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Updated: May 24, 2025
If my conjecture be right, we have in the Beaumont and Vienna "Nativities" the only two pictures of Giorgione to which allusion is made in an absolutely contemporary document, and they thus become authenticated material with which to start a study of the master. The next picture, which Crowe and Cavalcaselle accept without question, is the large "Judgment of Solomon," belonging to Mr.
Crowe and Cavalcaselle speak of the two paintings as unconnected with each other, and mention the Pitti one as having unaccountably returned there after having been given to some bishop. There is a fine painting in the church of S. Caterina of Pisa, in the chapel of the Mastiani family, Michele Mastiani having given the commission, and paid thirty ducats, in October, 1511.
Crowe and Cavalcaselle, while discussing the question of his birthplace and his early training, observe, what is no doubt true, that there are no traces of good sculpture in Pisa antecedent to the Baptistery pulpit of 1260, and remark that for such a phenomenon as the sudden appearance of this masterpiece it is needful to seek some antecedents elsewhere.
Nevertheless, his spirit breathes amidst the ruin, and modern critics have recognised the justice of Morelli's view, rather than that of Crowe and Cavalcaselle, who suggested Schiavone as the "author."
Again we owe it to Morelli that this painting, ascribed by Crowe and Cavalcaselle as the Herodias was ascribed to Pordenone, has been with general acceptance classed among the early works of Titian.
By a happy accident the new "Giorgione" label, intended for the "Epiphany," No. 1160, was for some time affixed to No. 1173. When in the Orleans Gallery the picture was engraved under Giorgione's name by de Longueil and Halbon. New illustrated edition of the National Gallery Catalogue, 1900. Now in America, in Mrs. Gardner's Collection. Crowe and Cavalcaselle: Titian, i. p.
Muratori, vol. xxiv. 1181. For Ciriac of Ancona, see Vol. II., Revival of Learning, p. 113. The services rendered by Squarcione to art have been thoroughly discussed by Messrs. Crowe and Cavalcaselle, Painting in North Italy, vol. i. chap. 2. I cannot but think that they underrate the importance of his school.
As such, Crowe and Cavalcaselle themselves hesitate to put him forward, though they cling with great persistency to their pet theory of his influence.
The essays on art have naturally profited by the now inevitable Crowe and Cavalcaselle; but in this part of my work, while I have relied very little on books, I have received more than the equivalent of the information to be obtained from any writers in the suggestions and explanations of my friend Mr.
To the same is also attributed by Crowe and Cavalcaselle, 1279, Virgin and Child and Donor, Pandolfo Malatesta. 1422 bis, is by Pisanello: Portrait of a Princess of the House of Este, identified by Mr G.F. Hill, from the sprig of juniper in her dress, as Ginevra d'Este, married to Sigismondo Malatesta in 1435. R. of 1291 is 1319, the Apotheosis of St.
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