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Updated: June 8, 2025
Were it not for the Accademia's Tintorettos, Carpaccios and Bellinis, our own Venetian collection in Trafalgar Square would be much more interesting; and even as it is we have in "The Origin of the Milky Way" a Tintoretto more fascinating than any here; in "Bacchus and Ariadne" a more brilliant Titian than any here; some Bellinis, such as "The Agony in the Garden," the portrait of Loredano, and "The Death of S. Peter Martyr," that challenge his best here; two Giorgiones and several pictures notably of his school that cannot be matched here; the finest Catena that exists; a more charming Basaiti than any here; a better Antonello da Messina; and, according to some judges, the best Paul Veronese in the world: "The House of Darius"; while when it comes to Carlo Crivelli, he does not exist here at all.
Now it is notorious that the results at which these critics arrived are often widely divergent, but a great deal too much has been made of the differences and not enough of the points of agreement. As a matter of fact, Morelli only questions three of the thirteen Giorgiones accepted definitely by Crowe and Cavalcaselle. Uffizi Gallery, Florence
The Palazzo Giovanelli A lovely picture A superb innovator Pictures for houses The Tempest Byron's criticism Giorgione and the experts Vasari's estimate Leonardo da Vinci The Giorgionesque fire A visit to Castel Franco The besieging children The Sacristan A beautiful altar-piece Pictures at Padua Giorgiones still to be discovered.
The clumsy signature CAM was probably intended for Campi, the real author, and its genuineness is not above suspicion. It is a curious quid pro quo. I have now pointed out six portraits which, in my opinion, should be included in the roll of genuine Giorgiones.
Giovanni Bellini had first introduced this lyric conception in his treatment of the mediaeval allegory, as we see it in his picture, also in the Uffizi, hanging near the Giorgiones; all three works were originally together in the Medici residence of Poggio Imperiale, and there can be little doubt are intimately related in origin to one another. Bellini's latest biographer, Mr.
The resemblance is not, however, one of colour and technique, since this last one of the earliest of Giorgiones still recalls Giovanni Bellini, and perhaps even more strongly Cima; it is one of type and conception.
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