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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.
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.
Correggio, Raphael, and Giorgione died at the ages of forty, thirty-seven, and thirty-three years respectively. Those whom the gods love die young! Berenson: Venetian Painters, p. 29. I should prefer to substitute "ripening" for "ripened." Fry: Giovanni Bellini, p. 44. In S. Giovanni Crisostomo, Venice. It dates from 1513. Mary Logan: Guide to the Italian Pictures at Hampton Court, p. 13.
The most important artist besides Titian who was a pupil of Giorgione was SEBASTIANO DEL PIOMBO, as he was called his father's name was LUCIANI. But as two other notable influences determined his career, he is not to be taken as typical of the Venetian School in general or that of Giorgione in particular. Born in Venice about the year 1485, he first studied under Giovanni Bellini, as appears from the signature as well as from the style of a Piet
And soon his proud, melancholy soul took its flight from an environment with which he was ever at war, and from a world which he never loved. And Titian was sent for to complete the pictures which he had begun. Surely, disembodied spirits have no control over mortals, or the soul of Giorgione would have come back and smitten the hand of Titian with palsy.
And, again, that Giorgione at Paris, where the men and women are doing nothing in particular, but living in the sunlight, a joyful, pagan band. And then think of the simpler, deeper notes of the symphony, the elements of light and warmth and color in our world, the very seeds of existence.
Then almost oppressive good luck, came a note from her mountain Castle, telling that the Chatelaine would be glad to receive me whenever my travels led me her way. She mentioned our common enthusiasm for the Venetians and graciously wanted my opinion on the Giorgione, which the enemies of Mantovani, her friend and my spiritual father, as she called him, had spitefully slandered.
Thus, if it were held that the characteristics of the aesthetic experience could be given by the complete analysis of a single well-marked case, say, our impressions before a Doric column, or the Cathedral of Chartres, or the Giorgione Venus, it could be objected that for such a psychological experience the essential elements are hard to isolate.
Priam Farll's own collection of great masters, gradually made by him in that inexpensive manner which is possible only to the finest connoisseurs, was to form the nucleus of the Gallery. It comprised, said the Record, several Rembrandts, a Velasquez, six Vermeers, a Giorgione, a Turner, a Charles, two Cromes, a Holbein.
We can easily realise the excitement and joy Balzac felt in showing them all his treasures the bust by David D'Angers, the precious Medici furniture of ebony encrusted with mother-of-pearl, the Cellini statuettes, and the pictures by Giorgione, Palma, Watteau, and Greuze.
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