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Updated: May 19, 2025
"The Palazzo Giovanelli, Rio di Noale," say to your gondolier; because this palace is not only open to the public but it contains the most sensuously beautiful picture in Venice Giorgione's "Tempest". Giorgione, as I have said, is the one transcendentally great Venetian painter whom it is impossible, for certain, to find in any public gallery or church in the city of his adoption.
This, the Giovanelli Giorgione, which in 1817 was in the Manfrini palace and was known as the "Famiglia di Giorgione," was the picture in all Venice indeed the picture in all the world which most delighted Byron. "To me," he wrote, "there are none like the Venetian above all, Giorgione." Beppo has some stanzas on it. Thus: Love in life;
She appeared completely to have forgotten that Winterbourne had said anything to displease her at Mrs. Walker's little party. One Sunday afternoon, having gone to St. Peter's with his aunt, Winterbourne perceived Daisy strolling about the great church in company with the inevitable Giovanelli. Presently he pointed out the young girl and her cavalier to Mrs. Costello.
Walker had made an imperious claim upon his society. He expected that in answer she would say something rather free, something to commit herself still further to that "recklessness" from which Mrs. Walker had so charitably endeavored to dissuade her. But she only shook his hand, hardly looking at him, while Mr. Giovanelli bade him farewell with a too emphatic flourish of the hat.
It must be added that this sentiment was not altogether flattering to Daisy; it was part of his conviction, or rather of his apprehension, that she would prove a very light young person. But she was evidently very much interested in Giovanelli. She looked at him whenever he spoke; she was perpetually telling him to do this and to do that; she was constantly "chaffing" and abusing him.
The Giovanelli picture is one of the paintings which all the critics agree to give to Giorgione, from Sir Sidney Colvin in the Encyclopædia Britannica to the very latest monographer, Signor Lionello Venturi, whose work, Giorgione Giorgionismo, is a monument to the diversity of expert opinion.
Giovanelli was at her side, and Giovanelli, too, wore an aspect of even unwonted brilliancy. "Well," said Daisy, "I should think you would be lonesome!" "Lonesome?" asked Winterbourne. "You are always going round by yourself. Can't you get anyone to walk with you?" "I am not so fortunate," said Winterbourne, "as your companion."
Ricketts gives the Pitti "Concert" and the Caterina Cornaro to Titian without a tremor. Our own National Gallery "S. Liberate" is not mentioned by some at all; the Paris "Concert Champêtre," in which most of the judges believe so absolutely, Signor Lionello Venturi gives to Piombo. The Giovanelli picture and the Castel Franco altar-piece alone remain above suspicion in every book.
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.
Ricketts has pointed out, something of Rossetti too. Left to himself he would have painted only such idylls as the Giovanelli picture. Yet this altar-piece is very beautiful, and, as I say, it grows more beautiful as you look at it, even under such conditions as I endured, and even after much restoration. The lines and pattern are Giorgione's, howsoever the re-painter may have toiled.
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