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No one to-day would be found, I suppose, to support the older view, and the rechristening certainly received the approval of Morelli; modern critics apparently acquiesce without demur, so that it requires no little courage to dissent from so unanimous an opinion. I confess, therefore, it was no small satisfaction to me to find the question had been raised by an independent inquirer, Mr.
First, as to the Berlin "Portrait of a Young Man," which, when Morelli wrote, belonged to Dr. Richter, and was afterwards acquired for the Berlin Gallery. "In it we have one of those rare portraits such as only Giorgione, and occasionally Titian, were capable of producing, highly suggestive, and exercising over the spectator an irresistible fascination."
It is at least conceivable that he took Giorgione's "David with the Head of Goliath," and by a simple, and in this case peculiarly appropriate, transformation, changed him into a shepherd boy holding a flute. We have now taken all the pictures which either Crowe and Cavalcaselle or Morelli, or both, assign to Giorgione himself.
The so-called Concert of the Pitti Palace, which depicts a young Augustinian monk as he plays on a keyed instrument, having on one side of him a youthful cavalier in a plumed hat, on the other a bareheaded clerk holding a bass-viol, was, until Morelli arose, almost universally looked upon as one of the most typical Giorgiones.
Morelli writes: "His drawings are found in all the most important collections of Europe," but he mentions only thirteen, and although many certainly in all the galleries bear his name, and the impress of his influence, later study appears to accept only six as by his own hand; and of these six two are so much inferior to the rest that I cannot bring myself to feel any degree of certainty as to their genuineness.
Gebhart attributes to Alessandro di Mariano Filipepi about eighty-five pictures, many of which were long ago in Morelli's taboo list that terrible Morelli, the learned iconoclast who brought many sleepless nights to Dr. Wilhelm Bode of Berlin. Time has vindicated the Bergamese critic. Berenson will allow only forty-five originals to Botticelli's credit.
Dickes' brilliant conjectures have much to support them, and, so far as the authorship is concerned, I unhesitatingly accept the view, which he was the first to express, that Giorgione, and no other, is the painter. Our National Collection therefore boasts, in my opinion, a masterpiece of his portraiture. If it were not that Morelli, Mr.
The one point on which Morelli did not, perhaps, lay sufficient stress, is the co-operation in this work of Titian with Giorgione, for here we have an additional proof that the latter left some of his work unfinished.
At my arrival in Prague, where I did not intend to stop, I delivered a letter I had for Locatelli, manager of the opera, and went to pay a visit to Madame Morelli, an old acquaintance, for whom I had great affection, and for two or three days she supplied all the wants of my heart.
Nay, but your Morelli, your Crowe, ciphering as they went for want of thought, what did they do but screw Art into test- tubes, and serve you up the fruit of their litmus-paper assay with vivacity, may be, but with what kinship to the picture?
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