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Updated: May 24, 2025
Following our method of investigation we will next consider the pictures which Morelli accredits to Giorgione over and above the seven already discussed, wherein he concurs with Crowe and Cavalcaselle. These are twelve in number, and include some of the master's finest works, some of them unknown to the older authorities, or, at any rate, unrecorded by them.
Since Crowe and Cavalcaselle wrote a vast restoration has been undertaken, and this was finished in 1908. It was very carefully carried out and it is to be believed that the work as we see it is now secure.
Are we to place here, as Crowe and Cavalcaselle do, the Venus and Cupid of the Tribuna and the Venus with the Organ Player of the Prado? The technical execution of these canvases, the treatment of landscape in the former, would lead the writer to place them some years farther on still in the oeuvre of the master.
Not the ball we see now, which was struck by lightning and hurled into the street in 1492. Verrocchio's was rather smaller than the present ball. See Crowe and Cavalcaselle, History of Painting in Italy: London, 1903, p. 116, note 4. See pp. 283-289.
It passed with the rest of the Mantua pictures into the collection of Charles I., and was after his execution sold by the Commonwealth to the banker and dealer Jabach for £120. By the latter it was made over to Louis XIV., together with many other masterpieces acquired in the same way. Crowe and Cavalcaselle, Life and Times of Titian, vol. i. pp. 298, 299.
From the list of the former master's works it must at any rate be struck out, as even the most superficial comparison with, for instance, La Zingarella suffices to prove. These were a Virgin and Child from the collection, so rich in Venetian works, of Mr. The former is ascribed by Crowe and Cavalcaselle to the early time of the master himself.
"Quilted sleeves" would no doubt be the tailor's term. It is not quite clear whether the single letter is F or T. See Crowe and Cavalcaselle, p. 201. Gronau: Tizian, p. 21. See, however, note on p. 133. La Galleria Crespi. The documents quoted by Signor Venturi show the signature was there in 1640. When in the Martinengo Gallery at Brescia it bore this name.
Historians of art like Crowe and Cavalcaselle had indeed examined Carpaccio's works and investigated his life, along with the lives and works of many another obscure master: artists like Hook and Burne-Jones had admired his pictures; Ruskin had mentioned his backgrounds twice or thrice in "Stones of Venice."
I agree with Crowe and Cavalcaselle and those writers who date back the "Gipsy Madonna" to the end of the fifteenth century, but I must emphatically support Signor Venturi in his claim that Giorgione is the author.
But indeed one might think that, even with Morelli, Crowe, and Cavalcaselle, and Berenson against us, not to name others who have done much for the history of painting in Italy, we might still believe, not altogether without reason, that Giorgone had some part in the Concert, which, after all, passed as his altogether for two hundred and fifty years; was bought, indeed, as his in 1654, only seventy-eight years after Titian's death, by Cardinal Leopoldo de' Medici from Paolo del Sera, the Florentine collector in Venice.
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