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Updated: May 19, 2025
Some good judges would give the work to the young Titian, but it appears too intimately "Giorgionesque" to be his, although I admit the extreme difficulty in drawing the line of division. Passages in the "Sacred and Profane Love" of the Borghese Gallery are curiously recalled, but the National Gallery picture is clearly the work of a mature and experienced hand, and not of any young artist.
All is spontaneous; the spirit is not that of a laborious imitator, painfully seeking "effects" from another's inspiration; sincerity and naïveté are too apparent for this to be the work of any but a quite young artist, and one whose style is so thoroughly "Giorgionesque" as to be none other than the young Giorgione himself.
The noble altar-piece symbolises, or rather commemorates, the steadfastness of the State face to face with the terrors of the League of Cambrai: on the one side St. Sebastian, standing, perhaps, for martyrdom by superior force of arms, St. The colour is Giorgionesque in that truer sense in which Barbarelli's own is so to be described.
Glowing through and through with the spirit of the master-poet among Venetian painters, yet falling short a little, it may be, of that subtle charm of his, compounded indefinably of sensuous delight and spiritual yearning, these two masterpieces carry the Giorgionesque technically a pretty wide step farther than the inventor of the style took it.
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.
It will be remembered that when discussing whether Giorgione or Titian painted the Pitti "Concert," the "Giorgionesque" qualities of the work were so obvious that it seemed going out of the way to introduce Titian's name, as Morelli did, and ascribe the picture to him in a Giorgionesque phase. It is just the same here.
The School of Giorgione numbers far more adherents than even the School of Leonardo, or the School of Raphael, not because of any direct teaching of the master, but because the "Giorgionesque" spirit was abroad, and the taste of the day required paintings like Giorgione's to satisfy it.
The eighth picture cited by Morelli as, in his opinion, a genuine Giorgione, is the so-called "Three Ages of Man," in the Pitti at Florence a damaged picture, but parts of which, as he says, "are still so splendid and so thoroughly Giorgionesque that I venture to ascribe it without hesitation to Giorgione." The three figures are grouped naturally, and are probably portraits from life.
But then, with an elasticity truly astounding in a man of his great age, the master has momentarily regained the poetry of his youthful prime, and with it a measure of that Giorgionesque fragrance which was evaporating already at the close of the early time, when the Bacchanals were brought forth.
Titian's conception of perfect womanhood is here midway between his earlier Giorgionesque ideal and the frankly sensuous yet grand luxuriance of his maturity and old age. He never, even in the days of youth and Giorgionesque enchantment, penetrated so far below the surface as did his master and friend Barbarelli.
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