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Updated: May 20, 2025
In either case there is no doubt that Giorgione's influence was very powerful. On Titian's death in 1576 he was thought to be ninety-nine. One of Titian's earliest known works is the visitation of S. Mary and S. Elizabeth, in the Accademia. In 1507 he helped Giorgione with the Fondaco dei Tedeschi frescoes. In 1511 he went to Padua.
The two men were friends in those days, but soon quarrelled, and Giorgione's early death completed their separation.
Thoroughly Giorgionesque is the soberly tinted yet sumptuous picture in its general arrangement, as in its general tone, and in this respect it is the fitting companion and the descendant of Giorgione's Antonio Broccardo at Buda-Pesth, of his Knight of Malta at the Uffizi.
Nevertheless, I cannot allow this plausible comparison to outweigh other and more vital considerations. The subtlety of the composition, the bold sweep of diagonal lines, the way the figure of the young monk is "built up" on a triangular design, the contrasts of black and white, are essentially Giorgione's own.
The 'refined voluptuousness and impassioned sombreness' of Giorgione's painting have instituted a comparison between him and Lord Byron as a poet.
Titian, when he leaves Bellini, becomes, in turn, the pupil of Giorgione; he lives in constant labour more than sixty years after Giorgione is in his grave; and with such fruit, that hardly one of the greater towns of Europe is without some fragment of it. And, as we might expect, something fabulous and illusive has always mingled itself in the brilliancy of Giorgione's fame.
Moreover, the "Violin Player," formerly in the Sciarra Palace, at once reminds us of the "Barberigo" portrait at Cobham, while the "Herodias with the Head of John Baptist," dated 1510, now in the collection of Mr. George Salting, shows conclusively how closely related were the two painters in the last year of Giorgione's life.
One cannot exactly derive any of Giorgione's genius from Leonardo, but the fame of the great Lombardy painter was in the air, and we must remember that his master Verrocchio, after working in Venice on the Colleoni statue, had died there in 1488, and that Andrea da Solario, Leonardo's pupil and imitator, was long in Venice too.
To this important trait in Giorgione's character further reference will be made when all the available material has been examined; suffice it for the moment that this "Judgment of Solomon" is to me a most typical example of the great artist's work, a revelation alike of his weaknesses as of his powers.
It was apparently unknown to Morelli, nor is it mentioned by other critics. Morelli, ii. 205. Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in the Gazette des Beaux Arts, 1884, p. 286, rightly admits Giorgione's authorship. This sketch is to be found in Van Dyck's note-book, now in possession of the Duke of Devonshire at Chatsworth.
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