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Updated: May 17, 2025
Finding, as I always did, that my first impressions were the liveliest, I confined my attention in the Brera chiefly to two pictures which confronted me as soon as I entered; they were Van Dyck's 'Saint Anthony before the Infant Jesus' and Crespi's 'Martyrdom of Saint Stephen. I realised on this occasion that I was not a good judge of pictures, because when once the subject has made a clear and sympathetic appeal to me, it settles my view, and nothing else counts.
Certain it is that he painted her portrait in his earlier days, and if, as I have sought to prove, Signor Crespi's picture is the long-lost portrait of the great lady, we may well understand the instant success such an achievement won. Here, if anywhere, we get Giorgione's great interpretative qualities, his penetration into human nature, his reading of character.
III. Assuming this date to be correct, no other Venetian artist but Giorgione was capable of producing so fine and admittedly "Giorgionesque" a portrait at so early a date. IV. Internal evidence points to Giorgione's authorship. It will be seen that the logic employed is identical with that by which I have tried to establish the identity of Signor Crespi's picture.
How Giorgione has penetrated through all outward show, and revealed the charm of manner, the delightful bonhomie of his royal patroness! We are enabled, by a simple calculation of dates, to fix approximately the period when this portrait was painted. In Signor Crespi's picture she appears, if anything, younger in appearance, so that, at latest, Giorgione painted her portrait in 1500.
"That's what I have always said. The Indians are the most generous people in the world. Of course they have learned it partly from us; but they were very much so when the Fathers first came here. You ask Father Salvierderra some day. He has read all Father Junipero's and Father Crespi's diaries, and he says it is wonderful how the wild savages gave food to every one who came."
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