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Updated: June 20, 2025
There is, fortunately, one great and acknowledged precedent, the "Venus" in the Tribune of the Uffizi, which is directly taken from Giorgione's Dresden "Venus," The accessories, it is true, are different, but the nude figures are line for line identical.
Giorgione saw his picture in his mind's eye as a blaze of rich colour; he did not see the figures sharply outlined against a remote background, as are the three in Raphael's 'Knight's Dream. That does not mean that Raphael, like the artist of the Richard II. diptych, failed to make his figures look solid, but that he saw beauty most in the outlines of the body and the curves of the drapery, irrespective of colour, whereas to Giorgione's eye outline was nothing without colour and light and shade.
The earliest stage in Giorgione's career is naturally marked by adherence to the teaching and example of his immediate predecessors. However precocious he may have been, however free from academic training, however independent of the tradition of the schools, he nevertheless clearly betrays an artistic dependence, above all, on Giovanni Bellini.
It is noticeable that the "distinction" of this Concert, its sustained evenness of perfection, alike in design, in execution, and in choice of personal type, becomes for the "new Vasari" the standard of Giorgione's genuine work.
The thought that Mantovani had owned it for twenty years and more made a sleepless night hideous; at sunrise my loyalty reasserted itself by a lame compromise. "I daresay you will not blame me for hoping against hope, as I did the next day and for some months after, that somewhere under that modern paint there was indeed a sketch by Giorgione's hand.
This dispute parted the two friends, who had had good times together, and it must have been Giorgione's fault, because Ludovico Dolce, one who knew Titian well, said that "he was most modest ... he never spoke reproachfully of other painters ... in his discourse he was ever ready to give honour where honour was due ... he was, moreover, an eloquent speaker, having an excellent wit and perfect judgment in all things; of a most sweet and gentle nature, affable and most courteous in manner; so that whoever once conversed with him could not choose but love him henceforth forever."
The picture is a fine thing, in spite of its imperfect condition, and what matter whether Titian or Giorgione be the author? But to this sort of argument it may be said that until we do know what is Giorgione's work and what is not, it is impossible to gauge accurately the nature and scope of his art, or to reach through that channel the character of the artist behind his work.
But in 1518, eight years after Giorgione's death, another great innovating master was born at Venice, Tintoret by name, who in his turn opened new visions of the world to the artists of his day.
Our willowy girls are afraid of nothing so much as growing stout; and if a young lady begins to round into proportions like the women in Titian's and Giorgione's pictures, she is distressed above measure, and begins to make secret inquiries into reducing diet, and to cling desperately to the strongest corset-lacing as her only hope.
The effect of the beautiful curve is thereby lost, and Titian shows himself Giorgione's inferior in quality of line. As in the "Caterina Cornare" of the Crespi collection at Milan. Magazine of Art. July 1895. North American Review. October 1899. Magazine of Art, 1890, pp. 91 and 138.
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