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Updated: May 19, 2025
Room X is notable for a fine Giorgionesque Palma Vecchio: a Holy family, rich and strong and sweet; but the favourite work is Paris Bordone's representation of the famous story of the Fisherman and the Doge, full of gracious light and animation. It seems that on a night in 1340 so violent a storm broke that even the inner waters of the lagoon were perilously rough.
It was also that the Giorgionesque in conception and style was the outcome of the moment in art and life, just as the Pheidian mode had been the necessary climax of Attic art and Attic life aspiring to reach complete perfection in the fifth century B.C.; just as the Raphaelesque appeared the inevitable outcome of those elements of lofty generalisation, divine harmony, grace clothing strength, which, in Florence and Rome, as elsewhere in Italy, were culminating in the first years of the Cinquecento.
The Sacred and Profane Love of the Borghese Gallery is one of the world's pictures, and beyond doubt the masterpiece of the early or Giorgionesque period.
Mature as Titian's art here is, it reveals, not for the last time, the influence of Giorgione with which its beginnings were saturated. The beautiful head of St. John shows the Giorgionesque type and the Giorgionesque feeling at its highest.
Crowe and Cavalcaselle assign this picture with some confidence and with fair show of reason, to Cariani, on whom again they father the frescoes at Colleoni's Castle of Malpaga. I have ventured to notice it above in connection with Giorgione, since it exhibits some of the most striking Giorgionesque qualities, and shows the ascendency of his imagination over the Venetian School.
In the earlier imaginative subjects the vivifying glow of Giorgionesque poetry moulds, colours, and expands the genius of Titian, but so naturally as neither to obliterate nor to constrain it.
There is no room, moreover, for such a mythical compromise as that which is proposed by the catalogue, "It stands midway in style between Giorgione and Titian in his Giorgionesque phase."
His lustrous armor gleams with Giorgionesque brilliancy from Dossi's masterpiece in the Pinacoteca. That Ferrara, the only place in Italy where chivalry struck any root, should have had St. George for patron, is at any rate significant.
The late form of signature, "Titianus F.," on the stone balustrade, which is one of the most Giorgionesque elements of the portrait, is disquieting, and most probably a later addition.
Mark enthroned, with SS. Sebastian, Roch, Cosmas, and Damianus, is 1512, when Titian, having completed his share of the work at the Scuola del Santo, returned to Venice. True, it is still thoroughly Giorgionesque, except in the truculent St. Mark; but, then, as essentially so were the frescoes just terminated.
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