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The claims of Palma himself, Pellegrino da San Daniele, Cariani and Sebastiano del Piombo, have all found protagonists among modern critics.
"What is his fatherland and his business?" he asked as his eye traveled over the shop signs "Sanguinetti, Farmacia Italiana," "Molinari & Cariani, Grocers;" "Oliva & Brizzolara, Real Estate." "His birthplace is the World Universal, and his profession-leading us back to nature," I answered. Then, as we passed the spick and span concrete façade of the Patronal Church of St.
Cima, Cariani, Paris Bordone, and last, but not least, the great Titian, lent their gifts to the subject, so that we have abundant evidence of the Venetian love of natural scenery. The subject is found among the woodcuts of Albert Dürer, but I have never seen it in any German painting.
The small divergencies of detail in the dress of the "Adulteress," etc., are just such as an imitator might have ventured to make. The hand and arm of the Christ have, however, been altered for the better. This is the first time in Venetian art that the subject appears. It is frequently found later. Cariani is by some made responsible for the whole picture.
Giorgione's conception is characteristic in that he endeavours to avoid any touch of realism abhorrent to his nature, which was far more sensitive than that of Palma, Cariani, or even Titian. Dresden Gallery The extraordinary beauty and subtlety of the master's "line" is admirably shown. He has deliberately forgone anatomical precision in order to accentuate artistic effect.
The most obvious resemblances, however, are to be found in the Glasgow "Adulteress before Christ," a work which several modern critics assign to Cariani, although Dr. Bode, Sir Walter Armstrong, and others, maintain it to be a real Giorgione.
Finally, in the category of Sacred Art come two well-known pictures, both in public galleries, and both accredited to Giorgione. The first is the "Christ and the Adulteress" of the Glasgow Gallery, the second the "Madonna and Saints" of the Louvre. Many diverse opinions are held about the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
This exquisite artist, though by no means inventive genius, did, on the other hand, permanently shape the style of Cariani and the two elder Bonifazi; imparting, it may be, also some of his voluptuous charm in the rendering of female loveliness to Paris Bordone, though the latter must, in the main, be looked upon as the artistic offspring of Titian.
Crowe and Cavalcaselle assign this picture with some confidence and with fair show of reason, to Cariani, on whom again they father the frescoes at Colleoni's Castle of Malpaga. I have ventured to notice it above in connection with Giorgione, since it exhibits some of the most striking Giorgionesque qualities, and shows the ascendency of his imagination over the Venetian School.
Consistently enough, those who believe in Cariani's authorship in the one case, assert it in the other, and as consistently I hold that both are by Giorgione. It is conceivable that Cariani may have copied Giorgione's types and attitudes, but it is inconceivable to me that he can have so entirely assimilated Giorgione's temperament to which this "Judgment of Solomon" so eloquently witnesses.
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