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"I have seen no unusual stir," Rufino said. "Their ships, as far as one can see their masts, seem all in their usual position. I fancy that, since Barberigo carried off two of them, they have put booms across the channels to prevent sudden attacks. I saw a lot of rowboats busy about something, but I could not make out exactly what they were doing; but still, I fancy they were constructing a boom.
The opera opens with a brilliant festival in the gardens of the Barberigo Palace, which is attended by Genarro, Orsini, and others, all of them cordial haters of the detestable Borgias. As they leave, Lucrezia approaches, masked, in a gondola, and is received by Gubetta, with whom she has come to Venice on some secret errand. He begs her to reveal her name, but she refuses.
It is a matter of more regret, therefore, that the likenesses of the Doges Agostino Barberigo and Leonardo Loredano are missing, for in them we might have had specimens of work comparable to the Caterina Cornaro, which, in my opinion at all events, is Giorgione's masterpiece of portraiture. I have given reasons elsewhere for dating this portrait at latest 1500.
With this we may leave the question of Titian's birth date, and consider the exceptional interest attaching to the question of this Barberigo portrait. According to Mr. Cook, and also, under reserve, to several other eminent authorities, it is no other than the so-called Ariosto, which was purchased for the National Gallery in 1904.
The date suggested 1500 is also consistent with our own deductions as to Giorgione's rapid development, and the distinguished character of his sitter if it be Prospero Colonna is quite in keeping with the vogue the artist was then enjoying, for it was in this very year, it will be remembered, that he painted the Doge Agostino Barberigo. I therefore consider that Mr.
Let all the pictures in the world be destroyed, if they be found to have caused the commission of one mortal sin." "Who allowed you to commit this mutilation? The Venetian State Inquisitors, even M. Barberigo, though he is a devout man, would have put you under the Leads for such a deed. The love of Paradise should not be allowed to interfere with the fine arts, and I am sure that St.
Confirmatory evidence of this is furnished by the statement of Ridolfi, that Giorgione took the portrait of Agostino Barberigo himself.
His troops were all quartered in the houses of Chioggia, his galleys moored alongside its quays, and the utmost he did was to post small bodies of men, with rowboats, at the entrances to the passages from the sea, and up the lagoons, to give warning of any sudden attempt on the part of Barberigo, with his light flotilla, to make a dash at the galleys, and endeavour to burn them.
I believe this ingenious suggestion is correct, and that we have in the Cobham "Ariosto" the portrait of one of the Barberigo family said to have been painted by Titian in the manner of Giorgione. "Thoroughly Giorgionesque," says Mr.
Vasari states that he painted the portraits of the great Consalvo Ferrante, and of one of his captains, on the occasion of their visit to the Doge Agostino Barberigo. Now this event presumably took place in 1500, so that, at that early date, he seems already to have been a portrait painter of repute.
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