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Updated: May 12, 2025
He died of plague in the early winter of 1510, and was probably buried with other victims on the island of Poveglia, off Venice, where the lazar-house was situated. The tradition that his bones were removed in 1638 and buried at Castelfranco in the family vault of the Barbarelli is devoid of foundation, and was invented to round off the story of his supposed connection with the family.
A natural child of the family of the Barbarelli by a peasant-girl of Vedelago, he finds his way early into the circle of notable persons people of courtesy; and becomes initiated into those differences of personal type, manner, and even of dress, which are best understood there that "distinction" of the Concert of the Pitti Palace.
Titian's conception of perfect womanhood is here midway between his earlier Giorgionesque ideal and the frankly sensuous yet grand luxuriance of his maturity and old age. He never, even in the days of youth and Giorgionesque enchantment, penetrated so far below the surface as did his master and friend Barbarelli.
There can be little doubt, notwithstanding, that Morelli was right in denying the authorship of Barbarelli, and tentatively, for he does no more, assigning the so subtly attractive and pathetic Concert to the early time of Titian. To express a definitive opinion on the latter point in the present state of the picture would be somewhat hazardous.
Having visited the Giovanelli Palace, I found myself restless for this rare spirit, and therefore arranged a little diversion to Castel Franco, where he was born and where his great altar-piece is preserved. But first let us look at Giorgione's career. Giorgio Barbarelli was born at Castel Franco in 1477 or 1478.
If Carpaccio was the greatest pupil of Gentile Bellini, in Giorgione we see the first of those marvellous painters who were taught their art by his brother Giovanni. Giorgio Barbarelli, called Giorgione, was born at Castelfranco, a little town in the hills not far from Padua, in 1478.
The Concert of the Pitti, so far as it can be judged through the retouches that cover it, displays an art certainly not finer or more delicate, but yet in its technical processes broader, swifter, and more synthetic than anything that we can with certainty point to in the life-work of Barbarelli.
Crowe and Cavalcaselle, and Dr. Zorzon da Castelfranco. La sua origine, la sua morte e tomba, by Dr. Georg Gronau. Venice, 1894. It would seem, therefore, desirable to efface the name of Barbarelli from the catalogues. The National Gallery, for example, registers Giorgione's work under this name. The translation given is that of Blashfield and Hopkins's edition. Bell, 1897.
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