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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."

One knew exasperatingly little about her. It was said vaguely that Mantovani entertained a tender friendship for her, having been her husband's comrade in arms in half a dozen Carlist revolts. That seemed enough to explain the gift." At this point Anitchkoff must have caught my raised eyebrows, for he added contritely, "It was odd for Mantovani to give away a Giorgione. You're quite right.

They reveal the hand of some at present anonymous Venetian of the second order, standing midway between the young Giorgione and the young Titian one who, while imitating the types and the landscape of these greater contemporaries of his, replaced their depth and glow by a weaker, a more superficial prettiness, which yet has its own suave charm. Imperial Gallery, Vienna.

Pons was of the opinion of Chenavard, the print-collector, who laid it down as an axiom that you only fully enjoy the pleasure of looking at your Ruysdael, Hobbema, Holbein, Raphael, Murillo, Greuze, Sebastian del Piombo, Giorgione, Albrecht Durer, or what not, when you have paid less than sixty francs for your picture. Pons never gave more than a hundred francs for any purchase.

The skin, of a light brown, had the golden tint of a new Florentine bronze, and the amber, warm tone which is admired in the paintings of Giorgione and Titian covered with a smoky varnish, was not very different from what must have been the complexion of the young Egyptian during her lifetime. She seemed to be asleep rather than dead.

After the completion of these works, our artist painted, for the Church of San Rocco, a figure of Christ bearing his cross; the Saviour has a rope round his neck, and is dragged forward by a Jew; many have thought this a work of Giorgione.

The exuberant beauty, with the skin of dazzling fairness and the unbound hair of rippling gold, is the last in order of the earthly divinities inspired by Giorgione the loveliest of all in some respects, the most consummately rendered, but the least significant, the one nearest still to the realities of life.

Giorgione was of the opinion that there could be shown in a painted scene, without any necessity for walking round, at one single glance, all the various aspects that a man can present in many gestures a thing which sculpture cannot do without a change of position and point of view, so that in her case the points of view are many, and not one.

Had Giorgione lived he would have disappointed them by his preoccupation with romantic dreams; Bellini no doubt did disappoint them by a certain simplicity and divinity; Tintoretto was stern and sparing of gorgeous hues. But Titian was all for sumptuousness. Not much is known of his inner life.

The chief difficulties in deciding the question are, first, whether it is possible that a youth of eighteen could have painted such a masterpiece, second, that the signature Titianus is supposed not to have been used by the artist before about 1520, and lastly, that the head, at any rate, is decidedly more in the manner of Giorgione than that of Titian.