p>
+<p>Copy after a lost original, which is thus described by Vasari: "A
+David
+(which, according to common report, is a portrait of the master
+himself)
+with long locks, reaching to the shoulders, as was the custom of that
+time, and the colouring is so fresh and animating that the face appears
+to be rather real than painted; the breast is covered with armour, as
+is
+the arm with which he holds the head of Goliath."</p>
+<p><i>This picture was at that day in the house of the Patriarch of
+Aquileia;
+the copy can be traced back to the Collection of the Archduke Leopold
+William at Brussels.</i> (See <a href="#Page_48">p. 48.</a>)</p>
+<p>Herr Wickhoff, however, seems to think that, were the repaints
+removed,
+the Vienna picture might prove to be Giorgione's original painting. See
+Berenson's <i>Study and Criticism of Italian Art</i>, vol. i. p. 74,
+note.</p>
+<br>
+<p style="font-weight: bold;">BRITISH ISLES</p>
+<div style="margin-left: 40px;">LONDON, NATIONAL GALLERY.
+<br>
+</div>
+<br>
+<p>ADORATION OF THE MAGI, or THE EPIPHANY. Panel. 12 in. x 2 ft. 8 in.
+[No.
+1160.]</p>
+<p><i>From the Leigh Court sale, 1884.</i> (See <a href="#Page_53">p.
+53.</a>)</p>
+<br>
+<p>UNKNOWN SUBJECT, possibly THE GOLDEN AGE. Panel. 1 ft. 11 in. x 1
+ft. 7
+in. [No. 1173.]</p>
+<p>Now catalogued as "School of Barbarelli." (See <a href="#Page_91">p.
+91.</a>) <a name="Page_149"></a><i>Purchased in
+1885 at the sale of the Bohn Collection as a Giorgione.</i></p>
+<p><i>Formerly in the Aldobrandini Palace, Rome, where it was bought by
+Mr.
+Day for the Marquis of Bristol, but afterwards sold at Christie's to
+Mr.
+White, and by him for &pound;73.10s. to Bohn.</i></p>
+<p><br>
+PORTRAIT OF A MAN, possibly PROSPERO COLONNA. Transposed in 1857
+from
+wood to canvas, 2 ft. 8 in. x 2 ft. [No. 636.]</p>
+<p>Catalogued as "Portrait of a Poet," by Palma Vecchio.</p>
+<p><i>Formerly in possession of Mr. Tomline, and purchased in 1860 from
+M.
+Edmond Beaucousin at Paris.</i></p>
+<p>It was then called the portrait of Ariosto by Titian. (See <a
+ href="#Page_81">p. 81.</a>)</p>
+<p><br>
+A KNIGHT IN ARMOUR, probably S. LIBERALE. Wood, 1 ft. 3 in. x 10 in.
+[No. 269.]</p>
+<p><i>Formerly in the Collection of Benjamin West, P.R.A., and
+bequeathed to
+the National Gallery by Mr. Samuel Rogers in 1855.</i> (See <a
+ href="#Page_20">p. 20.</a>)</p>
+<p><br>
+VENUS AND ADONIS. Canvas, 2 ft. 6 in. x 4 ft. 4 in. [No. 1123.]</p>
+<p>Catalogued as "Venetian School," and more recently as "School of
+Giorgione."</p>
+<p><i>Purchased in 1882 as a Giorgione at the Hamilton Palace sale.</i>
+(See <a href="#Page_94">p.
+94.</a>)<br>
+<br>
+</p>
+<p style="margin-left: 40px;">GLASGOW GALLERY.</p>
+<p><br>
+THE ADULTERESS BEFORE CHRIST. Canvas, 4 ft. 6 in. x 5 ft. 11 in.
+[No.
+142.]</p>
+<p><i>Ex M'Lellan Collection.</i> (See <a href="#Page_102">p. 102.</a>)</p>
+<p><br>
+TWO MUSICIANS. Panel. 1 ft. 9 in. x 1 ft. 4 in. [No. 143.]</p>
+<p>Recently attributed to Campagnola. Said to be Titian and Giorgione,
+playing violin and violoncello. The former attribution to Giorgione is
+probably correct.</p>
+<p><i>Graham-Gilbert Collection.</i></p>
+<p>New Gallery, Venetian Exhibition, 1895. [No. 99.]<br>
+<br>
+</p>
+<p style="margin-left: 40px;"><a name="Page_150"></a>HAMPTON COURT.<br>
+<br>
+</p>
+<p>SHEPHERD BOY. Canvas, 1 ft. 11 in. x 1 ft. 8 in. [No. 101.]</p>
+<p><i>From Charles I. Collection</i>, where it was called a Giorgione.
+(See <a href="#Page_49">p.
+49</a> for a suggestion as to its possible authorship.)<br>
+<br>
+</p>
+<p style="margin-left: 40px;">BUCKINGHAM PALACE.<br>
+<br>
+</p>
+<p>THREE FIGURES. Half-length; two men, and a woman fainting. Canvas, 2
+ft.
+5 in. x 2 ft. 1 in.</p>
+<p>Ascribed to Titian, but probably derived from a Giorgione original.
+Other versions are said (C. and C. ii. 149) to have been at the Hague
+and in the Buonarroti Collection at Florence. The London picture is so
+damaged and repainted, although still of splendid colouring, as to
+preclude all certainty of judgment.</p>
+<p><i>Formerly in Charles I. Collection.<br>
+<br>
+</i></p>
+<p style="margin-left: 40px;">MR. WENTWORTH BEAUMONT'S COLLECTION.</p>
+<p><br>
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. 6 in. x 2 ft.
+(about).</p>
+<p><i>From the Gallery of Cardinal Fesch</i>, and presumably the same
+as the
+picture in the Collection of James II. I have sought to identify this
+piece with the picture "da una Nocte," painted by Giorgione for
+Vittorio
+Beccare (See <a href="#Page_20">p. 20</a>, and Appendix quoting the
+original document.)<br>
+<br>
+</p>
+<p style="text-align: left; margin-left: 40px;">MR. R.H. BENSON'S
+COLLECTION.</p>
+<p><br>
+HOLY FAMILY. Wood, 14 in. x 17 in.</p>
+<p>New Gallery, 1895. [No. 148.] (See <a href="#Page_96">p. 96.</a>)</p>
+<p><br>
+MADONNA AND CHILD. Wood, 1 ft. 6 in. x 1 ft. 10 in.</p>
+<p>New Gallery, 1895. [No. 1, under Titian's name.] (See <a
+ href="#Page_101">p. 101.</a>)</p>
+<p><i>From the Burghley House Collection.<br>
+<br>
+</i></p>
+<p><a name="Page_151"></a>PORTRAIT OF A MAN. Canvas, 38 in. x 32 in.</p>
+<p>Copy of a lost original. Three-quarter length; life-size; standing
+towards right; head facing; hands resting on a column, glove in left;
+black dress, cut square at throat.</p>
+<p>New Gallery, 1895. [No. 52, as "Unknown."] (See <a href="#Page_74">p.
+74.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">COBHAM HALL, THE EARL OF DARNLEY'S
+COLLECTION.</div>
+<p><br>
+PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.</p>
+<p>Erroneously called Ariosto, and ascribed to Titian.</p>
+<p>I have sought to identify this with the "Portrait of a Gentleman" of
+the
+Barberigo family, said by Vasari to have been painted by Titian at the
+age of eighteen. (See <a href="#Page_69">p. 69.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">HERON COURT, THE EARL OF MALMESBURY.</div>
+<p><br>
+THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.</p>
+<p>Copy of an unidentified original, of which other versions are to be
+found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is
+probably a Bolognese repetition of the seventeenth century.</p>
+<p>Ridolfi mentions this subject in his list of Giorgione's works.</p>
+<p>New Gallery, 1895. [No. 29.]<br>
+<br>
+</p>
+<p style="margin-left: 40px;">HERTFORD HOUSE, WALLACE COLLECTION.</p>
+<p><br>
+VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]</p>
+<p>The picture was engraved as a Giorgione when in the Orleans Gallery.
+(See <a href="#Page_93">p. 93.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">KENT HOUSE, THE LATE LOUISA LADY
+ASHBURTON.</div>
+<p><br>
+TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.</p>
+<p>The damaged state precludes any certainty of judgment. The
+composition
+is that of the Adrastus and Hypsipyle <a name="Page_152"></a>picture;
+the colouring recalls
+the National Gallery "Golden Age(?)." If an original, it is quite an
+early work. New Gallery, 1895. [No. 147.]</p>
+<p><br>
+TWO FIGURES (half-lengths), A WOMAN AND A MAN.</p>
+<p>Copy after a missing original, and in the style of the figures at
+Oldenburg. (See Venturi, <i>La Gall. Crespi</i>.) This or the original
+was
+engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in
+aedibus Burghesianis asservata.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">KINGSTON LACY, COLLECTION OF MR. RALPH
+BANKES.</div>
+<p><br>
+THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.</p>
+<p>Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa
+Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia,
+colla figura del ministro non finita." Afterwards in the Marescalchi
+Gallery at Bologna, where (1820) it was seen by Lord Byron, who
+especially praised it (vide <i>Life and Letters</i>, ed. by Moore, p.
+705),
+and at whose suggestion it was purchased by his friend Mr. Bankes. (See
+<a href="#Page_25">p. 25.</a>)</p>
+<p>Exhibited Royal Academy, 1869.</p>
+<p><br>
+A PAINTED CEILING.</p>
+<p>With four putti climbing over a circular balcony, seen in steep
+perspective, and covered with beautiful vine leaves and flowers. This
+is
+said to have been painted by Giorgione in the last year of his life
+(1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably
+preserved, and most likely a genuine work.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">TEMPLE NEWSAM, COLLECTION OF THE HON.
+MRS MEYNELL-INGRAM.</div>
+<p><br>
+PORTRAIT OF A MAN.</p>
+<p>Traditionally ascribed to Titian. Just under life-size; he holds a
+black
+hat. Blue-black silk dress with sleeve of pinky <a name="Page_153"></a>red
+and golden brown
+gloves. Dark auburn hair. Dark grey marble wall behind. In excellent
+preservation. (See <a href="#Page_86">p. 86.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">COLLECTION OF SIR CHARLES TURNER.</div>
+<p><br>
+THE ADULTERESS BEFORE CHRIST.</p>
+<p>A free Venetian repetition, perhaps based on an alternative design
+for
+the Glasgow picture. (See <a href="#Page_104">p. 104.</a>)</p>
+<br>
+<p style="font-weight: bold;">FRANCE.</p>
+<p style="margin-left: 40px;">LOUVRE.</p>
+<p><br>
+F&Ecirc;TE CHAMP&Ecirc;TRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8
+in. x 4 ft. 9 in.</p>
+<p><i>Said to have been in Charles I. Collection, and sold to Louis
+XIV. by
+Jabuch.</i> (See <a href="#Page_39">p. 39.</a>)</p>
+<p><br>
+HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3
+ft.
+4 in. x 4 ft. 6 in.</p>
+<p>Perhaps left incomplete by Giorgione at his death, and finished by
+Sebastiano del Piombo. (See <a href="#Page_105">p. 105.</a>)</p>
+<p><i>From Charles I. Collection.</i></p>
+<br>
+<p style="font-weight: bold;">GERMANY.</p>
+<p style="margin-left: 40px;">BERLIN GALLERY.</p>
+<p><br>
+PORTRAIT OF A YOUNG MAN.</p>
+<p><i>Acquired from Dr. Richten</i> (See p. 30.)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">BERLIN, COLLECTION OF HERR VON
+KAUFFMANN.</div>
+<p><br>
+STA. GIUSTINA.</p>
+<p>A small seated figure with the unicorn. Recently acquired at
+Cologne,
+and known to the writer only by photograph and description, but
+tentatively accepted as genuine.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;"><a name="Page_154"></a>DRESDEN GALLERY.</div>
+<p><br>
+VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]</p>
+<p>Formerly catalogued as a copy by Sassoferrato after Titian. Restored
+by
+Morelli to Giorgione, and universally accepted as such. Mentioned by
+the
+Anonimo and Ridolfi, and said to have been completed by Titian. (See <a
+ href="#Page_35">p.
+35.</a>)</p>
+<p><br>
+THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.</p>
+<p>Copy after a lost original. C. and C. suggest Girolamo Pennacchi as
+possible author. It bears the Este arms.</p>
+<p><i>From the Manfrini and Barker Collections.</i></p>
+<p>(See <i>Gazette des Beaux Arts</i>, 1884, tom. xxx. p. 223.)</p>
+<p><br>
+JUDGMENT OF PARIS. Canvas, 1 ft. 9 in. x 2 ft. 3 in.</p>
+<p>One of several copies of a lost original. [See under British
+Isles&#8212;Heron Court.]</p>
+<p><br>
+<span style="font-weight: bold;">ITALY</span></p>
+<p style="margin-left: 40px;">BERGAMO, GALLERY.</p>
+<p><br>
+ORPHEUS AND EURYDICE. Wood, 1 ft. 3 in, x 1 ft. 9 in. [No. 179,
+Lochis
+section.]</p>
+<p>(See <a href="#Page_89">p. 89.</a>)</p>
+<p><br>
+MADONNA AND CHILD. Wood, 1 ft. 3 in. x 1 ft. 6 in. [No. 232, Lochis
+section, as "Titian."]</p>
+<p>The composition is very similar to Mr. Benson's "Madonna and Child"
+(<i>q.v.</i>). (See <a href="#Page_101">p. 101.</a>)</p>
+<p><br>
+THE ADULTERESS BEFORE CHRIST. 4 ft. 11 in. x 7 ft. 3 in. [No. 26,
+Carrara section.]</p>
+<p>Later copy, with slight variations, of the Glasgow picture, Ascribed
+to
+Cariani, and in a dirty state. (See <a href="#Page_104">p. 104.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">CASTELFRANCO, DUOMO.</div>
+<p><br>
+MADONNA AND CHILD ENTHRONED, SS. LIBERALE AND FRANCIS BELOW. Wood, 7
+ft.
+6 in. x 4 ft. 10 in.</p>
+<p>(See <a href="#Page_7">p. 7.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;"><a name="Page_155"></a>FLORENCE, PITTI
+GALLERY.</div>
+<p><br>
+THE CONCERT. Canvas, 3 ft. 10 in. x 7 ft. 4 in. [No. 185.]</p>
+<p>Described by Ridolfi and Boschini.</p>
+<p>An old copy is at Hyde Park House, another in the Palazzo Doria,
+Rome.
+(See <a href="#Page_49">p. 49.</a>)</p>
+<p><br>
+THE THREE AGES. Wood, 3 ft. 8 in. x 5 ft. 4 in. [No. 157.]</p>
+<p>By C. and C. ascribed to Lotto, by Morelli to Giorgione.</p>
+<p>(See <a href="#Page_42">p. 42.</a>)</p>
+<p><br>
+NYMPH AND SATYR. Canvas. [No. 147.]</p>
+<p>(See <a href="#Page_44">p. 44.</a>)<br>
+<br>
+</p>
+<p style="margin-left: 40px;">FLORENCE, UFFIZI GALLERY.</p>
+<p><br>
+TRIAL OF MOSES, or ORDEAL BY FIRE. Canvas. Figures one-eighth
+life-size.
+[No. 621.]</p>
+<p><i>From Poggio Imperiale.</i>(See <a href="#Page_15">p. 15.</a>)</p>
+<p><br>
+JUDGMENT OF SOLOMON. Companion piece to last. Wood. [No. 630.]</p>
+<p>(See <a href="#Page_15">p. 15.</a>)</p>
+<p><br>
+KNIGHT OF MALTA. Canvas. Bust, life-size. [No. 622.]</p>
+<p>The letters XXXV probably refer to the man's age. Mr. Dickes (<i>Magazine
+of Art</i>, April 1893) thinks he is Stefano Colonna, who died 1548.
+(See
+<a href="#Page_19">p. 19.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">MILAN, CRESPI COLLECTION.</div>
+<p><br>
+PORTRAIT OF CATERINA CORNARO. Canvas, 3 ft. 11 in. x 3 ft. 2 in.</p>
+<p><i>From the Alessandro Martinengo Gallery, Brescia (1640), thence to
+Collection Francesco Riccardi, Bergamo, where C. and C. saw it in 1877.</i>
+They state it was engraved in the line series of Sala. It has been
+known
+traditionally both as Caterina Cornaro and "La Schiavona." (See <a
+ href="#Page_74">p. 74.</a>)</p>
+<p>In the signature T.V. it is clear that the V represents the last
+letter
+but one in TITIANVS. The first three letters can just be made out.
+There
+are many <i>pentimenti</i> on the marble parapet, which seems to have
+been
+painted over the dress.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;"><a name="Page_156"></a>PADUA, GALLERY.</div>
+<p>Two <i>cassone</i> panels with mythological scenes. Wood, about 4
+ft. x 1 ft.
+each. [Nos. 416, 417.]</p>
+<p>(See <a href="#Page_56">p. 56.</a>)</p>
+<p><br>
+Two very small panels with mythological scenes, one representing
+LEDA
+AND THE SWAN. Wood, about 5 in. x 3 in. each. [Nos. 42, 43.]</p>
+<p>(See <a href="#Page_90">p. 90.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">ROME, BORGHESE GALLERY.</div>
+<p><br>
+PORTRAIT OF A LADY. Canvas, 3 ft. 2 in. x 2 ft. 6 in.</p>
+<p>(See <a href="#Page_33">p. 33.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">NATIONAL GALLERY, PAL. CORSINI.</div>
+<p><br>
+S. GEORGE AND THE DRAGON.</p>
+<p><i>Recently acquired.</i></p>
+<p>(Tentatively accepted from the photograph. See <a href="#Page_91">p.
+91.</a>)</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">ROVIGO, GALLERY.</div>
+<p><br>
+MADONNA AND CHILD. [NO. 2.]</p>
+<p>Repetition by Titian of Giorgione's original at Vienna</p>
+<p>(See <a href="#Page_98">p. 98.</a>)</p>
+<p><br>
+A SMALL SEATED FIGURE. DANAE? [No. 156.]</p>
+<p>Copy of a missing original.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">VENICE, ACADEMY.</div>
+<p><br>
+STORM AT SEA CALMED BY S. MARK. Wood, 11 ft. 8 in. x 13 ft. 6 in.
+[No.
+516.]</p>
+<p><i>From the Scuola di S. Marco</i>, where it was companion piece to
+Paris
+Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by
+Zanetti to Giorgione.</p>
+<p>Too damaged to admit of definite judgment. (See <a href="#Page_55">p.
+55.</a>)</p>
+<p><br>
+<a name="Page_157"></a>THREE FIGURES. Half-lengths; a woman
+fainting, supported by a man;
+another behind.</p>
+<p>Modern copy by Fabris of apparently a missing original. Can this be
+the
+picture mentioned by C. and C. as in the possession of the King of
+Holland? (C. and C. ii. 149, note.) <i>Cf</i>. also, Notes to
+Sansoni's
+<i>Vasari</i>, iv. p. 104. Another version is at Buckingham Palace (<i>q.v</i>.),
+but it differs in detail from this copy.</p>
+<p><br>
+</p>
+<div style="margin-left: 40px;">SEMINARIO.</div>
+<p><br>
+APOLLO AND DAPHNE. <i>Cassone</i> panel. Wood. Small figures, much
+defaced.
+(See <a href="#Page_34">p. 34.</a>)</p>
+<p><br>
+CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as
+life. About 3 ft. x 2 ft.</p>
+<p>Christ clad in pale grey, head turned three-quarters looking out of
+the
+picture, auburn hair and beard, bears cross. He is dragged forward by
+an
+elderly man nude to waist. Another man in profile to left. An old man
+with white beard just visible behind Christ. (See <a href="#Page_54">p.
+54</a>.)</p>
+<p><br>
+PAL. ALBUZIO. JUDGMENT OF PARIS.</p>
+<p>Another version of this subject, of which copies exist at
+Christiania,
+Lord Malmesbury's, and Dresden.</p>
+<p><br>
+PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft.
+5
+in.</p>
+<p>Described by the Anonimo in the house of Gabriel Vendramin (1530).
+(See
+<a href="#Page_11">p. 11.</a>)</p>
+<p>Statius (lib. iv. 730 <i>ff</i>.) describes how King Adrastus,
+wandering
+through the woods in search of a spring to quench the thirst of his
+troops, encounters by chance Queen Hypsipyle, who had been driven out
+of
+Lemnos by the wicked women, who had resolved to slay their husbands,
+and
+<a name="Page_158"></a>she had taken refuge in the service of the King
+of Nemea, in capacity
+of nurse.</p>
+<p>Ex <i>Manfrini Palace.</i></p>
+<p><br>
+PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6
+in.
+square. (See <a href="#Page_85">p. 85.</a>)</p>
+<br>
+<p style="font-weight: bold;">NORWAY.</p>
+<p style="margin-left: 40px;">CHRISTIANIA.</p>
+<p><br>
+JUDGMENT OF PARIS.</p>
+<p>Another version of this subject, of which copies exist at Lord
+Malmesbury's, Dresden, and Venice.</p>
+<br>
+<p style="font-weight: bold;">RUSSIA.</p>
+<p style="margin-left: 40px;">ST. PETERSBURG, HERMITAGE GALLERY.</p>
+<p><br>
+JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]</p>
+<p>Once ascribed to Raphael, and engraved as such (in 1620), by H.H.
+Quitter, and afterwards by several other artists. Dr. Waagen pronounced
+it to be Moretto's work, and accordingly the name was changed; as such
+Braun has photographed it. It is now officially recognised rightly as a
+Giorgione (<i>vide</i> Catalogue of 1891).</p>
+<p><i>Brought from Italy to France, and eventually in Crozat's
+possession</i>.
+(See <a href="#Page_37">p. 37.</a>)</p>
+<p><br>
+VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]</p>
+<p><i>Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian</i>,
+under
+which name it is still registered. (See <a href="#Page_102">p. 102</a>,
+where Mr. Claude
+Phillips's suggestion that it may be a Giorgione is discussed.)</p>
+<a name="Page_159"></a><br>
+<p style="font-weight: bold;">SPAIN.</p>
+<p style="margin-left: 40px;">MADRID, PRADO GALLERY.</p>
+<p><br>
+MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft.
+5
+in. [No. 341.]</p>
+<p><i>From the Escurial</i>; restored to Giorgione by Morelli, and now
+officially recognised as his work. (See <a href="#Page_45">p. 45.</a>)</p>
+<br>
+<p style="font-weight: bold;">UNITED STATES.</p>
+<p style="margin-left: 40px;">BOSTON, COLLECTION OF MRS. GARDNER.</p>
+<p><br>
+CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.</p>
+<p>Several variations and repetitions exist. (See <a href="#Page_18">p.
+18.</a>)</p>
+<p><i>Till lately in the Casa Loschi at Vicenza.</i></p>
+<hr style="height: 2px; width: 25%;">
+<p>A few drawings by Giorgione meet with general recognition, but, like
+his
+paintings, they appear to have been unnecessarily restricted by an
+over-anxiety on the part of critics to leave him only the best. E.g.
+the
+drawing at Windsor for a part of an "Adoration of the Shepherds," is,
+no
+doubt, a preliminary design for the Beaumont or Vienna pictures. The
+limits of the present book will not allow a discussion on the subject,
+but we may remark that, like all Venetian artists, Giorgione made few
+preliminary sketches, concerning himself less with design and
+composition than with harmony of colour, light and shade, and "effect."
+The engraving by Marcantonio commonly called "The Dream of Raphael," is
+now known to be derived from Giorgione, to whom the subject was
+suggested by a passage in Servius' <i>Commentary on Virgil</i> (lib.
+iii. v.
+12). (See Wickhoff, loc. cit.)</p>
+<hr style="width: 65%;">
+<a name="LIST_OF_PICTURES"></a>
+<h2><a name="Page_160"></a><a name="Page_161"></a>LIST OF GIORGIONE'S
+PICTURES CITED BY "THE ANONIMO," AS</h2>
+<h2>BEING IN HIS</h2>
+<h2>DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.<a name="FNanchor_173"></a><a
+ style="font-weight: normal;" href="#Footnote_173"><sup>[173]</sup></a>
+</h2>
+<p>CASA TADDEO CONTARINI (1525).</p>
+<p>(i) The Three Philosophers (since identified as Aeneas, Evander, and
+Pallas, in the Vienna Gallery),</p>
+<p>(ii) Aeneas and Anchises in Hades.</p>
+<p>(in) The Birth of Paris. (Since identified by the engraving of Th.
+von
+Kessel. A copy of the part representing the two shepherds is at
+Buda-Pesth.)</p>
+<br>
+<p>CASA JERONIMO MARCELLO (1525).</p>
+<p>(i) Portrait of M. Jeronimo armed, showing his back and turning his
+head.</p>
+<p>(ii) A nude Venus in a landscape with Cupid. Finished by Titian.
+(Since
+identified as the Dresden Venus.)</p>
+<p>(in) S. Jerome reading.</p>
+<br>
+<p>CASA M. ANTON. VENIER (1528).</p>
+<p>A soldier armed to the waist.</p>
+<br>
+<p>CASA G. VENDRAMIN (1530).</p>
+<p>(i) Landscape with soldier and gipsy. (Since identified as the
+Adrastus
+and Hypsipyle of the Pal. Giovanelli, Venice.)</p>
+<p>(ii) The dead Christ on the Tomb, supported by one Angel. Retouched
+by
+Titian. (This can hardly be the celebrated Piet&agrave; in the Monte di
+Piet&agrave;
+at Treviso, as there are here three angels. M. Lafenestre, in his <i>Life
+of Titian</i>, reproduces an engraving answering to the above
+description,
+but it is hard to believe this mannered composition is to be traced
+back
+to Giorgione.)</p>
+<p><br>
+<a name="Page_162"></a>CASA ZUANE RAM (1531).</p>
+<p>(i) A youth, half-length, holding an arrow.</p>
+<p>(ii) Head of a shepherd boy, who holds a fruit.</p>
+<br>
+<p>CASA A. PASQUALINO.</p>
+<p>(i) Copy of No. (i) just mentioned.</p>
+<p>(ii) Head of S. James, with pilgrim staff (or, may be, a copy).</p>
+<br>
+<p>CASA ANDREA ODONI (1532).</p>
+<p>S. Jerome, nude, seated in a desert by moonlight. Copy after
+Giorgione.</p>
+<br>
+<p>CASA MICHIEL CONTARINI (1543).</p>
+<p>A pen drawing of a nude figure in a landscape. The painting of the
+same
+subject belonged to the Anonimo.</p>
+<br>
+<p>CASA PIERO SERVIO (1575).</p>
+<p>Portrait of his father.</p>
+<p>It is noteworthy that two of the above pieces are cited as copies,
+from
+which we may infer that Giorgione's productions were already, at this
+early date, enjoying such a vogue as to call for their multiplication
+at
+the hands of others, and we can readily understand how, in course of
+time, the fabrication of "Giorgiones" became a profitable business.</p>
+<p><br>
+<span style="font-weight: bold;">NOTES:</span></p>
+<a name="Footnote_173"></a><a href="#FNanchor_173">[173]</a>
+<div class="note">
+<p> <i>Notizie d'opere di disegno</i>. Ed. Frizzoni. Bologna,
+1884.</p>
+</div>
+<hr style="width: 65%;">
+<a name="INDEX"></a>
+<h2>INDEX</h2>
+<i>Adoration of the Magi, The</i> (National Gallery), <a
+ href="#Page_22">22</a>,
+<a href="#Page_53">53</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_91">91</a>,
+<a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_148">148</a>,
+<a href="#THE_ADORATION_OF_THE_MAGI">ill. 52</a>.<br>
+<i>Adoration of the Shepherds, The</i> (Mr. Beaumont), <a
+ href="#Page_20">20</a>, <a href="#Page_21">21</a>-<a href="#Page_25">25</a>,
+<a href="#Page_53">53</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_86">86</a>,
+<a href="#Page_103">103</a>, <a href="#Page_150">150</a>;<br>
+<span style="margin-left: 1em;">replica at Vienna, <a href="#Page_24">24</a>,
+<a href="#Page_147">147</a>, <a href="#Page_20">ill. 20</a>.</span><br>
+<i>Adrastus and Hypsipyle</i> (Prince Giovanelli, Venice), <a
+ href="#Page_10">10</a>-<a href="#Page_12">12</a>, <a href="#Page_23">23</a>,
+<a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a
+ href="#Page_40">40</a>,
+<a href="#Page_43">43</a>, <a href="#Page_63">63</a>, <a
+ href="#Page_137">137</a>,
+<a href="#Page_10">ill. 10</a>.<br>
+<i>Adulteress before Christ, The</i> (Glasgow), <a href="#Page_28">28</a>,
+<a href="#Page_102">102</a>-<a href="#Page_105">105</a>, <a
+ href="#Page_149">149</a>, <a href="#Page_102">ill. 102</a>.<br>
+<i>Adulteress before Christ, The</i> (Sir Charles Turner), <a
+ href="#Page_104">104</a>, <a href="#Page_153">153</a>.<br>
+<i>Aeneas, Evander, and Pallas</i> (Vienna), <a href="#Page_11">11</a>,
+<a href="#Page_12">12</a>-<a href="#Page_14">14</a>, <a href="#Page_23">23</a>,
+<a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a
+ href="#Page_43">43</a>,
+<a href="#Page_147">147</a>, <a href="#Page_12">ill. 12</a>.<br>
+Anonimo, The (quoted), <a href="#Page_11">11</a>, <a href="#Page_13">13</a>,
+<a href="#Page_18">18</a>, <a href="#Page_35">35</a>, <a
+ href="#Page_47">47</a>,
+<a href="#Page_60">60</a>, <a href="#Page_161">161</a>, <a
+ href="#Page_162">162</a>.<br>
+Antonello, <a href="#Page_18">18</a>, <a href="#Page_114">114</a>.<br>
+<i>Apollo and Daphne</i> (Seminario, Venice), <a href="#Page_34">34</a>,
+<a href="#Page_40">40</a>, <a href="#Page_157">157</a>, <a
+ href="#Page_34">ill. 34</a>.<br>
+<i>Ariosto</i>, So-called portrait of (Cobham Hall), <a href="#Page_69">69</a>,
+<a href="#Page_70">70</a>, <a href="#Page_114">114</a>, <a
+ href="#Page_151">151</a>, <a href="#Page_70">ill. 70</a>;<br>
+<span style="margin-left: 1em;">repetitions, <a href="#Page_73">73 note</a>,
+<a href="#Page_74">74</a>.</span><br>
+Armstrong, Sir Walter, <a href="#Page_28">28</a>, <a href="#Page_102">102</a>.<br>
+<br>
+Barbarelli, name wrongly given to Giorgione, <a href="#Page_2">2</a>.<br>
+Barbari, Jacopo de', Portrait of Caterina Cornaro by, <a
+ href="#Page_77">77</a>.<br>
+Barberigo, Doge Agostino, Portrait of, said to have been painted by
+Giorgione, <a href="#Page_67">67</a>, <a href="#Page_74">74</a>, <a
+ href="#Page_89">89
+note</a>, <a href="#Page_112">112</a>, <a href="#Page_114">114</a>.<br>
+Barberigo, Portrait of a gentleman of the family of, <a href="#Page_68">68</a>,
+<a href="#Page_69">69</a>, <a href="#Page_106">106</a>.<br>
+Bellini, Gentile, <a href="#Page_62">62</a>, <a href="#Page_114">114</a>.<br>
+Bellini, Giovanni, <a href="#Page_9">9</a>;<br>
+<span style="margin-left: 1em;">his S. Giov. Crisostomo altar-piece, <a
+ href="#Page_9">9
+note</a>;</span><br>
+<span style="margin-left: 1em;">his influence on Giorgione, <a
+ href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>,
+<a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a
+ href="#Page_25">25</a>,
+<a href="#Page_47">47</a>, <a href="#Page_53">53</a>, <a
+ href="#Page_62">62</a>;</span><br>
+<span style="margin-left: 1em;">his altar-piece of S. Giobbe, <a
+ href="#Page_10">10</a>;</span><br>
+<span style="margin-left: 1em;">his sacred allegory in the Uffizi, <a
+ href="#Page_15">15</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Corpus Christi Procession</i>,
+<a href="#Page_17">17</a>;</span><br>
+<span style="margin-left: 1em;">his influence on Titian, <a
+ href="#Page_68">68</a>, <a href="#Page_69">69</a>;</span><br>
+<span style="margin-left: 1em;">portraits of Caterina Cornaro by, <a
+ href="#Page_76">76</a>,
+<a href="#Page_80">80</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Miracle of the True Cross</i>,
+<a href="#Page_76">76</a>, <a href="#Page_81">81</a>;</span><br>
+<span style="margin-left: 1em;">his temperament contrasted with
+Giorgione's, <a href="#Page_109">109</a>;</span><br>
+<span style="margin-left: 1em;">influenced by Giorgione, <a
+ href="#Page_115">115</a>, <a href="#Page_116">116</a>.</span><br>
+Berenson, Mr. (quoted), <a href="#Page_21">21</a>, <a href="#Page_29">29</a>,
+<a href="#Page_47">47</a>, <a href="#Page_50">50</a>, <a
+ href="#Page_54">54</a>,
+<a href="#Page_55">55</a>, <a href="#Page_77">77</a>, <a
+ href="#Page_78">78</a>,
+<a href="#Page_79">79</a>, <a href="#Page_85">85</a>, <a
+ href="#Page_113">113</a>.<br>
+<i>Birth of Paris, The</i>, lost picture by Giorgione, <a
+ href="#Page_47">47</a>, <a href="#Page_63">63</a>;<br>
+<span style="margin-left: 1em;">engraved by Th. von Kessel, <a
+ href="#Page_47">47</a>, <a href="#Page_147">147</a>;</span><br>
+<span style="margin-left: 1em;">copy of a portion at Buda-Pesth, <a
+ href="#Page_46">46</a>,
+<a href="#Page_47">47</a>, <a href="#Page_46">ill. 46</a>.</span><br>
+Bode, Dr. (quoted), <a href="#Page_1">1</a>, <a href="#Page_28">28</a>,
+<a href="#Page_35">35</a>, <a href="#Page_50">50</a>, <a
+ href="#Page_67">67</a>,
+<a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a
+ href="#Page_102">102</a>.<br>
+Bordone, Paris, <a href="#Page_55">55</a>;<br>
+<span style="margin-left: 1em;">his <i>Fisherman presenting the Ring
+to the Doge</i>, <a href="#Page_56">56</a>.</span><br>
+Broccardo, Antonio, Portrait of, <a href="#Page_32">32</a>, <a
+ href="#Page_70">70</a>.<br>
+Burton, Sir Frederic, <a href="#Page_82">82</a>.<br>
+<br>
+Campagnola, Pictures attributed to, <a href="#Page_39">39</a>, <a
+ href="#Page_88">88</a>, <a href="#Page_91">91 note</a>, <a
+ href="#Page_102">102</a>.<br>
+Cariani, Pictures attributed to, <a href="#Page_28">28</a>, <a
+ href="#Page_29">29</a>, <a href="#Page_102">102</a>, <a
+ href="#Page_105">105</a>,
+<a href="#Page_106">106</a>;<br>
+<span style="margin-left: 1em;">his <i>Venus</i> at Hampton Court, <a
+ href="#Page_36">36</a>;</span><br>
+<span style="margin-left: 1em;">influence of Giorgione on, <a
+ href="#Page_48">48</a>.</span><br>
+Carpaccio, Influence of, on Giorgione, <a href="#Page_17">17</a>, <a
+ href="#Page_62">62</a>;<br>
+<span style="margin-left: 1em;">his <i>Legend of S. Ursula</i>, <a
+ href="#Page_17">17</a>.</span><br>
+Castelfranco, birthplace of Giorgione, <a href="#Page_1">1</a>, <a
+ href="#Page_2">2</a>;<br>
+<span style="margin-left: 1em;">altar-piece at, <a href="#Page_7">7</a>-<a
+ href="#Page_10">10</a>, <a href="#Page_23">23</a>, <a href="#Page_39">39</a>,
+<a href="#Page_63">63</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_117">117</a>,
+<a href="#madonna_and_child">ill. Front</a>.</span><br>
+Catena, Pictures attributed to, <a href="#Page_21">21</a>, <a
+ href="#Page_53">53</a>;<br>
+<span style="margin-left: 1em;">his <i>Judith</i>, <a href="#Page_38">38
+note</a>;</span><br>
+<span style="margin-left: 1em;">his pictures in the National Gallery,
+<a href="#Page_53">53</a>.</span><br>
+<i>Chaldean Sages, The.</i> See <i>Aeneas, Evander, and Pallas</i><br>
+<i>Christ bearing the Cross</i> (Mrs. Gardner, Boston), <a
+ href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_62">62</a>,
+<a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_109">109</a>,
+<a href="#Page_159">159</a>, <a href="#Page_18">ill. 18</a>.<br>
+<i>Christ bearing the Cross</i> (S. Rocco, Venice), <a href="#Page_54">54</a>,
+<a href="#Page_109">109</a>, <a href="#Page_157">157</a>;<br>
+<span style="margin-left: 1em;">sketch of, by Van Dyck, <a
+ href="#Page_55">55</a>, <a href="#Page_54">ill. 54</a>.</span><br>
+Colonna, Prospero, Portrait of, <a href="#Page_82">82</a>-<a
+ href="#Page_85">85</a>.<br>
+<i>Concert, The</i> (Pitti), <a href="#Page_49">49</a>-<a
+ href="#Page_52">52</a>,
+<a href="#Page_65">65</a>, <a href="#Page_78">78</a>, <a
+ href="#Page_86">86</a>,
+<a href="#Page_88">88</a>, <a href="#Page_155">155</a>, <a
+ href="#Page_50">ill. 50</a>.<br>
+<i>Concert, The</i> (Louvre). See <i>Pastoral Symphony</i><br>
+Consalvo, of Cordova, Portrait of, painted by Giorgione, <a
+ href="#Page_89">89 note</a>, <a href="#Page_114">114</a>.<br>
+Conti, Signor (quoted), <a href="#Page_50">50</a>.<br>
+Cornaro, Caterina, Ex-Queen of Cyprus, patroness of Giorgione, <a
+ href="#Page_3">3</a>;<br>
+<span style="margin-left: 1em;">portrait of (Crespi Collection), <a
+ href="#Page_76">76</a>-<a href="#Page_81">81</a>,
+<a href="#Page_112">112</a>,
+<a href="#Page_113">113</a>, <a href="#Page_155">155</a>, <a
+ href="#Page_76">ill. 76</a>;</span><br>
+<span style="margin-left: 1em;">other portraits of, <a href="#Page_76">76</a>,
+<a href="#Page_77">77</a>;</span><br>
+<span style="margin-left: 1em;">bust of, <a href="#Page_77">77</a>,
+<a href="#Page_76">ill. 76</a>.</span><br>
+Costanzo, Matteo, <a href="#Page_63">63</a>.<br>
+Crasso, Luigi, Portrait of, painted by Giorgione, <a href="#Page_89">89
+note</a>.<br>
+Crespano, Portrait at, mentioned by Crowe and Cavalcaselle, <a
+ href="#Page_53">53 note</a>.<br>
+Crespi, Signor, Portrait of Caterina Cornaro in the possession of, <a
+ href="#Page_74">74</a>,
+<a href="#Page_112">112</a>.<br>
+Crowe and Cavalcaselle (quoted <i>passim</i>)<br>
+<br>
+<i>David with the Head of Goliath</i> (Vienna), <a href="#Page_48">48</a>,
+<a href="#Page_49">49</a>, <a href="#Page_148">148</a>.<br>
+Dickes, Mr., on the portrait of Prospero Colonna (quoted), <a
+ href="#Page_82">82</a>, <a href="#Page_85">85</a>.<br>
+Dossi, Dosso, Giorgione's <i>Nymph pursued by a Satyr</i> wrongly
+attributed to, <a href="#Page_44">44</a>;<br>
+<span style="margin-left: 1em;">his <i>Buffone</i>, <a href="#Page_44">44</a>.</span><br>
+<br>
+<i>Epiphany, The</i> (National Gallery). See <i>Adoration of the Magi</i><br>
+Este, Isabella d', Marchioness of Mantua, commissioned her agent to
+purchase a picture by Giorgione, <a href="#Page_24">24</a>.<br>
+<br>
+<i>Family Concert</i> (Hampton Court), <a href="#Page_42">42</a>.<br>
+Feltre, Morto da, and Giorgione, story concerning, <a href="#Page_5">5</a>;<br>
+<span style="margin-left: 1em;"><i>The Three Ages</i>, wrongly
+attributed to, <a href="#Page_42">42</a>;</span><br>
+<span style="margin-left: 1em;">said to have assisted Giorgione, <a
+ href="#Page_107">107
+note</a>.</span><br>
+Ferrante, Consalvo, <a href="#Page_83">83</a>;<br>
+<span style="margin-left: 1em;">portrait of, painted by Giorgione, <a
+ href="#Page_64">64</a>.</span><br>
+<i>F&ecirc;te Champ&ecirc;tre</i> (Louvre). See <i>Pastoral Symphony</i><br>
+Fry, Mr. Roger, on Bellini (quoted), <a href="#Page_15">15</a>, <a
+ href="#Page_115">115</a>.<br>
+<br>
+Giorgione, birthplace and origin of, <a href="#Page_1">1</a>;<br>
+<span style="margin-left: 1em;">wrongly called "Barbarelli," <a
+ href="#Page_2">2</a>, <a href="#Page_5">5</a>;</span><br>
+<span style="margin-left: 1em;">his life spent in Venice, <a
+ href="#Page_2">2</a>;</span><br>
+<span style="margin-left: 1em;">his skill in music, <a href="#Page_2">2</a>;</span><br>
+<span style="margin-left: 1em;">visit to Leonardo, <a href="#Page_3">3</a>;</span><br>
+<span style="margin-left: 1em;">his frescoes on the Fondaco de'
+Tedeschi, <a href="#Page_4">4</a>, <a href="#Page_60">60</a>, <a
+ href="#Page_65">65</a>;</span><br>
+<span style="margin-left: 1em;">other perished frescoes, <a
+ href="#Page_4">4</a>;</span><br>
+<span style="margin-left: 1em;">death, <a href="#Page_4">4</a>;</span><br>
+<span style="margin-left: 1em;">his individuality, <a href="#Page_6">6</a>;</span><br>
+<span style="margin-left: 1em;">true test of the authenticity of his
+pictures, <a href="#Page_6">6</a>, <a href="#Page_23">23</a>, <a
+ href="#Page_59">59</a>;</span><br>
+<span style="margin-left: 1em;">three universally accepted pictures by,
+<a href="#Page_7">7</a>;</span><br>
+<span style="margin-left: 1em;">his lyrical quality, <a href="#Page_8">8</a>,
+<a href="#Page_9">9</a>;</span><br>
+<span style="margin-left: 1em;">influence of Bellini on, <a
+ href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>,
+<a href="#Page_18">18</a>, <a href="#Page_24">24</a>, <a
+ href="#Page_25">25</a>,
+<a href="#Page_47">47</a>, <a href="#Page_53">53</a>, <a
+ href="#Page_62">62</a>;</span><br>
+<span style="margin-left: 1em;">pictures accepted by Crowe and
+Cavalcaselle and Morelli, <a href="#Page_14">14</a>;</span><br>
+<span style="margin-left: 1em;">his freedom from conventionality, <a
+ href="#Page_16">16</a>,
+<a href="#Page_17">17</a>;</span><br>
+<span style="margin-left: 1em;">disproportionate sizes of the figures
+in his pictures, <a href="#Page_23">23</a>;</span><br>
+<span style="margin-left: 1em;">introduction of the hand in his
+portraits, <a href="#Page_19">19</a>, <a href="#Page_31">31</a>, <a
+ href="#Page_32">32</a>;</span><br>
+<span style="margin-left: 1em;">his signature VV., <a href="#Page_31">31</a>,
+<a href="#Page_32">32</a>, <a href="#Page_73">73</a>;</span><br>
+<span style="margin-left: 1em;"><i>cassone</i> panels by, <a
+ href="#Page_34">34</a>, <a href="#Page_56">56</a>, <a href="#Page_89">89</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Venus</i> completed by Titian,
+<a href="#Page_35">35</a>, <a href="#Page_72">72</a>;</span><br>
+<span style="margin-left: 1em;">his mastery of line, <a href="#Page_36">36</a>,
+<a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a
+ href="#Page_46">46</a>,
+<a href="#Page_100">100</a>, <a href="#Page_116">116</a>, <a
+ href="#Page_118">118</a>;</span><br>
+<span style="margin-left: 1em;">his faults of drawing, <a
+ href="#Page_39">39</a>, <a href="#Page_118">118</a>;</span><br>
+<span style="margin-left: 1em;">exuberance of his later style, <a
+ href="#Page_41">41</a>;</span><br>
+<span style="margin-left: 1em;">comparison of with Dosso, <a
+ href="#Page_44">44</a>;</span><br>
+<span style="margin-left: 1em;">influence of on later artists, <a
+ href="#Page_48">48</a>;</span><br>
+<span style="margin-left: 1em;">works as to which Crowe and
+Cavalcaselle and Morelli disagree, <a href="#Page_49">49</a>;</span><br>
+<span style="margin-left: 1em;">difficulty of deciding between
+Giorgione and Titian, <a href="#Page_50">50</a>, <a href="#Page_69">69</a>,
+<a href="#Page_71">71</a>;</span><br>
+<span style="margin-left: 1em;">works accepted by Berenson, <a
+ href="#Page_54">54</a>;</span><br>
+<span style="margin-left: 1em;">works accepted by Venturi, <a
+ href="#Page_56">56</a>;</span><br>
+<span style="margin-left: 1em;">chronology of accepted works by, <a
+ href="#Page_58">58</a>, <a href="#Page_62">62</a>-<a href="#Page_66">66</a>;</span><br>
+<span style="margin-left: 1em;">versatility and precocity of, <a
+ href="#Page_59">59</a>, <a href="#Page_66">66</a>;</span><br>
+<span style="margin-left: 1em;">inequality of, <a href="#Page_59">59</a>,
+<a href="#Page_103">103</a>;</span><br>
+<span style="margin-left: 1em;">analogy of with Schubert and Keats, <a
+ href="#Page_59">59</a>,
+<a href="#Page_110">110</a>;</span><br>
+<span style="margin-left: 1em;">his productiveness, <a href="#Page_60">60</a>,
+<a href="#Page_61">61</a>;</span><br>
+<span style="margin-left: 1em;">his success in portraiture, <a
+ href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>;</span><br>
+<span style="margin-left: 1em;">additional portraits attributed to, <a
+ href="#Page_68">68</a>;</span><br>
+<span style="margin-left: 1em;">influence of on Titian, <a
+ href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_74">74</a>;</span><br>
+<span style="margin-left: 1em;">pictures by, completed by Titian, <a
+ href="#Page_72">72</a>;</span><br>
+<span style="margin-left: 1em;">the portrait of <i>Ariosto</i>
+attributed to, <a href="#Page_69">69</a>-<a href="#Page_74">74</a>;</span><br>
+<span style="margin-left: 1em;">the portrait of Caterina Cornaro
+(Signor Crespi) attributed to, <a href="#Page_74">74</a>-<a
+ href="#Page_81">81</a>;</span><br>
+<span style="margin-left: 1em;">portrait of Prospero Colonna by, <a
+ href="#Page_82">82</a>-<a href="#Page_85">85</a>;</span><br>
+<span style="margin-left: 1em;">other portraits now attributed to, <a
+ href="#Page_85">85</a>-<a href="#Page_88">88</a>;</span><br>
+<span style="margin-left: 1em;">other romantic pictures attributed to,
+<a href="#Page_89">89</a>-<a href="#Page_95">95</a>;</span><br>
+<span style="margin-left: 1em;">sacred pictures attributed to, <a
+ href="#Page_95">95</a>-<a href="#Page_106">106</a>;</span><br>
+<span style="margin-left: 1em;">misapprehension of the critics with
+regard to, <a href="#Page_103">103</a>;</span><br>
+<span style="margin-left: 1em;">relation to Sebastiano del Piombo, <a
+ href="#Page_106">106</a>;</span><br>
+<span style="margin-left: 1em;">his characteristics, <a
+ href="#Page_108">108</a>;</span><br>
+<span style="margin-left: 1em;">his genius essentially lyrical, <a
+ href="#Page_108">108</a>;</span><br>
+<span style="margin-left: 1em;">his limitations, <a href="#Page_110">110</a>;</span><br>
+<span style="margin-left: 1em;">his greatness in portraiture, <a
+ href="#Page_111">111</a>;</span><br>
+<span style="margin-left: 1em;">the Herald of the Renaissance, <a
+ href="#Page_113">113</a>, <a href="#Page_114">114</a>;</span><br>
+<span style="margin-left: 1em;">his influence on succeeding painters,
+<a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">his School, <a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">points wherein he was an initiator, <a
+ href="#Page_116">116</a>;</span><br>
+<span style="margin-left: 1em;">his use of colour, <a href="#Page_116">116</a>,
+<a href="#Page_117">117</a>;</span><br>
+<span style="margin-left: 1em;">treatment of chiaroscuro, <a
+ href="#Page_117">117</a>;</span><br>
+<span style="margin-left: 1em;">his position in history, <a
+ href="#Page_118">118</a>, <a href="#Page_119">119</a>;</span><br>
+<span style="margin-left: 1em;">compared with Titian, <a
+ href="#Page_118">118</a>;</span><br>
+<span style="margin-left: 1em;">his drawings, <a href="#Page_159">159</a>.</span><br>
+Giovanelli, Prince, <a href="#Page_10">10</a>.<br>
+<i>Giovanelli Figures, The</i>, See <i>Adrastus and Hypsipyle</i><br>
+<i>Gipsy Madonna, The</i> (Vienna), <a href="#Page_97">97</a>, <a
+ href="#Page_148">148</a>, <a href="#Page_92">ill. 92.</a><br>
+<i>Golden Age, The</i>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>,
+<a href="#Page_95">95</a>, <a href="#Page_148">148</a>, <a
+ href="#Page_92">ill. 92</a>.<br>
+Gronau, Dr. (quoted), <a href="#Page_1">1</a>, <a href="#Page_5">5</a>,
+<a href="#Page_40">40</a>, <a href="#Page_42">42 note</a>, <a
+ href="#Page_50">50</a>, <a href="#Page_70">70</a>, <a href="#Page_74">74</a>,
+<a href="#Page_78">78</a>,
+<a href="#Page_97">97</a>.<br>
+<br>
+Harck, Dr. (quoted), <a href="#Page_37">37</a><br>
+<i>Holy family, The</i> (Mr. R. Benson), <a href="#Page_22">22</a>, <a
+ href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a
+ href="#Page_150">150</a>,
+<a href="#Page_96">ill. 96</a>.<br>
+<br>
+<i>Judgment of Solomon, The</i> (Uffizi), <a href="#Page_15">15</a>-<a
+ href="#Page_17">17</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_155">155</a>,
+<a href="#Page_14">ill. 14</a>.<br>
+<i>Judgment of Solomon, The</i> (Mr. R. Bankes), <a href="#Page_20">20</a>,
+<a href="#Page_23">23</a>, <a href="#Page_25">25</a>-<a href="#Page_29">29</a>,
+<a href="#Page_39">39</a>, <a href="#Page_42">42</a>, <a
+ href="#Page_65">65</a>,
+<a href="#Page_102">102</a>, <a href="#Page_104">104</a>, <a
+ href="#Page_110">110</a>, <a href="#Page_152">152</a>, <a
+ href="#Page_26">ill. 26</a>.<br>
+<i>Judith</i> (St. Petersburg), <a href="#Page_37">37</a>, <a
+ href="#Page_64">64</a>, <a href="#Page_78">78</a>, <a href="#Page_94">94</a>,
+<a href="#Page_103">103</a>, <a href="#Page_158">158</a>, <a
+ href="#Page_38">ill. 38</a>.<br>
+Keats, Analogy between Giorgione and, <a href="#Page_59">59</a>, <a
+ href="#Page_110">110</a>.<br>
+Kessel, Th. von, Engraving of Giorgione's <i>Birth of Paris</i> by,
+<a href="#Page_47">47</a>, <a href="#Page_147">147</a>.<br>
+<i>Knight of Malta</i> (Uffizi), <a href="#Page_15">15</a>, <a
+ href="#Page_19">19</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>,
+<a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a
+ href="#Page_60">60</a>,
+<a href="#Page_65">65</a>, <a href="#Page_70">70</a>, <a
+ href="#Page_155">155</a>,
+<a href="#Page_18">ill. 18</a>.<br>
+<i>Knight in Armour</i> (National Gallery), <a href="#Page_20">20</a>,
+<a href="#Page_149">149</a>.<br>
+<br>
+<i>La Schiavata</i>, <a href="#Page_74">74</a>.<br>
+<span style="margin-left: 1em;"><i>See</i> Cornaro, Caterina, Portrait
+of</span><br>
+<i>Leda and the Swan</i>, <a href="#Page_90">90</a>, <a
+ href="#Page_156">156</a>.<br>
+Leonardo da Vinci, his visit to Venice, 1500, <a href="#Page_3">3</a>.<br>
+<span style="margin-left: 1em;">his masterpieces subsequent to
+Giorgione's, <a href="#Page_114">114</a>.</span><br>
+<i>L'homme au gant</i> (Louvre) by Titian, <a href="#Page_51">51</a>.<br>
+Licinio, Pictures attributed to, <a href="#Page_32">32</a>, <a
+ href="#Page_33">33</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>;<br>
+<span style="margin-left: 1em;">his <i>Portrait of a Young Man</i>
+(Lady Ashburton), <a href="#Page_34">34</a>.</span><br>
+Logan, Mary (quoted), <a href="#Page_117">117</a>.<br>
+Loredano, Doge Leonardo, Portrait of, painted by Giorgione, <a
+ href="#Page_65">65 note</a>, <a href="#Page_89">89
+note</a>, <a href="#Page_112">112</a>.<br>
+Lotto, Lorenzo, <i>The Three Ages</i> wrongly attributed to, <a
+ href="#Page_43">43</a>.<br>
+Ludwig, Dr. Gustav, <a href="#Page_61">61</a>.<br>
+<br>
+<i>Madonna and Child</i> (Bergamo), <a href="#Page_97">97</a>, <a
+ href="#Page_101">101</a>, <a href="#Page_154">154</a>.<br>
+<i>Madonna and Child</i> (Mr. R.H. Benson), <a href="#Page_97">97</a>,
+<a href="#Page_101">101</a>, <a href="#Page_140">140</a>, <a
+ href="#Page_100">ill. 100</a>.<br>
+<i>Madonna</i> (Rovigo) by Titian, <a href="#Page_98">98</a>, <a
+ href="#Page_99">99</a>, <a href="#Page_156">156</a>.<br>
+<i>Madonna and Child</i> (St. Petersburg), <a href="#Page_102">102</a>,
+<a href="#Page_158">158</a>.<br>
+<i>Madonna with SS. Francis and Roch</i> (Madrid), <a href="#Page_45">45</a>,
+<a href="#Page_159">159</a>, <a href="#Page_44">ill. 44</a>. <br>
+<i>Madonna with SS. Francis and Liberale</i> (Castelfranco), <a
+ href="#Page_7">7</a>-<a href="#Page_10">10</a>, <a href="#Page_23">23</a>,
+<a href="#Page_39">39</a>, <a href="#Page_63">63</a>, <a
+ href="#Page_96">96</a>,
+<a href="#Page_117">117</a>, <a href="#Page_154">154</a>, <a
+ href="#madonna_and_child">ill. Front.</a><br>
+<i>Madonna and Saints</i> (Louvre), <a href="#Page_102">102</a>, <a
+ href="#Page_105">105</a>, <a href="#Page_153">153</a>, <a
+ href="#Page_104">ill. 104.</a><br>
+Marcantonio, his <i>Dream of Raphael</i> derived from Giorgione, <a
+ href="#Page_159">159</a>.<br>
+Mareschalco, influenced by Giorgione, <a href="#Page_10">10</a>.<br>
+Michel Angelo, his masterpieces subsequent to Giorgione's, <a
+ href="#Page_114">114</a>.<br>
+Monkhouse, Mr. Cosmo (quoted), <a href="#Page_92">92 note</a>.<br>
+Morelli (quoted <i>passim</i>) <br>
+Moretto, Giorgione's <i>Judith</i> attributed to, <a href="#Page_38">38</a>.<br>
+M&uuml;ntz, M. (quoted), 3 note, <a href="#Page_50">50</a>.<br>
+<br>
+National Gallery, Pictures by Giorgione in the, <a href="#Page_20">20</a>,
+<a href="#Page_53">53</a>, <a href="#Page_81">81</a>,
+<a href="#Page_94">94</a>, <a href="#Page_148">148</a>, <a
+ href="#Page_149">149</a>.<br>
+<i>Nativity, The.</i> See <i>Adoration of the Shepherds</i><br>
+<i>Nymph pursued by a Satyr</i> (Pitti), <a href="#Page_44">44</a>, <a
+ href="#Page_155">155</a>, <a href="#Page_44">ill. 44</a>.<br>
+<br>
+<i>Ordeal by Fire, The.</i> See <i>Trial of Moses</i><br>
+<i>Orpheus and Eurydice</i> (Bergamo), <a href="#Page_89">89</a>, <a
+ href="#Page_90">90</a>, <a href="#Page_154">154</a>, <a
+ href="#Page_90">ill. 90</a>.<br>
+<br>
+Padua, Two <i>cassone</i> panels at, <a href="#Page_56">56</a>, <a
+ href="#Page_91">91</a>, <a href="#Page_156">156</a>, <a
+ href="#Page_56">ill. 56</a>;<br>
+<span style="margin-left: 1em;">two small mythological panels at, <a
+ href="#Page_90">90</a>,
+<a href="#Page_156">156</a>.</span><br>
+Palma Vecchio, influenced by Giorgione, <a href="#Page_10">10</a>;<br>
+<span style="margin-left: 1em;">his pictures of <i>Venus</i>, <a
+ href="#Page_36">36</a>;</span><br>
+<span style="margin-left: 1em;">the <i>Storm calmed by S. Mark</i>
+attributed by Vasari to, <a href="#Page_56">56</a>;</span><br>
+<span style="margin-left: 1em;">other pictures attributed to, <a
+ href="#Page_78">78</a>, <a href="#Page_86">86</a>.</span><br>
+<span style="margin-left: 1em;">the <i>Portrait of a Poet</i>
+(National Gallery) wrongly attributed to, <a href="#Page_81">81</a>, <a
+ href="#Page_84">84</a>.</span><br>
+Paoletti, Signor Pietro, <a href="#Page_61">61</a>.<br>
+Parma, the Physician, so-called portrait of (Vienna), <a
+ href="#Page_87">87</a>,
+<a href="#Page_88">88</a>, <a href="#Page_112">112</a>, <a
+ href="#Page_148">148</a>, <a href="#Page_86">ill. 86</a>.<br>
+<i>Pastoral Symphony</i> (Louvre), <a href="#Page_23">23</a>, <a
+ href="#Page_36">36</a>, <a href="#Page_39">39</a>-<a href="#Page_42">42</a>,
+<a href="#Page_66">66</a>, <a href="#Page_88">88</a>, <a
+ href="#Page_94">94</a>,
+<a href="#Page_103">103</a>, <a href="#Page_116">116</a>, <a
+ href="#Page_118">118</a>, <a href="#Page_153">153</a>, <a
+ href="#Page_40">ill. 40</a>.<br>
+Pater, Walter, his "Renaissance" quoted, <a href="#Page_43">43</a>.<br>
+Pennacchi, influenced by Giorgione, <a href="#Page_10">10</a>.<br>
+Penther, Herr, <a href="#Page_38">38</a>.<br>
+Phillips, Mr. Claude (quoted), <a href="#Page_37">37</a>, <a
+ href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_57">57</a>,
+<a href="#Page_70">70</a>, <a href="#Page_97">97</a>, <a
+ href="#Page_102">102</a>.<br>
+Pordenone, Giorgione's <i>Madonna</i> at Madrid attributed to, <a
+ href="#Page_45">45</a>.<br>
+<i>Portrait of a Lady</i> (Borghese Gallery, Rome), <a href="#Page_33">33</a>,
+<a href="#Page_34">34</a>, <a href="#Page_86">86</a>, <a
+ href="#Page_112">112 note</a>, <a href="#Page_156">156</a>, <a
+ href="#Page_32">ill. 32</a>. <br>
+<i>Portrait of a Man</i> (Rovigo), <a href="#Page_52">52</a>.<br>
+<i>Portrait of a Man</i> (Venice, Querini-Stampalia Gallery), <a
+ href="#Page_85">85</a>, <a href="#Page_158">158</a>,
+<a href="#Page_84">ill. 84</a>.<br>
+<i>Portrait of a Man</i> (Mrs. Meynell-Ingram), <a href="#Page_86">86</a>,
+<a href="#Page_88">88</a>, <a href="#Page_152">152</a>, <a
+ href="#Page_86">ill. 86</a>.<br>
+<i>Portrait of a Man</i> (Vienna). <i>See</i> Parma, Portrait of<br>
+<i>Portrait of a Man</i> (Padua) by Torbido, <a href="#Page_48">48</a>,
+<a href="#Page_48">ill. 48</a>.<br>
+<i>Portrait of a Man</i> (Cobham Hall). See <i>Ariosto</i><br>
+<i>Portrait of a Poet</i> (National Gallery), <a href="#Page_69">69</a>,
+<a href="#Page_82">82</a>, <a href="#Page_95">95</a>, <a
+ href="#Page_114">114</a>,
+<a href="#Page_149">149</a>, <a href="#Page_82">ill. 82</a>.<br>
+<i>Portrait of a Young Man</i> (Berlin), <a href="#Page_30">30</a>, <a
+ href="#Page_31">31</a>, <a href="#Page_63">63</a>, <a href="#Page_71">71</a>,
+<a href="#Page_73">73</a>, <a href="#Page_143">143</a>, <a
+ href="#Page_30">ill. 30</a>.<br>
+<i>Portrait of a Young Man</i> (Buda-Pesth), <a href="#Page_31">31</a>,
+<a href="#Page_32">32</a>, <a href="#Page_65">65</a>, <a
+ href="#Page_66">66</a>,
+<a href="#Page_73">73</a>, <a href="#Page_147">147</a>, <a
+ href="#Page_32">ill. 32</a>.<br>
+<i>Portrait of a Young Man</i> (Lady Ashburton) by Licinio, <a
+ href="#Page_34">34</a>.<br>
+Poynter, Sir Edward, <a href="#Page_94">94</a>.<br>
+<br>
+Raphael, Giorgione's <i>Judith</i> attributed to, <a href="#Page_38">38</a>.<br>
+Richter, Dr. (quoted), <a href="#Page_70">70 note</a>.<br>
+Ridolfi (quoted), <a href="#Page_16">16</a>, <a href="#Page_28">28</a>,
+<a href="#Page_35">35</a>, <a href="#Page_53">53 note</a>, <a
+ href="#Page_67">67</a>, <a href="#Page_87">87</a>.<br>
+Ruskin (quoted), <a href="#Page_7">7</a>.<br>
+<br>
+<i>S. Liberale</i> (in the Castelfranco altar-piece), <a
+ href="#Page_10">10</a>;<br>
+<span style="margin-left: 1em;">(National Gallery), <a href="#Page_20">20</a>,
+<a href="#Page_95">95</a>, <a href="#Page_149">149</a>.</span><br>
+<i>S. George slaying the Dragon</i> (National Gallery, Rome), <a
+ href="#Page_91">91</a>, <a href="#Page_156">156</a>.<br>
+<i>Sta. Justina</i> (Herr von Kauffmann, Berlin), <a href="#Page_91">91</a>,
+<a href="#Page_153">153</a>.<br>
+Schiavone, Pictures attributed to, <a href="#Page_35">35</a>, <a
+ href="#Page_78">78</a>, <a href="#Page_89">89</a>.<br>
+Schubert, Analogy between Giorgione and, <a href="#Page_59">59</a>, <a
+ href="#Page_110">110</a>.<br>
+Sebastiano del Piombo, believed to have completed Giorgione's <i>Aeneas,
+Evander, and Pallas</i>, <a href="#Page_13">13</a>;<br>
+<span style="margin-left: 1em;">his <i>Violin-Player</i>, <a
+ href="#Page_70">70</a>, <a href="#Page_103">103</a>;</span><br>
+<span style="margin-left: 1em;">Giorgione's <i>Madonna and Saints</i>
+(Louvre) completed by, <a href="#Page_106">106</a>;</span><br>
+<span style="margin-left: 1em;">his close relation with Giorgione, <a
+ href="#Page_106">106</a>,
+<a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Herodias with the Head of John
+Baptist</i>, <a href="#Page_106">106</a>.</span><br>
+<i>Shepherd Boy</i> (Hampton Court), <a href="#Page_47">47</a>, <a
+ href="#Page_48">48</a>, <a href="#Page_150">150</a>, ill. 48.<br>
+<i>Shepherds, Two</i>, from the <i>Birth of Paris</i>, now at
+Buda-Pesth, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a
+ href="#Page_147">147</a>.<br>
+Statius, Story from, <a href="#Page_11">11</a>, <a href="#Page_157">157</a>.<br>
+<i>Storm calmed by S. Mark</i> (Academy, Venice) attributed to
+Giorgione by Mr Berenson, <a href="#Page_54">54</a>, <a
+ href="#Page_55">55</a>,
+<a href="#Page_66">66</a>, <a href="#Page_156">156</a>.<br>
+<i>Stormy Landscape with the Soldier and Gipsy.</i> See <i>Adrastus
+and Hypsipyle</i><br>
+<br>
+<i>Three Ages, The</i> (Pitti), <a href="#Page_28">28</a>, <a
+ href="#Page_42">42</a>, <a href="#Page_52">52</a>, <a href="#Page_66">66</a>,
+<a href="#Page_155">155</a>, <a href="#Page_42">ill. 42</a>.<br>
+<i>Three Philosophers, The.</i> See <i>Aeneas, Evander, and Pallas</i><br>
+Titian, Giorgione's <i>Venus</i> at Dresden completed by, <a
+ href="#Page_35">35</a>;<br>
+<span style="margin-left: 1em;">influence of Giorgione on, <a
+ href="#Page_48">48</a>;</span><br>
+<span style="margin-left: 1em;">the Pitti <i>Concert</i> attributed to
+by Morelli, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>.</span><br>
+<span style="margin-left: 1em;"><i>Christ bearing the Cross</i>
+(Venice) wrongly attributed to, <a href="#Page_54">54</a>, <a
+ href="#Page_55">55</a>;</span><br>
+<span style="margin-left: 1em;">difficulty of distinguishing between
+Giorgione and, <a href="#Page_50">50</a>, <a href="#Page_69">69</a>, <a
+ href="#Page_71">71</a>;</span><br>
+<span style="margin-left: 1em;">influence of Giorgione on, <a
+ href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_74">74</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Tribute Money</i>, <a
+ href="#Page_55">55</a>;</span><br>
+<span style="margin-left: 1em;">the portrait of a gentleman of the
+Barberigo family, said to have been painted by, <a href="#Page_68">68</a>,
+<a href="#Page_73">73</a>;</span><br>
+<span style="margin-left: 1em;">portrait called <i>Arrosto</i>,
+wrongly attributed to, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</span><br>
+<span style="margin-left: 1em;">his signature, <a href="#Page_71">71</a>;</span><br>
+<span style="margin-left: 1em;">pictures by Giorgione completed by, <a
+ href="#Page_72">72</a>;</span><br>
+<span style="margin-left: 1em;"><i>Portrait of a Lady</i> (Crespi
+Collection) wrongly attributed to, <a href="#Page_74">74</a>, <a
+ href="#Page_75">75</a>;</span><br>
+<span style="margin-left: 1em;">portrait of Caterina Cornato by, <a
+ href="#Page_78">78
+note</a>;</span><br>
+<span style="margin-left: 1em;">other pictures wrongly attributed to,
+<a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a
+ href="#Page_94">94</a>,
+<a href="#Page_97">97</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Sacred and Profane Love</i>, <a
+ href="#Page_95">95</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Madonna</i> at Rovigo, <a
+ href="#Page_95">95</a>-<a href="#Page_100">100</a>;</span><br>
+<span style="margin-left: 1em;">his <i>Venus</i> (Uffizi) copied from
+Giorgione, <a href="#Page_99">99</a>;</span><br>
+<span style="margin-left: 1em;">his genius essentially dramatic, <a
+ href="#Page_108">108</a>;</span><br>
+<span style="margin-left: 1em;">relations with the School of Bellini,
+<a href="#Page_115">115</a>;</span><br>
+<span style="margin-left: 1em;">compared with Giorgione, <a
+ href="#Page_117">117</a>-<a href="#Page_118">118</a>, <a
+ href="#Page_119">119</a>.</span><br>
+<span style="margin-left: 1em;"><i>See</i> <a href="#APPENDIX_II">Appendix
+II</a></span><br>
+Torbido, Francesco, <i>Portrait of a Man</i> by, at Padua, <a
+ href="#Page_48">48</a>;<br>
+<span style="margin-left: 1em;">suggested as the author of the <i>Shepherd</i>
+at Hampton Court, <a href="#Page_49">49</a>.</span><br>
+<i>Trial of Moses, The</i> (Uffizi), <a href="#Page_15">15</a>, <a
+ href="#Page_16">16</a>, <a href="#Page_62">62</a>, <a
+ href="#Page_155">155</a>,
+<a href="#Page_16">ill. 16</a>.<br>
+<i>Two Musicians, The</i> (Glasgow), 91 note, <a href="#Page_149">149</a>.<br>
+<br>
+Van Dyck, Sketch of <i>Christ bearing the Cross</i> by, <a
+ href="#Page_55">55</a>.<br>
+Vasari (quoted), <a href="#Page_3">3</a>, <a href="#Page_48">48</a>, <a
+ href="#Page_49">49</a>, <a href="#Page_55">55</a>, <a href="#Page_64">64</a>,
+<a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a
+ href="#Page_68">68</a>,
+<a href="#Page_80">80</a>, <a href="#Page_107">107 note</a>.<br>
+Vecellio, Francesco, Giorgione's <i>Madonna</i> at Madrid attributed
+to, 45 note.<br>
+Venturi, Signor (quoted), <a href="#Page_18">18</a>, <a
+ href="#Page_32">32</a>,
+<a href="#Page_35">35</a>, <a href="#Page_56">56</a>, 57 note, <a
+ href="#Page_74">74</a>, <a href="#Page_76">76</a>, <a href="#Page_80">80</a>,
+<a href="#Page_85">85</a>, <a href="#Page_91">91</a>, <a
+ href="#Page_97">97</a>,
+<a href="#Page_98">98</a>.<br>
+<i>Venus</i> (Dresden), <a href="#Page_35">35</a>-<a href="#Page_37">37</a>,
+<a href="#Page_40">40</a>, <a href="#Page_44">44</a>, <a
+ href="#Page_65">65</a>,
+<a href="#Page_94">94</a>, <a href="#Page_117">117</a>, <a
+ href="#Page_118">118</a>, <a href="#Page_154">154</a>, <a
+ href="#Page_36">ill. 36</a>;<br>
+<span style="margin-left: 1em;">copied by Titian, <a href="#Page_99">99</a>,
+<a href="#Page_100">100</a>.</span><br>
+<i>Venus and Adonis</i> (National Gallery), <a href="#Page_94">94</a>,
+<a href="#Page_149">149</a>, <a href="#Page_94">ill. 94</a>.<br>
+<i>Venus disarming Cupid</i> (Wallace Collection), <a href="#Page_93">93</a>,
+<a href="#Page_151">151</a>.<br>
+Vivarini, Alvise, <a href="#Page_114">114</a>.<br>
+<br>
+Wickhoff, Herr Franz (quoted), <a href="#Page_11">11</a>, <a
+ href="#Page_40">40</a>, <a href="#Page_47">47</a>, <a href="#Page_87">87</a>,
+<a href="#Page_88">88</a>, <a href="#Page_126">126</a>.<br>
+<br>
+Zanetti, <a href="#Page_56">56</a>, <a href="#Page_65">65</a>.<br>
+<br>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Giorgione, by Herbert Cook
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@@ -0,0 +1,5759 @@
+The Project Gutenberg EBook of Giorgione, by Herbert Cook
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Giorgione
+
+Author: Herbert Cook
+
+Release Date: May 9, 2004 [EBook #12307]
+
+Language: English, with Italian and French
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GIORGIONE ***
+
+
+
+
+Produced by Dave Morgan, Wilelmina Malliere and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+
+
+
+
+[Illustration: Art Repro Co.
+
+Madonna & Child with two Saints.
+
+From the painting by Giorgione at Castelfranco.]
+
+
+
+
+GIORGIONE
+
+BY
+
+HERBERT COOK, M.A., F.S.A.
+
+BARRISTER-AT-LAW
+
+
+
+1904
+
+
+
+
+     "Born half-way between the mountains and the sea--that young George
+     of Castelfranco--of the Brave Castle: Stout George they called him,
+     George of Georges, so goodly a boy he was--Giorgione."
+
+     (RUSKIN: _Modern Painters_, vol. V. pt. IX. ch. IX.)
+
+_First Published, November 1900 Second Edition, revised, with new
+Appendix, February 1904._
+
+
+
+
+PREFACE
+
+Unlike most famous artists of the past, Giorgione has not yet found a
+modern biographer. The whole trend of recent criticism has, in his case,
+been to destroy not to fulfil. Yet signs are not wanting that the
+disintegrating process is at an end, and that we have reached the point
+where reconstruction may be attempted. The discovery of documents and
+the recovery of lost pictures in the last few years have increased the
+available material for a more comprehensive study of the artist, and the
+time has come when the divergent results arrived at by independent
+modern inquirers may be systematically arranged, and a reconciliation of
+apparently conflicting views attempted on a psychological basis.
+
+Crowe and Cavalcaselle were the first to examine the subject critically.
+They separated--so far as was then possible (1871)--the real from the
+traditional Giorgione, and their account of his life and works must
+still rank as the nearest equivalent to a modern biography. Morelli, who
+followed in 1877, was in singular sympathy with his task, and has
+written of his favourite master enthusiastically, yet with consummate
+judgment. Among living authorities, Dr. Gronau, Herr Wickhoff, Signor
+Venturi, and Mr. Bernhard Berenson have contributed effectively to the
+elucidation of obscure or disputed points, and the latter writer has
+probably come nearer than anyone to recognise the scope of Giorgione's
+art, and grasp the man behind his work. The monograph by Signor Conti
+and the chapter in Pater's _Renaissance_ may be read for their delicate
+appreciations of the "Giorgionesque"; other contributions on the subject
+will be found in the Bibliography.
+
+It is absolutely necessary for those whose judgment depends upon a study
+of the actual pictures to be constantly registering and adjusting their
+impressions. I have personally seen and studied all the pictures I
+believe to be by Giorgione, with the exception of those at St.
+Petersburg; and many galleries and churches where they hang have been
+visited repeatedly, and at considerable intervals of time. If in the
+course of years my individual impressions (where they deviate from
+hitherto recognised views) fail to stand the test of time, I shall be
+the first to admit their inadequacy. If, on the other hand, they prove
+sound, some of the mists which at present envelop the figure of
+Giorgione will have been dispersed.
+
+H.C.
+
+_November 1900_
+
+
+
+
+NOTE TO THE SECOND EDITION
+
+To this Edition an Appendix has been added, containing--(1) an article
+by the Author on the age of Titian, which was published in the
+_Nineteenth Century_ of January 1902; (2) the translation of a reply by
+Dr. Georg Gronau, published in the _Repertorium fuer Kunstwissenschaft_;
+(3) a further reply by the Author, published in the same German
+periodical.
+
+The writer wishes to acknowledge his indebtedness to the Editors of the
+_Nineteenth Century_ and of the _Repertorium_ for permission to reprint
+these articles.
+
+A better photograph of the "Portrait of an Unknown Man" at Temple Newsam
+has now been taken (p. 87), and sundry footnotes have been added to
+bring the text up to date.
+
+H. C.
+
+ESHER, _January 1904_.
+
+
+
+
+CONTENTS
+
+LIST OF ILLUSTRATIONS
+
+BIBLIOGRAPHY
+
+
+Chapter    I. GIORGIONE'S LIFE
+
+          II. GIORGIONE'S GENERALLY ACCEPTED WORKS
+
+         III. INTERMEDIATE SUMMARY
+
+          IV. ADDITIONAL PICTURES--PORTRAITS
+
+           V. ADDITIONAL PICTURES--OTHER SUBJECTS
+
+          VI. GIORGIONE'S ART, AND PLACE IN HISTORY
+
+APPENDIX I--DOCUMENTS
+
+APPENDIX II--THE AGE OF TITIAN
+
+CATALOGUE OF WORKS
+
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+Madonna, with SS. Francis and Liberale. _Castelfranco_.
+
+Adrastus and Hypsipyle. _Palazzo Giovanelli, Venice_
+
+Aeneas, Evander, and Pallas. _Vienna Gallery_
+
+The Judgment of Solomon. _Uffizi Gallery_
+
+The Trial of Moses. _Uffizi Gallery_
+
+Christ bearing the Cross. _Collection of Mrs. Gardner, Boston, U.S.A._
+
+Knight of Malta. _Uffizi Gallery_
+
+The Adoration of the Shepherds. _Vienna Gallery_
+
+The Judgment of Solomon. _Collection of Mrs. Ralph Bankes, Kingston
+Lacy_
+
+Portrait of a Young Man. _Berlin Gallery_
+
+Portrait of a Man. _Buda-Pesth Gallery_
+
+Portrait of a Lady. _Borghese Gallery, Rome_
+
+Apollo and Daphne. _Seminario, Venice_
+
+Venus. _Dresden Gallery_
+
+Judith. _Hermitage Gallery, St. Petersburg_
+
+Pastoral Symphony. _Louvre, Paris_
+
+The Three Ages. _Pitti Gallery_
+
+Nymph and Satyr. _Pitti Gallery_
+
+Madonna, with SS. Roch and Francis. _Prado, Madrid_
+
+The Birth of Paris--Copy of a portion. _Buda-Pesth Gallery_
+
+Shepherd Boy. _Hampton Court_
+
+Portrait of a Man. (By Torbido) _Padua Gallery_
+
+The Concert. _Pitti Gallery_
+
+The Adoration of the Magi (or Epiphany). _National Gallery_
+
+Christ bearing the Cross. _Collection of Duke of Devonshire, Chatsworth._
+(Sketch by Vandyck, after the original by Giorgione in S. Rocco, Venice)
+
+Mythological Scenes. Two _Cassone_ pieces _Padua Gallery_
+
+Portrait of "Ariosto". _Collection of the Earl of Darnley, Cobham Hall_
+
+Portrait of Caterina Cornaro. _Collection of Signor Crespi, Milan_
+
+Bust of Caterina Cornaro. _Pourtales Collection, Berlin_
+
+Portrait of "A Poet". _National Gallery_
+
+Portrait of a Man. _Querini-Stampalia Gallery, Venice_
+
+Portrait of a Man. _Collection of the Hon. Mrs. Meynell-Ingram, Temple
+Newsam_.
+
+Portrait of "Parma, the Physician". _Vienna Gallery_
+
+Orpheus and Eurydice. _Bergamo Gallery_
+
+The Golden Age (?). _National Gallery_
+
+Venus and Adonis. _National Gallery_
+
+Holy Family. _Collection of Mr. Robert Benson, London_
+
+The "Gipsy" Madonna. _Vienna Gallery_
+
+Madonna. _Collection of Mr. Robert Benson, London_
+
+The Adulteress before Christ. _Glasgow Gallery_
+
+Madonna and Saints. _Louvre, Paris_
+
+
+
+
+BIBLIOGRAPHY
+
+
+ANONIMO. "Notizia d'opere di disegno." Ed. Frizzoni. Bologna, 1884.
+_Passim._
+
+_Archivio Storico dell' Arte_ (now _L'Arte_), 1888, p. 47. (See also
+_sub_ Venturi.)
+
+_Art Journal_. 1895. p. 90. (Dr. Richter.)
+
+BERENSON, B. "Venetian Painting at the New Gallery." 1895. (Privately
+printed.) "Venetian Painters of the Renaissance." Third edition, 1897.
+Putnam, London. _Gazette des Beaux Arts_, 1897, p. 279.
+
+BURCKHARDT. "Cicerone." Sixth edition, 1893. (Dr. Bode.)
+
+CONTI, A. "Giorgione, Studio." Florence, 1894.
+
+CROWE AND CAVALCASELLE. "History of Painting in North Italy," vol. ii.
+London, 1871. "Life of Titian." Two vols.
+
+FRY, ROGER. "Giovanni Bellini." London, 1899.
+
+GRONAU, DR. G. _Gazette des Beaux Arts_, 1894, p. 332. _Repertorium fuer
+Kunstwissenschaft_, xviii. 4, p. 284. "Zorzon da Castelfranco. La sua
+origine, la sua morte, e tomba." Venice, 1894. "Tizian." Berlin, 1900.
+
+LAFENESTRE, G. "La vie et l'oeuvre de Titien." Paris, 1886.
+
+LOGAN, MARY. "Guide to the Italian Pictures at Hampton Court." London,
+1894.
+
+_Magazine of Art_, 1890, pp. 91 and 138. (Sir W. Armstrong.) 1893.
+April. (Mr. W.F. Dickes.)
+
+MORELLI, GIOVANNI. "Italian Painters." Translated by C.J. Ffoulkes.
+London, 1892. Vols. i. and ii. _passim_.
+
+MUeNTZ, E. "La fin de la Renaissance." Paris.
+
+New Gallery Catalogue of Exhibition of Venetian Art, 1895.
+
+PATER, W. "The Renaissance." Chapter on the School of Giorgione. London,
+1893.
+
+PHILLIPS, CLAUDE. _Gazette des Beaux Arts_, 1884, p. 286. _Magazine of
+Art_, July 1895. "The Picture Gallery of Charles I." (_Portfolio_,
+January 1896). "The Earlier Work of Titian" (_Portfolio_, October 1897).
+_North American Review_, October 1899.
+
+_Repertorium fuer Kunstwissenschaft_. Bd. xiv. p. 316. (Herr von
+Seidlitz.) Bd. xix. Hft. 6. (Dr. Harck.)
+
+RIDOLFI, C. "Le Maraviglie dell' arte della pittura." Venice, 1648.
+
+Royal Academy. Catalogues of the Exhibitions of Old Masters.
+
+VASARI. "Le Vite." Ed. Sansoni. Florence, 1879. Translation edited by
+Blashfield and Hopkins, with Notes. London, 1897.
+
+VENTURI, ADOLFO. _Archivio Storico dell' Arte_, vi. 409, 412. _L'Arte_,
+1900, p. 24, etc. "La Galleria Crespi in Milano," 1900.
+
+WICKHOFF, F. _Gazette des Beaux Arts_, 1893, p. 135. _Jahrbuch der
+Preussischen Kunstsammlungen_, 1895. Heft i.
+
+ZANETTI, A. "Varie Pitture," etc., with engravings of some fragments
+from the Fondaco de' Tedeschi frescoes, 1760.
+
+
+
+
+
+GIORGIONE
+
+CHAPTER I
+
+GIORGIONE'S LIFE
+
+
+Apart from tradition, very few ascertained facts are known to us as to
+Giorgione's life. The date of his birth is conjectural, there being but
+Vasari's unsupported testimony that he died in his thirty-fourth year.
+Now we know from unimpeachable sources that his death happened in
+October-November 1510,[1] so that, assuming Vasari's statement to be
+correct, Giorgione will have been born in 1477.[2]
+
+The question of his birthplace and origin has been in great dispute.
+Without going into the evidence at length, we may accept with some
+degree of certainty the results at which recent German research has
+arrived.[3] Dr. Gronau's conclusion is that Giorgione was the son (or
+grandson) of a certain Giovanni, called Giorgione of Castelfranco, who
+came originally from the village of Vedelago in the march of Treviso.
+This Giovanni was living at Castelfranco, of which he was a citizen, in
+1460, and there, probably, Giorgione his son (or grandson) was born some
+seventeen years later.
+
+The tradition that the artist was a natural son of one of the great
+Barbarella family, and that in consequence he was called Barbarelli, is
+now shown to be false. This cognomen is first found in 1648, in
+Ridolfi's book, to which, in 1697, the picturesque addition was made
+that his mother was a peasant girl of Vedelago.[4] None of the earlier
+writers or contemporary documents ever allude to such an origin, or
+speak of "Barbarelli," but always of "Zorzon de Castelfrancho," "Zorzi
+da Castelfranco," and the like,[5]
+
+We may take it as certain that Giorgione spent the whole of his short
+life in Venice and the neighbourhood. Unlike Titian, whose busy career
+was marked by constant journeyings and ever fresh incidents, the young
+Castelfrancan passed a singularly calm and uneventful life. Untroubled,
+apparently, by the storm and stress of the political world about him, he
+devoted himself with a whole-hearted simplicity to the advancement of
+his art. Like Leonardo, he early won fame for his skill in music, and
+Vasari tells us the gifted young lute-player was a welcome guest in
+distinguished circles. Although of humble origin, he must have possessed
+a singular charm of manner, and a comeliness of person calculated to
+find favour, particularly with the fair sex. He early found a
+quasi-royal friend and patroness in Caterina Cornaro, ex-Queen of
+Cyprus, whose portrait he painted, and whose recommendation, as I
+believe, secured for him important commissions in the like field. But we
+may leave Giorgione's art for fuller discussion in the following
+chapters, and only note here two outside events which were not without
+importance in the young artist's career.
+
+The one was the visit paid by Leonardo to Venice in the year 1500.
+Vasari tells us "Giorgione had seen certain works from the hand of
+Leonardo, which were painted with extraordinary softness, and thrown
+into powerful relief, as is said, by extreme darkness of the shadows, a
+manner which pleased him so much that he ever after continued to imitate
+it, and in oil painting approached very closely to the excellence of his
+model."[6] This statement has been combated by Morelli, but although
+historical evidence is wanting that the two men ever actually met, there
+is nothing improbable in Vasari's account. Leonardo certainly came to
+Venice for a short time in 1500, and it would be perfectly natural to
+find the young Venetian, then in his twenty-fourth year, visiting the
+great Florentine, long a master of repute, and from him, or from
+"certain works of his," taking hints for his own practice.[7]
+
+The second event of moment to which allusion may here be made was the
+great conflagration in the year 1504, when the Exchange of the German
+Merchants was burnt. This building, known as the Fondaco de' Tedeschi,
+occupying one of the finest sites on the Grand Canal, was rebuilt by
+order of the Signoria, and Giorgione received the commission to decorate
+the facade with frescoes. The work was completed by 1508, and became the
+most celebrated of all the artist's creations. The Fondaco still stands
+to-day, but, alas! a crimson stain high up on the wall is all that
+remains to us of these great frescoes, which were already in decay when
+Vasari visited Venice in 1541.
+
+Other work of the kind--all long since perished--Giorgione undertook
+with success. The Soranzo Palace, the Palace of Andrea Loredano, the
+Casa Flangini, and elsewhere, were frescoed with various devices, or
+ornamented with monochrome friezes.
+
+We know nothing of Giorgione's home life; he does not appear to have
+married, or to have left descendants. Vasari speaks of "his many friends
+whom he delighted by his admirable performance in music," and his death
+caused "extreme grief to his many friends to whom he was endeared by his
+excellent qualities." He enjoyed prosperity and good health, and was
+called Giorgione "as well from the character of his person as for the
+exaltation of his mind."[8]
+
+He died of plague in the early winter of 1510, and was probably buried
+with other victims on the island of Poveglia, off Venice, where the
+lazar-house was situated.[9] The tradition that his bones were removed
+in 1638 and buried at Castelfranco in the family vault of the Barbarelli
+is devoid of foundation, and was invented to round off the story of his
+supposed connection with the family.[10]
+
+NOTES:
+
+[1] See Appendix, where the documents are quoted in full.
+
+[2] Vasari gives 1478 (1477 in his first edition) and 1511 as the years
+of his birth and death. Crowe and Cavalcaselle, and Dr. Bode prefer to
+say "before 1477," a supposition which would make his precocity less
+phenomenal, and help to explain some chronological difficulties (see p.
+66).
+
+[3] _Zorzon da Castelfranco. La sua origine, la sua morte e tomba_, by
+Dr. Georg Gronau. Venice, 1894.
+
+[4] Vide _Repertorium fuer Kunstwissenschaft_, xix. 2, p. 166. [Dr.
+Gronau.]
+
+[5] It would seem, therefore, desirable to efface the name of Barbarelli
+from the catalogues. The National Gallery, for example, registers
+Giorgione's work under this name.
+
+[6] The translation given is that of Blashfield and Hopkins's edition.
+Bell, 1897.
+
+[7] M. Muentz adduces strong arguments in favour of this view (_La fin de
+la Renaissance_, p. 600).
+
+[8] The name "Giorgione" signifies "Big George." But it seems to have
+been also his father's name.
+
+[9] This visitation claimed no less than 20,000 victims.
+
+[10] See Gronau, _op. cit_. Tradition has been exceptionally busy over
+Giorgione's affairs. The story goes that he died of grief at being
+betrayed by his friend and pupil, Morto da Feltre, who had robbed him of
+his mistress. This is now proved false by the document quoted in the
+Appendix.
+
+
+
+
+CHAPTER II
+
+GENERALLY ACCEPTED WORKS
+
+
+Such, then, very briefly, are the facts of Giorgione's life recorded by
+the older biographers, or known by contemporary documents. Now let us
+turn to his artistic remains, the _disjecta membra_, out of which we may
+reconstruct something of the man himself; for, to those who can
+interpret it aright, a man's work is his best autobiography.
+
+This is especially true in the case of an artist of Giorgione's
+temperament, for his expression is so peculiarly personal, so highly
+charged with individuality, that every product of mental activity
+becomes a revelation of the man himself. People like Giorgione must
+express themselves in certain ways, and these ways are therefore
+characteristic. Some people regard a work of art as something external;
+a great artist, they say, can vary his productions at will, he can paint
+in any style he chooses. But the exact contrary is the truth. The
+greater the artist, the less he can divest himself of his own
+personality; his work may vary in degree of excellence, but not in kind.
+The real reason, therefore, why it is impossible for certain pictures to
+be by Giorgione is, not that they are not _good_ enough for him, but
+that they are not _characteristic_. I insist on this point, because in
+the matter of genuineness the touchstone of authenticity is so often to
+be looked for in an answer to the question: Is this or that
+characteristic? The personal equation is the all-important factor to be
+recognised; it is the connecting link which often unites apparently
+diverse phenomena, and explains what would otherwise appear to be
+irreconcilable.
+
+There is an intimate relation then between the artist and his work, and,
+rightly interpreted, the latter can tell us much about the former.
+
+Let us turn to Giorgione's work. Here we are brought face to face with
+an initial difficulty, the great difficulty, in fact, which has stood so
+much in the way of a more comprehensive understanding of the master, I
+mean, that scarcely anything of his work is authenticated. Three
+pictures alone have never been called in question by contending critics;
+outside this inner ring is more or less debatable ground, and on this
+wider arena the battle has raged until scarcely a shred of the painter's
+work has emerged unscathed. The result has been to reduce the figure of
+Giorgione to a shadowy myth, whose very existence, at the present rate
+at which negative criticism progresses, will assuredly be called in
+question.
+
+If Bacon wrote Shakespeare, then Giorgione can be divided up between a
+dozen Venetian artists, who "painted Giorgione." Fortunately three
+pictures survive which refuse to be fitted in anywhere else except under
+"Giorgione." This is the irreducible minimum, [Greek: _o anankaiotatos_]
+Giorgione, with which we must start.
+
+       *       *       *       *       *
+
+Of the three universally accepted pictures, first and foremost comes the
+Castelfranco altar-piece, according to Mr. Ruskin "one of the two most
+perfect pictures in existence; alone in the world as an imaginative
+representation of Christianity, with a monk and a soldier on either side
+... "[11] This great picture was painted before 1504, when the artist
+was only twenty-seven years of age,[12] a fact which clearly proves that
+his genius must have developed early. For not even a Giorgione can
+produce such a masterpiece without a long antecedent course of training
+and accomplishment. This is not the place to inquire into the nature and
+character of the works which lead up to this altar-piece, for a
+chronological survey ought to follow, not precede, an examination of all
+available material; it is important, nevertheless, to bear in mind that
+quite ten years had been passed in active work ere Giorgione produced
+this masterpiece.
+
+If no other evidence were forthcoming as to the sort of man the painter
+was, this one production of his would for ever stamp him as a person of
+exquisite feeling. There is a reserve, almost a reticence, in the way
+the subject is presented, which indicates a refined mind. An atmosphere
+of serenity pervades the scene, which conveys a sense of personal
+tranquillity and calm. The figures are absorbed in their own thoughts;
+they stand isolated apart, as though the painter wishes to intensify the
+mood of dreamy abstraction. Nothing disquieting disturbs the scene,
+which is one of profound reverie. All this points to Giorgione being a
+man of moods, as we say; a lyric poet, whose expression is highly
+charged with personal feeling, who appeals to the imagination rather
+than to the intellect. And so, as we might expect, landscape plays an
+important part in the composition; it heightens the pictorial effect,
+not merely by providing a picturesque background, but by enhancing the
+mood of serenity and solemn calm. Giorgione uses it as an instrument of
+expression, blending nature and human nature into happy unison. The
+effect of the early morning sun rising over the distant sea is of
+indescribable charm, and invests the scene with a poetic glamour which,
+as Morelli truly remarks, awakens devotional feelings. What must have
+been the effect when it was first painted! for even five modern
+restorations, under which the original work has been buried, have not
+succeeded in destroying the hallowing charm. To enjoy similar effects we
+must turn to the central Italian painters, to Perugino and Raphael;
+certainly in Venetian art of pre-Giorgionesque times the like cannot be
+found, and herein Giorgione is an innovator. Bellini, indeed, before him
+had studied nature and introduced landscape backgrounds into his
+pictures, but more for picturesqueness of setting than as an integral
+part of the whole; they are far less suggestive of the mood appropriate
+to the moment, less calculated to stir the imagination than to please
+the eye. Nowhere, in short, in Venetian art up to this date is a lyrical
+treatment of the conventional altar-piece so fully realised as in the
+Castelfranco Madonna.
+
+Technically, Giorgione proclaims himself no less an innovator. The
+composition is on the lines of a perfect equilateral triangle, a scheme
+which Bellini and the older Venetian artists never adopted.[13] So
+simple a scheme required naturally large and spacious treatment; flat
+surfaces would be in place, and the draperies cast in ample folds.
+Dignity of bearing, and majestic sweep of dress are appropriately
+introduced; the colour is rich and harmonious, the preponderance of
+various shades of green having a soothing effect on the eye. The golden
+glow which doubtless once suffused the whole, has, alas! disappeared
+under cruel restorations, and flatness of tone has inevitably resulted,
+but we may still admire the play of light on horizontal surfaces, and
+the chiaroscuro giving solidity and relief to the figures.
+
+An interesting link with Bellini is seen in the S. Francis, for the
+figure is borrowed from that master's altar-piece of S. Giobbe (now in
+the Venice Academy). Bellini's S. Francis had been painted seventeen or
+eighteen years before, and now we find Giorgione having recourse to the
+older master for a pictorial motive. But, as though to assert his
+independence, he has created in the S. Liberale a type of youthful
+beauty and manliness which in turn became the prototype of subsequent
+knightly figures. Palma Vecchio, Mareschalco, and Pennacchi all borrowed
+it for their own use, a proof that Giorgione's altar-piece acquired an
+early celebrity.[14]
+
+[Illustration: _Anderson photo. Giovanelli Palace, Venice_
+
+ADRASTUS AND HYPSIPYLE]
+
+Exquisite feeling is equally conspicuous in the other two works
+universally ascribed to Giorgione. These are the "Adrastus and
+Hypsipyle," in the collection of Prince Giovanelli, in Venice, and
+the "Aeneas, Evander, and Pallas," in the gallery at Vienna.[15]
+
+"The Giovanelli Figures," or "The Stormy Landscape, with the Soldier and
+the Gipsy," as the picture has been commonly called since the days of
+the Anonimo, who so described it in 1530, is totally unlike anything
+that Venetian art of the pre-Giorgionesque era has to show. The painted
+myth is a new departure, the creation of Giorgione's own brain, and as
+such, is treated in a wholly unconventional manner. His peculiarly
+poetical nature here finds full scope for display, his delicacy, his
+refinement, his sensitiveness to the beauties of the outside world, find
+fitting channels through which to express themselves. With what a spirit
+of romance Giorgione has invested his picture! So exquisitely personal
+is the mood, that the subject itself has taken his biographers nearly
+four centuries to decipher! For the artist, it must be noted, does not
+attempt to illustrate a passage of an ancient writer; very probably,
+nay, almost certainly, he had never read the _Thebaid_ of Statius,
+whence comes the story of Adrastus and Hypsipyle; the subject would have
+been suggested to him by some friend, a student of the Classics, and
+Giorgione thereupon dressed the old Greek myth in Venetian garb, just as
+Statius had done in the Latin.[16] The story is known to us only at
+second hand, and we are at liberty to choose Giorgione's version in
+preference to that of the Roman poet; each is an independent translation
+of a common original, and certainly Giorgione's is not the less
+poetical. He has created a painted lyric which is not an illustration
+of, but a parallel presentation to the written poem of Statius.
+
+Technically, the workmanship points to an earlier period than the
+Castelfranco Madonna, and there is an exuberance of fancy which points
+to a youthful origin. The figures are of slight and graceful build, the
+composition easy and unstudied, with a tendency to adopt a triangular
+arrangement in the grouping, the apex being formed by the storm scene,
+to which the eye thus naturally reverts. The figures and the landscape
+are brought into close relation by this subtle scheme, and the picture
+becomes, not figures with landscape background, but landscape with
+figures.
+
+The reproduction unduly exaggerates the contrasts of light and shade,
+and conveys little of the mellowness and richness of atmospheric effect
+which characterise the original. Unlike the brilliance of colouring in
+the Castelfranco picture, dark reds, browns, and greens here give a
+sombre tone which is accentuated by the dullness of surface due to old
+varnishes.
+
+[Illustration: _Hanfstaengl photo. Vienna Gallery_
+
+AENEAS, EVANDER, AND PALLAS]
+
+"The Three Philosophers," or "The Chaldean Sages," as the picture at
+Vienna has long been strangely named, shows the artist again treating a
+classical story in his own fantastic way. Virgil has enshrined in verse
+the legend of the arrival of the Trojan Aeneas in Italy,[17] and
+Giorgione depicts the moment when Evander, the aged seer-king, and his
+son Pallas point out to the wanderer the site of the future Capitol.
+Again we find the same poetical presentation, not representation, of a
+legendary subject, again the same feeling for the beauties of nature.
+How Giorgione has revelled in the glories of the setting sun, the long
+shadows of the evening twilight, the tall-stemmed trees, the moss-grown
+rock! The figures are but a pretext, we feel, for an idyllic scene,
+where the story is subordinated to the expression of sensuous charm.
+
+This work was seen by the Anonimo in 1525, in the house of Taddeo
+Contarini at Venice. It was then believed to have been completed by
+Sebastiano del Piombo, Giorgione's pupil. If so,--and there is no valid
+reason to doubt the statement,--Giorgione left unfinished a picture on
+which he was at work some years before his death, for the style clearly
+indicates that the artist had not yet reached the maturity of his later
+period. The figures still recall those of Bellini, the modelling is
+close and careful, the forms compact, and reminiscent of the
+quattrocento. It is noticeable that the type of the Pallas is identical
+with that of S. John Baptist in Sebastiano's early altar-piece in S.
+Giovanni Crisostomo at Venice, but it would be unwise to dramatise on
+the share (if any) which the pupil had in completing the work of his
+master. The credit of invention must indubitably rest with Giorgione,
+but the damage which the picture has sustained through neglect and
+repainting in years gone by, renders certainty of discrimination between
+the two hands a matter of impossibility.
+
+The colouring is rich and varied; the orange horizon, the distant blue
+hill, and the pale, clear evening light, with violet-tinted clouds, give
+a wonderful depth behind the dark tree-trunks. The effect of the
+delicate leaves and feathery trees at the edge of the rock, relieved
+against the pale sky, is superb. A spirit of solemnity broods over the
+scene, fit feeling at so eventful a moment in the history of the past.
+
+The composition, which looks so unstudied, is really arranged on the
+usual triangular basis. The group of figures on the right is balanced on
+the left by the great rock--the future Capitol--(which is thus brought
+prominently into notice), and the landscape background again forms the
+apex. The added depth and feeling for space shows how Giorgione had
+learnt to compose in three dimensions, the technical advance over the
+"Adrastus and Hypsipyle" indicating a period subsequent to that picture,
+though probably anterior to the Castelfranco altar-piece.
+
+       *       *       *       *       *
+
+We have now taken the three universally accepted Giorgiones; how are we
+to proceed in our investigations? The simplest course will be to take
+the pictures acknowledged by those modern writers who have devoted most
+study to the question, and examine them in the light of the results to
+which we have attained. Those writers are Crowe and Cavalcaselle, who
+published their account of Giorgione in 1871, and Morelli, who wrote in
+1877. Now it is notorious that the results at which these critics
+arrived are often widely divergent, but a great deal too much has been
+made of the differences and not enough of the points of agreement.
+As a matter of fact, Morelli only questions three of the thirteen
+Giorgiones accepted definitely by Crowe and Cavalcaselle. Leaving these
+three aside for the moment, we may take the remaining ten (three of
+which we have already examined), and after deducting three others in
+English collections to which Morelli does not specifically refer, we are
+left with four more pictures on which these rival authorities are
+agreed.
+
+[Illustration: _Alinari photo. Uffizi Gallery, Florence_
+
+THE JUDGMENT OF SOLOMON]
+
+These are the two small works in the Uffizi, representing the "Judgment
+of Solomon" and the "Trial of Moses," the "Knight of Malta," also in the
+Uffizi, and the "Christ bearing the Cross," till lately in the Casa
+Loschi at Vicenza, and now belonging to Mrs. Gardner of Boston, U.S.A.
+
+The two small companion pictures in the Uffizi, The "Judgment of
+Solomon" and the "Trial of Moses," or "Ordeal by Fire," as it is also
+called, connect in style closely with the "Adrastus and Hypsipyle." They
+are conceived in the same romantic strain, and carried out with scarcely
+less brilliance and charm. The story, as in the previous pictures, is
+not insisted upon; the biblical episode and the rabbinical legend are
+treated in the same fantastic way as the classic myth. Giovanni Bellini
+had first introduced this lyric conception in his treatment of the
+mediaeval allegory, as we see it in his picture, also in the Uffizi,
+hanging near the Giorgiones; all three works were originally together in
+the Medici residence of Poggio Imperiale, and there can be little doubt
+are intimately related in origin to one another. Bellini's latest
+biographer, Mr. Roger Fry, places this Allegory about the years 1486-8,
+a date which points to a very early origin for the other two.[18] For
+it is extremely likely that the young Giorgione was inspired by his
+master's example, and that he may have produced his companion pieces as
+early as 1493. With this deduction Morelli is in accord: "In character
+they belong to the fifteenth century, and may have been painted by
+Giorgione in his sixteenth or eighteenth year."[19]
+
+Here, then, is a clue to the young artist's earliest predilections. He
+fastens eagerly upon that phase of Bellini's art to which his own poetic
+temperament most readily responds. But he goes a step further than his
+master. He takes his subjects not from mediaeval romances, but from the
+Bible or rabbinical writings, and actually interprets them also in this
+new and unorthodox way. So bold a departure from traditional usage
+proves the independence and originality of the young painter. These two
+little pictures thus become historically the first-fruits of the
+neo-pagan spirit which was gradually supplanting the older
+ecclesiastical thought, and Giorgione, once having cast conventionalism
+aside, readily turns to classical mythology to find subjects for the
+free play of fancy. The "Adrastus and Hypsipyle" thus follows naturally
+upon "The Judgment of Solomon" and "Trial of Moses," and the pages of
+Virgil, Ovid, Statius, and Valerius Flaccus--all treasure-houses of
+golden legend--yield subjects suggestive of romance. The titles of some
+of these _poesie_, as they were called, are preserved in the pages of
+Ridolfi.[20]
+
+[Illustration: _Alinari photo. Uffizi Gallery, Florence_
+
+THE TRIAL OF MOSES]
+
+The tall and slender figures, the attitudes, and the general
+_mise-en-scene_ vividly recall the earlier style of Carpaccio, who was
+at this very time composing his delightful fairy tales of the "Legend of
+S. Ursula."[21] Common to both painters is a gaiety and love of beauty
+and colour. There is also in both a freedom and ease, even a homeliness
+of conception, which distinguishes their work from the pageant pictures
+of Gentile Bellini, whose "Corpus Christi Procession" was produced two
+or three years later, in 1496.[21] But Giorgione's art is instinct with
+a lyrical fancy all his own, the story is subordinated to the mood of
+the moment, and he is much more concerned with the beauty of the scene
+than with its dramatic import.
+
+The repainted condition of "The Judgment of Solomon" has led some good
+judges to pronounce it a copy. It certainly lacks the delicacy that
+distinguishes its companion piece, but may we not--with Crowe and
+Cavalcaselle and Morelli--register it rather as a much defaced original?
+
+So far as we have at present examined Giorgione's pictures, the trend of
+thought they display has been mostly in the direction of secular
+subjects. The two early examples just described show that even where the
+subject is quasi-religious, the revolutionary spirit made itself felt;
+but it would be perfectly natural to find the young artist also
+following his master Giambellini in the painting of strictly sacred
+subjects. No better example could be found than the "Christ bearing the
+Cross," the small work which has recently left Italy for America. We are
+told by the Anonimo that there was in his day (1525) a picture by
+Bellini of this subject, and it is remarkable that four separate
+versions exist to-day which, without being copies of one another, are so
+closely related that the existence of a common original is a legitimate
+inference. That this was by Bellini is more than probable, for the
+different versions are clearly by different painters of his school. By
+far the finest is the example which Crowe and Cavalcaselle and Morelli
+unhesitatingly ascribe to the young Giorgione; this version is, however,
+considered by Signor Venturi inferior to the one now belonging to Count
+Lanskeronski in Vienna.[22] Others who, like the writer, have seen both
+works, agree with the older view, and regard the latter version, like
+the others at Berlin and Rovigo, as a contemporary repetition of
+Bellini's lost original.[23]
+
+[Illustration: _Anderson photo. Collection of Mrs. Gardner, Boston,
+U.S.A._
+
+CHRIST BEARING THE CROSS]
+
+Characteristic of Giorgione is the abstract thought, the dreaminess of
+look, the almost furtive glance. The minuteness of finish reminds us of
+Antonello, and the turn of the head suggests several of the latter's
+portraits. The delicacy with which the features are modelled, the
+high forehead, and the lighting of the face are points to be noted, as
+we shall find the same characteristics elsewhere.
+
+[Illustration: _Alinari photo_] _[Uffizi Gallery, Florence_
+
+THE KNIGHT OF MALTA]
+
+The "Knight of Malta," in the Uffizi, is a more mature work, and reveals
+Giorgione to us as a portrait painter of remarkable power. The
+conception is dignified, the expression resolute, yet tempered by that
+look of abstract thought which the painter reads into the faces of his
+sitters. The hair parted in the middle, and brought down low at the
+sides of the forehead, was peculiarly affected by the Venetian gentlemen
+of the day, and this style seems to have particularly pleased Giorgione,
+who introduces it in many other pictures besides portraits. The oval of
+the face, which is strongly lighted, is also characteristic. This work
+shows no direct connection with Bellini's portraiture, but far more with
+that which we are accustomed to associate with the names of Titian and
+Palma. It dates probably from the early part of the sixteenth century,
+at a time when Giorgione was breaking with the older tradition which had
+strictly limited portraiture to the representation of the head only, or
+at most to the bust. The hand is here introduced, though Giorgione feels
+still compelled to account for its presence by introducing a rosary of
+large beads. In later years, as we shall see, the expressiveness of the
+human hand _per se_ will be recognised; but Giorgione already feels its
+significance in portraiture, and there is not one of his portraits which
+does not show this.[24]
+
+The list of Giorgione's works now numbers seven; the next three to be
+discussed are those that Crowe and Cavalcaselle added on their own
+account, but about which Morelli expressed no opinion. Two are in
+English private collections, the third in the National Gallery. This is
+the small "Knight in Armour," said to be a study for the figure of S.
+Liberale in the Castelfranco altar-piece. The main difference is that in
+the latter the warrior wears his helmet, whilst in the National Gallery
+example he is bareheaded. By some this little figure is believed to be a
+copy, or repetition with variations, of Giorgione's original, but it
+must honestly be confessed that absolutely no proof is forthcoming in
+support of this view. The quality of this fragment is unquestionable,
+and its very divergence from the Castelfranco figure is in its favour.
+It would perhaps be unsafe to dogmatise in a case where the material is
+so slight, but until its genuineness can be disproved by indisputable
+evidence, the claim to authenticity put forward in the National Gallery
+catalogue, following Crowe and Cavalcaselle's view, must be allowed.
+
+[Illustration: _Hanfstaengl photo. Vienna Gallery_
+
+THE ADORATION OF THE SHEPHERDS]
+
+The two remaining pictures definitely placed by Crowe and Cavalcaselle
+among the authentic productions of Giorgione are the "Adoration of the
+Shepherds," belonging to Mr. Wentworth Beaumont, and the "Judgment of
+Solomon," in the possession of Mr. Ralph Bankes at Kingston Lacy,
+Dorsetshire. The former (of which an inferior replica with differences
+of landscape exists in the Vienna Gallery) is one of the most poetically
+conceived representations of this familiar subject which exists. The
+actual group of figures forms but an episode in a landscape of the most
+entrancing beauty, lighted by the rising sun, and wrapped in a soft
+atmospheric haze. The landscapes in the two little Uffizi pictures are
+immediately suggested, yet the quality of painting is here far superior,
+and is much closer in its rendering of atmospheric effects to the
+"Adrastus and Hypsipyle." The figures, on the other hand, are weak, very
+unequal in size, and feebly expressed, except the Madonna, who has
+charm. The lights and shadows are treated in a masterly way, and
+contrasts of gloom and sunlight enhance the solemnity of the scene. The
+general tone is rich and full of subdued colour.
+
+Now if the name of Giorgione be denied this "Nativity," to which of the
+followers of Bellini are we to assign it?--for the work is clearly of
+Bellinesque stamp. The name of Catena has been proposed, but is now no
+longer seriously supported.[25] If for no other reason, the colour
+scheme is sufficient to exclude this able artist, and, versatile as he
+undoubtedly was, it may be questioned whether he ever could have
+attained to the mellowness and glow which suffuse this picture. The
+latest view enunciated[26] is that "we are in the presence of a painter
+as yet anonymous, whom in German fashion we might provisionally name
+'The Master of the Beaumont "Adoration."'" Now this system of labelling
+certain groups of paintings showing common characteristics is all very
+well in cases where the art history of a particular school or period is
+wrapt in obscurity, and where few, if any, names have come down to us,
+but in the present instance it is singularly inappropriate. To begin
+with, this anonymous painter is the author, so it is believed, of only
+three works, this "Adoration," the "Epiphany," in the National Gallery,
+No. 1160, and a small "Holy Family," belonging to Mr. Robert Benson in
+London, for all three works are universally admitted to be by the same
+hand. Next, this anonymous painter must have been a singularly refined
+and poetical artist, a master of brilliant colour, and an accomplished
+chiaroscurist. Truly a _deus ex machina_! Next you have to find a
+vacancy for such a phenomenon in the already crowded lists of Bellini's
+pupils and followers, as if there were not more names than enough
+already to fully account for every Bellinesque production.[27] No, this
+is no question of compromise, of the dragging to light some hitherto
+unknown genius whose identity has long been merged in that of bigger
+men, but it is the recognition of the fact that the greater comprises
+the less. Admitting, as we may, that these three pictures are inferior
+in "depth, significance, cohesion, and poetry" (!) to the Castelfranco
+"Madonna," there is nothing to show that they are not characteristic of
+Giorgione, that they do not form part of a consistent whole. As a matter
+of fact, this "Adoration of the Shepherds" connects very well with the
+early _poesie_ already discussed. There is some opposition between the
+sacred theme and Giorgione's natural dislike to tell a mere story; but
+he has had to conform to traditional methods of representation, and the
+feeling of restraint is felt in the awkward drawing of the figures, and
+their uneven execution. That he felt dissatisfied with this portion of
+the work, the drawing at Windsor plainly shows, for the figures appear
+here in a different position, as if he had tried to recast his scheme.
+
+Some may object that the drawing of the shepherd is atrocious, and that
+the figures are of disproportionate sizes. Such failings, they say,
+cannot be laid to a great master's charge. This is an appeal to the old
+argument that it is not _good_ enough, whereas the true test lies in the
+question, Is it _characteristic_? Of Giorgione it certainly is a
+characteristic to treat each figure in a composition more or less by
+itself; he isolates them, and this conception is often emphasised by an
+outward disparity of size. The relative disproportion of the figures in
+the Castelfranco altar-piece, and of those of Aeneas and Evander in the
+Vienna picture can hardly be denied, yet no one has ever pleaded this as
+a bar to their authenticity. Instances of this want of cohesion, both in
+conception and execution, between the various figures in a scene could
+be multiplied in Giorgione's work, no more striking instance being found
+than in the great undertaking he left unfinished--the large "Judgment of
+Solomon," next to be discussed. Moreover, eccentricities of drawing are
+not uncommon in his work, as a reference to the "Adrastus and
+Hypsipyle," and later works, like the "Fete Champetre" (of the Louvre),
+will show.
+
+I have no hesitation, therefore, in recognising this "Adoration of the
+Shepherds" as a genuine work of Giorgione, and, moreover, it appears to
+be the masterpiece of that early period when Bellini's influence was
+still strong upon him.
+
+The Vienna replica, I believe, was also executed by Giorgione himself.
+Until recent times, when an all too rigorous criticism condemned it to
+be merely a piece of the "Venezianische Schule um 1500" (which is
+correct as far as it goes),[28] it bore Giorgione's name, and is so
+recorded in an inventory of the year 1659. It differs from the Beaumont
+version chiefly in its colouring, which is silvery and of delicate
+tones. It lacks the rich glow, and has little of that mysterious glamour
+which is so subtly attractive in the former. The landscape is also
+different. We must be on our guard, therefore, against the view that it
+is merely a copy; differences of detail, especially in the landscape,
+show that it is a parallel work, or a replica. Now I believe that these
+two versions of the "Nativity" are the two pictures of "La Notte," by
+Giorgione, to which we have allusion in a contemporary document.[29] The
+description, "Una Notte," obviously means what we term "A Nativity"
+(Correggio's "Heilige Nacht" at Dresden is a familiar instance of the
+same usage), and the difference in quality between the two versions is
+significantly mentioned. It seems that Isabella d'Este, the celebrated
+Marchioness of Mantua, had commissioned one of her agents in Venice to
+procure for her gallery a picture by Giorgione. The agent writes to his
+royal mistress and tells her (October 1510) that the artist is just
+dead, and that no such picture as she describes--viz. "Una Nocte"[A]--is
+to be found among his effects. However, he goes on, Giorgione did paint
+two such pictures, but these were not for sale, as they belonged to two
+private owners who would not part with them. One of these pictures was
+of better design and more highly finished than the other, the latter
+being, in his opinion, not perfect enough for the royal collection. He
+regrets accordingly that he is unable to obtain the picture which the
+Marchioness requires.
+
+If my conjecture be right, we have in the Beaumont and Vienna
+"Nativities" the only two pictures of Giorgione to which allusion is
+made in an absolutely contemporary document, and they thus become
+authenticated material with which to start a study of the master.
+
+The next picture, which Crowe and Cavalcaselle accept without question,
+is the large "Judgment of Solomon," belonging to Mr. Bankes at Kingston
+Lacy. The scene is a remarkable one, conceived in an absolutely unique
+way; Solomon is here posed as a Roman Praetor giving judgment in the
+Atrium, supported on each side by onlookers attired in fanciful costume
+of the Venetian period, or suggestive of classical models. It is the
+strangest possible medley of the Bellinesque and the antique, knit
+together by harmonious colouring and a clever grouping of figures in a
+triangular design. As an interpretation of a dramatic scene it is
+singularly ineffective, partly because it is unfinished, some of the
+elements of the tragedy being entirely wanting, partly because of an
+obvious stageyness in the action of the figures taking part in the
+scene. There is a want of dramatic unity in the whole; the figures are
+introduced in an accidental way, and their relative proportion is not
+accurately preserved; the executioner, for example, is head and
+shoulders larger than anyone else, whilst the two figures standing on
+the steps of Solomon's throne are in marked contrast. The one with the
+shield, on the left, is as monumental as one of Bramante's creations,
+the old gentleman with the beard, on the right, is mincing and has no
+shoulders. Solomon himself appears as a young man of dark complexion, in
+an attitude of self-contained determination; the way his hands rest on
+the sides of the throne is very expressive. His drapery is cast in
+curious folds of a zig-zag character, following the lines of the
+composition, whilst the dresses of the other personages fall in broad
+masses to the ground. The light and shade are cleverly handled, and the
+spaciousness of the scene is enhanced by the rows of columns and the
+apse of mosaics behind Solomon's head. The painter was clearly versed in
+the laws of perspective, and indicates depth inwards by placing the
+figures behind one another on a tesselated pavement or on the receding
+steps of the throne, giving at the same time a sense of atmospheric
+space between one figure and another. The colour scheme is delightful,
+full-toned orange and red alternating with pale blues, olive green, and
+delicate pink, the contrasts so subdued by a clever balance of light and
+shade as to harmonise the whole in a delicate silvery key.
+
+[Illustration: _Dixon photo. Collection of Mr. Ralph Bankes,
+Kingston-Lacey, England_
+
+THE JUDGMENT OF SOLOMON (Unfinished)]
+
+The unfinished figure of the executioner evidently caused the artist
+much trouble, for _pentimenti_ are frequent, and other outlines can be
+distinctly traced through the nude body. The effect of this clumsy
+figure is far from satisfactory; the limbs are not articulated
+distinctly; moreover, the balance of the whole composition is seriously
+threatened by the tragedy being enacted at the side instead of in the
+middle. The artist appears to have felt this difficulty so much that he
+stopped short at this point; at any rate, the living child remains
+unrepresented, nor is there any second child such as is required to
+illustrate the story. It looks as though the scheme was not carefully
+worked out before commencing, and that the artist found himself in
+difficulties at the last, when he had to introduce the dramatic motive,
+which apparently was not to his taste.
+
+Now, all this fits in exactly with what we know of Giorgione's
+temperament; lyrical by nature, he would shrink from handling a great
+dramatic scene, and if such a task were imposed upon him he would
+naturally treat three-fourths of the subject in his own fantastic way,
+and do his best to illustrate the action required in the remaining part.
+The result would be (what might be expected) forced or stagey, and the
+action rhetorical, and that is exactly what has happened in this
+"Judgment of Solomon."
+
+It is a natural inference that, supposing Giorgione to be the painter,
+he would never have selected such a subject of his own free will to be
+treated, as this is, on so large a scale. There may be, therefore,
+something in the suggestion which Crowe and Cavalcaselle make that this
+may be the large canvas ordered of Giorgione for the audience chamber
+of the Council, "for which purpose," they add, "the advances made to him
+in the summer of 1507 and in January 1508 show that the work he had
+undertaken was of the highest consequence."[30]
+
+Be this as it may, the picture was in Venice, in the Casa Grimani di
+Santo Ermagora,[31] in Ridolfi's day (1646), and that writer specially
+mentions the unfinished executioner. It passed later into the
+Marescalchi Gallery at Bologna, where it was seen by Lord Byron (1820),
+and purchased at his suggestion by his friend Mr. Bankes, in whose
+family it still remains.[32]
+
+It will be gathered from what I have written that Giorgione and no other
+is, in my opinion, the author of this remarkable work. Certain of the
+figures are reminiscent of those by him elsewhere--e.g. the old man with
+the beard is like the Evander in the Vienna picture, the young man next
+the executioner resembles the Adrastus in the Giovanelli figures, and
+the young man stooping forward next to Solomon recurs in the "Three
+Ages," in the Pitti, which Morelli considered to be by Giorgione. The
+most obvious resemblances, however, are to be found in the Glasgow
+"Adulteress before Christ," a work which several modern critics assign
+to Cariani, although Dr. Bode, Sir Walter Armstrong, and others,
+maintain it to be a real Giorgione. Consistently enough, those who
+believe in Cariani's authorship in the one case, assert it in the
+other,[33] and as consistently I hold that both are by Giorgione. It is
+conceivable that Cariani may have copied Giorgione's types and
+attitudes, but it is inconceivable to me that he can have so entirely
+assimilated Giorgione's temperament to which this "Judgment of Solomon"
+so eloquently witnesses. Moreover, let no one say that Cariani executed
+what Giorgione designed, for, in spite of its imperfect condition, the
+technique reveals a painter groping his way as he works, altering
+contours, and making corrections with his brush; in fact, it has all the
+spontaneity which characterises an original creation.
+
+The date of its execution may well have been 1507-8, perhaps even
+earlier; at any rate, we must not argue from its unfinished state that
+the painter's death prevented completion, for the style is not that of
+Giorgione's last works. Rather must we conclude that, like the "Aeneas
+and Evander," and several other pictures yet to be mentioned, Giorgione
+stopped short at his work, unwilling to labour at an uncongenial task
+(as, perhaps, in the present case), or from some feeling of
+dissatisfaction at the result, nay, even despair of ever realising his
+poetical conceptions.
+
+To this important trait in Giorgione's character further reference will
+be made when all the available material has been examined; suffice it
+for the moment that this "Judgment of Solomon" is to me a most _typical_
+example of the great artist's work, a revelation alike of his weaknesses
+as of his powers.
+
+Following our method of investigation we will next consider the
+pictures which Morelli accredits to Giorgione over and above the seven
+already discussed, wherein he concurs with Crowe and Cavalcaselle. These
+are twelve in number, and include some of the master's finest works,
+some of them unknown to the older authorities, or, at any rate,
+unrecorded by them. Here, therefore, the opinions of Crowe and
+Cavalcaselle are not of so much weight, so it will be necessary to see
+how far Morelli's views have been confirmed by later writers during the
+last twenty years.
+
+Three portraits figure in Morelli's list--one at Berlin, one at
+Buda-Pesth, and one in the Borghese Gallery at Rome.
+
+[Illustration: _Hanfstaengl photo. Berlin Gallery_
+
+PORTRAIT OF A YOUNG MAN]
+
+First, as to the Berlin "Portrait of a Young Man," which, when Morelli
+wrote, belonged to Dr. Richter, and was afterwards acquired for the
+Berlin Gallery. "In it we have one of those rare portraits such as only
+Giorgione, and occasionally Titian, were capable of producing, highly
+suggestive, and exercising over the spectator an irresistible
+fascination."[34] Such are the great critic's enthusiastic words, and no
+one surely to-day would be found to gainsay them. We may note the
+characteristic treatment of the hair, the thoughtful look in the eyes,
+and the strong light on the face in contrast to the dark frame of hair,
+points which this portrait shares in common with the "Knight of Malta"
+in the Uffizi. Particularly to be noticed, however, is the parapet on
+which the fingers of one hand are visible, and the mysterious letters
+VV.[35] Allusion has already been made to the growing practice in
+Venetian art of introducing the hand as a significant feature in
+portrait painting, and here we get the earliest indications of this
+tendency in Giorgione; for this portrait certainly ante-dates the
+"Knight of Malta." It would seem to have been painted quite early in the
+last decade of the fifteenth century, when Bellini's art would still be
+the predominant influence over the young artist.
+
+It is but a step onward to the next portrait, that of a young man, in
+the Gallery at Buda-Pesth, but the supreme distinction which marks this
+wonderful head stamps it as a masterpiece of portraiture. Venetian art
+has nothing finer to show, whether for its interpretative qualities, or
+for the subtlety of its execution. Truly Giorgione has here foreshadowed
+Velasquez, whose silveriness of tone is curiously anticipated; yet the
+true Giorgionesque quality of magic is felt in a way that the impersonal
+Spaniard never realised. Only those who have seen the original can know
+of the wonderful atmospheric background, with sky, clouds, and hill-tops
+just visible. The reproduction, alas! gives no hint of all this. Nor can
+one appreciate the superb painting of the black quilted dress, with its
+gold braid, or of the shining black hair, confined in a brown net. The
+artist must have been in keen sympathy with this melancholy figure, for
+the expression is so intense that, as Morelli says, "he seems about to
+confide to us the secret of his life."[36]
+
+Several points claim our attention. First, the parapet has an almost
+illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the
+young man's name. Further, we may notice the recurrence of the letter V
+on a black device, and there is a second curious black tablet, which,
+however, has nothing on it. Between the two is a circle with a device of
+three heads in one surrounded by a garland of flowers. No satisfactory
+explanation of these symbols can be offered, but if the second black
+tablet had originally another V, we might conclude that these letters
+were in some mysterious way connected with Giorgione, as they appear
+also on the Berlin portrait. I shall be able to show that another
+instance of this double V exists on yet another portrait by
+Giorgione.[37]
+
+Finally, the expressiveness of the human hand is here fully realised.
+This feature alone points to a later date than the "Knight of Malta,"
+and considerably after the still earlier Berlin portrait. The consummate
+mastery of technique, moreover, indicates that Giorgione has here
+reached full maturity, so that it would be safe to place this portrait
+about the year 1508.
+
+[Illustration: _Buda-Pesth Gallery_
+
+PORTRAIT OF A MAN]
+
+Signor Venturi ("La Galleria Crespi") ascribes this portrait to Licinio.
+This is one of those inexplicable perversions of judgment to which even
+the best critics are at times liable. In _L'Arte_, 1900, p. 24, the same
+writer mentions that a certain Antonio Broccardo, son of Marino, made
+his will in 1527, and that the same name occurs among those who
+frequented the University of Bologna in 1525. There is nothing to
+prevent Giorgione having painted this man's portrait when younger.
+
+[Illustration: _Anderson photo. Borghese Gallery, Rome_
+
+PORTRAIT OF A LADY]
+
+The third portrait in Morelli's list has not had the same friendly
+reception at the hands of later critics as the preceding two have had.
+This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose
+discovery by Morelli is so graphically described in a well-known
+passage.[38] And in truth it must be confessed that the authorship of
+this portrait is not at first sight quite so evident as in the other
+cases; nevertheless I am firmly convinced that Morelli saw further than
+his critics, and that his intuitive judgment was in this instance
+perfectly correct.[39] The simplicity of conception, the intensity of
+expression, the pose of the figure alike proclaim the master, whose
+characteristic touch is to be seen in the stone ledge, the fancy
+head-dress, the arrangement of hair, and the modelling of the features.
+The presence of the hands is characteristically explained by the
+handkerchief stretched tight between them, the action being expressive
+of suppressed excitement: "She stands at a window ... gazing out with a
+dreamy, yearning expression, as if seeking to descry one whom she
+awaits."
+
+Licinio, whose name has been proposed as the painter, did indeed follow
+out this particular vein of Giorgione's portraiture, so that "Style of
+Licinio" is not an altogether inapt attribution; but there is just that
+difference of quality between the one man's work and the other, which
+distinguishes any great man from his followers, whether in literature or
+in art. How near (and yet how far!) Licinio came to his great prototype
+is best seen in Lady Ashburton's "Portrait of a Young Man,"[40] but that
+he could have produced the Borghese "Lady" presupposes qualities he
+never possessed. "To Giorgione alone was it given to produce portraits
+of such astonishing simplicity, yet so deeply significant, and capable,
+by their mystic charm, of appealing to our imagination in the highest
+degree."[41]
+
+The actual condition of this portrait is highly unsatisfactory, and is
+adduced by some as a reason for condemning it. Yet the spirit of the
+master seems still to breathe through the ruin, and to justify Morelli's
+ascription, if not the enthusiastic language in which he writes.
+
+[Illustration: _Anderson photo. Seminario, Venice_
+
+APOLLO AND DAPHNE]
+
+With the fourth addition on Morelli's list we pass into a totally
+different sphere of art--the decoration of _cassoni_, and other pieces
+of furniture. We have seen Giorgione at work on legendary stories or
+classic myths, creating out of these materials pages of beauty and
+romance in the form of easel paintings, and now we have the same thing
+as applied art--that is, art used for purely decorative purposes. The
+"Apollo and Daphne" in the Seminario at Venice was probably a panel of a
+_cassone_; but although intended for so humble a place, it is instinct
+with rare poetic feeling and beauty. Unfortunately it is in such a bad
+state that little remains of the original work, and Giorgione's touch
+is scarcely to be recognised in the damaged parts. Nevertheless, his
+spirit breathes amidst the ruin, and modern critics have recognised the
+justice of Morelli's view, rather than that of Crowe and Cavalcaselle,
+who suggested Schiavone as the "author."[42] And, indeed, a comparison
+with the "Adrastus and Hypsipyle" is enough to show a common origin,
+although, as we might expect, the same consummate skill is scarcely to
+be found in the _cassone_ panel as in the easel picture. There is a rare
+daintiness, however, in these graceful figures, so essentially
+Giorgionesque in their fanciful presentation, the young Apollo, a
+lovely, fair-haired boy, pursuing a maiden with flowing tresses, whose
+identity with Daphne is only to be recognised by the laurel springing
+from her fingers. The story is but an episode in a sylvan scene, where
+other figures, in quaint costumes, seem to be leading an idyllic
+existence, untroubled by the cares of life, and utterly unconcerned at
+the strange event passing before their eyes.
+
+From the "Apollo and Daphne" it is an easy transition to the "Venus,"
+that great discovery which we owe to Morelli, and now universally
+recognised by modern critics. The one point on which Morelli did not,
+perhaps, lay sufficient stress, is the co-operation in this work of
+Titian with Giorgione, for here we have an additional proof that the
+latter left some of his work unfinished. It is a fair inference that
+Titian completed the Cupid (now removed), and that he had a hand in
+finishing the landscape; the Anonimo, indeed, states as much, and
+Ridolfi confirms it, and this view is officially adopted in the latest
+edition of the Dresden Catalogue. The style points to Giorgione's
+maturity, though scarcely to the last years of his life; for, in spite
+of the freedom and breadth of treatment in the landscape, there is a
+restraint in the figure, and a delicacy of form which points to a period
+preceding, rather than contemporary with, the Louvre "Concert" and
+kindred works, where the forms become fuller and rounder, and the
+feeling more exuberant.
+
+It would be mere repetition, after all that has been written on the
+Dresden "Venus," to enlarge on the qualities of refinement and grace
+which characterise the fair form of the sleeping goddess. One need but
+compare it with Titian's representations of the same subject, and still
+more with Palma's versions at Dresden and Cambridge, or with Cariani's
+"Venus" at Hampton Court, to see the classic purity of form, the ideal
+loveliness of Giorgione's goddess.[43] It is no mere accident that she
+alone is sleeping, whilst they solicit attention. Giorgione's conception
+is characteristic in that he endeavours to avoid any touch of realism
+abhorrent to his nature, which was far more sensitive than that of
+Palma, Cariani, or even Titian.
+
+[Illustration: _Hanfstaengl photo_. Dresden Gallery
+
+VENUS]
+
+The extraordinary beauty and subtlety of the master's "line" is
+admirably shown. He has deliberately forgone anatomical precision in
+order to accentuate artistic effect. The splendour of curve, the beauty
+of unbroken contour, the rhythm and balance of composition is attained
+at a cost of academic correctness; but the long-drawn horizontal lines
+heighten the sense of repose, and the eye is soothed by the sinuous
+undulations of landscape and figure. The artistic effect is further
+enhanced by the relief of exquisite flesh tones against the rich crimson
+drapery, and although the atmospheric glow has been sadly destroyed by
+abrasion and repainting, we may still feel something of the magic charm
+which Giorgione knew so well how to impart.
+
+This "Venus" is the prototype of all other Venetian versions; it is in
+painting what the "Aphrodite" of Praxiteles was in sculpture, a perfect
+creation of a master mind.
+
+Scarcely less wonderful than the "Venus," and even surpassing it in
+solemn grandeur of conception, is the "Judith" at St. Petersburg.
+Morelli himself had never seen the original, and includes it in his list
+with the reservation that it might be an old copy after Giorgione, and
+not the original. It would be presumptuous for anyone not familiar with
+the picture to decide the point, but I have no hesitation in following
+the judgment of two competent modern critics, both of whom have recently
+visited St. Petersburg, and both of whom have decided unhesitatingly in
+favour of its being an original by Giorgione. Dr. Harck has written
+enthusiastically of its beauty. "Once seen," he says, "it can never be
+forgotten; the same mystic charm, so characteristic of the other great
+works of Giorgione, pervades it; ... it bears on the face of it the
+stamp of a great master."[44] Even more decisive is the verdict of Mr.
+Claude Phillips.[45] "All doubts," he says, "vanish like sun-drawn mist
+in the presence of the work itself; the first glance carries with it
+conviction, swift and permanent. In no extant Giorgione is the golden
+glow so well preserved, in none does the mysterious glamour from which
+the world has never shaken itself free, assert itself in more
+irresistible fashion.... The colouring is not so much Giorgionesque as
+Giorgione's own--a widely different thing.... Wonderful touches which
+the imitative Giorgionesque painter would not have thought of are the
+girdle, a mauve-purple now, with a sharply emphasised golden fringe, and
+the sapphire-blue jewel in the brooch. Triumphs of execution, too, but
+not in the broad style of Venetian art in its fullest expansion, are the
+gleaming sword held in so dainty and feminine a fashion, and the flowers
+which enamel the ground at the feet of the Jewish heroine." This
+"Judith," after passing for many years under the names of Raphael and
+Moretto,[46] is now officially recognised as Giorgione's work, an
+identification first made by the late Herr Penther, the keeper of the
+Vienna Academy, whom Morelli quotes.
+
+The conception is wholly Giorgionesque, the mood one of calm
+contemplation, as this lovely figure stands lost in reverie, with eyes
+cast down, gazing on the head on which her foot is lightly laid. The
+head and sword proclaim her story, they are symbols of her mission, else
+she had been taken for an embodiment of feminine modesty and gentle
+submissiveness.[47]
+
+[Illustration: _Braun photo. Hermitage Gallery, St. Petersburg_
+
+JUDITH]
+
+Characteristic of the master is the introduction of the great
+tree-trunk, conveying a sense of grandeur and solemn mystery to the
+scene; characteristic, too, is the distant landscape, the splendid glow
+of which evokes special praise from the writers just mentioned. Again we
+find the parapet, or ledge, with its flat surface on which the play of
+light can be caught, and again the same curious folds, broken and
+crumpled, such as are seen on Solomon's robe in the Kingston Lacy
+picture, and somewhat less emphatically in the Castelfranco "Madonna."
+
+Consistent, moreover, with that weakness we have already noticed
+elsewhere, is the design of the leg and foot, the drawing of which is
+far from impeccable. That the execution in this respect is not equal to
+the supreme conception of the whole, is no valid reason for the belief
+that this "Judith" is only a copy of a lost original, a belief that
+could apparently only be held by those who have never stood before the
+picture itself.[48] But even in the reproduction this "Judith" stands
+confessed as the most impressive of all Giorgione's single figures, and
+it may well rank as the masterpiece of the earlier period immediately
+preceding the Castelfranco picture of about 1504, to which in style it
+closely approximates.
+
+The next picture on Morelli's list is the "Fete Champetre" of the
+Louvre, or, as it is often called, the "Concert." This lovely "Pastoral
+Symphony" (which appears to me a more suitable English title) is by no
+means universally regarded as a creation of Giorgione's hand and brain,
+and several modern critics have been at pains to show that Campagnola,
+or some other Venetian imitator of the great master, really produced
+it.[49] In this endeavour Crowe and Cavalcaselle led the way by
+suggesting the author was probably an imitator of Sebastiano del Piombo.
+But all this must surely seem to be heresy when we stand before the
+picture itself, thrilled by the gorgeousness of its colour, by the
+richness of the paradise" in which the air is balmy, and the landscape
+ever green; where life is a pastime, and music the only labour; where
+groves are interspersed with meadows and fountains; where nymphs sit
+playfully on the grass, or drink at cool springs."[50] Was ever such a
+gorgeous idyll? In the whole range of painted poetry can the like be
+found?
+
+[Illustration: _Braun photo. Louvre, Paris_
+
+A PASTORAL SYMPHONY]
+
+Yet let us be more precise in our analysis. Granted that the scene is
+one eminently adapted to Giorgione's poetic temperament, is the
+execution analogous to that which we have found in the preceding
+examples? No one will deny, I suppose, that there is a difference
+between the intensely refined forms of the Venus, or the earlier
+Hypsipyle, or the Daphne, and the coarser nudes in the Louvre picture.
+No one will deny a certain carelessness marks the delineation of form,
+no one will gainsay a frankly sensuous charm pervades the scene, a
+feeling which seems at first sight inconsistent with that reticence and
+modesty so conspicuous elsewhere. Yet I think all this is perfectly
+explicable on the basis of natural evolution. Exuberance of feeling is
+the logical outcome of a lifetime spent in an atmosphere of lyrical
+thought, and certainly Giorgione was not the sort of man to control
+those natural impulses, which grew stronger with advancing years. Both
+traditions of his death point in this direction; and, unless I am
+mistaken, the quality of his art, as well as its character, reflects
+this tendency. In his later years, 1508-10, he attains indeed a
+magnificence and splendour which dazzles the eye, but it is at the cost
+of that feeling of restraint which gives the earlier work such exquisite
+charm. In such a work as the Louvre "Concert," Giorgio has become
+Giorgione; he is riper in experience and richer in feeling, and his art
+assumes a corresponding exuberance of style, his forms become larger,
+his execution grows freer. Nay, more, that strain of carelessness is not
+wanting which so commonly accompanies such evolutions of character. And
+so this "Pastoral Symphony" becomes a characteristic production--that
+is, one which a man of Giorgione's temperament would naturally produce
+in the course of his developing. Peculiar, however, to an artist of
+genius is the subtlety of composition, which is held together by
+invisible threads, for nowhere else, perhaps, has Giorgione shown a
+greater mastery of line. The diagonal line running from behind the nude
+figure on the left down to the foot so cunningly extended of the seated
+youth, is beautifully balanced by the line which is formed by the seated
+figure of the woman. The artist has deliberately emphasised this line by
+the curious posture of the legs. The figure, indeed, does not sit at
+all, but the balance of the composition is the better assured. What
+exquisite curves the standing woman presents! how cleverly the drapery
+continues the beautiful line, which Giorgione takes care not to break by
+placing the left leg and foot out of sight. How marvellously expressive,
+nay, how _inevitable_ is the hand of the youth who is playing. Surely
+neither Campagnola nor any other second-rate artist was capable of such
+things!
+
+[Illustration: _Alinari photo. Pitti Gallery, Florence_
+
+THE THREE AGES OF MAN]
+
+The eighth picture cited by Morelli as, in his opinion, a genuine
+Giorgione, is the so-called "Three Ages of Man," in the Pitti at
+Florence--a damaged picture, but parts of which, as he says, "are still
+so splendid and so thoroughly Giorgionesque that I venture to ascribe it
+without hesitation to Giorgione."[51] The three figures are grouped
+naturally, and are probably portraits from life. The youth in the centre
+we have already met in the Kingston Lacy "Judgment of Solomon"; the man
+on the right recurs in the "Family Concert" at Hampton Court, and is
+strangely like the S. Maurice in the signed altar-piece at Berlin by
+Luzzi da Feltre.[52] But like though they be in type, in quality the
+heads in the "Three Ages" are immensely superior to those in the Berlin
+picture. The same models may well have served Giorgione and his friend
+and pupil Luzzi, or, as he is generally called, Morto da Feltre. A
+recent study of the few authenticated works by this feeble artist still
+at Feltre, his native place, forces me to dissent from the opinion that
+the Pitti "Three Ages" is the work of his hand.[53] Still less do I
+hold with the view that Lotto is the author.[54] Here, again, I believe
+Morelli saw further than other critics, and that his attribution is the
+right one. The simplicity, the apparently unstudied grouping, the
+refinement of type, the powerful expression, are worthy of the master;
+the play of light on the faces, especially on that of the youth, is most
+characteristic, and the peculiar chord of colour reveals a sense of
+originality such as no imitator would command. Unless I am mistaken, the
+man on the right is none other than the Aeneas in the Vienna picture,
+and his hand with the pointing forefinger is such as we see two or three
+times over in the "Judgment of Solomon" and elsewhere. Certainly here it
+is awkwardly introduced, obviously to bring the figure into direct
+relation with the others; but Giorgione is by no means always supreme
+master of natural expression, as the hands in the "Adrastus and
+Hypsipyle" and Vienna pictures clearly show.
+
+Here, for the first time, we meet Giorgione in those studies of human
+nature which are commonly called "conversation pieces," or
+"concerts"--natural groups of generally three people knit together by
+some common bond, which is usually music in one form or another. It is
+not the idyll of the "Pastoral Symphony," but akin to it as an
+expression of some exquisite moment of thought or feeling, an ideal
+instant "in which, arrested thus, we seem to be spectators of all the
+fulness of existence, and which is like some consummate extract or
+quintessence of life."[55] No one before Giorgione's time had painted
+such ideas, such poems without articulated story; and to have reached
+this stage of development presupposes a familiarity with set subjects
+such as a classic myth or mediaeval romance would offer for treatment.
+And so this "Three Ages" dates from his later years.
+
+[Illustration: _Anderson photo. Pitti Gallery, Florence_
+
+NYMPH AND SATYR]
+
+Another picture in the Pitti was also recognised by Morelli as
+Giorgione's work--"The Nymph pursued by a Satyr." Modern criticism seems
+undecided on the justice of this view, some writers inclining to the
+belief that this is a Giorgionesque production of Dosso Dossi, others
+preserving a discreet silence, or making frank avowal of their inability
+to decide. Nevertheless, I venture to agree with Morelli that "we have
+all the characteristics of an early (?) work of Giorgione--the type of
+the nymph with the low forehead, the charming arrangement of the hair
+upon the temples, the eyes placed near together, and the hand with
+tapering fingers."[56] The oval of the face recalls the "Knight of
+Malta," the high cranium and treatment of the hair such as we find in
+the Dresden "Venus" and elsewhere. The delicacy of modelling, the beauty
+of the features are far beyond Dosso's powers, who, brilliant artist as
+he sometimes was, was of much coarser fibre than the painter of these
+figures. The difference of calibre between the two is well illustrated
+by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone"
+in the Modena Gallery, or with those uncouth productions, also in the
+Pitti, the "S. John Baptist" and the "Bambocciate."[57] Were the
+repaints removed, I think all doubts as to the authorship would be set
+at rest, and the "Nymph and Satyr" would take its place among the
+slighter and more summary productions of Giorgione's brush.
+
+[Illustration: _Laurent_ photo. Prado Gallery, Madrid
+
+MADONNA AND SAINTS]
+
+Only one sacred subject figures in the additions made by Morelli to the
+list of genuine Giorgiones. This is the small altar-piece at Madrid,
+with Madonna seated between S. Francis and S. Roch. Traditionally
+accredited to Pordenone, it has now received official recognition as a
+masterpiece of Giorgione, an attribution that, so far as I am aware, no
+one has seriously contested.[58] And, indeed, it is hard to conceive
+wherein any objection could possibly lie, for it is a typical creation
+of the master, _usque ad unguem_. Not only in types, colour, light and
+shade, and particularly in feeling, is the picture characteristic, but
+it again shows the artist leaving work unfinished, and again reveals the
+fact that the work grew in conception as it was actually being painted.
+I mean that the whole figure of S. Roch has been painted in over the
+rest, and that the S. Francis has also probably been introduced
+afterwards. I have little doubt that originally Giorgione intended to
+paint a simple Madonna and Child, and afterwards extended the scheme.
+The composition of three figures, practically in a row, is moreover most
+unusual, and contrary to that triangular scheme particularly favoured by
+the master, whereas the lovely sweep of Madonna's dress by itself
+creates a perfect design on a triangular basis. A great artist is here
+revealed, one whose feeling for line is so intense that he wilfully
+casts the drapery in unnatural folds in order to secure an artistic
+triumph. The working out of the dress within this line has yet to be
+done, the folds being merely suggested, and this task has been left
+whilst forwarding other parts. The freedom of touch and thinness of
+paint indicates how rapidly the artist worked. There is little
+deliberation apparent: indeed, the effect is that of hasty
+improvisation. Velasquez could not have painted the stone on which S.
+Roch rests his foot with greater precision or more consummate mastery;
+the delicacy of flesh tints is amazing. The bit of landscape behind S.
+Roch (invisible in the reproduction), with its stately tree trunk rising
+solitary beside the hanging curtain, strikes a note of romance, fit
+accompaniment to the bizarre figure of the saint in his orange jerkin
+and blue leggings. How mysterious, too, is S. Francis!--rapt in his own
+thoughts, yet strangely human.
+
+[Illustration: _Buda-Pesth Gallery_
+
+COPY OF A PORTION OF GIORGIONE'S "BIRTH OF PARIS"]
+
+We have now examined ten of the twelve pictures added, on Morelli's
+initiative, to the list of genuine works, and we have found very little,
+if any, serious opposition on the part of later writers to his views.
+Not so, however, with regard to the remaining two pictures. The first of
+these is a fragment in the gallery of Buda-Pesth, representing two
+figures in a landscape. All modern critics are agreed that Morelli has
+here mistaken an old copy after Giorgione for an original, a mistake we
+may readily pardon in consideration of the successful identification he
+has made of these figures with the Shepherds, in the composition seen
+and described by the Anonimo in 1525 as the "Birth of Paris," by
+Giorgione. This identification is fully confirmed by the engraving made
+by Th. von Kessel for the _Theatrum Pictorium_, which shows how these
+two figures are placed in the composition. Where, as in the present
+case, the original is missing, even a partial copy is of great value,
+for in it we can see the mind, if not the hand, of the great master. The
+Anonimo tells us this "Birth of Paris" was one of Giorgione's early
+works, a statement worthy of credence from the still Bellinesque stamp
+and general likeness of one of the Shepherds to the "Adrastus" in the
+Giovanelli picture. In pose, type, arrangement of hair, and in landscape
+this fragment is thoroughly Giorgionesque, and we have, moreover, those
+most characteristic traits, the pointing forefinger, and the unbroken
+curve of outline. The execution is, however, raw and crude, and entirely
+wanting in the magic quality of the master's own touch.[59]
+
+[Illustration: _Dixon photo. Hampton Court Palace Gallery_
+
+THE SHEPHERD BOY.]
+
+Finally, on Morelli's list figures the "Shepherd" at Hampton Court, for
+the genuineness of which the critic would not absolutely vouch, as he
+had only seen it in a bad light. Perhaps no picture has been so strongly
+championed by an enthusiastic writer as has been this "Shepherd" by Mr.
+Berenson, who strenuously advocates its title to genuineness.[60]
+Nevertheless, several modern authorities remain unconvinced in presence
+of the work itself. The conception is unquestionably Giorgione's own,
+as we may see from a picture now in the Vienna Gallery, where this head
+is repeated in a representation of the young David holding the head of
+Goliath. The Vienna picture is, however, but a copy of a lost original
+by Giorgione, the existence of which is independently attested by
+Vasari.[61] Now, the question naturally arises, What relation does the
+Hampton Court "Shepherd" bear to this "David," Giorgione's lost
+original? It is possible, of course, that the master repeated himself,
+merely transforming the David into a Shepherd, or _vice versa_, and it
+is equally possible that some other and later artist adapted Giorgione's
+"David" to his own end, utilising the conception that is, and carrying
+it out in his own way. Arguing purely _a priori_, the latter possibility
+is the more likely, inasmuch as we know Giorgione hardly ever repeats a
+figure or a composition, whereas Titian, Cariani, and other later
+Venetian artists freely adopted Giorgione's ideas, his types, and his
+compositions for their own purposes. Internal evidence appears to me,
+moreover, to confirm this view, for the general style of painting seems
+to indicate a later period than 1510, the year of Giorgione's death. The
+flimsy folds, in particular, are not readily recognisable as the
+master's own. A comparison with a portrait in the Gallery of Padua
+reveals, particularly in this respect, striking resemblances. This fine
+portrait was identified by both Crowe and Cavalcaselle and by Morelli as
+the work of Torbido, and I venture to place the reproduction of it
+beside that of the "Shepherd" for comparison. It is not easy to
+pronounce on the technical qualities of either work, for both have
+suffered from re-touching and discolouring varnish, and the hand of the
+"Shepherd" is certainly damaged. Yet, whilst admitting that the evidence
+is inconclusive, I cannot refrain from suggesting Torbido's name as
+possible author of the "Shepherd," the more so as we know he carefully
+studied and formed his style upon Giorgione's work.[62] It is at least
+conceivable that he took Giorgione's "David with the Head of Goliath,"
+and by a simple, and in this case peculiarly appropriate,
+transformation, changed him into a shepherd boy holding a flute.
+
+We have now taken all the pictures which either Crowe and Cavalcaselle
+or Morelli, or both, assign to Giorgione himself. There still remain,
+however, three or four works to be mentioned where these authorities
+hold opposite views which require some examination.
+
+First and foremost comes the "Concert" in the Pitti Gallery, a work
+which was regarded by Crowe and Cavalcaselle not only as a genuine
+example of Giorgione's art, but as "not having its equal in any period
+of Giorgione's practice. It gives," they go on, "a just measure of his
+skill, and explains his celebrity."[63] Morelli, on the contrary, holds:
+"It has unfortunately been so much damaged by a restorer that little
+enough remains of the original, yet from the form of the hands and of
+the ear, and from the gestures of the figures, we are led to infer that
+it is not a work of Giorgione, but belongs to a somewhat later period.
+If the repaint covering the surface were removed we should, I think,
+find that it is an early work by Titian."[64] Where Morelli hesitated
+his followers have decided, and accordingly, in Mr. Berenson's list, in
+Mr. Claude Phillips' "Life of Titian," and in the latest biography on
+that master, published by Dr. Gronau, we find the "Concert" put down to
+Titian. On the other hand, Dr. Bode, Signor Conti in his monograph on
+Giorgione, M. Muentz, and the authorities in Florence support the
+traditional view that the "Concert" is a masterpiece of Giorgione.
+
+[Illustration: _Alinari photo. Pitti Gallery, Florence_
+
+THE CONCERT]
+
+Which view is the right one? To many this may appear an academic
+discussion of little value, for, _ipso facto_, the quality of the work
+is admitted by all. The picture is a fine thing, in spite of its
+imperfect condition, and what matter whether Titian or Giorgione be the
+author? But to this sort of argument it may be said that until we do
+know what is Giorgione's work and what is not, it is impossible to gauge
+accurately the nature and scope of his art, or to reach through that
+channel the character of the artist behind his work. In the case of
+Giorgione and Titian, the task of drawing the dividing line is one of
+unusual difficulty, and a long and careful study of the question has
+convinced me that this will have to be done in a way that modern
+criticism has not yet attempted. From the very earliest days the two
+have been so inextricably confused that it will require a very
+exhaustive re-examination of all the evidence in the light of modern
+discoveries, documentary and pictorial, coupled, I am afraid, with the
+recognition of the fact that much modern criticism on this point has
+been curiously at fault. This is neither the time nor the place to
+discuss the question of Titian's early work, but I feel sure that this
+chapter of art history has yet to be correctly written.[65] One of the
+determining factors in the discussion will be the authorship of the
+Pitti "Concert," for our estimate of Giorgione or Titian must be
+coloured appreciably by the recognition of such an epoch-making picture
+as the work of one or the other.
+
+It is, therefore, peculiarly unfortunate that the two side figures in
+this wonderful group are so rubbed and repainted as almost to defy
+certainty of judgment. In conception and spirit they are typically
+Giorgionesque, and Morelli, I imagine, would scarcely have made the bold
+suggestion of Titian's authorship but for the central figure of the
+young monk playing the harpsichord. This head stands out in grand
+relief, being in a far purer state of preservation than the rest, and we
+are able to appreciate to some extent the extraordinarily subtle
+modelling of the features, the clear-cut contours, the intensity of
+expression. The fine portrait in the Louvre, known as "L'homme au gant,"
+an undoubted early work of Titian, is singularly close in character and
+style, as was first pointed out by Mr. Claude Phillips,[66] and it was
+this general reminiscence, more than points of detail in an admittedly
+imperfect work that seemingly induced Morelli to suggest Titian's name
+as possible author of the "Concert." Nevertheless, I cannot allow this
+plausible comparison to outweigh other and more vital considerations.
+The subtlety of the composition, the bold sweep of diagonal lines, the
+way the figure of the young monk is "built up" on a triangular design,
+the contrasts of black and white, are essentially Giorgione's own. So,
+too, is the spirit of the scene, so telling in its movement, gesture,
+and expression. Surely it is needless to translate all that is most
+characteristic of Giorgione in his most personal expression into a
+"Giorgionesque" mood of Titian. No, let us admit that Titian owed much
+to his friend and master (more perhaps than we yet know), but let us not
+needlessly deprive Giorgione of what is, in my opinion at least, the
+great creation of his maturer years, the Pitti "Concert." I am inclined
+to place it about 1506-7, and to regard it as the earliest and finest
+expression in Venetian art of that kind of genre painting of which we
+have already studied another, though later example, "The Three Ages" (in
+the Pitti). The second work where Crowe and Cavalcaselle hold a
+different view from Morelli is a "Portrait of a Man" in the Gallery of
+Rovigo (No. 11). The former writers declare that it, "perhaps more than
+any other, approximates to the true style of Giorgione."[67] With such
+praise sounding in one's ears it is somewhat of a shock to discover that
+this "grave and powerfully wrought creation" is a miniature 7 by 6
+inches in size. Such an insignificant fragment requires no serious
+consideration; at most it would seem only to be a reduced copy after
+some lost original. Morelli alludes to it as a copy after Palma, but one
+may well doubt whether he is not referring to another portrait in the
+same gallery (No. 123). Be that as it may, this "Giorgione" miniature
+is sadly out of place among genuine pieces of the master.[68]
+
+[Illustration: _Hanfstaengl photo. National Gallery, London_
+
+THE ADORATION OF THE MAGI]
+
+One other picture, of special interest to English people, is in dispute.
+By Crowe and Cavalcaselle "The Adoration of the Magi," now in the
+National Gallery (No. 1160), is attributed to the master himself; by
+Morelli it was assigned to Catena.[69] This brilliant little panel is
+admittedly by the same hand that painted the Beaumont "Adoration of the
+Shepherds," and yet another picture presently to be mentioned. We have
+already agreed to the propriety of attribution in the former case; it
+follows, therefore, that here also Giorgione's name is the correct one,
+and his name, we are glad to see, has recently been placed on the label
+by the Director of the Gallery.
+
+This beautiful little panel, which came from the Leigh Court Collection,
+under Bellini's name, has much of the depth, richness, and glow which
+characterises the Beaumont picture, although the latter is naturally
+more attractive, owing to the wonderful landscape and the more elaborate
+chiaroscuro. The figures are Bellinesque, yet with that added touch of
+delicacy and refinement which Giorgione always knows how to impart. The
+richness of colouring, the depth of tone, the glamour of the whole is
+far superior to anything that we can point to with certainty as Catena's
+work; and no finer example of his "Giorgionesque" phase is to be found
+than the sumptuous "Warrior adoring the Infant Christ," which hangs
+close by, whilst his delicate little "S. Jerome in his Study," also in
+the same room, challenges comparison. Catena's work seems cold and
+studied beside the warmth and spontaneity of Giorgione's little panel,
+which is, indeed, as Crowe and Cavalcaselle assert, "of the most
+picturesque beauty in distribution, colour, and costume."[70] It must
+date from before 1500, probably just before the Beaumont "Nativity," and
+proves how, even at that early time, Giorgione's art was rapidly
+maturing into full splendour.
+
+The total list of genuine works so far amounts to but twenty-three. Let
+us see if we can accept a few others which later writers incline to
+attribute to the master. I propose to limit the survey strictly to those
+pictures which have found recognised champions among modern critics of
+repute, for to challenge every "Giorgione" in public and private
+collections would be a Herculean task, well calculated to provoke an
+incredulous smile!
+
+[Illustration: _Dixon photo. Duke of Devonshire's Collection,
+Chatsworth_
+
+PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S "CHRIST BEARING THE
+CROSS," IN THE CHURCH OF S. ROCCO, VENICE]
+
+Mr. Berenson, in his _Venetian Painters_, includes two other pictures in
+an extremely exclusive list of seventeen genuine Giorgiones. These are
+both in Venice, "The Christ bearing the Cross" (in S. Rocco), and "The
+Storm calmed by S. Mark" (in the Academy). The question whether or no we
+are to accept the former of these pictures has its origin in a curious
+contradiction of Vasari, who, in the first edition of his Lives (1550),
+names Giorgione as the painter, whilst in the second (1565), he assigns
+the authorship to Titian. Later writers follow the latter statement, and
+to this day the local guides adhere to this tradition. That the
+attribution to Giorgione, however, was still alive in 1620-5, is proved
+by the sketch of the picture made by the young Van Dyck during his visit
+to Italy, for he has affixed Giorgione's name to it, and not that of
+Titian.[71] I am satisfied that this tradition is correct. Giorgione,
+and not Titian, painted the still lovely head of Christ, and Giorgione,
+not Titian, drew the arm and hand of the Jew who is dragging at the
+rope. Characteristic touches are to be seen in the turn of the head, the
+sloping axis of the eyes, and especially the fine oval of the face, and
+bushy hair. This is the type of Giorgione's Christ; "The Tribute Money"
+(at Dresden) shows Titian's. Unfortunately the panel has lost all its
+tone, all its glow, and most of its original colour, and we can scarcely
+any longer admire the picture which, in Vasari's graphic language, "is
+held in the highest veneration by many of the faithful, and even
+performs miracles, as is frequently seen"; and again (in his _Life of
+Titian_), "it has received more crowns as offerings than have been
+earned by Titian and Giorgione both, through the whole course of their
+lives."
+
+The other picture included by Mr. Berenson in his list is the large
+canvas in the Venice Academy, with "The Storm calmed by S. Mark."
+According to this critic it is a late work, finished, in small part, by
+Paris Bordone. In my opinion, it would be far wiser to withhold
+definite judgment in a case where a picture has been so entirely
+repainted. Certainly, in its present state, it is impossible to
+recognise Giorgione's touch, whilst the glaring red tones of the flesh
+and the general smeariness of the whole render all enjoyment out of
+question. I am willing to admit that the conception may have been
+Giorgione's, although even then it would stand alone as evidence of an
+imagination almost Michelangelesque in its _terribilita._ Zanetti (1760)
+was the first to connect Giorgione's name with this canvas, Vasari
+bestowing inordinate praise upon it as the work of Palma Vecchio! It
+only remains to add that this is the companion piece to the well-known
+"Fisherman presenting the Ring to the Doge," by Paris Bordone, which
+also hangs in the Venice Academy. Both illustrate the same legend, and
+both originally hung in the Scuola di S. Marco.
+
+[Illustration: _Anderson photo. Padua Gallery_
+
+FRONTS OF TWO CASSONES, WITH MYTHOLOGICAL SCENES]
+
+Finally, two _cassone_ panels in the gallery at Padua have been
+acclaimed by Signor Venturi as the master's own,[72] and with that view
+I am entirely agreed. The stories represented are not easily
+determinable (as is so often the case with Giorgione), but probably
+refer to the legends of Adonis.[73] The splendour of colour, the lurid
+light, the richness of effect, are in the highest degree impressive.
+What artist but Giorgione would have so revelled in the glories of the
+evening sunset, the orange horizon, the distant blue hills? The same
+gallery affords several instances of similar decorative pieces by
+other Venetian artists which serve admirably to show the great gulf
+fixed in quality between Giorgione's work and that of the Schiavones,
+the Capriolis, and others who imitated him.[74]
+
+NOTES:
+
+[11] Oxford Lecture, reported in the _Pall Mall Gazette_, Nov. 10, 1884.
+
+[12] See _postea_, p. 63.
+
+[13] Bellini adopted it later in his S. Giov. Crisostomo altar-piece of
+1513.
+
+[14] All the more surprising is it that it receives no mention from
+Vasari, who merely states that the master worked at Castelfranco.
+
+[15] I unhesitatingly adopt the titles recently given to these pictures
+by Herr Franz Wickhoff (_Jahrbuch der Preussischen Kunstsammlungen_,
+Heft. i. 1895), who has at last succeeded in satisfactorily explaining
+what has puzzled all the writers since the days of the Anonimo.
+
+[16] Statius: _Theb_. iv. 730 _ff_. See p. 135.
+
+[17] _Aen._ viii. 306-348.
+
+[18] Fry: _Giovanni Bellini_, p. 39.
+
+[19] ii. 214.
+
+[20] Ridolfi mentions the following as having been painted by
+Giorgione:--"The Age of Gold," "Deucalion and Pyrrha," "Jove hurling
+Thunderbolts at the Giants," "The Python," "Apollo and Daphne," "Io
+changed into a Cow," "Phaeton, Diana, and Calisto," "Mercury stealing
+Apollo's Arms," "Jupiter and Pasiphae," "Cadmus sowing the Dragon's
+Teeth," "Dejanira raped by Nessus," and various episodes in the life of
+Adonis.
+
+[21] In the Venice Academy.
+
+[22] _Archivio, Anno VI_., where reproductions of the two are given side
+by side, _fasc_. vi. p. 412.
+
+[23] The Berlin example (by the Pseudo-Basaiti) is reproduced in the
+Illustrated Catalogue of the recent exhibition of Renaissance Art at
+Berlin; the Rovigo version (under Leonardo's name!) is possibly by
+Bissolo.
+
+Two other repetitions exist, one at Stuttgart, the other in the
+collection of Sir William Farrer. (Venetian Exhibition, New Gallery,
+1894, No. 76.)
+
+[24] Gentile Bellini's three portraits in the National Gallery (Nos.
+808, 1213, 1440) illustrate this growing tendency in Venetian art; all
+three probably date from the first years of the sixteenth century.
+Gentile died in 1507.
+
+[25] Berenson: _Venetian Painters_, 3rd edition.
+
+[26] _Daily Telegraph_, December 29th, 1899.
+
+[27] Even the so-called Pseudo-Basaiti has been separated and
+successfully diagnosed.
+
+[28] 1895 Catalogue.
+
+[29] See Appendix, where the letters are printed in full.
+
+[30] Crowe and Cavalcaselle, ii. 142, and note.
+
+[31] Giorgione painted in fresco in the portico of this palace. Zanetti
+has preserved the record of a figure said to be "Diligence," in his
+print published in 1760.
+
+[32] See Byron's _Life and Letters_, by Thomas Moore, p. 705.
+
+[33] See Berenson's _Venetian Painters_, illustrated edition.
+
+[34] Morelli, ii. 219.
+
+[35] See p. 32 for a possible explanation of these letters.
+
+[36] ii. 218
+
+[37] It has been suggested to me by Dr. Williamson that the letters may
+possibly be intended for ZZ (=Zorzon). In old MSS. the capital Z is
+sometimes made thus _[closed V]_ or _V._
+
+[38] i. 248.
+
+[39] The methods by which he arrived at his conclusion are strangely at
+variance with those he so strenuously advocates, and to which the name
+of Morellian has come to be attached.
+
+[40] Reproduced in _Venetian Art at the New Gallery_, under Giorgione's
+name, but unanimously recognised as a work of Licinio.
+
+[41] i. 249.
+
+[42] Dr. Bode and Signor Venturi both recognise it as Giorgione's work.
+
+[43] To what depths of vulgarity the Venetian School could sink in later
+times, Palma Giovane's "Venus" at Cassel testifies.
+
+[44] _Repertorium fuer Kunstwissenschaft_. 1896. xix. Band. 6 Heft.
+
+[45] _North American Review_, October 1899.
+
+[46] It was photographed by Braun with this attribution.
+
+[47] Catena has adopted this Giorgionesque conception in his "Judith" in
+the Querini-Stampalia Gallery in Venice.
+
+[48] See _Gazette des Beaux Arts_, 1897, tom, xviii. p. 279.
+
+[49] See _Gazette des Beaux Arts_, 1893, tom. ix. p. 135 (Prof.
+Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and _Repertorium fuer
+Kunstwissenschaft_, tom. xiv. p. 316 (Herr von Seidlitz).
+
+[50] Crowe and Cavalcaselle, ii. 147.
+
+[51] ii. 217.
+
+[52] Dr. Gronau points this out in _Rep_. xviii. 4, p. 284.
+
+[53] See _Guide to the Italian Pictures_ at Hampton Court, by Mary
+Logan, 1894.
+
+[54] Official Catalogue, and Crowe and Cavalcaselle, ii. 502.
+
+[55] Pater: _The Renaissance_, p. 158.
+
+[56] ii. 219.
+
+[57] The execution of this grotesque picture is probably due to Girolamo
+da Carpi, or some other assistant of Dosso.
+
+[58] Crowe and Cavalcaselle, ii. 292, unaccountably suggested Francesco
+Vecellio (!) as the author.
+
+[59] The subject is derived from a passage in the _De Divinitate_ of
+Cicero, as Herr Wickhoff has pointed out.
+
+[60] See _Venetian Painting at the New Gallery_. 1895.
+
+[61] Unless we are to suppose that Vasari mistook a copy for an
+original.
+
+[62] Francesco Torbido, called "il Moro," born about 1490, and still
+living in 1545. Vasari states that he actually worked under Giorgione.
+Signed portraits by him are in the Brera, at Munich, and Naples. Palma
+Vecchio also deserves serious consideration as possible author of the
+"Shepherd Boy."
+
+[63] Crowe and Cavalcaselle, ii. 144.
+
+[64] Morelli, ii. 212.
+
+[65] See Appendix, p. 123.
+
+[66] Quoted by Morelli, ii. 212, note.
+
+[67] Crowe and Cavalcaselle, ii. 155.
+
+[68] Crowe and Cavalcaselle also cite a portrait in the Casa Ajata at
+Crespano; as I have never seen this piece I cannot discuss it. It was
+apparently unknown to Morelli, nor is it mentioned by other critics.
+
+[69] Morelli, ii. 205.
+
+[70] Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in the
+_Gazette des Beaux Arts_, 1884, p. 286, rightly admits Giorgione's
+authorship.
+
+[71] This sketch is to be found in Van Dyck's note-book, now in
+possession of the Duke of Devonshire at Chatsworth. It is here
+reproduced, failing an illustration of the original picture, which the
+authorities in Venice decline to have made. (A good reproduction has now
+(1903) been made by Anderson of Rome.)
+
+[72] _Archivio Storico_, vi. 409.
+
+[73] Ridolfi tells us Giorgione painted, among a long list of decorative
+pieces, "The Birth of Adonis," "Venus and Adonis embracing," and "Adonis
+killed by the Boar." It is possible he was alluding to these very
+_cassone_ panels.
+
+[74] The other important additions made by Signor Venturi in his recent
+volume, _La Galleria Crespi_, are alluded to _in loco_, further on. I am
+delighted to find some of my own views anticipated in a wholly
+independent fashion.
+
+
+
+
+CHAPTER III
+
+
+INTERMEDIATE SUMMARY
+
+It is necessary for anyone who seeks to recover the missing or
+unidentified works of an artist like Giorgione, first to define his
+conception of the artist based upon a study of acknowledged materials.
+The preceding chapter has been devoted to a survey of the best
+authenticated pictures, the evidence for the genuineness of which is, as
+we have seen, largely a matter of personal opinion. Nevertheless there
+is, on the whole, a unanimity of judgment sufficient to warrant our
+drawing several inferences as to the general character of Giorgione's
+work, and to attempt a chronological arrangement of the twenty-six
+pictures here accepted as genuine.
+
+The first and most obvious fact then to be noted is the amazing variety
+of subjects handled by the master. Religious paintings, whether
+altar-pieces or easel pictures of a devotional character, are
+interspersed with mediaeval allegories, genre subjects, decorative
+_cassone_ panels, portraiture, and purely lyrical "Fantasiestuecke,"
+corresponding somewhat with the modern "Landscape with Figures." Truly
+an astonishing range! Giorgione, as we have seen, could not have been
+more than eighteen years in active practice, yet in that short time he
+gained successes in all these various fields. His many-sidedness shows
+him to have been a man of wide sympathies, whilst the astonishing
+rapidity of his development testifies to the precocity of his talent.
+His versatility and his precocity are, in fact, the two most prominent
+characteristics to be borne in mind in judging his art, for much that
+appears at first sight incongruous, if not utterly irreconcilable, can
+be explained on this basis. For versatility and precocity in an artist
+are qualities invariably attended by unevenness of workmanship, as we
+see in the cases of Keats and Schubert, who were gifted with the lyrical
+temperament and powers of expression in poetry and music in
+corresponding measure to Giorgione in painting. It would show want of
+critical acumen to expect from Keats the consistency of Milton, or that
+Schubert should keep the unvarying high level of Beethoven, and it is
+equally unreasonable to exact from Giorgione the uniform excellence
+which characterises Titian. I do not propose at this point to work out
+the comparison between the painter, the musician, and the poet; this
+must be reserved until the final summing-up of Giorgione as artist, when
+we have examined all his work. But this point I do insist on, that from
+the very nature of things Giorgione's art is, and must be, uneven, that
+whilst at times it reaches sublime heights, at other times it attains to
+a level of only average excellence.
+
+And so the criticism which condemns a picture claiming to be Giorgione's
+because "it is not _good_ enough for him," does not recognise the truth
+that for all that it may be _characteristic_, and, consequently,
+perfectly authentic. Modern criticism has been apt to condemn because
+it has expected too much; let us not blind our eyes to the weaknesses,
+even to the failures of great men, who, if they lose somewhat of the
+hero in our eyes, win our sympathy and our love the more for being
+human.
+
+I have spoken of Giorgione's versatility, his precocity, and the natural
+inequality of his work. There is another characteristic which commonly
+exists when these qualities are found united, and that is
+Productiveness. Giorgione, according to all analogy, must have produced
+a mass of work. It is idle to assert, as some modern writers have done,
+that at the utmost his easel pictures could have been but few, because
+most of his short life was devoted to painting frescoes, which have
+perished. It is true that Giorgione spent time and energy over fresco
+painting, and from the very publicity of such work as the frescoes on
+the Fondaco de' Tedeschi, he came to be widely known in this direction,
+but it is infinitely probable that his output in other branches was
+enormous. The twenty-six pictures we have already accepted, plus the
+lost frescoes, cannot possibly represent the sum-total of his artistic
+activities, and to say that everything else has disappeared is, as I
+shall try to show, not correct. We know, moreover, from the Anonimo (who
+was almost Giorgione's contemporary) that many pictures existed in his
+day which cannot now be traced,[75] and if we add these and some of the
+others cited by Vasari and Ridolfi (without assuming that every one was
+a genuine example), it goes to prove that Giorgione did paint a good
+number of easel pictures. But the evidence of the twenty-six themselves
+is conclusive. They illustrate so many different phases, they stand
+sometimes so widely apart, that intermediate links are necessarily
+implied. Moreover, as Giorgione's influence on succeeding artists is
+allowed by all writers, a considerable number of his easel pictures must
+have been in circulation, from which these imitators drew inspiration,
+for he certainly never kept, as Bellini did, a body of assistants and
+pupils to hand on his teaching, and disseminate his style.
+
+Productiveness must then have been a feature of his art, and as so few
+pictures have as yet come to be accepted as genuine, the majority must
+have perished or been lost to sight for the time. That much yet remains
+hidden away in private possession I am fully persuaded, especially in
+England and in Italy, and one day we may yet find the originals of the
+several old copies after Giorgione which I enumerate elsewhere.[76] In
+some cases I believe I have been fortunate enough to detect actually
+missing originals, and occasionally restore to Giorgione pieces that
+parade under Titian's name. Much, however, yet remains to be done, and
+the research work now being systematically conducted in the Venetian
+archives by Dr. Gustav Ludwig and Signor Pietro Paoletti may yield rich
+results in the discovery of documents relating to the master himself,
+which may help us to identify his productions, and possibly confirm some
+of the conjectures I venture to make in the following chapters.[77]
+
+But before proceeding to examine other pictures which I am persuaded
+really emanate from Giorgione himself, let us attempt to place in
+approximate chronological order the twenty-six works already accepted as
+genuine, for, once their sequence is established, we shall the more
+readily detect the lacunae in the artist's evolution, and so the more
+easily recognise any missing transitional pieces which may yet exist.
+
+The earliest stage in Giorgione's career is naturally marked by
+adherence to the teaching and example of his immediate predecessors.
+However precocious he may have been, however free from academic
+training, however independent of the tradition of the schools, he
+nevertheless clearly betrays an artistic dependence, above all, on
+Giovanni Bellini. The "Christ bearing the Cross" and the two little
+pictures in the Uffizi are direct evidence of this, and these,
+therefore, must be placed quite early in his career. We should not be
+far wrong in dating them 1493-5. Carpaccio's influence is also apparent,
+as we have already noticed, and through this channel Giorgione's art
+connects with the more archaic style of Gentile Bellini, Giovanni's
+elder brother. Thus in him are united the quattrocentist tradition and
+the fresher ideals of the cinquecento, which found earliest expression
+in Giambellini's Allegories of about 1486-90. The poetic element in
+these works strongly appealed to Giorgione's sensitive nature, and we
+find him developing this side of his art in the Beaumont "Adoration,"
+and the National Gallery "Epiphany," both of which are clearly early
+productions. But there is a gap of a few years between the Uffizi
+pictures and the London ones, for the latter are maturer in every way,
+and it is clear that the interval must have been spent in constant
+practice. Yet we cannot point with certainty to any of the other
+pictures in our list as standing midway in development, and here it is
+that a lacuna exists in the artist's career. Two or three years,
+possibly more, remain unaccounted for, just at a period, too, when the
+young artist would be most impressionable. I am inclined to think that
+he may have painted the "Birth of Paris" during these years, but we have
+only the copy of a part of the composition to go by, and the statement
+of the Anonimo that the picture was one of Giorgione's early works.
+
+The "Adrastus and Hypsipyle" must also be a youthful production prior to
+1500, and in the direction of portraiture we have the Berlin "Young
+Man," which, for reasons already given, must be placed quite early. It
+is not possible to assign exact dates to any of these works, all that
+can be said with any certainty is that they fall within the last decade
+of the fifteenth century, and illustrate the rapid development of
+Giorgione's art up to his twenty-fourth year.
+
+A further stage in his evolution is reached in the Castelfranco
+"Madonna," the first important undertaking of which we have some record.
+Tradition connects the painting of this altar-piece with an event of the
+year 1504, the death of the young Matteo Costanzo, whose family, so it
+is said, commissioned Giorgione to paint a memorial altar-piece, and
+decorate the family chapel at Castelfranco with frescoes. Certain it is
+that the arms of the Costanzi appear in the picture, but the evidence
+which connects the commission with the death of Matteo seems to rest
+mainly on his alleged likeness to the S. Liberale in the picture, a
+theory, we may remark, which is quite consistent with Matteo being still
+alive. Considering the extraordinary rapidity of the artist's
+development, it would be more natural to place the execution of this
+work a year or two earlier than 1504, but, in any case, we may accept it
+as typical of Giorgione's style in the first years of the century. The
+"Judith" (at St. Petersburg), as we have already seen, probably
+immediately precedes it, so that we get two masterpieces approximately
+dated.
+
+In the field of portraiture Giorgione must have made rapid strides from
+the very first. Vasari states that he painted the portraits of the great
+Consalvo Ferrante, and of one of his captains, on the occasion of their
+visit to the Doge Agostino Barberigo. Now this event presumably took
+place in 1500,[78] so that, at that early date, he seems already to have
+been a portrait painter of repute. Confirmatory evidence of this is
+furnished by the statement of Ridolfi, that Giorgione took the portrait
+of Agostino Barberigo himself.[79] Now the Doge died in 1500, so that if
+Giorgione really painted him, he could not have been more than
+twenty-three years of age at the time, an extraordinarily early age to
+have been honoured with so important a commission; this fact certainly
+presupposes successes with other patrons, whose portraits Giorgione must
+have taken during the years 1495-1500. I hope to be able to identify two
+or three of these, but for the moment we may note that by 1500
+Giorgione was a recognised master of portraiture. The only picture on
+our list likely to date from the period 1500-1504 is the "Knight of
+Malta," the "Young Man" (at Buda-Pesth) being later in execution.[80]
+
+From 1504 on, the rapid rate of progress is more than fully maintained.
+Only six years remain of the artist's short life, yet in that time he
+rose to full power, and anticipated the splendid achievements of
+Titian's maturity some forty years later. First in order, probably, come
+the "Venus" (Dresden) and the "Concert" (Pitti), both showing
+originality of conception and mastery of handling. The date of the
+frescoes on the Fondaco de' Tedeschi is known to be 1507-8,[81] but, as
+nothing remains but a few patches of colour in one spot high up over the
+Grand Canal, we have no visible clue to guide us in our estimate of
+their artistic worth. Vasari's description, and Zanetti's engraving of a
+few fragments (done in 1760, when the frescoes were already in decay),
+go to prove that Giorgione at this period studied the antique,
+"commingling statuesque classicism and the flesh and blood of real
+life."[82]
+
+At this period it is most probable we must place the "Judgment of
+Solomon" (at Kingston Lacy), possibly, as I have already pointed out,
+the very work commissioned by the State for the audience chamber of the
+Council, on which, as we know from documents, Giorgione was engaged in
+1507 and 1508. It was never finished, and the altogether exceptional
+character of the work places it outside the regular course of the
+artist's development. It was an ambitious venture in an unwonted
+direction, and is naturally marked and marred by unsatisfactory
+features. Giorgione's real powers are shown by the "Pastoral Symphony"
+(in the Louvre), and the "Portrait of the Young Man" (at Buda-Pesth),
+productions dating from the later years 1508-10. The "Three Ages" (in
+the Pitti) may also be included, and if Giorgione conceived and even
+partly executed the "Storm calmed by S. Mark" (Venice Academy), this
+also must be numbered among his last works.
+
+Morelli states: "It was only in the last six years of his short life
+(from about 1505-11) that Giorgione's power and greatness became fully
+developed."[83] I think this is true in the sense that Giorgione was
+ever steadily advancing towards a fuller and riper understanding of the
+world, that his art was expanding into a magnificence which found
+expression in larger forms and richer colour, that he was acquiring
+greater freedom of touch, and more perfect command of the technical
+resources of his art. But sufficient stress is not laid, I think, upon
+the masterly achievement of the earlier times; the tendency is to refer
+too much to later years, and not recognise sufficiently the prodigious
+precocity before 1500. One is tempted at times to question the accuracy
+of Vasari's statement that Giorgione died in his thirty-fourth year,
+which throws his birth back only to 1477. Some modern writers disregard
+this statement altogether, and place his birth "before 1477."[84] Be
+this as it may, it does not alter the fact that by 1500 Giorgione had
+already attained in portraiture to the highest honours, and in this
+sphere, I believe, he won his earliest successes. My object in the
+following chapter will be to endeavour to point out some of the very
+portraits, as yet unidentified, which I am persuaded were produced by
+Giorgione chiefly in these earlier years, and thus partly to fill some
+of the lacunae we have found in tracing his artistic evolution.
+
+NOTES:
+
+[75] A list of these is given at p. 138.
+
+[76] _Vide_ List of Works, pp. 124-137.
+
+[77] The results of these archivistic researches are being published in
+the _Repertorium fuer Kunstwissenschaft_.
+
+[78] For the evidence, see _Magazine of Art_, April 1893.
+
+[79] Meravig, i. 126.
+
+[80] Vasari saw Giorgione's portrait of the succeeding Doge Leonardo
+Loredano (1501-1521).
+
+[81] See Crowe and Cavalcaselle, ii. 141.
+
+[82] Crowe and Cavalcaselle, _ibid_.
+
+[83] ii. 213. We now know that he died in 1510.
+
+[84] Crowe and Cavalcaselle, ii. 119. Bode: _Cicerone_.
+
+
+
+CHAPTER IV
+
+
+ADDITIONAL PICTURES--PORTRAITS
+
+Vasari, in his _Life of Titian_, in the course of a somewhat confused
+account of the artist's earliest years, tells us how Titian, "having
+seen the manner of Giorgione, early resolved to abandon that of Gian
+Bellino, although well grounded therein. He now, therefore, devoted
+himself to this purpose, and in a short time so closely imitated
+Giorgione that his pictures were sometimes taken for those of that
+master, as will be related below." And he goes on: "At the time when
+Titian began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait of a gentleman of the Barberigo family
+who was his friend, and this was considered very beautiful, the
+colouring being true and natural, and the hair so distinctly painted
+that each one could be counted, as might also the stitches[85] in a
+satin doublet, painted in the same work; in a word, it was so well and
+carefully done, that it would have been taken for a picture by
+Giorgione, if Titian had not written his name on the dark ground." Now
+the statement that Titian began to imitate Giorgione at the age of
+eighteen is inconsistent with Vasari's own words of a few paragraphs
+previously: "About the year 1507, Giorgione da Castel Franco, not being
+satisfied with that mode of proceeding (i.e. 'the dry, hard, laboured
+manner of Gian Bellino, which Titian also acquired'), began to give to
+his works an unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian now
+devoted himself to this purpose," etc. In 1507 Titian was thirty years
+old,[86] not eighteen, so that both statements cannot be correct. Now it
+is highly improbable that Titian had already discarded the manner of
+Bellini as early as 1495, at the age of eighteen, and had so identified
+himself with Giorgione that their work was indistinguishable.
+Everything, on the contrary, points to Titian's evolution being anything
+but rapid; in fact, so far as records go, there is no mention of his
+name until he painted the facade of the Fondaco de' Tedeschi in company
+with Giorgione in 1507. It is infinitely more probable that Vasari's
+first statement is the more reliable--viz. that Titian began to adopt
+Giorgione's manner about the year 1507, and it follows, therefore, that
+the portrait of the gentleman of the Barberigo family, if by Titian,
+dates from this time, and not 1495.
+
+[Illustration: _Dixon photo. Collection of the Earl of Darnley, Cobham
+Hall_
+
+PORTRAIT OF A GENTLEMAN]
+
+Now there is a picture in the Earl of Darnley's Collection at Cobham
+Hall which answers pretty closely to Vasari's description. It is a
+supposed portrait of Ariosto by Titian, but it is as much unlike the
+court poet of Ferrara as the portrait in the National Gallery (No. 636)
+which, with equal absurdity, long passed for that of Ariosto, a name now
+wisely removed from the label. This magnificent portrait at Cobham was
+last exhibited at the Old Masters in 1895, and the suggestion was then
+made that it might be the very picture mentioned by Vasari in the
+passage quoted above.[87] I believe this ingenious suggestion is
+correct, and that we have in the Cobham "Ariosto" the portrait of one of
+the Barberigo family said to have been painted by Titian in the manner
+of Giorgione. "Thoroughly Giorgionesque," says Mr. Claude Phillips, in
+his _Life of Titian_, "is the soberly tinted yet sumptuous picture in
+its general arrangement, as in its general tone, and in this respect it
+is the fitting companion and the descendant of Giorgione's 'Antonio
+Broccardo' at Buda-Pesth, of his 'Knight of Malta' at the Uffizi. Its
+resemblance, moreover, is, as regards the general lines of the
+composition, a very striking one to the celebrated Sciarra
+'Violin-Player,' by Sebastiano del Piombo.... The handsome, manly head
+has lost both subtlety and character through some too severe process of
+cleaning, but Venetian art has hardly anything more magnificent to show
+than the costume, with the quilted sleeve of steely, blue-grey satin,
+which occupies so prominent a place in the picture." Its Giorgionesque
+character is therefore recognised by this writer, as also by Dr. Georg
+Gronau, in his recent _Life of Titian_ (p. 21), who significantly
+remarks, "Its relation to the 'Portrait of a Young Man' by Giorgione, at
+Berlin, is obvious."
+
+It is a pity that both these discerning writers of the modern school
+have not gone a little further and seen that the picture before them is
+not only Giorgionesque, but by Giorgione himself. The mistake of
+confusing Titian and Giorgione is as old as Vasari, who, _misled by the
+signature_, naively remarks, "It would have been taken for a picture by
+Giorgione if Titian had not written his name on the dark ground (in
+ombra)." _Hinc illae lacrimae!_ Let us look into this question of
+signatures, the ultimate and irrevocable proof in the minds of the
+innocent that a picture must be genuine. Titian's methods of signing his
+well-authenticated works varied at different stages of his career. The
+earliest signature is always "Ticianus," and this is found on works
+dating down to 1522 (the "S. Sebastian" at Brescia). The usual signature
+of the later time is "Titianus," probably the earliest picture with it
+being the Ancona altar-piece of 1520. "Tician" is found only twice. Now,
+without necessarily condemning every signature which does not accord
+with this practice, we must explain any apparent irregularity, such, for
+instance, as the "Titianus F." on the Cobham Hall picture. This form of
+signature points to the period after 1520, a date manifestly
+inconsistent with the style of painting. But there is more than this to
+arouse suspicion. The signature has been painted over another, or
+rather, the F. (= fecit)[88] is placed over an older V, which can still
+be traced. A second V appears further to the right. It looks as if
+originally the balustrade only bore the double V, and that "Titianus F."
+were added later. But it was there in Vasari's day (1544), so that we
+arrive at the interesting conclusion that Titian's signature must have
+been added between 1520 and 1544--that is, in his own lifetime. This
+singular fact opens up a new chapter in the history of Titian's
+relationship to Giorgione, and points to practices well calculated to
+confuse historians of a later time, and enhance the pupil's reputation
+at the expense of the deceased master. Not that Titian necessarily
+appropriated Giorgione's work, and passed it off as his own, but we know
+that on the latter's death Titian completed several of his unfinished
+pictures, and in one instance, we are told, added a Cupid to Giorgione's
+"Venus." It may be that this was the case with the "Ariosto," and that
+Titian felt justified in adding his signature on the plea of something
+he did to it in after years; but, explain this as we may, the important
+point to recognise is that in all essential particulars the "Ariosto" is
+the creation not of Titian, but of Giorgione. How is this to be proved?
+It will be remembered that when discussing whether Giorgione or Titian
+painted the Pitti "Concert," the "Giorgionesque" qualities of the work
+were so obvious that it seemed going out of the way to introduce
+Titian's name, as Morelli did, and ascribe the picture to him in a
+Giorgionesque phase. It is just the same here. The conception is
+typically Giorgione's own, the thoughtful, dreamy look, the turn of the
+head, the refinement and distinction of this wonderful figure alike
+proclaim him; whilst in the workmanship the quilted satin is exactly
+paralleled by the painting of the dress in the Berlin and Buda-Pesth
+portraits. Characteristic of Giorgione but not of Titian, is the oval of
+the face, the construction of the head, the arrangement of the hair.
+Titian, so far as I am aware, never introduces a parapet or ledge into
+his portraits, Giorgione nearly always does so; and finally we have the
+mysterious VV which is found on the Berlin portrait, and
+(half-obliterated) on the Buda-Pesth "Young Man." In short, no one would
+naturally think of Titian were it not for the misleading signature, and
+I venture to hope competent judges will agree with me that the proofs
+positive of Giorgione's authorship are of greater weight than a
+signature which--for reasons given--is not above suspicion.[89]
+
+Before I leave this wonderful portrait of a gentleman of the Barberigo
+family (so says Vasari), a word as to its date is necessary. The
+historian tells us it was painted by Titian at the age of eighteen.
+Clearly some tradition existed which told of the youthfulness of the
+painter, but may we assume that Giorgione was only eighteen at the time?
+That would throw the date back to 1495. Is it possible he can have
+painted this splendid head so early in his career? The freedom of
+handling, and the mastery of technique certainly suggests a rather later
+stage, but I am inclined to believe Giorgione was capable of this
+accomplishment before 1500. The portrait follows the Berlin "Young Man,"
+and may well take its place among the portraits which, as we have seen,
+Giorgione must have painted during the last decade of the century prior
+to receiving his commission to paint the Doge. And in this connection it
+is of special interest to find the Doge was himself a Barberigo. May we
+not conclude that the success of this very portrait was one of the
+immediate causes which led to Giorgione obtaining so flattering a
+commission from the head of the State?
+
+I mentioned incidentally that four repetitions of the "Ariosto" exist,
+all derived presumably from the Cobham original. We have a further
+striking proof of the popularity of this style of portraiture in a
+picture belonging to Mr. Benson, exhibited at the Venetian Exhibition,
+New Gallery, 1894-5, where the painter, whoever he may be, has
+apparently been inspired by Giorgione's original. The conception is
+wholly Giorgionesque, but the hardness of contour and the comparative
+lack of quality in the touch betrays another and an inferior hand.
+Nevertheless the portrait is of great interest, for could we but imagine
+it as fine in execution as in conception we should have an original
+Giorgione portrait before us. The features are curiously like those of
+the Barberigo gentleman.
+
+       *       *       *       *       *
+
+In his recently published _Life of Titian_, Dr. Gronau passes from the
+consideration of the Cobham Hall picture immediately to that of the
+"Portrait of a Lady," known as "La Schiavona," in the collection of
+Signor Crespi in Milan. In his opinion these two works are intimately
+related to one another, and of them he significantly writes thus: "The
+influence of Giorgione upon Titian" (to whom he ascribes both portraits)
+"is evident. The connection can be traced even in the details of the
+treatment and technique. The separate touches of light on the
+gold-striped head-dress which fastens back the lady's beautiful dark
+hair, the variegated scarf thrown lightly round her waist, the folds of
+the sleeves, the hand with the finger-tips laid on the parapet: all
+these details might indicate the one master as well as the other."[90]
+
+The transition from the Cobham Hall portrait to the "Lady" in the Crespi
+Collection is, to my mind, also a natural and proper one. The painter of
+the one is the painter of the other. Tradition is herein also perfectly
+consistent, and tradition has in each case a plausible signature to
+support it. The TITIANVS F. of the former portrait is paralleled by the
+T.V.--i.e. Titianus Vecellio, or Titianus Veneziano of the latter.[91] I
+have already dealt at some length with the question of the former
+signature, which appears to have been added actually during Titian's
+lifetime; in the present instance the letters appear almost, if not
+quite, coeval with the rest of the painting, and were undoubtedly
+intended for Titian's signature. The cases, therefore, are so far
+parallel, and the question naturally arises, Did Titian really have any
+hand in the painting of this portrait? Signor Venturi[92] strongly
+denies it; to him the T.V. matters nothing, and he boldly proclaims
+Licinio the author.
+
+I confess the matter is not thus lightly to be disposed of; there is no
+valid reason to doubt the antiquity of the inscription, which, on the
+analogy of the Cobham Hall picture, may well have been added in
+Titian's own lifetime, and for the same reason that I there
+suggested--viz. that Titian had in some way or other a hand in the
+completion, or may be the alteration, of his deceased master's work.[93]
+For it is my certain conviction that the painter of the Crespi "Lady" is
+none other than Giorgione himself.
+
+Before, however, discussing the question of authorship, it is a matter
+of some moment to be able to identify the lady represented. An old
+tradition has it that this is Caterina Cornaro, and, in my judgment,
+this is perfectly correct.[94] Fortunately, we possess several
+well-authenticated likenesses of this celebrated daughter of the
+Republic. She had been married to the King of Cyprus, and after his
+death had relinquished her quasi-sovereign rights in favour of Venice.
+She then returned home (in 1489) and retired to Asolo, near
+Castelfranco, where she passed a quiet country life, enjoying the
+society of the poets and artists of the day, and reputed for her
+kindliness and geniality. Her likeness is to be seen in three
+contemporary paintings:--
+
+1. At Buda-Pesth, by Gentile Bellini, with inscription.
+
+2. In the Venice Academy, also by Gentile Bellini, who introduces her
+and her attendant ladies kneeling in the foreground, to the left, in his
+well-known "Miracle of the True Cross," dated 1500.
+
+3. In the Berlin Gallery, by Jacopo de' Barbari, where she appears
+kneeling in a composition of the "Madonna and Child and Saints."
+
+[Illustration: _From a print. Pourtales Collection, Berlin_
+
+MARBLE BUST OF CATERINA CORNARO]
+
+Finally we see Caterina Cornaro in a bust in the Pourtales Collection at
+Berlin, here reproduced,[95] seen full face, as in the Crespi portrait.
+I know not on what outside authority the identification rests in the
+case of the bust, but it certainly appears to represent the same lady as
+in the above-mentioned pictures, and is rightly accepted as such by
+modern German critics.[96]
+
+[Illustration: _Anderson photo. Crespi Collection, Milan_
+
+PORTRAIT OF CATERINA CORNARO]
+
+To my eyes, we have the same lady in the Crespi portrait. Mr. Berenson,
+unaware of the identity, thus describes her:[97] "Une grande dame
+italienne est devant nous, eclatante de sante et de magnificence,
+energique, debordante, pleine d'une chaude sympathie, source de vie et
+de joie pour tous ceux qui l'entourent, et cependant reflechie,
+penetrante, un peu ironique bien qu'indulgente."
+
+Could a better description be given to fit the character of Caterina
+Cornaro, as she is known to us in history? How little likely, moreover,
+that tradition should have dubbed this homely person the ex-Queen of
+Cyprus had it not been the truth!
+
+Now, if my contention is correct, chronology determines a further point.
+Caterina died in 1510, so that this likeness of her (which is clearly
+taken from life) must have been done in or before the first decade of
+the sixteenth century.[98] This excludes Licinio and Schiavone (both of
+whom have been suggested as the artist), for the latter was not even
+born, and the former--whose earliest known picture is dated 1520--must
+have been far too young in 1510 to have already achieved so splendid a
+result. Palma is likewise excluded, so that we are driven to choose
+between Titian and Giorgione, the only two Venetian artists capable of
+such a masterpiece before 1510.
+
+As to which of these two artists it is, opinions--so far as any have
+been published--are divided. Yet Dr. Gronau, who claims it for Titian,
+admits in the same breath that the hand is the same as that which
+painted the Cobham Hall picture and the Pitti "Concert," a judgment in
+which I fully concur. Dr. Bode[99] labels it "Art des Giorgione."
+Finally, Mr. Berenson, with rare insight proclaimed the conception and
+the spirit of the picture to be Giorgione's.[100] But he asserts that
+the execution is not fine enough to be the master's own, and would rank
+it--with the "Judith" at St. Petersburg--in the category of contemporary
+copies after lost originals. This view is apparently based on the
+dangerous maxim that where the execution of a picture is inferior to the
+conception, the work is presumably a copy. But two points must be borne
+in mind, the actual condition of the picture, and the character of the
+artist who painted it. Mr. Berenson has himself pointed out
+elsewhere[101] that Giorgione, "while always supreme in his conceptions,
+did not live long enough to acquire a perfection of draughtsmanship and
+chiaroscuro equally supreme, and that, consequently, there is not a
+single universally accepted work of his which is absolutely free from
+the reproaches of the academic pedant." Secondly, the surface of this
+portrait has lost its original glow through cleaning, and has suffered
+other damage, which actually debarred Crowe and Cavalcaselle (who saw
+the picture in 1877) from pronouncing definitely upon the authorship.
+The eyes and flesh, they say,[102] were daubed over, the hair was new,
+the colour modern. A good deal of this "restoration" has since been
+removed, but the present appearance of the panel bears witness to the
+harsh treatment suffered years ago. Nevertheless, the original work is
+before us, and not a copy of a lost original, and Mr. Berenson's
+enthusiastic praise ought to be lavished on the actual picture as it
+must have appeared in all its freshness and purity. "Je n'hesiterais
+pas," he declares,[103] "a le proclamer le plus important des portraits
+du maitre, un chef-d'oeuvre ne le cedant a aucun portrait d'aucun pays
+ou d'aucun temps."
+
+And certainly Giorgione has created a masterpiece. The opulence of
+Rubens and the dignity of Titian are most happily combined with a
+delicacy and refinement such as Giorgione alone can impart. The intense
+grasp of character here displayed, the exquisite _intimite_, places this
+wonderful creation of his on the highest level of portraiture. There is
+far less of that moody abstraction which awakens our interest in most of
+his portraits, but much greater objective truth, arising from that
+perfect sympathy between artist and sitter, which is of the first
+importance in portrait-painting. History tells us of the friendly
+encouragement the young Castelfrancan received at the hands of this
+gracious lady, and he doubtless painted this likeness of her in her
+country home at Asolo, near to Castelfranco, and we may well imagine
+with what eagerness he acquitted himself of so flattering a commission.
+Vasari tells us that he saw a portrait of Caterina, Queen of Cyprus,
+painted by Giorgione from the life, in the possession of Messer Giovanni
+Cornaro. I believe that picture to be the very one we are now
+discussing.[104] The documents quoted by Signor Venturi[105] do not go
+back beyond 1640, so that it is, of course, impossible to prove the
+identity, but the expression "from the life" (as opposed to Titian's
+posthumous portrait of her) applies admirably to our likeness. What a
+contrast to the formal presentation of the queenly lady, crown and
+jewels and all, that Gentile Bellini has left us in his portrait of her
+now at Buda-Pesth!--and in that other picture of his where she is seen
+kneeling in royal robes, with her train of court ladies, as though
+attending a state function! How Giorgione has penetrated through all
+outward show, and revealed the charm of manner, the delightful
+_bonhomie_ of his royal patroness!
+
+We are enabled, by a simple calculation of dates, to fix approximately
+the period when this portrait was painted. Gentile Bellini's picture of
+"The Miracle of the True Cross" is dated 1500--that is, when Caterina
+Cornaro was forty-six years old (she was born in 1454). In Signor
+Crespi's picture she appears, if anything, younger in appearance, so
+that, at latest, Giorgione painted her portrait in 1500. Thus, again, we
+arrive at the same conclusion, that the master distinguished himself
+very early in his career in the field of portraiture, and the similarity
+in style between this portrait and the Cobham Hall one is accounted for
+on chronological grounds. All things considered, it is very probable
+that this portrait was his earliest real success, and proved a passport
+to the favourable notice of the fashionable society of Venice, leading
+to the commission to paint the Doge, and the Gran Signori, who visited
+the capital in the year 1500. That Giorgione was capable of such an
+achievement before his twenty-fourth year constitutes, we may surely
+admit, his strongest right to the title of Genius.[106]
+
+The Barberigo gentleman and the Caterina Cornaro are comparatively
+unfamiliar, owing to their seclusion in private galleries. Not so the
+third portrait, which hangs in the National Gallery, and which, in my
+opinion, should be included among Giorgione's authentic productions.
+This is No. 636, "Portrait of a Poet," attributed to Palma Vecchio; and
+the catalogue continues: "This portrait of an unknown personage was
+formerly ascribed to Titian, and supposed to represent Ariosto; it has
+long since been recognised as a fine work by Palma." I certainly do not
+know by whom this portrait was first recognised as such, but as the
+transformation was suddenly effected one day under the late Sir Frederic
+Burton's _regime_, it is natural to suppose he initiated it. No one
+to-day would be found, I suppose, to support the older view, and the
+rechristening certainly received the approval of Morelli;[107] modern
+critics apparently acquiesce without demur, so that it requires no
+little courage to dissent from so unanimous an opinion. I confess,
+therefore, it was no small satisfaction to me to find the question had
+been raised by an independent inquirer, Mr. Dickes, who published in the
+_Magazine of Art_, 1893, the results of his investigations, the
+conclusion at which he arrived being that this is the portrait of
+Prospero Colonna, Liberator of Italy, painted by Giorgione in the year
+1500.
+
+Briefly stated, the argument is as follows:--
+
+I. (1) The person represented closely resembles
+       Prospero Colonna (1464-1523), whose authentic
+       likeness is to be seen--
+
+       (_a_) In an engraving in Pompilio Totti's
+            "Ritratti et Elogie di Capitani illustri.
+            Rome, 1635."
+
+       (_b_) In a bust in the Colonna Gallery, Rome.
+
+       (_c_) In an engraving in the "Columnensium
+            Procerum" of the Abbas Domenicus
+            de Santis. Rome, 1675.
+
+(All three are reproduced in the article in question.)
+
+[Illustration: _Hanfstaengl photo. National Gallery, London_.
+
+PORTRAIT OF A MAN]
+
+    (2) The description of Prospero Colonna, given
+        by Pompilio Totti (in the above book)
+        tallies with our portrait.
+
+    (3) The accessories in the picture confirm the
+        identity--e.g. the St Andrew's Cross, or
+        saltire, is on the Colonna family banner;
+        the bay, emblem of victory, is naturally
+        associated with a great captain; the rosary
+        may refer to the fact of Prospero's residence
+        as lay brother in the monastery of the
+        Olivetani, near Fondi, which was rebuilt
+        by him in 1500.
+
+II. Admitting the identity of person, chronology
+        determines the probable date of the execution
+        of this portrait, for Prospero visited
+        Venice presumably in the train of Consalvo
+        Ferrante in 1500. He was then thirty-six
+        years of age.
+
+III. Assuming this date to be correct, no other Venetian
+        artist but Giorgione was capable of producing
+        so fine and admittedly "Giorgionesque"
+        a portrait at so early a date.
+
+IV. Internal evidence points to Giorgione's authorship.
+
+It will be seen that the logic employed is identical with that by which
+I have tried to establish the identity of Signor Crespi's picture. In
+the present case, I should like to insist on the fourth consideration
+rather than on the other points, iconographical or chronological, and
+see how far our portrait bears on its face the impress of Giorgione's
+own spirit.
+
+The conception, to begin with, is characteristic of him--the pensive
+charm, the feeling of reserve, the touch of fanciful imagination in the
+decorative accessories, but, above all, the extreme refinement. All this
+very naturally fits the portrait of a poet, and at a time when it was
+customary to label every portrait with a celebrated name, what more
+appropriate than Ariosto, the court poet of Ferrara? But this dreamy
+reserve, this intensity of suppressed feeling is characteristic of all
+Giorgione's male portraits, and is nowhere more splendidly expressed
+than in this lovely figure. 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. Both are
+below the level of Giorgione in refinement; neither ever made of a
+portrait such a thing of sheer beauty as this. If this be Palma's work,
+it stands alone, not only far surpassing his usual productions in
+quality, but revealing him in a wholly new phase; it is a difference not
+of degree, but of kind.
+
+[Illustration: _Anderson photo. Querini-Stampalia Collection, Venice_
+
+PORTRAIT OF A MAN (Unfinished)]
+
+Positive proofs of Giorgione's hand are found in the way the hair is
+rendered--that lovely dark auburn hair so often seen in his work,--in
+the radiant oval of the face, contrasting so finely with the shadows,
+which are treated exactly as in the Cobham picture, only that here the
+chiaroscuro is more masterly, in the delicate modelling of the features,
+the pose of the head, and in the superb colour of the whole. In short,
+there is not a stroke that does not reveal the great master, and no
+other, and it is incredible that modern criticism has not long ago
+united in recognising Giorgione's handiwork.[10
+8]
+
+The date suggested--1500--is also consistent with our own deductions as
+to Giorgione's rapid development, and the distinguished character of his
+sitter--if it be Prospero Colonna--is quite in keeping with the vogue
+the artist was then enjoying, for it was in this very year, it will be
+remembered, that he painted the Doge Agostino Barberigo.
+
+I therefore consider that Mr. Dickes' brilliant conjectures have much to
+support them, and, so far as the authorship is concerned, I
+unhesitatingly accept the view, which he was the first to express, that
+Giorgione, and no other, is the painter. Our National Collection
+therefore boasts, in my opinion, a masterpiece of his portraiture.
+
+If it were not that Morelli, Mr. Berenson and others have recognised in
+the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
+Venice, the same hand as in the National Gallery picture, one might well
+hesitate to claim it for Giorgione, so repainted is its present
+condition. I make bold, however, to include it in my list, and the more
+readily as Signor Venturi definitely assigns it to Giorgione himself,
+whose name, moreover, it has always borne. This unfinished portrait is,
+despite its repaint, extraordinarily attractive, the rich browns and
+reds forming a colour-scheme of great beauty. It cannot compare,
+however, in quality with our National Gallery highly-finished example,
+to which it is also inferior in beauty of conception. These two
+portraits illustrate the variableness of the painter; both were probably
+done about the same time--the one seemingly _con amore_, the other left
+unfinished, as though the artist or his sitter were dissatisfied.
+Certainly the cause could not have been Giorgione's death, for the style
+is obviously early, probably prior to 1500.
+
+The view expressed by Morelli[109] that this may be a portrait of one of
+the Querini family, who were Palma's patrons, has nothing tangible to
+support it, once Palma's authorship is contested. But the unimaginative
+Palma was surely incapable of such things as this and the National
+Gallery portrait!
+
+[Illustration: Collection of the Honourable Mrs. Meynell-Ingram, Temple
+Newsam, Leeds
+
+PORTRAIT OF A MAN]
+
+England boasts, I believe, yet another magnificent original Giorgione
+portrait, and one that is probably totally unfamiliar to connoisseurs.
+This is the "Portrait of an Unknown Man," in the possession of the Hon.
+Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
+ill-executed print of it was published in the _Magazine of Art_, April
+1893, where it was attributed to Titian. Its Giorgionesque character is
+apparent at first glance, and I venture to hope that all those who may
+be fortunate enough to study the original, as I have done, will
+recognise the touch of the great master himself. Its intense expression,
+its pathos, the distant look tinged with melancholy, remind us at once
+of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
+its modelling vividly recalls the central figure of the Pitti "Concert,"
+the painting of sleeve and gloves is like that in the National Gallery
+and Querini-Stampalia portraits just discussed. The general pose is most
+like that of the Borghese "Lady." The parapet, the wavy hair, the
+high cranium are all so many outward and visible signs of Giorgione's
+spirit, whilst none but he could have created such magnificent contrasts
+of colour, such effects of light and shade. This is indeed Giorgione,
+the great master, the magician who holds us all fascinated by his
+wondrous spell.
+
+[Illustration: _Hanfstaengl photo. Vienna Gallery_
+
+PORTRAIT OF A MAN]
+
+Last on the list of portraits which I am claiming as Giorgione's, and
+probably latest in date of execution, comes the splendid so-called
+"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
+describe it: "This masterly portrait is one of the noblest creations of
+its kind, finished with a delicacy quite surprising, and modelled with
+the finest insight into the modulations of the human flesh....
+Notwithstanding, the touch and the treatment are utterly unlike
+Titian's, having none of his well-known freedom and none of his
+technical peculiarities. Yet if asked to name the artist capable of
+painting such a likeness, one is still at a loss. It is considered to be
+identical with the portrait mentioned by Ridolfi as that of 'Parma' in
+the collection of B. della Nave (Merav., i. 220); but this is not
+proved, nor is there any direct testimony to show that it is by Titian
+at all."[110]
+
+Herr Wickhoff[111] goes a step further. He says: "Un autre portrait qui
+porte le nom de Titien est egalement l'une des oeuvres les plus
+remarquables du Musee. On pretend qu'il represente le 'Medecin du
+Titien, Parma'; mais c'est la une pure invention, imaginee par un ancien
+directeur du Musee, M. Rosa, et admise de confiance par ses successeurs.
+M. Rosa avait ete amene a la concevoir par la lecture d'un passage de
+Ridolfi. Le costume suffirait a lui seul, pourtant, pour la dementir:
+c'est le costume officiel d'un senateur venitien, et qui par suite ne
+saurait avoir ete porte par un medecin. Le tableau est incontestablement
+de la meme main que les deux 'Concerts' du Palais Pitti et du Louvre,
+qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
+tableaux au Giorgione, c'est a lui aussi qu'il faut attribuer le
+portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
+Palais Pitti au Titien, il faut approuver l'attribution actuelle de
+notre portrait au meme maitre." I am glad that Herr Wickhoff recognises
+the same hand in all three works. I am sorry that in his opinion this
+should be Domenico Campagnola's. I have already referred to this opinion
+when discussing the Louvre "Concert," and must again emphatically
+dissent from this view. Campagnola, as I know him in his pictures and
+frescoes at Padua,--the only authenticated examples by which to judge
+him,[112]--was utterly inadequate to such tasks. The grandeur and
+dignity of the Vienna portrait is worthy of Titian, whose virility
+Giorgione more nearly approaches here than anywhere else. But I agree
+with the verdict of Crowe and Cavalcaselle that his is not the hand that
+painted it, and believe that the author of the Temple Newsam "Man" also
+produced this portrait, probably a few years later, at the close of his
+career.
+
+NOTES:
+
+[85] Or "points" (_punte_). The translation is that used by Blashfield
+and Hopkins, vol. iv. 260.
+
+[86] Assuming he was born in 1477, which is by no means certain.
+
+[87] Dr. Richter in the _Art Journal_, 1895, p. 90. Mr. Claude Phillips,
+in his _Earlier Work of Titian_, p. 58, note, objects that Vasari's
+"giubone di raso inargentato" is not the superbly luminous steel-grey
+sleeve of this "Ariosto," but surely a vest of satin embroidered with
+silver. I think we need not examine Vasari's casual descriptions quite
+so closely; "a doublet of silvered satin wherein the stitches could be
+counted" is fairly accurate. "Quilted sleeves" would no doubt be the
+tailor's term.
+
+[88] It is not quite clear whether the single letter is F or T.
+
+[89] A curious fact, which corroborates my view, is that the four old
+copies which exist are all ascribed to Giorgione (at Vicenza, Brescia,
+and two lately in English collections). See Crowe and Cavalcaselle, p.
+201.
+
+[90] Gronau: _Tizian_, p. 21.
+
+[91] See, however, note on p. 133.
+
+[92] _La Galleria Crespi_.
+
+[93] The documents quoted by Signor Venturi show the signature was there
+in 1640.
+
+[94] When in the Martinengo Gallery at Brescia (1640) it bore this name.
+See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58.
+
+[95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis
+der Caterina Cornaro_." I am informed the original is now in the
+possession of the German Ambassador at The Hague, and that a plaster
+cast is at Berlin.
+
+[96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtales
+acquired this bust at Asolo.
+
+[97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901)
+republished in his _Study and Criticism of Italian Art_, vol. i. p. 85.
+
+[98] Titian's posthumous portrait of Caterina is lost. The best known
+copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the
+absurdity of regarding this fancy portrait as a true likeness of the
+long deceased queen. It bears no resemblance whatever to the Buda-Pesth
+portrait, which is the latest of the group.
+
+[99] _Cicerone_, sixth edition.
+
+[100] _Gazette des Beaux Arts_, 1897, pp. 278-9.
+
+[101] _Venetian Painting at the New Gallery_, 1895, p. 41.
+
+[102] _Titian_, ii. 58.
+
+[103] _Gazette des Beaux Arts, loc cit_.
+
+[104] _Life of Giorgione_. The letters T.V. either were added after
+1544, or Vasari did not interpret them as Titian's signature.
+
+[105] _La Galleria Crespi, op. cit_.
+
+[106] The importance of this portrait in the history of the Renaissance
+is discussed, _postea_, p. 113.
+
+[107] ii. 19.
+
+[108] This picture was transferred in 1857 from panel to canvas, but is
+otherwise in fine condition.
+
+[109] Morelli, ii. 19, note.
+
+[110] Crowe and Cavalcaselle: _Titian_, p. 425.
+
+[111] _Gazette des Beaux Arts_, 1893, p. 135.
+
+[112] It is customary to cite the Prague picture of 1525 as his work.
+The clumsy signature CAM was probably intended for Campi, the real
+author, and its genuineness is not above suspicion. It is a curious
+_quid pro quo_.
+
+
+
+
+CHAPTER V
+
+
+ADDITIONAL PICTURES OTHER THAN PORTRAITS
+
+I have now pointed out six portraits which, in my opinion, should be
+included in the roll of genuine Giorgiones. No doubt others will, in
+time, be identified, but I leave this fascinating quest to pass to the
+consideration of other paintings illustrating a different phase of the
+master's art.[113]
+
+We know that the romantic vein in Giorgione was particularly strong,
+that he naturally delighted in producing fanciful pictures where his
+poetic imagination could find full play; we have seen how the classic
+myth and the mediaeval romance afforded opportunities for him to indulge
+his fancy, and we have found him adapting themes derived from these
+sources to the decoration of _cassoni_, or marriage chests. Another
+typical example of this practice is afforded by his "Orpheus and
+Eurydice," in the gallery at Bergamo, a splendid little panel, probably,
+like the "Apollo and Daphne" in the Seminario at Venice, intended as a
+decorative piece of applied art. Although bearing Giorgione's name by
+tradition, modern critics have passed it by presumably on the ground
+that "it is not good enough,"--that fatal argument which has thrown dust
+in the eyes of the learned. As if the artist would naturally expend as
+much care on a trifle of this kind as on the Castelfranco altar-piece,
+or the Dresden "Venus"! Yet what greater beauty of conception, what more
+poetic fancy is there in the "Apollo and Daphne" (which is generally
+accepted as genuine) than in this little "Orpheus and Eurydice"? Nay,
+the execution, which is the point contested, appears to me every whit as
+brilliant, and in preservation the latter piece has the advantage. Not a
+touch but what can be paralleled in a dozen other works--the feathery
+trees against the luminous sky, the glow of the horizon, the splendid
+effects of light and shadow, the impressive grandeur of the wild
+scenery, the small figures in mid-distance, even the cast of drapery and
+shape of limbs are repeated elsewhere. Let anyone contrast the delicacy
+and the glow of this little panel with several similar productions of
+the Venetian school hanging in the same gallery, and the gulf that
+separates Giorgione from his imitators will, I think, be apparent.
+
+[Illustration: _Taramelli photo. Bergamo Gallery_ ORPHEUS AND EURYDICE]
+
+In the same category must be ranked two very small panels in the Gallery
+at Padua (Nos. 42 and 43), attributed with a query to Giorgione. These
+are apparently fragments of some decorative series, of which the other
+parts are missing. The one represents "Leda and the Swan," the other a
+mythological subject, where a woman is seated holding a child, and a
+man, also seated, holds flowers. The latter recalls one of the figures
+in the National Gallery "Epiphany." The charm of these fragments lies in
+the exquisite landscapes, which, in minuteness of finish and loving
+care, Giorgione has nowhere surpassed. The gallery at Padua is thus, in
+my opinion, the possessor of four genuine examples of Giorgione's skill
+as a decorator, for we have already mentioned the larger _cassone_
+pieces[114] (Nos. 416 and 417).
+
+Of greater importance is the "Unknown Subject," in the National Gallery
+(No. 1173), a picture which, like so many others, has recently been
+taken from Giorgione, its author, and vaguely put down to his "School."
+But it is time to protest against such needless depreciation!
+
+In spite of abrasion, in spite of the loss of glow, in spite of much
+that disfigures, nay disguises, the master's own touch, I feel confident
+that Giorgione and no other produced this beautiful picture.[115] Surely
+if this be only school work, we are vainly seeking a mythical master, an
+ideal who never could have existed. What more dainty figures, what more
+delicate hues, what more exquisite feeling could one look for than is
+here to be found? True, the landscape has been renovated, true, the
+Giorgionesque depth and richness is gone, the mellow glow of the
+"Epiphany," which hangs just below, is sadly wanting, but who can deny
+the charm of the picturesque scenery, which vividly recalls the
+landscape backgrounds elsewhere in the master's own work, who can fail
+to admire the natural and unstudied grouping of the figures, the
+artlessness of the whole, the loving simplicity with which the painter
+has done his work? All is spontaneous; the spirit is not that of a
+laborious imitator, painfully seeking "effects" from another's
+inspiration; sincerity and naivete are too apparent for this to be the
+work of any but a quite young artist, and one whose style is so
+thoroughly "Giorgionesque" as to be none other than the young Giorgione
+himself. In my opinion this is one of his earliest essays into the
+region of romance, painted probably before his twenty-first year,
+betraying, like the little legendary pictures in the Uffizi, a strong
+affinity with Carpaccio.[116]
+
+[Illustration: _Hanfstaengl photo. Na. nal Gallery, London_
+
+? THE GOLDEN AGE]
+
+As to the subject many conjectures have been made: Aristotle surrounded
+by emblems illustrating the objects with which his philosophy was
+concerned, an initiation into some mystic rite, the poet musing in
+sadness on the mysteries of life, the philosopher imparting wisdom to
+the young, etc. etc. I believe Giorgione is simply giving us a poetical
+rendering of "The Golden Age," where, like Plato's philosopher-king, the
+seer all-wise and all-powerful holds sway, before whom the arts and
+sciences do homage; in this earthly paradise even strange animals live
+in happy harmony, and all is peace. Such a theme would well have suited
+Giorgione's temperament, and Ridolfi actually tells us that this very
+subject was taken by Giorgione from the pages of Ovid, and adapted by
+him to his own ends.[117] But whether this represents "The Golden Age,"
+or some other allegory or classic story, the picture is completely
+characteristic of all that is most individual in Giorgione, and I
+earnestly hope the slur now cast upon its character by the misleading
+label will be speedily removed.[118] For the public believes more in the
+labels it reads, than the pictures it sees.
+
+Finally, in the "Venus disarming Cupid," of the Wallace collection, we
+have, in my opinion, the wreck of a once splendid Giorgione. In the
+recent re-arrangement of the Gallery, this picture, which used to hang
+in an upstairs room, and was practically unknown, has been hung
+prominently on the line, so that its beauties, and, alas! its defects,
+can be plainly seen. The outlines are often distorted and blurred, the
+Cupid has become monstrous, the delicacy of the whole effaced by
+ill-usage and neglect. Yet the splendour of colour, the cast of drapery,
+the flow of line, proclaims the great master himself. There is no room,
+moreover, for such a mythical compromise as that which is proposed by
+the catalogue, "It stands midway in style between Giorgione and Titian
+in his Giorgionesque phase." No better instance could be adduced of the
+fallacy of perfection implied in the minds of most critics at the
+mention of Giorgione's name; yet if we accept the Louvre "Concert," if
+we accept the Hermitage "Judith," why dispute Giorgione's claim on the
+ground of "weakness of construction"? This "Venus and Cupid" is vastly
+inferior in quality to the Dresden "Venus,"--let us frankly admit
+it,--but it is none the less characteristic of the artist, who must not
+be judged by the standard of his exceptional creations, but by that of
+his normal productions.[119]
+
+[Illustration: _Hanfstaengl photo. National Gallery, London_ VENUS AND
+ADONIS]
+
+Just such another instance of average merit is afforded by the "Venus
+and Adonis" of the National Gallery (No. 1123), from which, had not an
+artificial standard of excellence been falsely raised, Giorgione's name
+would never have been removed. I am happily not the first to call
+attention to the propriety of the old attribution, for Sir Edward
+Poynter claims that the same hand that produced the Louvre "Concert" is
+also responsible for the "Venus and Adonis."[120] I fully share this
+opinion. The figures, with their compactly built and rounded limbs, are
+such as Giorgione loved to model, the sweep of draperies and the
+splendid line indicate a consummate master, the idyllic landscape
+framing episodes from the life of Adonis is just such as we see in the
+Louvre picture and elsewhere, the glow and splendour of the whole reveal
+a master of tone and colouring. Some good judges would give the work to
+the young Titian, but it appears too intimately "Giorgionesque" to be
+his, although I admit the extreme difficulty in drawing the line of
+division. Passages in the "Sacred and Profane Love" of the Borghese
+Gallery are curiously recalled, but the National Gallery picture is
+clearly the work of a mature and experienced hand, and not of any young
+artist. In my opinion it dates from about 1508, and illustrates the
+later phase of Giorgione's art as admirably as do the "Epiphany" (No.
+1160) and the "Golden Age" (No. 1173) his earliest style. Between these
+extremes fall the "Portrait" (No. 636), and the "S. Liberale" (No. 269),
+the National Gallery thus affording unrivalled opportunity for studying
+the varying phases of the great Venetian master at different stages of
+his career.
+
+       *       *       *       *       *
+
+We may now pass from the realm of "fancy" subjects to that of sacred
+art--that is, to the consideration of the "Madonnas," "Holy Families,"
+and "Santa Conversazione" pictures, other than those already described.
+The Beaumont "Adoration of the Shepherds," with its variant at Vienna,
+the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony and
+S. Roch," and the Castelfranco altar-piece are the only instances so far
+of Giorgione's sacred art, yet Vasari tells us that the master "in his
+youth painted very many beautiful pictures of the Virgin."
+
+This statement is on the face of it likely enough, for although the
+young Castelfrancan early showed his independence of tradition and his
+preference for the more modern phases of Bellini's art, it is extremely
+probable he was also called upon to paint some smaller devotional
+pieces, such, for instance, as "The Christ bearing the Cross," lately in
+the Casa Loschi at Vicenza.[121] It is noteworthy, all the same, that
+scarcely any "Madonna" picture exists to which his name still attaches,
+and only one "Holy Family," so far as I am aware, is credibly reputed to
+be his work. This is Mr. Benson's little picture, in all respects a
+worthy companion to the Beaumont and National Gallery examples. There is
+even a purer ring about this lovely little "Holy Family," a child-like
+sincerity and a simplicity which is very touching, while for sheer
+beauty of colour it is more enjoyable than either of the others. It may
+not have the depth of tone and mastery of chiaroscuro which make the
+Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
+and daintiness of treatment it is not surpassed by any other of
+Giorgione's works. In its obvious defects, too, it is as thoroughly
+characteristic; it is needless to repeat here what I said when
+discussing the Beaumont and Vienna "Adoration"; the reader who compares
+the reproductions will readily see the same features in both works. Mr.
+Benson's little picture has this additional interest, that more than
+either of its companion pieces it points forward to the Castelfranco
+"Madonna" in the bold sweep of the draperies, the play of light on
+horizontal surfaces, and the exquisite gaiety of its colour.
+
+
+[Illustration: _Hanfstaengl photo. Vienna Gallery_ THE "GIPSY" MADONNA]
+
+In claiming this picture for Giorgione I am claiming nothing new, for
+his name, in spite of modern critics, has here persistently survived.
+Not so with a group of three Madonnas, one of which has for at least two
+centuries borne Titian's name, another which passes also for a work of
+the same painter, whilst the third was claimed by Crowe and
+Cavalcaselle again for Titian, partly on the analogy of the
+first-mentioned one.[122] The first is the so-called "Gipsy Madonna" in
+the Vienna Gallery, the second is a "Madonna" in the Bergamo Gallery,
+and the third is a "Madonna" again in Mr. Benson's collection.
+
+I am happily not the first to identify the "Gipsy Madonna" as
+Giorgione's work, for it requires no little courage to tilt at what has
+been unquestioningly accepted as "the earliest known Madonna of Titian."
+I am indebted, therefore, to Signor Venturi for the lead,[123] although
+I have the satisfaction of feeling that independent study of my own had
+already brought me to the same conclusion.
+
+Of course, all modern writers have recognised the "Giorgionesque"
+elements in this supposed Titian. "In the depth, strength, and richness
+of the colour-chord, in the atmospheric spaciousness and charm of the
+landscape background, in the breadth of the draperies, it is already,"
+says Mr. Claude Phillips,[124] "Giorgionesque." Yet, he goes on, the
+Child is unlike Giorgione's type in the Castelfranco and Madrid
+pictures, and the Virgin has a less spiritualised nature than
+Giorgione's Madonnas in the same two pictures. On the other hand, Dr.
+Gronau, Titian's latest biographer, declares[125] that the thoughtful
+expression ("der tief empfundene Ausdruck") of the Madonna is
+essentially Giorgionesque. Morelli, with peculiar insight, protested
+against its being considered a very _early_ work of Titian, basing his
+protest on the advanced nature of the landscape, which, he says,[126]
+"must have been painted six or eight years later than the end of the
+fifteenth century." But even he fell into line with Crowe and
+Cavalcaselle in ascribing the picture to Titian, failing to see that all
+difficulties of chronology and discrepancies of judgment between himself
+and the older historians could be reconciled on the hypothesis of
+Giorgione's authorship. For Giorgione, as Morelli rightly saw, developed
+far more rapidly than Titian, so that a Titian landscape of, say, 1506-8
+(if any such exist!) would correspond with one by Giorgione of, say,
+1500. I agree with Crowe and Cavalcaselle and those writers who date
+back the "Gipsy Madonna" to the end of the fifteenth century, but I must
+emphatically support Signor Venturi in his claim that Giorgione is the
+author.
+
+Before, however, looking at internal evidence to prove this contention,
+we may note that another example of the same composition exists in the
+Gallery of Rovigo, identical save for a cartellino on which is inscribed
+TITIANVS. To Crowe and Cavalcaselle this was evidence to confirm
+Titian's claim to be the painter of what they considered the original
+work--viz. the Vienna picture, of which the Rovigo example was, in their
+opinion, a later copy. A careful examination, however, of the latter
+picture has convinced me that they were curiously right and curiously
+wrong. That the Rovigo work is posterior to the Vienna one is, I think,
+patent to anyone conversant with Venetian painting, but why should the
+one bear Titian's name on an apparently authentic cartellino, and not
+the other? The simple and straightforward explanation appears the
+best--viz. that the Rovigo picture is actually by Titian, who has taken
+the Vienna picture (which I attribute to Giorgione) as his model and
+directly repeated it. The qualities of the work are admirable, and
+worthy of Titian, and I venture to think this "Madonna" would long ago
+have taken its rightful place among the pictures of the master had it
+not hung in a remote provincial gallery little visited by travellers,
+and in such a dark corner as to escape detection. The form TITIANVS
+points to a period after 1520,[127] when Giorgione had been some years
+dead, so that it was not unnatural that in after times the credit of
+invention rested with the author of the signed picture, and that his
+name came gradually to be attached also to the earlier example. The
+engraving of Meyssen (_circa_ 1640) thus bears Titian's name, and both
+engraving and the repetition at Rovigo are now adduced as evidence of
+Titian's authorship of the Vienna "Gipsy Madonna."
+
+But is there any proof that Titian ever copied or repeated any other
+work of Giorgione? There is, fortunately, one great and acknowledged
+precedent, the "Venus" in the Tribune of the Uffizi, which is _directly_
+taken from Giorgione's Dresden "Venus," The accessories, it is true, are
+different, but the nude figures are line for line identical.[128] Other
+painters, Palma, Cariarli, and Titian, elsewhere, derived inspiration
+from Giorgione's prototype, but Titian actually repeats the very figure
+in this "Venus"; so that there is nothing improbable in my contention
+that Titian also repeated Giorgione's "Gipsy Madonna," adding his
+signature thereto, to the confusion and confounding of later
+generations.
+
+[Illustration: _Dixon photo. Collection of Mr. R.H. Benson, London_
+
+MADONNA AND CHILD]
+
+It is worthy of note that not a single "Madonna and Child" by Titian
+exists, except the little picture in Mr. Mond's collection, painted
+quite in the artist's old age. Titian invariably paints "Madonna and
+Saints," or a "Holy Family," so that the three Madonna pictures I am
+claiming for Giorgione are marked off by this peculiarity from the bulk
+of Titian's work. This in itself is not enough to disqualify Titian, but
+it is a factor in that cumulative proof by which I hope Giorgione's
+claim may be sustained. The marble parapet again is a feature in
+Giorgione's work, but not in Titian's. But the most convincing evidence
+to those who know the master lies in the composition, which forms an
+almost equilateral triangle, revealing Giorgione's supreme sense of
+beauty in line. The splendid curves made by the drapery, the pose of the
+Child, so as to obtain the same unbroken sweep of line, reveals the
+painter of the Dresden "Venus." The painting of the Child's hand over
+the Madonna's is precisely as in the Madrid picture, where, moreover,
+the pose of the Child is singularly alike. The folds of drapery on the
+sleeve recur in the same picture, the landscape with the small figure
+seated beneath the tree is such as can be found in any Giorgione
+background. The oval of the face and the delicacy of the features are
+thoroughly characteristic, as is the spirit of calm reverie and tender
+simplicity which Giorgione has breathed into his figures.
+
+The second and third Madonna pictures--viz. the one at Bergamo, and its
+counterpart in Mr. Benson's collection--appear to be somewhat later in
+date of execution, but reveal many points in common with the "Gipsy
+Madonna." The beauty of line is here equally conspicuous; the way the
+drapery is carried out beyond the elbow so as to form one long unbroken
+curve, the triangular composition, the marble parapet, are so many
+proofs of Giorgione's hand. Moreover, we find in Mr. Benson's picture
+the characteristic tree-trunks, so suggestive of solemn grandeur,[129]
+and the striped scarf,[130] so cunningly disposed to give more flowing
+line and break the stiffness of contour.
+
+The Bergamo picture closely resembles Mr. Benson's "Madonna," from
+which, indeed, it varies chiefly in the pose of the Child (whose left
+leg here sticks straight out), whilst the landscape is seen on the left
+side, and there are no tree-trunks. I cannot find that any writer has
+made allusion to this little gem, which hangs high up on the end wall of
+the Lochis section of the gallery (No. 232); I hope others will examine
+this new-found work at a less inconvenient height, as I have done, and
+that their opinion will coincide with mine that the same hand painted
+the Benson "Madonna," and that that hand is Giorgione's.
+
+Before quitting the subject of the "Madonna and Child," another example
+may be alluded to, about which it would be unwise to express any decided
+opinion founded only on a study of the photograph. This is a picture at
+St. Petersburg, to which Mr. Claude Phillips first directed
+attention,[131] stating his then belief that it might be a genuine
+Giorgione. After a recent visit to St. Petersburg, however, he has seen
+fit to register it as a probable copy after a lost original by the
+master, on the ground that "it is not fine enough in execution."[132]
+This, as I have often pointed out, is a dangerous test to apply in
+Giorgione's case, and so the authenticity of this "Madonna" may still be
+left an open question.
+
+Finally, in the category of Sacred Art come two well-known pictures,
+both in public galleries, and both accredited to Giorgione. The first is
+the "Christ and the Adulteress" of the Glasgow Gallery, the second the
+"Madonna and Saints" of the Louvre. Many diverse opinions are held about
+the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
+It is asserted by some that the same hand painted the Kingston Lacy
+"Judgment of Solomon," but that it is not the hand of Giorgione, and
+finally--to come to the view which I believe is the correct one--Dr.
+Bode and Sir Walter Armstrong[133] both believe that Giorgione is the
+painter.
+
+[Illustration: _Hanfstaengl photo. Glasgow Gallery_ THE ADULTERESS
+BEFORE CHRIST]
+
+The whole difficulty, as it seems to me, arises from the deep-rooted
+misapprehension in the minds of most critics of the character of
+Giorgione's art. In their eyes, he is something so perfect as to be
+incapable of producing anything short of the ideal. He could never have
+drawn so badly, he never could have composed so awkwardly, he never
+could have been so inexpressive!--such is the usual criticism. I have
+elsewhere insisted upon the unevenness which invariably characterises
+the productions of men who are gifted with a strong artistic
+temperament, and in Giorgione's case, as I believe, this is particularly
+true. The Glasgow picture is but one instance of many where, if
+correctness of drawing, perfection of composition, and inevitableness of
+expression are taken as final tests, the verdict must go against the
+painter. He either failed in these cases to come up to the standard
+reached elsewhere, or he is not the painter. Modern negative criticism
+generally adopts the latter solution, with the result that not a score
+of pictures pass muster, and the virtues of these chosen few are so
+extolled as to make it all but impossible to see the reverse of the
+medal. But those who accept the "Judith" at St. Petersburg, the Louvre
+"Concert," the Beaumont "Adoration of the Shepherds" (to name only three
+examples where the drawing is strange), cannot consistently object to
+admit the Glasgow "Christ and the Adulteress" into the fold. Nay, if
+gorgeousness of colour, splendour of glow, mastery of chiaroscuro, and
+brilliancy of technique are qualities which go to make up great
+painting, then the Glasgow picture must take high rank, even in a school
+where such qualities found their grandest expression.
+
+[Illustration: _The Louvre, Paris_
+
+MADONNA AND SAINTS]
+
+Comparisons of detail may be noted, such as the resemblance in posture
+and type of the Accuser with the S. Roch of the Madrid picture, the
+figure of the Adulteress with that of the False Mother in the Kingston
+Lacy picture, the pointing forefingers, the typical landscape, the cast
+of the draperies, details which the reader can find often repeated
+elsewhere. But it is in the treatment of the subject that the most
+characteristic features are revealed. The artist was required--we know
+not why--to paint this dramatic scene; he had to produce a "set piece,"
+where action and graphic representation was urgently needed. How little
+to his taste! How uncongenial the task! The case is exactly paralleled
+by the "Judgment of Solomon," the only other dramatic episode Giorgione
+appears to have attempted, and the result in each case is the same--no
+real dramatic unity, but an accidental arrangement of the figures, with
+rhetorical action. The want of repose in the Christ offends, the
+stageyness of the whole repels. How different when Giorgione worked _con
+amore_! For it seems this composition gave him much trouble. Of this we
+have a most interesting proof in an almost contemporary Venetian version
+of the same subject, where the scheme has been recast. This picture
+belongs to Sir Charles Turner, in London, and, so far as
+intelligibleness of composition goes, may be said to be an improvement
+on the Glasgow version. It is highly probable that this painting derives
+from some alternative drawing for the original picture. That the Glasgow
+version acquired some celebrity we have further proof in an almost exact
+copy (with one more figure added on the right), which hangs in the
+Bergamo Gallery under Cariani's name, a painting which, in all respects,
+is utterly inferior to the original.[134]
+
+The "Christ and the Adulteress," then, becomes for us a revelation of
+the painter's nature, of his methods and aims; but, with all its
+technical excellences, shall we not also frankly recognise the
+limitations of his art?[135]
+
+The "Madonna and Saints" of the Louvre, which persistently bears
+Giorgione's name, in spite of modern negative criticism, is marked by a
+lurid splendour of colour and a certain rough grandeur of expression,
+well calculated to jar with any preconceived notion of Giorgionesque
+sobriety or reserve. Yet here, if anywhere, we get that _fuoco
+Giorgionesco_ of which Vasari speaks, that intensity of feeling,
+rendered with a vivacity and power to which the artist could only have
+attained in his latest days. In this splendid group there is a masculine
+energy, a fulness of life, and a grandeur of representation which
+carries _le grand style_ to its furthest limits, and if Giorgione
+actually completed the picture before his death, he anticipated the full
+splendour of the riper Renaissance. To him is certainly due the general
+composition, with its superb lines, its beautiful curves, its majestic
+and dignified postures, its charming sunset background, to him is
+certainly due the splendid chiaroscuro and magic colour-chord; but it
+becomes a question whether some of the detail was not actually finished
+by Giorgione's pupil, Sebastiano del Piombo.[136] The drawing, for
+instance, of the hands vividly suggests his help, the type of S. Joseph
+in the background reminds us of the figure of S. Chrysostom in
+Sebastiano's Venice altar-piece, while the S. Catherine recalls the
+Angel in Sebastiano's "Holy Family" at Naples. If this be the case, we
+here have another instance of the pupil finishing his master's work, and
+this time probably after his death, for, as already pointed out, the
+"Evander and Aeneas" (at Vienna) must have been left by Giorgione
+well-nigh complete at an earlier stage than the year of his death.
+
+That Sebastiano stood in close relation to his master, Giorgione, is
+evidenced not only by Vasari's statement, but by the obvious dependence
+of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque
+models. Moreover, the "Violin Player," formerly in the Sciarra Palace,
+at once reminds us of the "Barberigo" portrait at Cobham, while the
+"Herodias with the Head of John Baptist," dated 1510, now in the
+collection of Mr. George Salting, shows conclusively how closely related
+were the two painters in the last year of Giorgione's life. Sebastiano
+was twenty-five years of age in 1510, and appears to have worked under
+Giorgione for some time before removing to Rome, which he did on, or
+shortly before, his master's death. His departure left Titian, his
+associate under Giorgione, master of the field; he, too, had a hand in
+finishing some of the work left incomplete in the atelier, and his
+privilege it became to continue the Giorgionesque tradition, and to
+realise in utmost perfection in after years the aspirations and ideals
+so brilliantly anticipated by the young genius of Castelfranco.[137]
+
+NOTES:
+
+[113] The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of
+Cordova, Giovanni Borgherini and his tutor, Luigi Crasso, and others,
+are mentioned as having sat to Giorgione for their portraits. Modern
+criticism has recently distributed several "Giorgionesque" portraits in
+English collections among Licinio, Lotto, and even Polidoro! But this
+disintegrating process may be, and has been, carried too far.
+
+[114] Two more small works may be mentioned which may tentatively be
+ascribed to Giorgione. "The Two Musicians," in the Glasgow Gallery
+(recently transferred to Campagnola), and a "Sta. Justina" (known to me
+only from a photograph), which has passed lately into the collection of
+Herr von Kauffmann at Berlin.
+
+Signor Venturi (_L'Arte_, 1900) has just acquired for the National
+Gallery in Rome a "St. George slaying the Dragon." Judging only from the
+photograph, I should say he is correct in his identification of this as
+Giorgione's work. It seems to be akin to the "Apollo and Daphne," and
+"Orpheus and Eurydice."
+
+[115] I am pleased to find Signor Venturi has anticipated my own
+conclusion in his recently published _La Galleria Crespi_.
+
+[116] Mr. Cosmo Monkhouse (_In the National Gallery_, p. 223) has
+already rightly recognised the same hand in this picture and in the
+"Epiphany" hanging just below.
+
+[117] Meravig, i. 124.
+
+[118] By a happy accident the new "Giorgione" label, intended for the
+"Epiphany," No. 1160, was for some time affixed to No. 1173.
+
+[119] When in the Orleans Gallery the picture was engraved under
+Giorgione's name by de Longueil and Halbon.
+
+[120] New illustrated edition of the National Gallery Catalogue, 1900.
+
+[121] Now in America, in Mrs. Gardner's Collection.
+
+[122] Crowe and Cavalcaselle: _Titian_, i. p. III. This picture was then
+at Burleigh House.
+
+[123] See _La Galleria Crespi_, 1900.
+
+[124] _The Earlier Work of Titian_ p. 24. _Portfolio_, October 1897.
+
+[125] _Tizian_, p. 16.
+
+[126] Morelli, ii. 57, note.
+
+[127] See _antea_, p. 71.
+
+[128] With the exception of the right arm, which Titian has let fall,
+instead placing it behind the head of the sleeping goddess. The effect
+of the beautiful curve is thereby lost, and Titian shows himself
+Giorgione's inferior in quality of line.
+
+[129] As in the "Aeneas and Evander" (Vienna), the "Judith" (St.
+Petersburg), the Madrid "Madonna and Saints," etc.
+
+[130] As in the "Caterina Cornare" of the Crespi collection at Milan.
+
+[131] _Magazine of Art_. July 1895.
+
+[132] _North American Review_. October 1899.
+
+[133] _Magazine of Art_, 1890, pp. 91 and 138.
+
+[134] The small divergencies of detail in the dress of the "Adulteress,"
+etc., are just such as an imitator might have ventured to make. The hand
+and arm of the Christ have, however, been altered for the better.
+
+[135] This is the first time in Venetian art that the subject appears.
+It is frequently found later.
+
+[136] Cariani is by some made responsible for the whole picture. A
+comparison with an authentic example hanging (in the new arrangement of
+the Long Gallery), close by, ought surely to convince the advocates of
+Cariani of their mistake.
+
+[137] Morto da Feltre is mentioned by Vasari as having assisted
+Giorgione in the decoration of the Fondaco de' Tedeschi. This was in
+1508. Otherwise, we know of no pupils or assistants employed by the
+master, a fact which goes to show that his influence was felt, not so
+much through any personal teaching, as through his work.
+
+
+
+
+CHAPTER VI
+
+GIORGIONE'S ART, AND PLACE IN HISTORY
+
+
+The examination in detail of all those pictures best entitled, on
+internal evidence, to rank as genuine productions of Giorgione has
+incidentally revealed to us much that is characteristic of the man
+himself. We started with the axiom that a man's work is his best
+autobiography, and where, as in Giorgione's case, so little historical
+or documentary record exists, such indications of character as may be
+gleaned from a study of his life's work become of the utmost value. _Le
+style c'est l'homme_ is a saying eminently applicable in cases where, as
+with Giorgione, the personal element is strongly marked. The subject, as
+we have seen over and over again, is so highly charged with the artist's
+mood, with his individual feelings and emotions, that it becomes
+unrecognisable as mere illustration, and the work passes by virtue of
+sheer inspiration into the higher realms of creative art. Such fusion of
+personality and subject is the characteristic of lyrical art, and in
+this domain Giorgione is a supreme master. His genius, as Morelli
+rightly pointed out, is essentially lyrical in contradistinction to
+Titian's, which is essentially dramatic. Take the epithets that we have
+constantly applied to his pictures in the course of our survey, and see
+how they bear out this statement--epithets such as romantic, fantastic,
+picturesque, gay, or again, delicate, refined, sensitive, serene, and
+the like; these bear witness to qualities of mind where the keynote is
+invariably exquisite feeling. Giorgione was, in fact, what is commonly
+called a poet-painter, gifted with the artistic temperament to an
+extraordinary degree, essentially impulsive, a man of moods. It is
+inevitable that such a man produces work of varying merit; inequality
+must be a characteristic feature of his art. In less fortunate
+circumstances than those in which Giorgione was placed, such
+temperaments as his become peevish, morose, morbid; but his lines were
+cast in pleasant places, and his moods were healthy, joyous, and serene.
+He does not concern himself with the tragedy of life, with its pathos or
+its disappointments. In his two renderings of "Christ bearing the
+Cross"[138]--the only instances we have of his portrayal of the Man of
+Sorrows--he appeals more to our sense of the dignity of humanity, and to
+the nobility of the Christ, than to our tenderer sympathies. How
+different from the pathetic Pietas of his master, Giambellini! This
+shrinking from pain and sorrow, this dislike to the representation of
+suffering is, however, as much due to the natural gaiety and elasticity
+of youth as to the happy accident of his surroundings. We must never
+forget that Giorgione's whole achievement was over at an age when some
+men's life-work has hardly begun. The eighteen years of his activity
+were what we sometimes call the years of promise, and he must not be
+judged as we judge a Titian or a Michel Angelo. He is the wonderful
+youth, full of joyous aspirations, gilding all he touches with the
+radiance of his spirit. His pictures, suffused with a golden glow, are
+the reflection of his sunny life; the vividness and intensity of his
+passion are expressed in the gorgeousness of his colours.
+
+I have elsewhere dwelt upon the precocity of Giorgione's talent, with
+its accompanying qualities of versatility, inequality, and
+productiveness, and I have pointed out the analogous phenomena in music
+and poetry. Giorgione, Schubert, and Keats are alike in temperament and
+quality of expression. They are curiously alike in the shortness of
+their lives,[139] and the fever-heat of their production. But they are
+strangely distinct in the manner of their lives. The disparity of
+outward circumstances accounts for the healthy tone of Giorgione's art,
+when contrasted with the morbid utterances of Keats. Schubert suffered
+privations and poverty, and his song was wrung from him alike at moments
+of inspiration and of necessity. But Giorgione is all aglow with natural
+energy; he suffered no restraints, nor is his art forced or morbid.
+Confine his spirit, check the play of his fancy, set him a task
+prescribed by convention or hampered by conditions, and you get proof of
+the fretfulness, the impatience of restraint which the artist felt. The
+"Judgment of Solomon" and "The Adulteress before Christ," the only two
+"set" pieces he ever attempted, eloquently show how he fell short when
+struggling athwart his genius. For to register a fact was utterly
+foreign to his nature; he records an impression, frankly surrendering
+his spirit to the sense of joy and beauty. He is not seldom incoherent,
+and may even grow careless, but in power of imagination and exuberance
+of fancy he is always supreme.
+
+In one respect, however, Giorgione shows himself a greater than Schubert
+or Keats. He has a profounder insight into human nature in its varying
+aspects than either the musician or the poet. He is less a visionary,
+because his experience of men and things is greater than theirs; his
+outlook is wider, he is less self-centred. This power of grasping
+objective truth naturally shows itself most readily in the portraits he
+painted, and it was due to the force of circumstances, as I believe,
+that this faculty was trained and developed. Had Giorgione lived aloof
+from the world, had not his natural reticence and sensitiveness been
+dominated by outside influences, he might have remained all his life
+dreaming dreams, and seeing visions, a lyric poet indeed, but not a
+great and living, influence in his generation. Yet such undoubtedly he
+was, for he effected nothing short of a revolution in the contemporary
+art of Venice. Can the same be said of Schubert or Keats? The truth is
+that Giorgione had opportunities of studying human nature such as the
+others never enjoyed; fortune smiled upon him in his earliest years, and
+he found himself thrust into the society of the great, who were eager to
+sit to him for their portraits. How the young Castelfrancan first
+achieved such distinction is not told us by the historians, but I have
+ventured to connect his start in life with the presence of the ex-Queen
+of Cyprus, Caterina Cornaro, at Asolo, near Castelfranco; I think it
+more than probable that her patronage and recommendation launched the
+young painter on his successful career in Venice. Certain it is that he
+painted her portrait in his earlier days, and if, as I have sought to
+prove, Signor Crespi's picture is the long-lost portrait of the great
+lady, we may well understand the instant success such an achievement
+won.
+
+Here, if anywhere, we get Giorgione's great interpretative qualities,
+his penetration into human nature, his reading of character. It is an
+astonishing thing for one so young to have done, explicable
+psychologically on the existence of a lively sympathy between the great
+lady and the poet-painter. Had we other portraits of the fair sex by
+Giorgione, I venture to think we should find in them his reading of the
+human soul even more plainly evidenced than in the male portraits we
+actually possess.[140] For it is clear that the artist was
+"impressionable," and he would have given us more sympathetic
+interpretations of the fair sex than those which Titian has left us. The
+so-called "Portrait of the Physician Parma" (at Vienna) is another
+instance of Giorgione's grasp of character, the virility and suppressed
+energy being admirably seized, the conception approaching more nearly to
+Titian's in its essential dignity than is usually the case with
+Giorgione's portraits. It is a matter of more regret, therefore, that
+the likenesses of the Doges Agostino Barberigo and Leonardo Loredano are
+missing, for in them we might have had specimens of work comparable to
+the Caterina Cornaro, which, in my opinion at all events, is Giorgione's
+masterpiece of portraiture.
+
+I have given reasons elsewhere for dating this portrait at latest 1500.
+It is probably anterior by a few years to the close of the century. This
+deduction, if correct, has far-reaching consequences: it becomes
+actually the first _modern_ portrait ever painted, for it is the
+earliest instance of a portrait instinct with the newer life of the
+Renaissance. And this brings us to the question: What was Giorgione's
+relation to that great awakening of the human spirit which we call the
+Renaissance? Mr. Berenson answers the question thus: "His pictures are
+the perfect reflex of the Renaissance at its height."[141] If this be
+taken to mean that Giorgione _anticipated_ the aspirations and ideals of
+the riper Renaissance, I think we may acquiesce in the phrase; but that
+the onward movement of this great revival coincided only with the
+artist's years, and culminated at his death, is not historically
+correct. The wave had not reached its highest point by the year 1510,
+and Titian was yet to rise to a fuller and grander expression of the
+human soul. But Giorgione may rightly be called the Herald of the
+Renaissance, not only by virtue of the position he holds in Venetian
+painting, but by priority of appearance on the wider horizon of Italian
+Art.
+
+Let us take the four great representative exponents of Italian Art at
+its best, Raphael, Correggio, Leonardo, and Michel Angelo.
+Chronologically, Giorgione precedes Raphael and Correggio, though
+Leonardo and Michel Angelo were born before him.[142] But had either of
+the latter proclaimed a new order of things as early as 1495? Michel
+Angelo was just twenty years old, and he had not yet carved his "Pieta"
+for S. Peter's. Leonardo, a man of forty-three, had not completed his
+"Cenacolo," and the "Mona Lisa" would not be created for another five or
+six years. Giorgione's "Caterina Cornaro," therefore, becomes the first
+masterpiece of the earlier Renaissance, and proclaims a revolution in
+the history of portraiture. In Venice itself we have only to look at the
+contemporary portraits by Alvise Vivarini and Gentile Bellini, and at
+the slightly earlier busts by Antonello da Messina, to see what a world
+of difference in feeling and interpretation there is between them and
+Giorgione's portraits. What a splendid array of artistic triumphs must
+have sprung up around this masterpiece! The Cobham portrait and the
+National Gallery "Poet" are alone left us in much of their pristine
+splendour, but what of the lost portraits of the great Consalvo and of
+the Doge Agostino Barberigo, both of which must date from the year 1500?
+
+Giorgione is then the Herald of the Renaissance, and never did genius
+arise in more fitting season. It was the right psychological moment for
+such a man, and Giorgione "painted pictures so perfectly in touch with
+the ripened spirit of the Renaissance that they met with the success
+which those things only find that at the same moment wake us to the
+full sense of a need and satisfy it."[143] This is the secret of his
+overwhelming influence on succeeding painters in Venice,--not, indeed,
+on his direct pupil Sebastiano del Piombo, and on his friend and
+associate Titian (who may fairly be called his pupil), but on such
+different natures as Lotto, Palma, Bonifazio, Bordone, Pordenone,
+Cariani, Romanino, Dosso Dossi, and a host of smaller men. The School of
+Giorgione numbers far more adherents than even the School of Leonardo,
+or the School of Raphael, not because of any direct teaching of the
+master, but because the "Giorgionesque" spirit was abroad, and the taste
+of the day required paintings like Giorgione's to satisfy it. But as no
+revolution can be effected without a struggle, and as there are
+invariably people opposed to any reform, whether in art or in anything
+else, we need not be surprised to find the academic faction, represented
+by the aged Giambellini and his pupils, resisting the progress of the
+Newer Art. In Giorgione's own lifetime, the exact measure of the
+opposition is not easy to gauge, but it bore fruit a few years later in
+the machinations of the official Bellinesque party to keep Titian out of
+the Ducal Palace when he was seeking State recognition,[144]
+Nevertheless, Giambellini, even at his age, found it advisable to
+modulate into the newer key, as may be seen in his "S. Giovanni
+Crisostomo enthroned," where not only is the conception lyrical and the
+treatment romantic, but the actual composition is on the lines of the
+essentially Giorgionesque equilateral triangle. This great altar-piece
+was painted three years after Giorgione's death, and no more splendid
+testimonial to the young painter's genius could be found than in the
+forced homage thus paid to his memory by the octogenarian
+Giambellini.[145]
+
+We have already, in the course of our survey of Giorgione's pictures,
+noted the points wherein he was an initiator. "Genre subjects," and
+"Landscape with figures," as we should say nowadays, found in him their
+earliest exponent. Before him artists had, indeed, painted figures with
+a landscape background, but the perfect blend of Nature and human nature
+was his achievement. This was accomplished by artistic means of the
+simplest, yet irresistibly subtle in their appeal. The quality of line
+and the sensuousness of colour nowhere cast their spells over us more
+strangely than in Giorgione's pictures, and by these means he wrought
+"effects" such as no artist has surpassed. In these purely pictorial
+qualities he is supreme, and claims place with the few quintessential
+artists of the world; to him may be applied by analogy the phrase that
+Liszt applied to Schubert, "Le musicien le plus poete que jamais."
+
+As an instrument of expression, then, colour is used by Giorgione more
+naturally and effectively than it is by any of the Venetian painters. It
+appeals directly to our senses, like rare old stained glass, and seems
+to be of the very essence of the object itself. An engraving or
+photograph after such a picture as the Louvre "Pastoral Symphony" fails
+utterly to convey the sense of exhilaration one feels in presence of
+the actual painting, simply because the tonic effect of the colour is
+wholly wanting. The golden shimmer of light, the vibration of the air,
+the saturation of atmosphere with pure colour are not only ingredients
+in, but are of the very essence of the creation. It has been well said
+that almost literally the chief colour on Giorgione's palette was
+sunlight.[146] His masterly treatment of light and shadow, in which he
+was scarcely Leonardo's inferior, enabled him to make use of rich and
+full-bodied colours, which are never gaudy, as sometimes with Bonifazio,
+or pretty, as with Catena and lesser artists. Nor is he decorative in
+the way that Veronese excels, or lurid like Tintoretto. Compared with
+Titian it is as though his colour-chord sounded in seven sharps, whilst
+the former strikes the key of C natural. A full rich green frequently
+occurs, as in the Castelfranco "Madonna" and the Louvre picture, and a
+deep crimson, contrasting with pure white drapery, or with golden
+flesh-tints, is also characteristic. In the painting of the nude he
+gives us real flesh and blood; his "Venus" has not the supernatural
+radiance that Correggio can give his ethereal beings (Giorgione, by the
+way, never painted an angel, so far as we know), but she glows with
+actual life, the blood is pulsing through the veins, she is very real.
+And in this connection we may notice the extraordinary skill with which
+Giorgione conveys a sense of texture; his painting of rich brocades, and
+more especially quilted stuffs and satiny folds, cannot be surpassed
+even by a Terburg.
+
+The quality of line in his work makes itself felt in many ways. Beauty
+of contour and unbroken continuity of curve is obtained sometimes by
+sacrificing literal accuracy; a structurally impossible position--as the
+seated nude figure in the Louvre picture--is deliberately adopted to
+heighten the effect of line or the balance of composition. The Dresden
+"Venus," if she arose, would appear of strange proportions; but
+expressiveness is enhanced by the long flowing contours of the body, so
+suggestive of repose. We may notice also the emphasis obtained by
+parallelism; for example, the line of the left arm of the "Venus"
+follows the curve of the body, a trick which may be often seen in folds
+of drapery. This picture also illustrates a device to retain continuity
+of line; the right foot is hidden away so as not to interfere with the
+contour. Exactly the same thing may be seen in the standing figure in
+the Louvre "Pastoral Symphony." The trick of making a grand sweep from
+the top of the head downwards is usually found in the Madonna pictures,
+where a cunningly placed veil carries the line usually to the sloping
+shoulders, or else outwards to the point of the elbow, thus introducing
+the triangular scheme to which Giorgione was particularly partial.
+
+But the question remains, What is Giorgione's position among the world's
+great men? Is he intellectually to be ranked with the Great Thinkers of
+all time? Can he aspire to the position which Titian occupies? I fear
+not Beethoven is infinitely greater than Schubert, Shakespeare than
+Keats, and so, though in lesser degree, is Titian than Giorgione. I say
+in lesser degree, because the young poet-painter had something of that
+profound insight into human nature, something of that wide outlook on
+life, something of that universal sympathy, and something of that vast
+influence which distinguishes the greatest intellects of all, and this
+it is which lessens the distance between him and Titian. Yet Titian is
+the greater man, for he is "the highest and completest expression of his
+own age."[147]
+
+Nevertheless, in that narrower sphere of the great painters, who
+proclaimed the glad tidings of Liberty when the Spirit of Man awoke from
+Mediaevalism, may we not add yet a fifth voice to the four-part harmony
+of Raphael, Correggio, Leonardo, and Michel Angelo, the voice of
+Giorgione, the wondrous youth, "the George of Georges," who heralded the
+Renaissance of which we are the heirs?
+
+NOTES:
+
+[138] In the Church of San Rocco, Venice, and in Mrs. Gardner's
+Collection in America.
+
+[139] Keats died at the age of twenty-five; Schubert was thirty-one;
+Giorgione thirty-three.
+
+[140] The ruined condition of the Borghese "Lady" prevents any just
+appreciation of the interpretative qualities.
+
+[141] _Venetian Painters_, p. 30.
+
+[142] Leonardo, 1452-1519; Michel Angelo, 1475-1564; Giorgione,
+1477-1510; Raphael, 1483-1520; Correggio, 1494-1534. Correggio, Raphael,
+and Giorgione died at the ages of forty, thirty-seven, and thirty-three
+years respectively. Those whom the gods love die young!
+
+[143] Berenson: _Venetian Painters_, p. 29. I should prefer to
+substitute "ripening" for "ripened."
+
+[144] Fry: _Giovanni Bellini_, p. 44.
+
+[145] In S. Giovanni Crisostomo, Venice. It dates from 1513.
+
+[146] Mary Logan: _Guide to the Italian Pictures at Hampton Court_, p.
+13.
+
+[147] Berenson: _Venetian Painters_, p. 48.
+
+
+
+
+
+APPENDIX I
+
+
+DOCUMENTS
+
+The following correspondence between Isabella d'Este, Marchioness of
+Mantua, and her agent Albano in Venice, is reprinted from the _Archivio
+Storico dell' Arte_, 1888, p. 47 (article by Sig. Alessandro Luzio):--
+
+     "Sp. Amice noster charissime; Intendemo che in le cose et heredita
+     de Zorzo da Castelfrancho pictore se ritrova una pictura de una
+     nocte, molto bella et singulare; quando cossi fusse,
+     desideraressimo haverla, pero vi pregamo che voliati essere cum
+     Lorenzo da Pavia et qualche altro che habbi judicio et designo, et
+     vedere se l'e cosa excellente, et trovando de si operiati il megio
+     del m'co m. Carlo Valerio, nostro compatre charissimo, et de chi
+     altro vi parera per apostar questa pictura per noi, intendendo il
+     precio et dandone aviso. Et quando vi paresse de concludere il
+     mercato, essendo cosa bona, per dubio non fusse levata da altri,
+     fati quel che ve parera: che ne rendemo certe fareti cum ogni
+     avantagio e fede et cum bona consulta. Ofteremone a vostri piaceri
+     ecc.
+
+     "Mantua xxv. oct MDX."
+
+The agent replies a few days later--
+
+     "Ill'ma et Exc'ma M'a mia obser'ma
+
+     "Ho inteso quanto mi scrive la Ex. V. per una sua de xxv. del
+     passatto, facendome intender haver inteso ritrovarsi in le cosse et
+     eredita del q. Zorzo de Castelfrancho una pictura de una notte,
+     molto bella et singulare; che essendo cossi si deba veder de
+     haverla.
+
+     "A che rispondo a V. Ex. che ditto Zorzo mori piu di fanno da
+     peste, et per voler servir quella ho parlato cum alcuni mei amizi,
+     che havevano grandissime praticha cum lui, quali me affirmano non
+     esser in ditta heredita tal pictura. Ben e vero che ditto Zorzo ne
+     feze una a m. Thadeo Contarini, qual per la informatione ho autta
+     non e molto perfecta sichondo vorebe quela. Un'altra pictura de la
+     nocte feze ditto Zorzo a uno Victorio Becharo, qual per quanto
+     intendo e de meglior desegnio et meglio finitta che non e quella
+     del Contarini. Ma esso Becharo, al presente non si atrova in questa
+     terra, et sichondo m'e stato afirmatto ne l'una ne l'altra non sono
+     da vendere per pretio nesuno; pero che li hanno fatte fare per
+     volerle godere per loro; siche mi doglio non poter satisfar al
+     dexiderio de quella ecc.
+
+     "Venetijs viii Novembris 1510.
+
+     "Servitor
+
+     "THADEUS ALBANUS."
+
+From this letter we learn definitely (1) that Giorgione died in
+October-November 1510; (2) that he died of the plague.
+
+I have pointed out in the text that the above description of the two
+pictures "de una notte" corresponds with the actual Beaumont and Vienna
+"Nativities," or "Adoration of the Shepherds," in which I recognise the
+hand of Giorgione.
+
+       *       *       *       *       *
+
+The following is the only existing document in Giorgione's own
+handwriting. It was published by Molmenti in the _Bollettino delle
+Arti_, anno ii. No. 2, and reprinted by Conti, p. 50:--
+
+     "El se dichiara per el presente come el clarissimo Messer Aluixe di
+     Sesti die a fare a mi Zorzon de Castelfrancho quatro quadri in
+     quadrato con le geste di Daniele in bona pictura su telle, et li
+     telleri sarano soministrati per dito m. Aluixe, il quale doveva
+     stabilir la spexa di detti quadri quando serano compidi et di sua
+     satisfatione entro il presente anno 1508.
+
+     "Io Zorzon de Castelfrancho di mia man scrissi la presente in
+     Venetia li 13 febrar 1508."
+
+Whether or no Giorgione ever completed these four square canvases with
+the story of Daniel is unknown. There is no trace of any such pictures
+in modern times.
+
+
+
+
+APPENDIX II
+
+DID TITIAN LIVE TO BE NINETY-NINE YEARS OLD?
+
+_Reprinted from the "Nineteenth Century" Jan_. 1902
+
+
+There is something fascinating in the popular belief that Titian, the
+greatest of all Venetian painters, reached the patriarchal age of
+ninety-nine years, and was actively at work up to the day of his death.
+The text-books love to tell us the story of the great unfinished "Pieta"
+with its pathetic inscription:
+
+    Quod Titianus inchoatum reliquit
+    Palma reverenter absolvit
+    Deoq. dicavit opus;
+
+and traveller, guide-book in hand, and moralist, philosophy in head,
+alike muse upon a phenomenon so startlingly at variance with common
+experience.[148]
+
+But, sentiment aside, is there any historical evidence that Titian ever
+worked at his art in his hundredth year? that he even attained such a
+venerable age? The answer is of wider consequence than the mere question
+implies, for on the correct determination of Titian's own chronology
+depends the history of the development of the entire Venetian school of
+painting in the early years of the sixteenth century. I say _early_,
+because it is the date of Titian's birth, and not that of his death,
+which I shall endeavour to fix; the latter event is known beyond
+possibility of doubt to have occurred in August 1576. The question,
+therefore, to consider is, what justification, if any, is there for the
+universal belief that Titian was born in 1476-7, just a hundred years
+previously?
+
+Anyone, I think, who has ever looked into the history of Titian's career
+must have been struck by the fact that for the first thirty-five years
+of his life (according to the usual chronology) there is absolutely no
+documentary record relating to him, whether in the Venetian archives or
+elsewhere. Not a single letter, not a single contract, not a single
+mention of his name occurs from which we can so much as affirm his
+existence before the year 1511.
+
+On the 2nd of December in that year "Io tician di Cador Dpntore" gives a
+receipt for money paid him on completion of some frescoes at Padua, and
+from this date on there are frequent letters and documents in existence
+right down to 1576, the year of his death. Is it not somewhat strange
+that the first thirty-five years of his life (as is commonly believed)
+should be a total blank so far as records go? The fact becomes the more
+inexplicable when we find that during these early years some of his
+finest work is alleged to have been executed, and he must--if we accept
+the chronology of his biographers--have been well known to and highly
+esteemed by his contemporaries.[149] Moreover, it is not for want of
+diligent search amongst the archives that nothing has been found, for
+Italian and German students have alike sought, but in vain, to discover
+any documentary evidence relating to his career before 1511.
+
+The absence of any such trustworthy record has had its natural result.
+Conjecture has run riot, and no two writers are agreed on the subject of
+the nature and development of Titian's earlier art. This is the second
+disquieting fact which any careful student has to face. Messrs. Crowe
+and Cavalcaselle, Titian's most exhaustive biographers,[150] have filled
+up the first thirty-five years of his career in their own way, but their
+chronology has found no favour with later writers, such as Mr. Claude
+Phillips in England[151] or Dr. Georg Gronau in Germany,[152] both of
+whom have arrived at independent conclusions. Morelli again had his
+theories on the subject, and M. Lafenestre[153] has his, and the
+ordinary gallery catalogue is usually content to state inaccurate facts
+without further ado.
+
+Now, if all these conscientious writers arrive at results so widely
+divergent, either their logic or their data must be wrong! One and all
+assume that Titian lived into his hundredth year, and, therefore, was
+born in 1476-7; and starting with this theory as a fact, they have tried
+to fit in Vasari's account as best they can, and each has found a
+different solution of the problem. There is only one way out of this
+chaos of conjectures--we must see what is the evidence for the
+"centenarian" tradition, and if it can be shown that Titian was really
+born later than 1476-7, then the silence of all records about him during
+an alleged period of thirty-five years will become at once more
+intelligible, and we may be able to explain some of the other anomalies
+which at present confront Titian's biographers.
+
+I propose to take the evidence in strictly chronological order.
+
+The oldest contemporary account of Titian's career is furnished by
+Lodovico Dolce in his _L'Aretino, o dialogo della pittura_, which was
+published at Venice in 1557. Dolce knew Titian personally, and wrote his
+treatise just at the time when the painter was at the zenith of his
+fame. He is our sole authority for certain incidents of Titian's early
+career: it will be well, therefore, to quote in full the opening
+paragraphs of his narrative:
+
+"Being born at Cadore of honourable parents, he was sent when a child of
+nine years old by his father to Venice to the house of his father's
+brother ... in order that he might be put under some proper master to
+study painting; his father having perceived in him even at that tender
+age strong marks of genius towards the art.... His uncle directly
+carried the child to the house of Sebastiano, father of the
+_gentilissimo_ Valerio and of Francesco Zuccati (distinguished masters
+of the art of mosaic, by them brought to that perfection in which we now
+see the best pictures) to learn the principles of the art. From them he
+was removed to Gentile Bellini, brother of Giovanni, but much inferior
+to him, who at that time was at work with his brother in the Grand
+Council-Chamber. But Titian, impelled by Nature to greater excellence
+and perfection in his art, could not endure following the dry and
+laboured manner of Gentile, but designed with boldness and expedition.
+Whereupon Gentile told him he would make no progress in painting,
+because he diverged so much from the old style. Thereupon Titian left
+the stupid _(goffo)_ Gentile, and found means to attach himself to
+Giovanni Bellini; but not perfectly pleased with his manner, he chose
+Giorgio da Castel Franco. Titian then drawing and painting with
+Giorgione, as he was called, became in a short time so accomplished in
+art, that when Giorgione was painting the facade of the Fondaco de'
+Tedeschi, or Exchange of the German Merchants, which looks towards the
+Grand Canal, Titian was allotted the other side which faces the
+market-place, being at the time scarcely twenty years old. Here he
+represented a Judith of wonderful design and colour, so remarkable,
+indeed, that when the work came to be uncovered, it was commonly thought
+to be the work of Giorgione, and all the latter's friends congratulated
+him as being by far the best thing he had produced. Whereupon Giorgione,
+in great displeasure, replied that the work was from the hand of his
+pupil, who showed already how he could surpass his master, and, what was
+more, Giorgione shut himself up for some days at home, as if in despair,
+seeing that a young man knew more that he did."
+
+Fortunately, the exact date can be fixed when the frescoes on the
+Fondaco de' Tedeschi were painted, for we have original records
+preserved from which we learn the work was begun in 1507 and completed
+towards the close of 1508.[154] If Titian, then, was "scarcely twenty
+years old" in 1507-8, he must have been born in 1488-9. Dolce
+particularly emphasises his youthfulness at the time, calling him _un
+giovanetto_, a phrase he twice applies to him in the next paragraph,
+when he is describing the famous altar-piece of the 'Assunta,' the
+commission for which, as we know from other sources, was given in 1516.
+
+"Not long afterwards he was commissioned to paint a large picture for
+the High Altar of the Church of the Frati Minori, where Titian, quite a
+young man _(pur giovanetto)_, painted in oil the Virgin ascending to
+Heaven.... This was the first public work which he painted in oil, and
+he did it in a very short time, and while still a young man _(e
+giovanetto)_."
+
+This phrase could hardly be applied to a man over thirty, so that
+Titian's birth cannot reasonably be dated before 1486 or so, and is much
+more likely to fall later. The previous deduction that it was 1488-9 is
+thus further strengthened.
+
+The evidence, then, of Dolce, writing in 1557, is clear and consistent:
+Titian was born in 1488-9. Now let us see what is stated by Vasari, who
+is the next oldest authority.
+
+The first edition of the _Lives_ appeared in 1550--that is, just prior
+to Dolce's _Dialogue_--but a revised and enlarged edition appeared in
+1568, in which important evidence occurs as to Titian's age. After
+enumerating certain pictures by the great Venetian, Vasari adds:
+
+"(_a_) All these works, with many others which I omit, to avoid
+prolixity, have been executed up to the present age of our artist, which
+is above seventy-six years.... In the year 1566, when Vasari, the writer
+of the present history, was at Venice, he went to visit Titian, as one
+who was his friend, and found him, although then very old, still with
+the pencil in his hand, and painting busily."[155]
+
+According to Vasari, then, Titian was "above seventy-six years" when the
+second edition of the _Lives_ was written, and as from the explicit
+nature of the evidence this must have been between 1566, when he visited
+Venice, and January 1568, when his book was published, it follows that
+Titian was "above seventy-six years" in 1566-7--in other words, that he
+was born 1489-90.
+
+Still confining ourselves to Vasari, we find two other passages bearing
+on the question:
+
+"(_b_) Titian was born in the year 1480 at Cadore.[156]
+
+"(_c_) About the year 1507 Giorgione da Castel Franco began to give to
+his works unwonted softness and relief, painting them in a very
+beautiful manner.... Having seen the manner of Giorgione, Titian early
+resolved to abandon that of Gian Bellino, although well grounded
+therein. He now, therefore, devoted himself to this purpose, and in a
+short time so closely imitated Giorgione that his pictures were
+sometimes taken for those of that master.... At the time when Titian
+began to adopt the manner of Giorgione, being then not more than
+eighteen, he took the portrait," etc.[157]
+
+This passage (_c_) makes Titian "not more than eighteen about the year
+1507," and fixes the date of his birth as 1489-90, therein agreeing with
+the previous deduction at which we arrived when examining the passage in
+Vasari's second edition. Thus in two places out of three Vasari is
+consistent in fixing 1489-90 as the date. How, then, explain (_b_),
+which explicitly gives 1480?
+
+Anyone conversant with Vasari's inaccuracies will hardly be surprised to
+find that this statement is dismissed by all Titian's biographers as
+manifestly a mistake. Moreover, it is inconsistent with the two passages
+just quoted, and either they are wrong or 1480 is a misprint for 1489.
+Now, from the nature of the evidence recorded by Vasari, it cannot be a
+matter for any doubt which is the more trustworthy statement. On the one
+hand, he speaks as an eye-witness of Titian's old age, and is careful to
+record the exact year he visited Venice and the age of the painter; on
+the other hand, he makes a bald statement which he certainly cannot have
+verified, and which is inconsistent with his own experience! In any
+case, in Vasari's text the evidence is two to one in favour of 1489-90
+as the right date, and thus we come to the agreeable conclusion that our
+two oldest authorities, Dolce and Vasari, are at one in fixing Titian's
+birth between 1488 and 1490--in other words, about 1489.
+
+So far, then, all is clear, and as we know from later and indisputable
+evidence that Titian died in 1576, it follows that he only attained the
+age of eighty-seven and not ninety-nine. Whence, then, comes the story
+of the ninety-nine years? From none other than Titian himself, and to
+this piece of evidence we must next turn, following out a strict
+chronological order.
+
+In 1571--that is, three years after Vasari's second edition was
+published--Titian addresses a letter to Philip the Second of Spain in
+these terms:[158]
+
+     "Most potent and invincible King,--I think your Majesty will have
+     received by this the picture of 'Lucretia and Tarquin' which was to
+     have been presented by the Venetian Ambassador. I now come with
+     these lines to ask your Majesty to deign to command that I should
+     be informed as to what pleasure it has given. The calamities of the
+     present times, in which every one is suffering from the continuance
+     of war, force me to this step, and oblige me at the same time to
+     ask to be favoured with some kind proof of your Majesty's grace, as
+     well as with some assistance from Spain or elsewhere, since I have
+     not been able for years past to obtain any payment either from the
+     Naples grant, or from my ordinary pension. The state of my affairs
+     is indeed such that I do not know how to live in this my old age,
+     devoted as it entirely is to the service of your Catholic Majesty,
+     and to no other. Not having for eighteen years past received a
+     _quattrino_ for the paintings which I delivered from time to time,
+     and of which I forward a list by this opportunity to the secretary
+     Perez, I feel assured that your Majesty's infinite clemency will
+     cause a careful consideration to be made of the services of an old
+     servant of the age of ninety-five, by extending to him some
+     evidence of munificence and liberality. Sending two prints of the
+     design of the Beato Lorenzo, and most humbly recommending myself,
+
+     "I am Your Catholic Majesty's
+
+     "most devoted, humble servant,
+
+     "TITIANO VECELLIO.
+
+     "From Venice, the 1st of August, 1571."
+
+Here, then, is Titian himself, in the year 1571, declaring that he is
+ninety-five years of age--in other words, dating his birth back to
+1476--that is, some thirteen years earlier than Dolce and Vasari imply
+was the case. A flagrant discrepancy of evidence! In similar strain he
+thus addresses the king again five years later:[159]
+
+     "Your Catholic and Royal Majesty,--The infinite benignity with
+     which your Catholic Majesty--by natural habit--is accustomed to
+     gratify all such as have served and still serve your Majesty
+     faithfully, enboldens me to appear with the present (letter) to
+     recall myself to your royal memory, in which I believe that my old
+     and devoted service will have kept me unaltered. My prayer is this:
+     twenty years have elapsed and I have never had any recompense for
+     the many pictures sent on divers occasions to your Majesty; but
+     having received intelligence from the Secretary Antonio Perez of
+     your Majesty's wish to gratify me, and having reached a great old
+     age not without privations, I now humbly beg that your Majesty will
+     deign, with accustomed benevolence, to give such directions to
+     ministers as will relieve my want. The glorious memory of Charles
+     the Fifth, your Majesty's father, having numbered me amongst his
+     familiar, nay, most faithful servants, by honouring me beyond my
+     deserts with the title of _cavaliere_, I wish to be able, with the
+     favour and protection of your Majesty--true portrait of that
+     immortal emperor--to support as it deserves the name of a
+     cavaliere, which is so honoured and esteemed in the world; and that
+     it may be known that the services done by me during many years to
+     the most serene house of Austria have met with grateful return, to
+     spend what remains of my days in the service of your Majesty. For
+     this I should feel the more obliged, as I should thus be consoled
+     in my old age, whilst praying to God to concede to your Majesty a
+     long and happy life with increase of his divine grace and
+     exaltation of your Majesty's Kingdom. In the meanwhile I expect
+     from the royal benevolence of your Majesty the fruits of the favour
+     I desire, with due reverence and humility, and kissing your sacred
+     hands,
+
+     "I am Your Catholic Majesty's
+
+     "most humble and devoted servant,
+
+     "TITIANO VECELLIO.
+
+     "From Venice, the 27th of February, 1576."
+
+This is the last letter we have of Titian, who died in August of this
+year, according to his own showing, in his hundredth year.
+
+Now what reliance can be placed on this statement? On the one hand, we
+have the evidence of two independent writers, Dolce and Vasari, both
+personally acquainted with Titian, and both agreeing by inference that
+the date of his birth was about 1489. Both had ample opportunity to get
+at the truth, and Vasari is particularly explicit in recording the exact
+date when he visited Titian in Venice and the age the painter had then
+reached. Yet five years later Titian is found stating that he is
+ninety-five, and not eighty-two as we should expect! Perhaps the best
+comment is made by Crowe and Cavalcaselle, who significantly remark
+immediately after the last letter: "Titian's appeal to the benevolence
+of the King of Spain looks like that of a garrulous old gentleman proud
+of his longevity, but hoping still to live for many years."[160]
+Exactly! The occasion could well be improved by a little timely
+exaggeration well calculated to appeal to the sympathies and "infinite
+benignity" of the monarch, and if, when the writer had actually reached
+the respectable age of eighty-two, he wrote himself down as ninety-five,
+who would gainsay him? It added point to his appeal--that was the chief
+thing--and as to accuracy, well, Titian was not the man to be
+over-scrupulous when his own interests were involved. But even though
+the statement were not deliberately made to heighten the effect of an
+appeal, we must in any case make allowances for the natural proneness to
+exaggerate their age which usually characterises men of advanced years,
+so that any _ex parte_ statement of this kind must be received with due
+caution. Where, moreover, as in the present case, we have evidence of a
+directly contradictory kind furnished by independent witnesses, whose
+declarations in this respect are presumably disinterested, such _ex
+parte_ statements are on the face of them unreliable. The balance of
+evidence in this case appears to rest on the side of the older
+historians, Dolce and Vasari, whose statements, as I hold, are in the
+circumstances more reliable than the picturesque exaggeration of a man
+of advanced years.
+
+I claim, therefore, that any account of Titian's life based solely on
+such flimsy evidence as to his age as is found in this letter to Philip
+the Second is, to say the least, open to grave doubt. The whole
+superstructure raised by modern writers on this uncertain foundation is
+full of flaws and incongruities, and I am fully persuaded the future
+historian will have to begin _de novo_ in any attempt at a chronological
+reconstruction of Titian's career. The gap of thirty-five years down to
+1511 may prove after all less by twelve or thirteen years than people
+think, so that the young Titian naturally enough first emerges into view
+at the age of twenty-two and not thirty-five.
+
+But we must not anticipate results, for there is still the evidence of
+the later writers of the seventeenth century to consider. Two of these
+declare that Titian was born in 1477. The first of these, Tizianello, a
+collateral descendant of the great painter, published his little
+_Compendio_ in 1622, wherein he gives a sketchy and imperfect biography;
+the other, Ridolfi, repeats the date in his _Meraviglie dell' Arte_,
+published in 1648. The latter writer is notoriously unreliable in other
+respects, and it is quite likely this is merely an instance of copying
+from Tizianello, whose unsupported statement is chiefly of value as
+showing that the "centenarian" theory had started within fifty years of
+Titian's death. But again we ask: Why should the evidence of a
+seventeenth-century writer be preferred to the personal testimony of
+those who actually knew Titian himself, especially when Vasari gives us
+precise information with which Dolce's independent account is in perfect
+agreement? No doubt the great age to which Titian certainly attained was
+exaggerated in the next generation after his death, but it is a
+remarkable fact that the contemporary eulogies, mostly in poetic form,
+which appeared on the occasion of his decease, do not allude to any such
+phenomenal longevity.[161]
+
+Nevertheless, Ridolfi's statement that Titian was born in 1477 is
+commonly quoted as if there were no better and earlier evidence in
+existence, and, indeed, it is a matter of surprise that conscientious
+modern biographers have not looked more carefully at the original
+authorities instead of being content to follow tradition, and I must
+earnestly plead for a reconsideration of the question of Titian's age by
+the future historians of Venetian painting.[162]
+
+If, as I believe, Titian was born in or about 1489 instead of 1476-7,
+it follows that he must have been Giorgione's junior by at least twelve
+years--a most important deduction--and it also follows that he cannot
+have produced any work of consequence before, say, 1505, at the age of
+sixteen, and he will have died at eighty-seven and not in his hundredth
+year. The alteration in date would help to explain the silence of all
+records about him before 1511, when he would have been only twenty-two
+and not thirty-five years old; it would fully account for his name not
+being mentioned by Duerer in his famous letter of 1506, wherein he refers
+to the painters of Venice, and it would equally account for the absence
+of his name from the commission to paint the Fondaco frescoes in 1507-8,
+for he would have been employed simply as Giorgione's young assistant.
+The fact that in 1511 he signs himself simply "Io tician di Cador
+Dpntore" and not _Maestro_ would be more intelligible in a young man of
+twenty-two than in an accomplished master of thirty-five, and the
+character of his letter addressed to the Senate in 1513 would be more
+natural to an ambitious aspirant of twenty-four than to a man in his
+maturity of thirty-seven.[163]
+
+Such are some of the obvious results of a change of date, but the larger
+question as to the development of Titian's art must be left to the
+future historian, for the importance of fixing a date lies in the
+application thereof.[164] HERBERT COOK.
+
+
+THE DATE OF TITIAN'S BIRTH
+
+_Reply by Dr. Georg Gronau. Translated from the "Repertorium fuer
+Kunstwissenschaft," vol. xxiv., 6th part_
+
+
+In the January number of the _Nineteenth Century_ appears an article by
+Herbert Cook under the title, "Did Titian live to be Ninety-Nine Years
+Old?" The interrogation already suggests that the author comes to a
+negative conclusion. It is, perhaps, not without interest to set forth
+the reasons advanced by the English connoisseur and to submit them to
+adverse criticism.
+
+(Here follows an abstract of the article.)
+
+The reasoning, as will have been seen, is not altogether free from
+doubt. It has been usual hitherto in historical investigations to call
+in question the assertions of a man about his own life only when
+thoroughly weighty reasons justified such a course. Is the evidence of a
+Dolce and of a Vasari so free from all objection that it outweighs
+Titian's personal statement? Before answering this question it should be
+pointed out that we possess two further statements of contemporary
+writers on the subject of Titian's age, statements which have escaped
+the notice of Mr. Cook. One is to be found in a letter from the Spanish
+Consul in Venice, Thomas de Cornoga, to Philip II., dated 8th December
+1567 (published in the very important work by Zarco del Valle[165]).
+After informing the king of Titian's usual requests on the subject of
+his pension, and so on, he continues: "y con los 85 annos de su edad
+servira a V.M. hasta la muerte."
+
+Somewhere, then, in the very year in which Titian, according to Vasari,
+was "above seventy-six years of age," he seems to have been
+eighty-five, according to the report of another and quite independent
+witness, and if so, he would have been born about 1482.
+
+We have then three definite statements:
+
+Vasari (1566 or 1567) says "over 76"
+The Consul (1567)      "      "85"
+Titian himself (1571)  "      "95"
+
+This new information, instead of helping us, only serves to make still
+greater confusion.
+
+The other piece of evidence not mentioned by Mr. Cook was written only a
+few years after Titian's death. Borghini says in his _Riposo_, 1584:
+"Mori ultimamente di vecchiezza (!not, then, of the plague?), essendo
+d'eta d'anni 98 o 99, l'anno 1576." ... This is the first time that the
+traditional statement as to the master's age appears in literature. In
+this state of things it is worth while to look closer into the evidence
+of Dolce and Vasari to see if they are not after all the most
+trustworthy witnesses.
+
+It is always held to be a mistake to take rather vague statements quite
+literally, as Mr. Cook has done, and to build thereon further
+conclusions. When Dolce says that Titian painted with Giorgione at the
+Fondaco, "non avendo egli allora appena venti anni," he is only trying
+to make out that his hero, here as everywhere, was a most unusual person
+(the whole dialogue is a glorification of the master). For the same
+reason he makes the following remark, which we can absolutely prove to
+be false:--the Assumption (he says) "fu la prima opera pubblica, che a
+olio facesse." Now at least one work of Titian's was, then, already to
+be seen in a public place--viz. the "St. Mark Enthroned, with Four
+Saints," in Santo Spirito, afterwards removed to the sacristy of the
+Salute. In other points, too, Dolce can be convicted of small errors and
+misrepresentations, partly on literary grounds, partly due to his desire
+to enhance the praise of Titian.
+
+Vasari, again, should only be cited as witness when he speaks of works
+of art which he has actually seen. In such a case, apart from slips, he
+is always a trustworthy guide. Directly, however, he goes into
+biographical details or questions of chronology accuracy becomes nearly
+always a secondary matter. Titian's biography offers an excellent and
+most instructive example of this. Vasari mentions first the birth and
+upbringing of the boy, then he speaks of Giorgione and the Fondaco
+frescoes, and goes on: "dopo la quale opera fece un quadro grande che
+oggi e nella salla di messer Andrea Loredano.... Dopo in casa di messer
+Giovanni D'Anna ... fece il suo ritratto ...; ed un quadro di Ecce Homo,
+..." and he goes on, "L'anno poi 1507...." If it had not been that one
+of these pictures, once in the possession of Giovanni D'Anna, had been
+preserved (now in the Vienna Gallery), and that it bears in a
+conspicuous place the date 1543, it would be recorded in all biographies
+of Titian that he painted in 1507 an "Ecce Homo" for this Giovanni
+D'Anna.
+
+If one goes further into Vasari's account we read that Titian published
+his "Triumph of Faith" in 1508. "Dopo condottosi Tiziano a Vicenza,
+dipinse a fresco sotto la loggetta ... il giudizio di Salamone. Appresso
+tomato a Venezia, dipinse la facciata de' Grimani; e in Padoa nella
+chiesa di Sant' Antonio alcune storie ... de fatti di quel santo: e in
+quella di Santo Spirito fece ... un San Marco a sedere in mezzo a certi
+Santi." We now know on documentary evidence that the Vicenza fresco
+(which was destroyed later) dated from 1521, and similarly that the
+frescoes at Padua were painted in 1511, whilst the date of the S. Mark
+picture may be fixed with probability at 1504.
+
+These examples prove how inexact Vasari is here once more. But it may be
+objected, supposing that he is inaccurate in statements which refer
+back, can he not be in the right in a case where he comes back, so to
+speak, straight from visiting Titian and writes down his observation
+about the master's actual age? To be sure; but when we find that so many
+other similar notices of Vasari are wrong, even those that refer to
+people whom he personally knew, we lose faith altogether. In turning
+over the leaves of the sixth volume of the Sansoni edition of Vasari, in
+which only his contemporaries, some of them closely connected, too, with
+him, are spoken of, we find the following incorrect statements:--
+
+P.  99. Tribolo was 65 years old (in reality only 50).
+P. 209. Bugiardini died at 75 (really 79).
+P. 288. Pontormo at 65 (he died actually in his 63rd year).
+P. 564. Giovanni da Udine at 70 (really 77).
+
+A still more glaring instance is to be found when Vasari not only makes
+misstatements about his own life but is actually out by several years in
+giving his own age. One and the same event--viz. his journey with
+Cardinal Passerini to Florence--is given in his own autobiography to the
+year 1524, in the "Life of Salviati," to the year 1523, and in the "Life
+of Michael Angelo" to 1525. When he speaks of himself in the same
+passage in the "Life of Salviati" as the "putto, che allora non aveva
+piu di nove anni," he is making a mistake of at least three years in his
+own age. And not less delightful is it to read in the "Life of Giovanni
+da Udine": "Giorgio Vasari, giovinetto di diciotto anni, quando serviva
+il duca Alessandro de' Medici suo primo signore l'anno 1535." We are
+obviously not dealing with Messer Giorgio's strongest point, for, as a
+matter of fact, he was at that time twenty-four years of age! The same
+false statement of age is found again in his own biography (vii. p. 656,
+with the variation, "poco piu di diciotto anni").
+
+But I think these instances suffice to prove how little one dare build
+on such assertions of Vasari. Who dare say if Titian was really only
+seventy-six in 1566 when the Aretine visited him?
+
+And now a few remarks on the other points raised by Mr. Cook. As a
+fact, it is an astonishing thing that we have no documentary evidence
+about Titian before 1511; but does he not share this fate with very many
+of his great countrymen, with Bellini, Giorgione, Sebastiano, and
+others? An unfriendly chance has left us entirely in the dark as to the
+early years of nearly all the great Venetian painters. That Duerer makes
+no mention of Titian's name in his letters gives no cause for surprise,
+for even the most celebrated of the younger artists, Giorgione, is not
+alluded to, and of all those with Bellini, whose fame outshone even then
+that of all others, only Barbari is mentioned. That Titian's name does
+not occur in the documents about the Fondaco frescoes may be due to the
+fact that Giorgione alone was commissioned to undertake the frescoes for
+the magistrates, and that the latter painter in his turn brought his
+associate Titian into the work.
+
+Mr. Cook says that Titian still signed himself in 1511 "Dipintore"
+instead of "Maestro." I am not aware whether in this respect definite
+regulations or customs were usual in Venice.[166] At any rate, the
+painter is still described in official documents as late as 1518 as "ser
+Tizian depentor" (Lorenzi, "Monumenti," No. 366), when, even according
+to Mr. Cook's theory, he must have been thirty years old; and he is
+actually so called in 1528 (_ibid_. No. 403), after appearing in several
+intermediate documents as "maestro" (Nos. 373, 377). If this argument,
+however, proves unsound, the last point--viz. that the well-known
+petition to the senate in 1513 reads more like that of a man of
+twenty-four than one of thirty-seven--must be left to the hypothesis of
+individual conjecture.
+
+Must we really close these very long inquiries by confessing they are
+beyond our ken? It almost seems so. For, with regard to the testimony
+afforded by family documents, Dr. Jacobi (whose labours were utilised by
+Crowe and Cavalcaselle) so conscientiously examined all that is left,
+that a discovery in this direction is not to be looked for. Is the
+statement of Tizianello that Titian's year of birth was 1477 to be
+rejected without further question when we remember that, as a relative
+of the painter, he could have had in 1622 access to documents possibly
+since lost?
+
+Under these circumstances the only thing left to do is to question the
+works of Titian. Of these, two can be dated, not indeed with certainty,
+but with some degree of probability: the dedicatory painting of the
+Bishop of Pesaro with the portrait of Alexander VI. of 1502-03, and the
+picture of St. Mark, already mentioned, of the year 1504. Both are, to
+judge by the style, clearly early works, and both can be connected with
+definite historical events of the years just mentioned. That these
+paintings, however, could be the work of a fourteen- to fifteen-year-old
+artist Mr. Cook will also admit to be impossible.
+
+Much, far too much, in the story of Venetian painting must, for want of
+definite information, be left to conjecture; and however unsatisfactory
+it is, we must make the confession that we know as little about the date
+of the birth of the greatest of the Venetians as we know of Giorgione's,
+Sebastiano's, Palma's, and the rest. But supposing all of a sudden
+information turned up giving us the exact date of Titian's birth, would
+the picture of the development of Venetian painting be any the different
+for it? In no wise. The relation to one another of the individual
+artists of the younger generation is so clearly to be read in each man's
+work, that no external particulars, however interesting they might be on
+other grounds, could make the smallest difference. Titian's relations
+with Giorgione especially could not be otherwise represented than has
+been long determined, and that whether Titian was born in 1476, 1477,
+1480, or even two or three years later.[167] GEORG GRONAU.
+
+
+WHEN WAS TITIAN BORN?
+
+_Reply to Dr. Gronau. Reprinted from "Repertorium fuer
+Kunstwissenschaft," vol. xxv., parts 1 and 2_
+
+
+I must thank Dr. Georg Gronau for his very fair reply, published in
+these pages[168] (to my article in the _Nineteenth Century_ on the
+subject of Titian's age[169]). He has also most kindly pointed out two
+pieces of contemporary evidence which had escaped my notice, and
+although neither of these passages is conclusive proof one way or the
+other, they deserve to be reckoned with in arriving at a decision.
+
+Dr. Gronau formulates the evidence shortly thus:
+
+Vasari in 1566 or 1567 says Titian is over 76
+The Spanish Consul in 1567 "       "       85
+Titian himself in 1571     " he is "       95
+
+and he adds that this new piece of evidence--viz. the letter of the
+Spanish Consul to King Philip--instead of helping us, only makes the
+confusion worse.
+
+What then are we to think when yet another--a fourth--contemporary
+statement turns up, differing from any of the three just quoted? Yet
+such a letter exists, and I am happy in my turn to point out this fresh
+piece of evidence, in the hope that instead of making the confusion
+worse, it will help us to arrive at some decision.
+
+On October the 15th, 1564, Garcia Hernandez, Envoy in Venice from King
+Philip II., writes to the King his master that Titian begged that His
+Majesty would condescend to order that he should be paid what was due to
+him from the court and from Milan.... For the rest the painter was in
+fine condition, and quite capable of work, and this was the time, if
+ever, to get "other things" from him, as according to some people who
+knew him, Titian was about ninety years old, though he did not show it,
+and for money everything was to be had of him.[170]
+
+In 1564 then the Spanish Envoy writes that Titian was said to be about
+ninety. Let us then enlarge Dr. Gronau's table by this additional
+statement, and further complete it by including the earliest piece of
+evidence, the statement of Dolce in 1557 that Titian was scarcely twenty
+when he worked at the Fondaco de' Tedeschi frescoes (1507-8). The year
+of Titian's birth thus works out:
+
+Writing in 1557,     Dolce makes out Titian was born about 1489
+  "      " 1566-7,   Vasari      "        "         "      1489
+  "      " 1564,     Spanish Envoy        "         "      1474
+  "      " 1567,     Spanish Consul       "         "      1482
+  "      " 1571,     Titian himself       "         "      1476
+
+Now it is curious to notice that the last three statements are all made
+in letters to King Philip, either by Titian himself, or at his request
+by the Spanish agents.
+
+It is curious to notice these statements as to Titian's great age occur
+in begging letters.[171]
+
+It is curious to notice they are mutually contradictory.
+
+What are we to conclude?
+
+Surely that the Spanish Envoy, the Spanish Consul, and Titian himself,
+out of their own mouths stand convicted of inconsistency of statement,
+and further that they betray an identical motive underlying each
+representation--viz. an appeal _ad misericordiam._
+
+Before, however, contrasting the value of the evidence as found in these
+Spanish letters with the evidence as found in Dolce and Vasari, let us
+note two points in these letters.
+
+Garcia Hernandez, the Spanish Envoy, writes: "According to some people
+who knew him, Titian was about ninety years old, though he did not show
+it." Now, if Titian was really about ninety in the year 1564, he will
+have lived to the age of one hundred and two, a feat of longevity of
+which no one has ever accused him! Apart, therefore, from the healthy
+scepticism which Hernandez betrays in this letter, we may certainly
+conclude that "some people who knew him" were exaggerating Titian's age.
+
+Secondly, Titian's letter of 1571 says he is ninety-five years old.
+Titian's similar letter of 1576, the year of his death, omits to say he
+is one hundred. Surely a strange omission, considering that he refers to
+his old age three times in this one letter.[172] Does not the second
+letter correct the inexactness of the first? and so Titian's statement
+goes for nothing?
+
+The collective evidence, then, of these Spanish letters amounts to this,
+that, in the words of the Envoy, "for money everything was to be had of
+Titian," and accordingly any statement as to his great age when thus
+made for effect must be treated with the greatest suspicion.
+
+But is the evidence of Dolce and Vasari any more trustworthy? Dr. Gronau
+is at pains to show that both these writers often made mistakes in
+their dates, a fact which no one can dispute. Their very incorrectness
+is the more reason however for trusting them in this instance, for they
+happen to agree about the date of Titian's birth; and, although neither
+of them expressly gives the year 1489, they indicate separate and
+independent events in his life, the one, Dolce, at the beginning, the
+other, Vasari, at the end, which when looked into give the same result.
+
+Moreover, be Dolce ever so anxious to cry up his hero Titian, and make
+him out to have been precocious, and be Vasari ever so inexact in his
+chronology, we must remember that, when both of them wrote, the
+presumption of unusual longevity had not arisen, and that their evidence
+therefore is less likely to be prejudiced in this respect than the
+evidence given in obituary notices, such as occurs in Borghini's
+_Riposo_ of 1584, and in the later writers like Tizianello and Ridolfi.
+
+That Borghini therefore says Titian was ninety-eight or ninety-nine when
+he died, and that Tizianello and Ridolfi, thirty-eight and sixty-four
+years later respectively, put him down at ninety-nine, is by no means
+proof that such was the case. It would seem that there had been some
+speculation before and after Titian's death as to his exact age; that no
+one quite knew for certain; and that Titian with the credulousness of
+old age had come to regard himself as well-nigh a centenarian. Be this
+as it may, I still hold that the evidence of Dolce and Vasari that
+Titian's birth occurred in 1489 is more trustworthy than either the
+evidence found in the three Spanish letters, or the evidence as given in
+the obituary notices of Borghini and others.
+
+One word more. If Titian was born in 1489, instead of 1476-7, it does
+make a great difference in the story of his own career; and, what is
+more, the history of Venetian art in the early sixteenth century, as it
+centres round Giorgione, Palma, and Titian, will have to be carefully
+reconsidered.
+
+HERBERT COOK.
+
+NOTES:
+
+[148] The picture now hangs in the Academia at Venice.
+
+[149] e.g. the "Sacred and Profane Love" (so-called) in the Borghese
+Gallery; the "S. Mark" of the Salute; the "Concert" in the Pitti; the
+"Tribute Money" at Dresden; the "Madonna of the Cherries" at Vienna,
+etc., which one or other of his biographers assign to the years
+1500-1510.
+
+[150] _The Life and Times of Titian_, 2 vols., 1881.
+
+[151] _The Earlier and Later Work of Titian. Portfolio_, October 1897
+and July 1898.
+
+[152] _Tizian_. Berlin, 1901.
+
+[153] _La Vie et l'Oeuvre de Titien_: Paris, 1886.
+
+[154] See Crowe and Cavalcaselle: _Titian_, i. 85. The fact that
+Titian's name does not occur in these records is curious and suggestive.
+
+[155] Ed. _Sansoni_, p. 459. The translation is that of Blashfield and
+Hopkins. Bell, 1897.
+
+[156] _Ibid_. p. 425.
+
+[157] _Ibid_. p. 428.
+
+[158] The translation is that of Crowe and Cavalcaselle. _Titian_, ii.
+391. The original is given by them at p. 538.
+
+[159] Quoted from Crowe and Cavalcaselle.
+
+[160] Crowe and Cavalcaselle. _Titian_, ii. 409.
+
+[161] There is a collection of these in a volume in the British Museum.
+
+[162] Before the discovery of the letter to Philip, Messrs. Crowe and
+Cavalcaselle were quite prepared to admit that Titian was born "after
+1480" (vide _N. Italian Painting_, ii. 119, 120). Unfortunately, they
+took the evidence of the letter as final, but finding themselves
+chronologically in difficulties, they shrewdly remark in their _Titian_,
+i. 38, note: "The writers of these lines thought, and _still think_,
+Titian younger than either Giorgione or Palma. They were, however,
+inclined to transpose Titian's birthday to a later date than 1477,
+rather than put back those of Palma and Giorgione to an earlier period,
+and in this they made a mistake." Perhaps they were not so far wrong
+after all!
+
+[163] For this most amusing letter see Crowe and Cavalcaselle. _Titian_,
+i. p. 153.
+
+[164] The evidence afforded by Titian's own portraits of himself (at
+Berlin and in the Uffizi) is inconclusive, as we do not know the exact
+years they were painted. The portrait at Madrid, painted 1562, might
+represent a man of seventy-three or eighty-six, it is hard to say which.
+But there is a woodcut of 1550 (_vide_ Gronau, p. 164) which surely
+shows Titian at the age of sixty-one rather than seventy-four; and,
+finally, Paul Veronese's great "Marriage at Cana" (in the Louvre), which
+was painted between June 1562 and September 1563, distinctly points to
+Titian being then a man of seventy-four and not eighty-seven. He is
+represented, as is well known, seated in the group of musicians in the
+centre, and playing the contrabasso.
+
+[165] _Jahrbuch der Sammlungen des A.H. Kaiserhauses_, vii. p. 221 _ff_
+1888.
+
+[166] Dr. Ludwig had the kindness to write to me on this subject: "Among
+the thousands of signatures of painters which I have seen I have never
+come across the signature _Maestro_. Of course, someone else can
+describe a painter as Master; he himself always subscribes himself
+_pittor, pictor_, or _depentor_."
+
+[167] Dr. Gronau further points out (in a letter recently sent to the
+writer) that Titian, writing to the emperor in 1545, says: "I should
+have liked to take them (i.e. the paintings) to your Majesty in person,
+but that my age and the length of the journey forbade such a course" (C.
+and C. ii. 103). Writing also in 1548 to Granvella he refers to his
+"vechia vita." Would not such expressions (asks Dr. Gronau) be more
+applicable to a man of sixty-eight and seventy-one respectively than to
+one of only fifty-six and fifty-nine?
+
+[168] XXIV. Band. 6 Heft, p. 457.
+
+[169] January 1902, pp. 123-130.
+
+[170] Quoted from Crowe and Cavalcaselle. II. 344. The Spanish original
+is given at p. 535.
+
+[171] I have quoted Titian's letter in full in the _Nineteenth Century_.
+That of the Spanish Consul is given in the _Jahrbuch der Sammlungen des
+A.H. Kaiserhauses_, vii. p. 221, from which I extract the passage: "El
+dicho Ticiano besa pies y manos de V.M., y suplica umilmente a V.M.
+mande le sea pagado lo que le ha corrido de las pensiones de que V.M. le
+tiene echo merced en Milan y en esa corte, y la trata de Napoles, y con
+los 85 anos de su edad servira a V.M. hasta la muerte."
+
+[172] I have quoted this letter also in full in the _Nineteenth
+Century._ I am indebted to M. Salomon Reinach for making this point
+(_Chronique des Arts_, Feb. 15, 1902, p. 53, where he expresses himself
+a convert to my views).
+
+
+
+
+CATALOGUE OF THE WORKS OF GIORGIONE
+
+ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED
+
+AUSTRIA-HUNGARY
+
+
+
+BUDA-PESTH GALLERY.
+
+
+PORTRAIT OF A YOUNG MAN. [No. 94.]
+
+_Esterhazy Collection_. (See p. 31.)
+
+
+TWO FIGURES STANDING. [No. 95.]
+
+Copy of a portion of Giorgione's lost picture of the "Birth of Paris."
+These are the two shepherds. (See p. 46.)
+
+The whole composition was engraved by Th. von Kessel for the _Theatrum
+pictorium_ under Giorgione's name. The original picture was seen and
+described by the Anonimo in 1525.
+
+
+
+VIENNA GALLERY.
+
+
+EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF ROME.
+Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]
+
+Seen by the Anonimo in 1525, in Venice, and said by him to have been
+finished by Sebastiano del Piombo. (See p. 12.)
+
+_Collection of the Archduke Leopold William, and registered in the
+inventory of_ 1659.
+
+
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. x 3 ft. 10 in. [No.
+23.]
+
+Inferior replica by Giorgione of the Beaumont picture in London.
+
+I have sought to identify this piece with the picture "da una Nocte,"
+painted by Giorgione for Taddeo Contarini. (See p. 24 and Appendix,
+where the original document is quoted.)
+
+_From the Collection of the Archduke Leopold William, and registered in
+the inventory of 1659 as a Giorgione._
+
+
+VIRGIN AND CHILD. Wood, 2 ft. 2 in. x 2 ft. 9 in. [No. 176.]
+
+Known as the "Gipsy Madonna," and ascribed to Titian. _Collection of the
+Archduke Leopold William._ (See p. 97.)
+
+
+PORTRAIT OF A MAN. Canvas, 3 ft. 5 in. x 2 ft. 9 in. [No. 167.]
+
+Commonly, though erroneously, called "The Physician Parma," and ascribed
+to Titian.
+
+_Collection of the Archduke Leopold William._ (See p. 87.)
+
+
+DAVID WITH THE HEAD OF GOLIATH. Wood, 2 ft. 2 in. x 2 ft. 6 in. [No.
+21.]
+
+Copy after a lost original, which is thus described by Vasari: "A David
+(which, according to common report, is a portrait of the master himself)
+with long locks, reaching to the shoulders, as was the custom of that
+time, and the colouring is so fresh and animating that the face appears
+to be rather real than painted; the breast is covered with armour, as is
+the arm with which he holds the head of Goliath."
+
+_This picture was at that day in the house of the Patriarch of Aquileia;
+the copy can be traced back to the Collection of the Archduke Leopold
+William at Brussels._ (See p. 48.)
+
+Herr Wickhoff, however, seems to think that, were the repaints removed,
+the Vienna picture might prove to be Giorgione's original painting. See
+Berenson's _Study and Criticism of Italian Art_, vol. i. p. 74, note.
+
+
+
+BRITISH ISLES
+
+
+
+LONDON, NATIONAL GALLERY.
+
+
+ADORATION OF THE MAGI, or THE EPIPHANY. Panel. 12 in. x 2 ft. 8 in. [No.
+1160.]
+
+_From the Leigh Court sale, 1884._ (See p. 53.)
+
+
+UNKNOWN SUBJECT, possibly THE GOLDEN AGE. Panel. 1 ft. 11 in. x 1 ft. 7
+in. [No. 1173.]
+
+Now catalogued as "School of Barbarelli." (See p. 91.) _Purchased in
+1885 at the sale of the Bohn Collection as a Giorgione.
+
+Formerly in the Aldobrandini Palace, Rome, where it was bought by Mr.
+Day for the Marquis of Bristol, but afterwards sold at Christie's to Mr.
+White, and by him for L73.10s. to Bohn._
+
+PORTRAIT OF A MAN, possibly PROSPERO COLONNA. Transposed in 1857 from
+wood to canvas, 2 ft. 8 in. x 2 ft. [No. 636.]
+
+Catalogued as "Portrait of a Poet," by Palma Vecchio.
+
+_Formerly in possession of Mr. Tomline, and purchased in 1860 from M.
+Edmond Beaucousin at Paris._
+
+It was then called the portrait of Ariosto by Titian. (See p. 81.)
+
+A KNIGHT IN ARMOUR, probably S. LIBERALE. Wood, 1 ft. 3 in. x 10 in.
+[No. 269.]
+
+_Formerly in the Collection of Benjamin West, P.R.A., and bequeathed to
+the National Gallery by Mr. Samuel Rogers in 1855._ (See p. 20.)
+
+VENUS AND ADONIS. Canvas, 2 ft. 6 in. x 4 ft. 4 in. [No. 1123.]
+
+Catalogued as "Venetian School," and more recently as "School of
+Giorgione."
+
+_Purchased in 1882 as a Giorgione at the Hamilton Palace sale._ (See p.
+94.)
+
+GLASGOW GALLERY.
+
+THE ADULTERESS BEFORE CHRIST. Canvas, 4 ft. 6 in. x 5 ft. 11 in. [No.
+142.]
+
+_Ex M'Lellan Collection._ (See p. 102.)
+
+TWO MUSICIANS. Panel. 1 ft. 9 in. x 1 ft. 4 in. [No. 143.]
+
+Recently attributed to Campagnola. Said to be Titian and Giorgione,
+playing violin and violoncello. The former attribution to Giorgione is
+probably correct.
+
+_Graham-Gilbert Collection._
+
+New Gallery, Venetian Exhibition, 1895. [No. 99.]
+
+HAMPTON COURT.
+
+SHEPHERD BOY. Canvas, 1 ft. 11 in. x 1 ft. 8 in. [No. 101.]
+
+_From Charles I. Collection_, where it was called a Giorgione. (See p.
+49 for a suggestion as to its possible authorship.)
+
+BUCKINGHAM PALACE.
+
+THREE FIGURES. Half-length; two men, and a woman fainting. Canvas, 2 ft.
+5 in. x 2 ft. 1 in.
+
+Ascribed to Titian, but probably derived from a Giorgione original.
+Other versions are said (C. and C. ii. 149) to have been at the Hague
+and in the Buonarroti Collection at Florence. The London picture is so
+damaged and repainted, although still of splendid colouring, as to
+preclude all certainty of judgment.
+
+_Formerly in Charles I. Collection._
+
+MR. WENTWORTH BEAUMONT'S COLLECTION.
+
+ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. 6 in. x 2 ft.
+(about).
+
+_From the Gallery of Cardinal Fesch_, and presumably the same as the
+picture in the Collection of James II. I have sought to identify this
+piece with the picture "da una Nocte," painted by Giorgione for Vittorio
+Beccare (See p. 20, and Appendix quoting the original document.)
+
+MR. R.H. BENSON'S COLLECTION.
+
+HOLY FAMILY. Wood, 14 in. x 17 in.
+
+New Gallery, 1895. [No. 148.] (See p. 96.)
+
+MADONNA AND CHILD. Wood, 1 ft. 6 in. x 1 ft. 10 in.
+
+New Gallery, 1895. [No. 1, under Titian's name.] (See p. 101.)
+
+_From the Burghley House Collection._
+
+PORTRAIT OF A MAN. Canvas, 38 in. x 32 in.
+
+Copy of a lost original. Three-quarter length; life-size; standing
+towards right; head facing; hands resting on a column, glove in left;
+black dress, cut square at throat.
+
+New Gallery, 1895. [No. 52, as "Unknown."] (See p. 74.)
+
+COBHAM HALL, THE EARL OF DARNLEY'S COLLECTION.
+
+PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.
+
+Erroneously called Ariosto, and ascribed to Titian.
+
+I have sought to identify this with the "Portrait of a Gentleman" of the
+Barberigo family, said by Vasari to have been painted by Titian at the
+age of eighteen. (See p. 69.)
+
+HERON COURT, THE EARL OF MALMESBURY.
+
+THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.
+
+Copy of an unidentified original, of which other versions are to be
+found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is
+probably a Bolognese repetition of the seventeenth century.
+
+Ridolfi mentions this subject in his list of Giorgione's works.
+
+New Gallery, 1895. [No. 29.]
+
+HERTFORD HOUSE, WALLACE COLLECTION.
+
+VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]
+
+The picture was engraved as a Giorgione when in the Orleans Gallery.
+(See p. 93.)
+
+KENT HOUSE, THE LATE LOUISA LADY ASHBURTON.
+
+TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.
+
+The damaged state precludes any certainty of judgment. The composition
+is that of the Adrastus and Hypsipyle picture; the colouring recalls
+the National Gallery "Golden Age(?)." If an original, it is quite an
+early work. New Gallery, 1895. [No. 147.]
+
+TWO FIGURES (half-lengths), A WOMAN AND A MAN.
+
+Copy after a missing original, and in the style of the figures at
+Oldenburg. (See Venturi, _La Gall. Crespi_.) This or the original was
+engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in
+aedibus Burghesianis asservata.
+
+KINGSTON LACY, COLLECTION OF MR. RALPH BANKES.
+
+THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.
+
+Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa
+Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia,
+colla figura del ministro non finita." Afterwards in the Marescalchi
+Gallery at Bologna, where (1820) it was seen by Lord Byron, who
+especially praised it (vide _Life and Letters_, ed. by Moore, p. 705),
+and at whose suggestion it was purchased by his friend Mr. Bankes. (See
+p. 25.)
+
+Exhibited Royal Academy, 1869.
+
+A PAINTED CEILING.
+
+With four putti climbing over a circular balcony, seen in steep
+perspective, and covered with beautiful vine leaves and flowers. This is
+said to have been painted by Giorgione in the last year of his life
+(1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably
+preserved, and most likely a genuine work.
+
+TEMPLE NEWSAM, COLLECTION OF THE HON. MRS MEYNELL-INGRAM.
+
+PORTRAIT OF A MAN.
+
+Traditionally ascribed to Titian. Just under life-size; he holds a black
+hat. Blue-black silk dress with sleeve of pinky red and golden brown
+gloves. Dark auburn hair. Dark grey marble wall behind. In excellent
+preservation. (See p. 86.)
+
+COLLECTION OF SIR CHARLES TURNER.
+
+THE ADULTERESS BEFORE CHRIST.
+
+A free Venetian repetition, perhaps based on an alternative design for
+the Glasgow picture. (See p. 104.)
+
+
+FRANCE.
+
+LOUVRE.
+
+FETE CHAMPETRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8 in. x 4 ft. 9 in.
+
+_Said to have been in Charles I. Collection, and sold to Louis XIV. by
+Jabuch._ (See p. 39.)
+
+HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3 ft.
+4 in. x 4 ft. 6 in.
+
+Perhaps left incomplete by Giorgione at his death, and finished by
+Sebastiano del Piombo. (See p. 105.)
+
+_From Charles I. Collection._
+
+
+GERMANY.
+
+BERLIN GALLERY.
+
+PORTRAIT OF A YOUNG MAN.
+
+_Acquired from Dr. Richten_ (See p. 30.)
+
+BERLIN, COLLECTION OF HERR VON KAUFFMANN.
+
+STA. GIUSTINA.
+
+A small seated figure with the unicorn. Recently acquired at Cologne,
+and known to the writer only by photograph and description, but
+tentatively accepted as genuine.
+
+DRESDEN GALLERY.
+
+VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]
+
+Formerly catalogued as a copy by Sassoferrato after Titian. Restored by
+Morelli to Giorgione, and universally accepted as such. Mentioned by the
+Anonimo and Ridolfi, and said to have been completed by Titian. (See p.
+35.)
+
+THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.
+
+Copy after a lost original. C. and C. suggest Girolamo Pennacchi as
+possible author. It bears the Este arms.
+
+_From the Manfrini and Barker Collections._
+
+(See _Gazette des Beaux Arts_, 1884, tom. xxx. p. 223.)
+
+JUDGMENT OF PARIS. Canvas, 1 ft. 9 in. x 2 ft. 3 in.
+
+One of several copies of a lost original. [See under British
+Isles--Heron Court.]
+
+ITALY
+
+BERGAMO, GALLERY.
+
+ORPHEUS AND EURYDICE. Wood, 1 ft. 3 in, x 1 ft. 9 in. [No. 179, Lochis
+section.]
+
+(See p. 89.)
+
+MADONNA AND CHILD. Wood, 1 ft. 3 in. x 1 ft. 6 in. [No. 232, Lochis
+section, as "Titian."]
+
+The composition is very similar to Mr. Benson's "Madonna and Child"
+(_q.v._). (See p. 101.)
+
+THE ADULTERESS BEFORE CHRIST. 4 ft. 11 in. x 7 ft. 3 in. [No. 26,
+Carrara section.]
+
+Later copy, with slight variations, of the Glasgow picture, Ascribed to
+Cariani, and in a dirty state. (See p. 104.)
+
+CASTELFRANCO, DUOMO.
+
+MADONNA AND CHILD ENTHRONED, SS. LIBERALE AND FRANCIS BELOW. Wood, 7 ft.
+6 in. x 4 ft. 10 in.
+
+(See p. 7.)
+
+FLORENCE, PITTI GALLERY.
+
+THE CONCERT. Canvas, 3 ft. 10 in. x 7 ft. 4 in. [No. 185.]
+
+Described by Ridolfi and Boschini.
+
+An old copy is at Hyde Park House, another in the Palazzo Doria, Rome.
+(See p. 49.)
+
+THE THREE AGES. Wood, 3 ft. 8 in. x 5 ft. 4 in. [No. 157.]
+
+By C. and C. ascribed to Lotto, by Morelli to Giorgione.
+
+(See p. 42.)
+
+NYMPH AND SATYR. Canvas. [No. 147.]
+
+(See p. 44.)
+
+FLORENCE, UFFIZI GALLERY.
+
+TRIAL OF MOSES, or ORDEAL BY FIRE. Canvas. Figures one-eighth life-size.
+[No. 621.]
+
+_From Poggio Imperiale._(See p. 15.)
+
+JUDGMENT OF SOLOMON. Companion piece to last. Wood. [No. 630.]
+
+(See p. 15.)
+
+KNIGHT OF MALTA. Canvas. Bust, life-size. [No. 622.]
+
+The letters XXXV probably refer to the man's age. Mr. Dickes (_Magazine
+of Art_, April 1893) thinks he is Stefano Colonna, who died 1548. (See
+p. 19.)
+
+MILAN, CRESPI COLLECTION.
+
+PORTRAIT OF CATERINA CORNARO. Canvas, 3 ft. 11 in. x 3 ft. 2 in.
+
+_From the Alessandro Martinengo Gallery, Brescia (1640), thence to
+Collection Francesco Riccardi, Bergamo, where C. and C. saw it in 1877._
+They state it was engraved in the line series of Sala. It has been known
+traditionally both as Caterina Cornaro and "La Schiavona." (See p. 74.)
+
+In the signature T.V. it is clear that the V represents the last letter
+but one in TITIANVS. The first three letters can just be made out. There
+are many _pentimenti_ on the marble parapet, which seems to have been
+painted over the dress.
+
+PADUA, GALLERY.
+
+Two _cassone_ panels with mythological scenes. Wood, about 4 ft. x 1 ft.
+each. [Nos. 416, 417.]
+
+(See p. 56.)
+
+Two very small panels with mythological scenes, one representing LEDA
+AND THE SWAN. Wood, about 5 in. x 3 in. each. [Nos. 42, 43.]
+
+(See p. 90.)
+
+ROME, BORGHESE GALLERY.
+
+PORTRAIT OF A LADY. Canvas, 3 ft. 2 in. x 2 ft. 6 in.
+
+(See p. 33.)
+
+NATIONAL GALLERY, PAL. CORSINI.
+
+S. GEORGE AND THE DRAGON.
+
+_Recently acquired._
+
+(Tentatively accepted from the photograph. See p. 91.)
+
+ROVIGO, GALLERY.
+
+MADONNA AND CHILD. [NO. 2.]
+
+Repetition by Titian of Giorgione's original at Vienna
+
+(See p. 98.)
+
+A SMALL SEATED FIGURE. DANAE? [No. 156.]
+
+Copy of a missing original.
+
+VENICE, ACADEMY.
+
+STORM AT SEA CALMED BY S. MARK. Wood, 11 ft. 8 in. x 13 ft. 6 in. [No.
+516.]
+
+_From the Scuola di S. Marco_, where it was companion piece to Paris
+Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by
+Zanetti to Giorgione.
+
+Too damaged to admit of definite judgment. (See p. 55.)
+
+THREE FIGURES. Half-lengths; a woman fainting, supported by a man;
+another behind.
+
+Modern copy by Fabris of apparently a missing original. Can this be the
+picture mentioned by C. and C. as in the possession of the King of
+Holland? (C. and C. ii. 149, note.) _Cf_. also, Notes to Sansoni's
+_Vasari_, iv. p. 104. Another version is at Buckingham Palace (_q.v_.),
+but it differs in detail from this copy.
+
+SEMINARIO.
+
+APOLLO AND DAPHNE. _Cassone_ panel. Wood. Small figures, much defaced.
+(See p. 34.)
+
+CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as
+life. About 3 ft. x 2 ft.
+
+Christ clad in pale grey, head turned three-quarters looking out of the
+picture, auburn hair and beard, bears cross. He is dragged forward by an
+elderly man nude to waist. Another man in profile to left. An old man
+with white beard just visible behind Christ. (See p. 54.)
+
+PAL. ALBUZIO. JUDGMENT OF PARIS.
+
+Another version of this subject, of which copies exist at Christiania,
+Lord Malmesbury's, and Dresden.
+
+PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft. 5
+in.
+
+Described by the Anonimo in the house of Gabriel Vendramin (1530). (See
+p. 11.)
+
+Statius (lib. iv. 730 _ff_.) describes how King Adrastus, wandering
+through the woods in search of a spring to quench the thirst of his
+troops, encounters by chance Queen Hypsipyle, who had been driven out of
+Lemnos by the wicked women, who had resolved to slay their husbands, and
+she had taken refuge in the service of the King of Nemea, in capacity
+of nurse.
+
+Ex _Manfrini Palace._
+
+PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6 in.
+square. (See p. 85.)
+
+
+NORWAY.
+
+CHRISTIANIA.
+
+JUDGMENT OF PARIS.
+
+Another version of this subject, of which copies exist at Lord
+Malmesbury's, Dresden, and Venice.
+
+
+RUSSIA.
+
+ST. PETERSBURG, HERMITAGE GALLERY.
+
+JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]
+
+Once ascribed to Raphael, and engraved as such (in 1620), by H.H.
+Quitter, and afterwards by several other artists. Dr. Waagen pronounced
+it to be Moretto's work, and accordingly the name was changed; as such
+Braun has photographed it. It is now officially recognised rightly as a
+Giorgione (_vide_ Catalogue of 1891).
+
+_Brought from Italy to France, and eventually in Crozat's possession_.
+(See p. 37.)
+
+VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]
+
+_Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian_, under
+which name it is still registered. (See p. 102, where Mr. Claude
+Phillips's suggestion that it may be a Giorgione is discussed.)
+
+
+SPAIN.
+
+MADRID, PRADO GALLERY.
+
+MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft. 5
+in. [No. 341.]
+
+_From the Escurial_; restored to Giorgione by Morelli, and now
+officially recognised as his work. (See p. 45.)
+
+
+UNITED STATES.
+
+BOSTON, COLLECTION OF MRS. GARDNER.
+
+CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.
+
+Several variations and repetitions exist. (See p. 18.)
+
+_Till lately in the Casa Loschi at Vicenza._
+
+       *       *       *       *       *
+
+A few drawings by Giorgione meet with general recognition, but, like his
+paintings, they appear to have been unnecessarily restricted by an
+over-anxiety on the part of critics to leave him only the best. E.g. the
+drawing at Windsor for a part of an "Adoration of the Shepherds," is, no
+doubt, a preliminary design for the Beaumont or Vienna pictures. The
+limits of the present book will not allow a discussion on the subject,
+but we may remark that, like all Venetian artists, Giorgione made few
+preliminary sketches, concerning himself less with design and
+composition than with harmony of colour, light and shade, and "effect."
+The engraving by Marcantonio commonly called "The Dream of Raphael," is
+now known to be derived from Giorgione, to whom the subject was
+suggested by a passage in Servius' _Commentary on Virgil_ (lib. iii. v.
+12). (See Wickhoff, loc. cit.)
+
+
+
+
+LIST OF GIORGIONE'S PICTURES CITED BY "THE ANONIMO," AS BEING IN HIS
+DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.[173]
+
+
+CASA TADDEO CONTARINI (1525).
+
+(i) The Three Philosophers (since identified as Aeneas, Evander, and
+Pallas, in the Vienna Gallery),
+
+(ii) Aeneas and Anchises in Hades.
+
+(in) The Birth of Paris. (Since identified by the engraving of Th. von
+Kessel. A copy of the part representing the two shepherds is at
+Buda-Pesth.)
+
+
+CASA JERONIMO MARCELLO (1525).
+
+(i) Portrait of M. Jeronimo armed, showing his back and turning his
+head.
+
+(ii) A nude Venus in a landscape with Cupid. Finished by Titian. (Since
+identified as the Dresden Venus.)
+
+(in) S. Jerome reading.
+
+
+CASA M. ANTON. VENIER (1528).
+
+A soldier armed to the waist.
+
+
+CASA G. VENDRAMIN (1530).
+
+(i) Landscape with soldier and gipsy. (Since identified as the Adrastus
+and Hypsipyle of the Pal. Giovanelli, Venice.)
+
+(ii) The dead Christ on the Tomb, supported by one Angel. Retouched by
+Titian. (This can hardly be the celebrated Pieta in the Monte di Pieta
+at Treviso, as there are here three angels. M. Lafenestre, in his _Life
+of Titian_, reproduces an engraving answering to the above description,
+but it is hard to believe this mannered composition is to be traced back
+to Giorgione.)
+
+CASA ZUANE RAM (1531).
+
+(i) A youth, half-length, holding an arrow.
+
+(ii) Head of a shepherd boy, who holds a fruit.
+
+
+CASA A. PASQUALINO.
+
+(i) Copy of No. (i) just mentioned.
+
+(ii) Head of S. James, with pilgrim staff (or, may be, a copy).
+
+
+CASA ANDREA ODONI (1532).
+
+S. Jerome, nude, seated in a desert by moonlight. Copy after Giorgione.
+
+
+CASA MICHIEL CONTARINI (1543).
+
+A pen drawing of a nude figure in a landscape. The painting of the same
+subject belonged to the Anonimo.
+
+
+CASA PIERO SERVIO (1575).
+
+Portrait of his father.
+
+It is noteworthy that two of the above pieces are cited as copies, from
+which we may infer that Giorgione's productions were already, at this
+early date, enjoying such a vogue as to call for their multiplication at
+the hands of others, and we can readily understand how, in course of
+time, the fabrication of "Giorgiones" became a profitable business.
+
+NOTES:
+
+[173] _Notizie d'opere di disegno_. Ed. Frizzoni. Bologna, 1884.
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Giorgione, by Herbert Cook
+
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