Giorgione Part 4

[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 t.i.tles 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 Ill.u.s.trated Catalogue of the recent exhibition of Renaissance Art at Berlin; the Rovigo version (under Leonardo's name!) is possibly by Bissolo.

Two other repet.i.tions 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) ill.u.s.trate 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_, ill.u.s.trated 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 Ca.s.sel testifies.

[44] _Repertorium fur 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 fur 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 a.s.sistant of Dosso.

[58] Crowe and Cavalcaselle, ii. 292, unaccountably suggested Francesco Vecellio (!) as the author.

[59] The subject is derived from a pa.s.sage in the _De Divinitate_ of Cicero, as Herr Wickhoff has pointed out.