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1895 Catalogue. Crowe and Cavalcaselle, ii. 142, and note. 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. See Byron's Life and Letters, by Thomas Moore, p. 705. See Berenson's Venetian Painters, illustrated edition. Morelli, ii. 219.
The first singer at the Odeon was Madame Sessi, who has since been in London; but Madame Morelli, with a voice somewhat inferior in power, appeared to us a more elegant actress.
It seems likely that the balustrade bore originally only the "V" repeated, which curiously enough occurs also on the similar balustrade of the beautiful Portrait of a young Venetian, by Giorgione, first cited as such by Morelli, and now in the Berlin Gallery, into which it passed from the collection of its discoverer, Dr. J.P. Richter.
With this deduction Morelli is in accord: "In character they belong to the fifteenth century, and may have been painted by Giorgione in his sixteenth or eighteenth year." Here, then, is a clue to the young artist's earliest predilections. He fastens eagerly upon that phase of Bellini's art to which his own poetic temperament most readily responds. But he goes a step further than his master.
Morelli and Silvati were hung, the fugitives, Pepe and Rossaroll, were condemned to death, but this was only the beginning. The Austrian commander counselled mercy, but in this respect the King showed an independent mind. A court-martial was instituted to examine the conduct of ecclesiastics, public functionaries and soldiers, from the year 1793 downwards.
"The church is filled with great ones, and Mass is going on," a small scout reported; "and that was Don Ambrogio Morelli that just went in with a lady our old Abbé from the school at San Marcuolo Beppo goes there now! And don't some of us remember Pierino always studying and good for nothing, and not knowing enough to wade out of a rio? The Madonna will have hard work to look after him!"
It is Giovanni Morelli who, in tracing the gradual descent from his recovered treasure, the Venus of Giorgione in the Dresden Gallery, through the various Venuses of Titian down to those of the latest manner, so finely expresses the essential difference between Giorgione's divinity and her sister in the Tribuna.
Another picture in the Pitti was also recognised by Morelli as Giorgione's work "The Nymph pursued by a Satyr." Modern criticism seems undecided on the justice of this view, some writers inclining to the belief that this is a Giorgionesque production of Dosso Dossi, others preserving a discreet silence, or making frank avowal of their inability to decide.
It is again Morelli who points out that, as compared with Correggio, even Giorgione to say nothing of Titian is when he renders the beauty of woman or goddess a realist. And this is true in a sense, yet not altogether.
The Abbé Morelli sat in an attitude of breathless interest, and now a look of intense anxiety crossed his face. "It is Fra Teodoro, the ablest disputant of the Frari!" he exclaimed. "The trial is too great." The lady with him drew closer, arranging the folds of the ample veil which partially concealed her face, so that she might watch more closely.
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