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Updated: June 20, 2025
No, I do not know whether she was pretty, but she possessed in her person all the attractions of Giorgione's goddesses and Titian's courtesans combined!" Maurice is still the same wicked fellow. But, bah! it suits him; he even boasts of it with such a joyous ardor and such a youthful dash, that it is only one charm the more in him. The clock struck seven, and they went to dine.
The style points to Giorgione's maturity, though scarcely to the last years of his life; for, in spite of the freedom and breadth of treatment in the landscape, there is a restraint in the figure, and a delicacy of form which points to a period preceding, rather than contemporary with, the Louvre "Concert" and kindred works, where the forms become fuller and rounder, and the feeling more exuberant.
He could never have drawn so badly, he never could have composed so awkwardly, he never could have been so inexpressive! such is the usual criticism. I have elsewhere insisted upon the unevenness which invariably characterises the productions of men who are gifted with a strong artistic temperament, and in Giorgione's case, as I believe, this is particularly true.
How far Piombo departed from Giorgione's spell and came under the other may be seen in our National Gallery by any visitor standing before No. 1 his "Raising of Lazarus". Very little of the divine chromatic melody of Castel Franco there! Having no india-rubber he corrected his errors either with a penknife or a dirty thumb.
Now comes a very poor series of houses to the next rio, the Rio di Noale, the last being the Gussoni, or Grimani, with a nice courtyard seen through the door. It was once decorated with frescoes by Tintoretto. Looking along the Rio di Noale we see the Misericordia, and only a few yards up on the left is the Palazzo Giovanelli where Giorgione's "Tempest" may be seen.
Moreover, as Giorgione's influence on succeeding artists is allowed by all writers, a considerable number of his easel pictures must have been in circulation, from which these imitators drew inspiration, for he certainly never kept, as Bellini did, a body of assistants and pupils to hand on his teaching, and disseminate his style.
Leonardo and Giorgione share a profound interest in the dangerous and subtly alluring; but the difference is this, that we feel Leonardo to have been the master of his romantic emotions, while Giorgione suggests that for himself they could be too much. It is not, however, influence upon Giorgione that is most interesting, but Giorgione's influence upon others.
Giorgione's head touched heaven, and his feet were not always on earth. Titian's feet were always on earth, and his head sometimes touched heaven. Titian was healthy and in love with this old, happy, cruel, sensuous world. He was willing to take his chances anywhere. Of course he liked it. One woman, for him, could make a paradise in which a thousand nightingales sang.
We have already agreed to the propriety of attribution in the former case; it follows, therefore, that here also Giorgione's name is the correct one, and his name, we are glad to see, has recently been placed on the label by the Director of the Gallery.
The date suggested 1500 is also consistent with our own deductions as to Giorgione's rapid development, and the distinguished character of his sitter if it be Prospero Colonna is quite in keeping with the vogue the artist was then enjoying, for it was in this very year, it will be remembered, that he painted the Doge Agostino Barberigo. I therefore consider that Mr.
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