Giorgione Part 9

[113] The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of Cordova, Giovanni Borgherini and his tutor, Luigi Cra.s.so, 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 pa.s.sed 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 antic.i.p.ated 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 ill.u.s.trated edition of the National Gallery Catalogue, 1900.

[121] Now in America, in Mrs. Gardner's Collection.

[122] Crowe and Cavalcaselle: _t.i.tian_, i. p. III. This picture was then at Burleigh House.

[123] See _La Galleria Crespi_, 1900.

[124] _The Earlier Work of t.i.tian_ 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 t.i.tian has let fall, instead placing it behind the head of the sleeping G.o.ddess. The effect of the beautiful curve is thereby lost, and t.i.tian 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 a.s.sisted Giorgione in the decoration of the Fondaco de' Tedeschi. This was in 1508. Otherwise, we know of no pupils or a.s.sistants 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 ent.i.tled, 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 doc.u.mentary 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 ill.u.s.tration, and the work pa.s.ses 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 t.i.tian'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 circ.u.mstances 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 n.o.bility 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 t.i.tian 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 pa.s.sion 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 a.n.a.logous 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 circ.u.mstances 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 circ.u.mstances, 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 astonis.h.i.+ng 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 s.e.x 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 s.e.x than those which t.i.tian 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 t.i.tian'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 _antic.i.p.ated_ 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 t.i.tian 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 a.s.sociate t.i.tian (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 t.i.tian 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 surpa.s.sed. 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 a.n.a.logy 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 gla.s.s, 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 s.h.i.+mmer 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 t.i.tian 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 surpa.s.sed 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 ill.u.s.trates 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 t.i.tian occupies? I fear not Beethoven is infinitely greater than Schubert, Shakespeare than Keats, and so, though in lesser degree, is t.i.tian 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 t.i.tian. Yet t.i.tian 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.