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Updated: May 24, 2025
There may be, therefore, something in the suggestion which Crowe and Cavalcaselle make that this may be the large canvas ordered of Giorgione for the audience chamber of the Council, "for which purpose," they add, "the advances made to him in the summer of 1507 and in January 1508 show that the work he had undertaken was of the highest consequence."
Two of our best portraits of Savonarola, the earlier inscribed "Hieronymi Ferrariensis a Deo Missi Prophetae Effigies," the later treated to represent S. Peter Martyr, are from the hand of Fra Bartolommeo. See Crowe and Cavalcaselle, vol. iii. p. 433. See below, chapter vii. This sonnet I have translated into English with such closeness to the original words as I found possible:
The simplest course will be to take the pictures acknowledged by those modern writers who have devoted most study to the question, and examine them in the light of the results to which we have attained. Those writers are Crowe and Cavalcaselle, who published their account of Giorgione in 1871, and Morelli, who wrote in 1877.
The Baptism of Christ, with Zuanne Ram as donor, now in the Gallery of the Capitol at Rome, had been by Crowe and Cavalcaselle taken away from Titian and given to Paris Bordone, but the keen insight of Morelli led him to restore it authoritatively, and once for all, to Titian.
We now reach the Titians. 1577 and 1580, are good average Sante Conversazioni, the latter is, however, assigned by Mr. Berenson to a pupil. 1581, The Supper at Emmaus, a mature and genuine work; and 1578, the much-admired Virgin and Child with the Rabbit, painted in 1530, next claim our attention. 1593 and 1591 are unknown portraits, the former attributed by Crowe and Cavalcaselle to Pordenone.
There still remain, however, three or four works to be mentioned where these authorities hold opposite views which require some examination. First and foremost comes the "Concert" in the Pitti Gallery, a work which was regarded by Crowe and Cavalcaselle not only as a genuine example of Giorgione's art, but as "not having its equal in any period of Giorgione's practice.
Since republished in his Study and Criticism of Italian Art, vol. i. p. 85. Titian's posthumous portrait of Caterina is lost. The best known copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the absurdity of regarding this fancy portrait as a true likeness of the long deceased queen. It bears no resemblance whatever to the Buda-Pesth portrait, which is the latest of the group.
North American Review, October 1899. It was photographed by Braun with this attribution. Catena has adopted this Giorgionesque conception in his "Judith" in the Querini-Stampalia Gallery in Venice. See Gazette des Beaux Arts, 1897, tom, xviii. p. 279. Crowe and Cavalcaselle, ii. 147. ii. 217. Dr. Gronau points this out in Rep. xviii. 4, p. 284.
Crowe and Cavalcaselle reply; because the sculpture of no Tuscan city before his period is good enough to have led up to him. Yet this may be contested; and at all events it will not be easy to prove from the Ravello head of Sigelgaita that a more advanced school existed in the south.
It is at least conceivable that he took Giorgione's "David with the Head of Goliath," and by a simple, and in this case peculiarly appropriate, transformation, changed him into a shepherd boy holding a flute. We have now taken all the pictures which either Crowe and Cavalcaselle or Morelli, or both, assign to Giorgione himself.
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