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"Pierino will be like his uncle, the Abbé Morelli, some day; they say he also will be a priest." "I believe thee," said Beppo, earnestly; "and that was he going in behind the banner, with the Servi."
Sax, a still unspoiled young singer with a very beautiful voice, as well as of an Italian baritone, Morelli, whose sonorous tones, as contrasted with the sickly French singers of this class, had greatly pleased me during my visits to the Opera.
It is probable that Moretto, who, as Morelli suggests, was a Brescian by birth, though his parents originally came from the same valley as Moroni, Valle del Serio, was his master. Moretto is, I think, a greater painter than Moroni, though perhaps we are only beginning to appreciate the latter.
A crash of weird music from the band drowned the sound of a cracking whip and sharp commands which came from the runway, and announced the appearance of Brandu, the snake charmer, in the exhibition cage, and the audience watched him play with a cobra, all unconscious that Franz, the jaguar, which a few minutes before had desisted from his attempt to tear the fair shoulders of Morelli only after a dozen blank cartridges had been fired in his face, was a gentleman-at-large in Dreamland.
This "Judith," after passing for many years under the names of Raphael and Moretto, is now officially recognised as Giorgione's work, an identification first made by the late Herr Penther, the keeper of the Vienna Academy, whom Morelli quotes.
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.
The importance of this portrait in the history of the Renaissance is discussed, postea, p. 113. ii. 19. This picture was transferred in 1857 from panel to canvas, but is otherwise in fine condition. Morelli, ii. 19, note. Crowe and Cavalcaselle: Titian, p. 425. Gazette des Beaux Arts, 1893, p. 135. It is customary to cite the Prague picture of 1525 as his work.
Here, again, I believe Morelli saw further than other critics, and that his attribution is the right one.
It was apparently unknown to Morelli, nor is it mentioned by other critics. Morelli, ii. 205. Crowe and Cavalcaselle, ii. 128. Mr. Claude Phillips, in the Gazette des Beaux Arts, 1884, p. 286, rightly admits Giorgione's authorship. This sketch is to be found in Van Dyck's note-book, now in possession of the Duke of Devonshire at Chatsworth.
The fine portrait in the Louvre, known as "L'homme au gant," an undoubted early work of Titian, is singularly close in character and style, as was first pointed out by Mr. Claude Phillips, and it was this general reminiscence, more than points of detail in an admittedly imperfect work that seemingly induced Morelli to suggest Titian's name as possible author of the "Concert."
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