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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 writer follows Giovanni Morelli in believing that this is a studio picture touched by the master, and that the splendidly toned evening landscape is all his. He cannot surely be made wholly responsible for the overgrown and inflated figure of the divine Bambino, so disproportionate, so entirely wanting in tenderness and charm.
Let us glance briefly at the artistic activity of the times when the violin-making craft leaped so swiftly and surely to perfection. If we turn to the days of Gaspard di Salo, Morelli, Magini, and the Amatis, we find that when they were sending forth their fiddles, Raphael, Leonardo da Vinci, Titian, and Tintoretto were busily painting their great canvases.
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.
But indeed one might think that, even with Morelli, Crowe, and Cavalcaselle, and Berenson against us, not to name others who have done much for the history of painting in Italy, we might still believe, not altogether without reason, that Giorgone had some part in the Concert, which, after all, passed as his altogether for two hundred and fifty years; was bought, indeed, as his in 1654, only seventy-eight years after Titian's death, by Cardinal Leopoldo de' Medici from Paolo del Sera, the Florentine collector in Venice.
Again we owe it to Morelli that this painting, ascribed by Crowe and Cavalcaselle as the Herodias was ascribed to Pordenone, has been with general acceptance classed among the early works of Titian.
More and more will the view so forcibly stated by Giovanni Morelli recommend itself, that Palma in many of those elements of his art most distinctively Palmesque leans upon the master of Cadore. The Bergamasque painter was not indeed a personality in art sufficiently strong and individual to dominate a Titian, or to leave upon his style and methods profound and enduring traces.
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. Prado Gallery, Madrid Only one sacred subject figures in the additions made by Morelli to the list of genuine Giorgiones.
And then people had come from Truro and Pendragon and even Bodmin and, finally, Exeter, because they had heard of the things that he had for sale. No one knew where he found his treasures, for he was always in his shop, smiling and amiable, but sometimes gentlemen would come from London, and he had strange friends like Mr. Andreas Morelli, concerning whose life a book has already been written.
For once agreeing with Crowe and Cavalcaselle, Morelli is inclined to disregard the testimony of Vasari, from whose text it would result that it was painted in or after the year 1514, and to place it as far back as 1508.
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