Giorgione | Page 2

Concert. Pitti Gallery
The Adoration of the Magi (or Epiphany). National Gallery
Christ bearing the Cross. Collection of Duke of Devonshire, Chatsworth. (Sketch by Vandyck, after the original by Giorgione in S. Rocco, Venice)
Mythological Scenes. Two Cassone pieces Padua Gallery
Portrait of "Ariosto". Collection of the Earl of Darnley, Cobham Hall
Portrait of Caterina Cornaro. Collection of Signor Crespi, Milan
Bust of Caterina Cornaro. Pourtalès Collection, Berlin
Portrait of "A Poet". National Gallery
Portrait of a Man. Querini-Stampalia Gallery, Venice
Portrait of a Man. _Collection of the Hon. Mrs. Meynell-Ingram, Temple Newsam_.
Portrait of "Parma, the Physician". Vienna Gallery
Orpheus and Eurydice. Bergamo Gallery
The Golden Age (?). National Gallery
Venus and Adonis. National Gallery
Holy Family. Collection of Mr. Robert Benson, London
The "Gipsy" Madonna. Vienna Gallery
Madonna. Collection of Mr. Robert Benson, London
The Adulteress before Christ. Glasgow Gallery
Madonna and Saints. Louvre, Paris

BIBLIOGRAPHY
ANONIMO. "Notizia d'opere di disegno." Ed. Frizzoni. Bologna, 1884. Passim.
Archivio Storico dell' Arte (now L'Arte), 1888, p. 47. (See also sub Venturi.)
Art Journal. 1895. p. 90. (Dr. Richter.)
BERENSON, B. "Venetian Painting at the New Gallery." 1895. (Privately printed.) "Venetian Painters of the Renaissance." Third edition, 1897. Putnam, London. Gazette des Beaux Arts, 1897, p. 279.
BURCKHARDT. "Cicerone." Sixth edition, 1893. (Dr. Bode.)
CONTI, A. "Giorgione, Studio." Florence, 1894.
CROWE AND CAVALCASELLE. "History of Painting in North Italy," vol. ii. London, 1871. "Life of Titian." Two vols.
FRY, ROGER. "Giovanni Bellini." London, 1899.
GRONAU, DR. G. Gazette des Beaux Arts, 1894, p. 332. _Repertorium für Kunstwissenschaft_, xviii. 4, p. 284. "Zorzon da Castelfranco. La sua origine, la sua morte, e tomba." Venice, 1894. "Tizian." Berlin, 1900.
LAFENESTRE, G. "La vie et l'oeuvre de Titien." Paris, 1886.
LOGAN, MARY. "Guide to the Italian Pictures at Hampton Court." London, 1894.
Magazine of Art, 1890, pp. 91 and 138. (Sir W. Armstrong.) 1893. April. (Mr. W.F. Dickes.)
MORELLI, GIOVANNI. "Italian Painters." Translated by C.J. Ffoulkes. London, 1892. Vols. i. and ii. passim.
MüNTZ, E. "La fin de la Renaissance." Paris.
New Gallery Catalogue of Exhibition of Venetian Art, 1895.
PATER, W. "The Renaissance." Chapter on the School of Giorgione. London, 1893.
PHILLIPS, CLAUDE. Gazette des Beaux Arts, 1884, p. 286. _Magazine of Art, July 1895. "The Picture Gallery of Charles I." (Portfolio_, January 1896). "The Earlier Work of Titian" (Portfolio, October 1897). North American Review, October 1899.
Repertorium für Kunstwissenschaft. Bd. xiv. p. 316. (Herr von Seidlitz.) Bd. xix. Hft. 6. (Dr. Harck.)
RIDOLFI, C. "Le Maraviglie dell' arte della pittura." Venice, 1648.
Royal Academy. Catalogues of the Exhibitions of Old Masters.
VASARI. "Le Vite." Ed. Sansoni. Florence, 1879. Translation edited by Blashfield and Hopkins, with Notes. London, 1897.
VENTURI, ADOLFO. Archivio Storico dell' Arte, vi. 409, 412. L'Arte, 1900, p. 24, etc. "La Galleria Crespi in Milano," 1900.
WICKHOFF, F. Gazette des Beaux Arts, 1893, p. 135. _Jahrbuch der Preussischen Kunstsammlungen_, 1895. Heft i.
ZANETTI, A. "Varie Pitture," etc., with engravings of some fragments from the Fondaco de' Tedeschi frescoes, 1760.

GIORGIONE
CHAPTER I
GIORGIONE'S LIFE
Apart from tradition, very few ascertained facts are known to us as to Giorgione's life. The date of his birth is conjectural, there being but Vasari's unsupported testimony that he died in his thirty-fourth year. Now we know from unimpeachable sources that his death happened in October-November 1510,[1] so that, assuming Vasari's statement to be correct, Giorgione will have been born in 1477.[2]
The question of his birthplace and origin has been in great dispute. Without going into the evidence at length, we may accept with some degree of certainty the results at which recent German research has arrived.[3] Dr. Gronau's conclusion is that Giorgione was the son (or grandson) of a certain Giovanni, called Giorgione of Castelfranco, who came originally from the village of Vedelago in the march of Treviso. This Giovanni was living at Castelfranco, of which he was a citizen, in 1460, and there, probably, Giorgione his son (or grandson) was born some seventeen years later.
The tradition that the artist was a natural son of one of the great Barbarella family, and that in consequence he was called Barbarelli, is now shown to be false. This cognomen is first found in 1648, in Ridolfi's book, to which, in 1697, the picturesque addition was made that his mother was a peasant girl of Vedelago.[4] None of the earlier writers or contemporary documents ever allude to such an origin, or speak of "Barbarelli," but always of "Zorzon de Castelfrancho," "Zorzi da Castelfranco," and the like,[5]
We may take it as certain that Giorgione spent the whole of his short life in Venice and the neighbourhood. Unlike Titian, whose busy career was marked by constant journeyings and ever fresh incidents, the young Castelfrancan passed a singularly calm and uneventful life. Untroubled, apparently, by the storm and stress of the political world about him, he devoted himself with a whole-hearted simplicity to the advancement of his art. Like Leonardo, he early won fame for his skill in music, and Vasari tells us the gifted young lute-player was a welcome guest in distinguished circles. Although of humble