Giorgione Part 2

I have no hesitation, therefore, in recognising this "Adoration of the Shepherds" as a genuine work of Giorgione, and, moreover, it appears to be the masterpiece of that early period when Bellini's influence was still strong upon him.

The Vienna replica, I believe, was also executed by Giorgione himself.

Until recent times, when an all too rigorous criticism condemned it to be merely a piece of the "Venezianische Schule um 1500" (which is correct as far as it goes),[28] it bore Giorgione's name, and is so recorded in an inventory of the year 1659. It differs from the Beaumont version chiefly in its colouring, which is silvery and of delicate tones. It lacks the rich glow, and has little of that mysterious glamour which is so subtly attractive in the former. The landscape is also different. We must be on our guard, therefore, against the view that it is merely a copy; differences of detail, especially in the landscape, show that it is a parallel work, or a replica. Now I believe that these two versions of the "Nativity" are the two pictures of "La Notte," by Giorgione, to which we have allusion in a contemporary doc.u.ment.[29] The description, "Una Notte," obviously means what we term "A Nativity"

(Correggio's "Heilige Nacht" at Dresden is a familiar instance of the same usage), and the difference in quality between the two versions is significantly mentioned. It seems that Isabella d'Este, the celebrated Marchioness of Mantua, had commissioned one of her agents in Venice to procure for her gallery a picture by Giorgione. The agent writes to his royal mistress and tells her (October 1510) that the artist is just dead, and that no such picture as she describes--viz. "Una Nocte"[A]--is to be found among his effects. However, he goes on, Giorgione did paint two such pictures, but these were not for sale, as they belonged to two private owners who would not part with them. One of these pictures was of better design and more highly finished than the other, the latter being, in his opinion, not perfect enough for the royal collection. He regrets accordingly that he is unable to obtain the picture which the Marchioness requires.

If my conjecture be right, we have in the Beaumont and Vienna "Nativities" the only two pictures of Giorgione to which allusion is made in an absolutely contemporary doc.u.ment, and they thus become authenticated material with which to start a study of the master.

The next picture, which Crowe and Cavalcaselle accept without question, is the large "Judgment of Solomon," belonging to Mr. Bankes at Kingston Lacy. The scene is a remarkable one, conceived in an absolutely unique way; Solomon is here posed as a Roman Praetor giving judgment in the Atrium, supported on each side by onlookers attired in fanciful costume of the Venetian period, or suggestive of cla.s.sical models. It is the strangest possible medley of the Bellinesque and the antique, knit together by harmonious colouring and a clever grouping of figures in a triangular design. As an interpretation of a dramatic scene it is singularly ineffective, partly because it is unfinished, some of the elements of the tragedy being entirely wanting, partly because of an obvious stageyness in the action of the figures taking part in the scene. There is a want of dramatic unity in the whole; the figures are introduced in an accidental way, and their relative proportion is not accurately preserved; the executioner, for example, is head and shoulders larger than anyone else, whilst the two figures standing on the steps of Solomon's throne are in marked contrast. The one with the s.h.i.+eld, on the left, is as monumental as one of Bramante's creations, the old gentleman with the beard, on the right, is mincing and has no shoulders. Solomon himself appears as a young man of dark complexion, in an att.i.tude of self-contained determination; the way his hands rest on the sides of the throne is very expressive. His drapery is cast in curious folds of a zig-zag character, following the lines of the composition, whilst the dresses of the other personages fall in broad ma.s.ses to the ground. The light and shade are cleverly handled, and the s.p.a.ciousness of the scene is enhanced by the rows of columns and the apse of mosaics behind Solomon's head. The painter was clearly versed in the laws of perspective, and indicates depth inwards by placing the figures behind one another on a tesselated pavement or on the receding steps of the throne, giving at the same time a sense of atmospheric s.p.a.ce between one figure and another. The colour scheme is delightful, full-toned orange and red alternating with pale blues, olive green, and delicate pink, the contrasts so subdued by a clever balance of light and shade as to harmonise the whole in a delicate silvery key.

[Ill.u.s.tration: _Dixon photo. Collection of Mr. Ralph Bankes, Kingston-Lacey, England_

THE JUDGMENT OF SOLOMON (Unfinished)]

The unfinished figure of the executioner evidently caused the artist much trouble, for _pentimenti_ are frequent, and other outlines can be distinctly traced through the nude body. The effect of this clumsy figure is far from satisfactory; the limbs are not articulated distinctly; moreover, the balance of the whole composition is seriously threatened by the tragedy being enacted at the side instead of in the middle. The artist appears to have felt this difficulty so much that he stopped short at this point; at any rate, the living child remains unrepresented, nor is there any second child such as is required to ill.u.s.trate the story. It looks as though the scheme was not carefully worked out before commencing, and that the artist found himself in difficulties at the last, when he had to introduce the dramatic motive, which apparently was not to his taste.

Now, all this fits in exactly with what we know of Giorgione's temperament; lyrical by nature, he would shrink from handling a great dramatic scene, and if such a task were imposed upon him he would naturally treat three-fourths of the subject in his own fantastic way, and do his best to ill.u.s.trate the action required in the remaining part.

The result would be (what might be expected) forced or stagey, and the action rhetorical, and that is exactly what has happened in this "Judgment of Solomon."

It is a natural inference that, supposing Giorgione to be the painter, he would never have selected such a subject of his own free will to be treated, as this is, on so large a scale. There may be, therefore, something in the suggestion which Crowe and Cavalcaselle make that this may be the large canvas ordered of Giorgione for the audience chamber of the Council, "for which purpose," they add, "the advances made to him in the summer of 1507 and in January 1508 show that the work he had undertaken was of the highest consequence."[30]

Be this as it may, the picture was in Venice, in the Casa Grimani di Santo Ermagora,[31] in Ridolfi's day (1646), and that writer specially mentions the unfinished executioner. It pa.s.sed later into the Marescalchi Gallery at Bologna, where it was seen by Lord Byron (1820), and purchased at his suggestion by his friend Mr. Bankes, in whose family it still remains.[32]

It will be gathered from what I have written that Giorgione and no other is, in my opinion, the author of this remarkable work. Certain of the figures are reminiscent of those by him elsewhere--e.g. the old man with the beard is like the Evander in the Vienna picture, the young man next the executioner resembles the Adrastus in the Giovanelli figures, and the young man stooping forward next to Solomon recurs in the "Three Ages," in the Pitti, which Morelli considered to be by Giorgione. The most obvious resemblances, however, are to be found in the Glasgow "Adulteress before Christ," a work which several modern critics a.s.sign to Cariani, although Dr. Bode, Sir Walter Armstrong, and others, maintain it to be a real Giorgione. Consistently enough, those who believe in Cariani's authors.h.i.+p in the one case, a.s.sert it in the other,[33] and as consistently I hold that both are by Giorgione. It is conceivable that Cariani may have copied Giorgione's types and att.i.tudes, but it is inconceivable to me that he can have so entirely a.s.similated Giorgione's temperament to which this "Judgment of Solomon"

so eloquently witnesses. Moreover, let no one say that Cariani executed what Giorgione designed, for, in spite of its imperfect condition, the technique reveals a painter groping his way as he works, altering contours, and making corrections with his brush; in fact, it has all the spontaneity which characterises an original creation.

The date of its execution may well have been 1507-8, perhaps even earlier; at any rate, we must not argue from its unfinished state that the painter's death prevented completion, for the style is not that of Giorgione's last works. Rather must we conclude that, like the "Aeneas and Evander," and several other pictures yet to be mentioned, Giorgione stopped short at his work, unwilling to labour at an uncongenial task (as, perhaps, in the present case), or from some feeling of dissatisfaction at the result, nay, even despair of ever realising his poetical conceptions.

To this important trait in Giorgione's character further reference will be made when all the available material has been examined; suffice it for the moment that this "Judgment of Solomon" is to me a most _typical_ example of the great artist's work, a revelation alike of his weaknesses as of his powers.

Following our method of investigation we will next consider the pictures which Morelli accredits to Giorgione over and above the seven already discussed, wherein he concurs with Crowe and Cavalcaselle. These are twelve in number, and include some of the master's finest works, some of them unknown to the older authorities, or, at any rate, unrecorded by them. Here, therefore, the opinions of Crowe and Cavalcaselle are not of so much weight, so it will be necessary to see how far Morelli's views have been confirmed by later writers during the last twenty years.

Three portraits figure in Morelli's list--one at Berlin, one at Buda-Pesth, and one in the Borghese Gallery at Rome.

[Ill.u.s.tration: _Hanfstangl photo. Berlin Gallery_

PORTRAIT OF A YOUNG MAN]

First, as to the Berlin "Portrait of a Young Man," which, when Morelli wrote, belonged to Dr. Richter, and was afterwards acquired for the Berlin Gallery. "In it we have one of those rare portraits such as only Giorgione, and occasionally t.i.tian, were capable of producing, highly suggestive, and exercising over the spectator an irresistible fascination."[34] Such are the great critic's enthusiastic words, and no one surely to-day would be found to gainsay them. We may note the characteristic treatment of the hair, the thoughtful look in the eyes, and the strong light on the face in contrast to the dark frame of hair, points which this portrait shares in common with the "Knight of Malta"

in the Uffizi. Particularly to be noticed, however, is the parapet on which the fingers of one hand are visible, and the mysterious letters VV.[35] Allusion has already been made to the growing practice in Venetian art of introducing the hand as a significant feature in portrait painting, and here we get the earliest indications of this tendency in Giorgione; for this portrait certainly ante-dates the "Knight of Malta." It would seem to have been painted quite early in the last decade of the fifteenth century, when Bellini's art would still be the predominant influence over the young artist.

It is but a step onward to the next portrait, that of a young man, in the Gallery at Buda-Pesth, but the supreme distinction which marks this wonderful head stamps it as a masterpiece of portraiture. Venetian art has nothing finer to show, whether for its interpretative qualities, or for the subtlety of its execution. Truly Giorgione has here foreshadowed Velasquez, whose silveriness of tone is curiously antic.i.p.ated; yet the true Giorgionesque quality of magic is felt in a way that the impersonal Spaniard never realised. Only those who have seen the original can know of the wonderful atmospheric background, with sky, clouds, and hill-tops just visible. The reproduction, alas! gives no hint of all this. Nor can one appreciate the superb painting of the black quilted dress, with its gold braid, or of the s.h.i.+ning black hair, confined in a brown net. The artist must have been in keen sympathy with this melancholy figure, for the expression is so intense that, as Morelli says, "he seems about to confide to us the secret of his life."[36]

Several points claim our attention. First, the parapet has an almost illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the young man's name. Further, we may notice the recurrence of the letter V on a black device, and there is a second curious black tablet, which, however, has nothing on it. Between the two is a circle with a device of three heads in one surrounded by a garland of flowers. No satisfactory explanation of these symbols can be offered, but if the second black tablet had originally another V, we might conclude that these letters were in some mysterious way connected with Giorgione, as they appear also on the Berlin portrait. I shall be able to show that another instance of this double V exists on yet another portrait by Giorgione.[37]

Finally, the expressiveness of the human hand is here fully realised.

This feature alone points to a later date than the "Knight of Malta,"

and considerably after the still earlier Berlin portrait. The consummate mastery of technique, moreover, indicates that Giorgione has here reached full maturity, so that it would be safe to place this portrait about the year 1508.

[Ill.u.s.tration: _Buda-Pesth Gallery_

PORTRAIT OF A MAN]

Signor Venturi ("La Galleria Crespi") ascribes this portrait to Licinio.

This is one of those inexplicable perversions of judgment to which even the best critics are at times liable. In _L'Arte_, 1900, p. 24, the same writer mentions that a certain Antonio Broccardo, son of Marino, made his will in 1527, and that the same name occurs among those who frequented the University of Bologna in 1525. There is nothing to prevent Giorgione having painted this man's portrait when younger.

[Ill.u.s.tration: _Anderson photo. Borghese Gallery, Rome_

PORTRAIT OF A LADY]

The third portrait in Morelli's list has not had the same friendly reception at the hands of later critics as the preceding two have had.

This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose discovery by Morelli is so graphically described in a well-known pa.s.sage.[38] And in truth it must be confessed that the authors.h.i.+p of this portrait is not at first sight quite so evident as in the other cases; nevertheless I am firmly convinced that Morelli saw further than his critics, and that his intuitive judgment was in this instance perfectly correct.[39] The simplicity of conception, the intensity of expression, the pose of the figure alike proclaim the master, whose characteristic touch is to be seen in the stone ledge, the fancy head-dress, the arrangement of hair, and the modelling of the features.

The presence of the hands is characteristically explained by the handkerchief stretched tight between them, the action being expressive of suppressed excitement: "She stands at a window ... gazing out with a dreamy, yearning expression, as if seeking to descry one whom she awaits."

Licinio, whose name has been proposed as the painter, did indeed follow out this particular vein of Giorgione's portraiture, so that "Style of Licinio" is not an altogether inapt attribution; but there is just that difference of quality between the one man's work and the other, which distinguishes any great man from his followers, whether in literature or in art. How near (and yet how far!) Licinio came to his great prototype is best seen in Lady Ashburton's "Portrait of a Young Man,"[40] but that he could have produced the Borghese "Lady" presupposes qualities he never possessed. "To Giorgione alone was it given to produce portraits of such astonis.h.i.+ng simplicity, yet so deeply significant, and capable, by their mystic charm, of appealing to our imagination in the highest degree."[41]

The actual condition of this portrait is highly unsatisfactory, and is adduced by some as a reason for condemning it. Yet the spirit of the master seems still to breathe through the ruin, and to justify Morelli's ascription, if not the enthusiastic language in which he writes.

[Ill.u.s.tration: _Anderson photo. Seminario, Venice_

APOLLO AND DAPHNE]

With the fourth addition on Morelli's list we pa.s.s into a totally different sphere of art--the decoration of _ca.s.soni_, and other pieces of furniture. We have seen Giorgione at work on legendary stories or cla.s.sic myths, creating out of these materials pages of beauty and romance in the form of easel paintings, and now we have the same thing as applied art--that is, art used for purely decorative purposes. The "Apollo and Daphne" in the Seminario at Venice was probably a panel of a _ca.s.sone_; but although intended for so humble a place, it is instinct with rare poetic feeling and beauty. Unfortunately it is in such a bad state that little remains of the original work, and Giorgione's touch is scarcely to be recognised in the damaged parts. Nevertheless, his spirit breathes amidst the ruin, and modern critics have recognised the justice of Morelli's view, rather than that of Crowe and Cavalcaselle, who suggested Schiavone as the "author."[42] And, indeed, a comparison with the "Adrastus and Hypsipyle" is enough to show a common origin, although, as we might expect, the same consummate skill is scarcely to be found in the _ca.s.sone_ panel as in the easel picture. There is a rare daintiness, however, in these graceful figures, so essentially Giorgionesque in their fanciful presentation, the young Apollo, a lovely, fair-haired boy, pursuing a maiden with flowing tresses, whose ident.i.ty with Daphne is only to be recognised by the laurel springing from her fingers. The story is but an episode in a sylvan scene, where other figures, in quaint costumes, seem to be leading an idyllic existence, untroubled by the cares of life, and utterly unconcerned at the strange event pa.s.sing before their eyes.

From the "Apollo and Daphne" it is an easy transition to the "Venus,"

that great discovery which we owe to Morelli, and now universally recognised by modern critics. The one point on which Morelli did not, perhaps, lay sufficient stress, is the co-operation in this work of t.i.tian with Giorgione, for here we have an additional proof that the latter left some of his work unfinished. It is a fair inference that t.i.tian completed the Cupid (now removed), and that he had a hand in finis.h.i.+ng the landscape; the Anonimo, indeed, states as much, and Ridolfi confirms it, and this view is officially adopted in the latest edition of the Dresden Catalogue. The style points to Giorgione's maturity, though scarcely to the last years of his life; for, in spite of the freedom and breadth of treatment in the landscape, there is a restraint in the figure, and a delicacy of form which points to a period preceding, rather than contemporary with, the Louvre "Concert" and kindred works, where the forms become fuller and rounder, and the feeling more exuberant.

It would be mere repet.i.tion, after all that has been written on the Dresden "Venus," to enlarge on the qualities of refinement and grace which characterise the fair form of the sleeping G.o.ddess. One need but compare it with t.i.tian's representations of the same subject, and still more with Palma's versions at Dresden and Cambridge, or with Cariani's "Venus" at Hampton Court, to see the cla.s.sic purity of form, the ideal loveliness of Giorgione's G.o.ddess.[43] It is no mere accident that she alone is sleeping, whilst they solicit attention. Giorgione's conception is characteristic in that he endeavours to avoid any touch of realism abhorrent to his nature, which was far more sensitive than that of Palma, Cariani, or even t.i.tian.

[Ill.u.s.tration: _Hanfstangl photo_. Dresden Gallery

VENUS]

The extraordinary beauty and subtlety of the master's "line" is admirably shown. He has deliberately forgone anatomical precision in order to accentuate artistic effect. The splendour of curve, the beauty of unbroken contour, the rhythm and balance of composition is attained at a cost of academic correctness; but the long-drawn horizontal lines heighten the sense of repose, and the eye is soothed by the sinuous undulations of landscape and figure. The artistic effect is further enhanced by the relief of exquisite flesh tones against the rich crimson drapery, and although the atmospheric glow has been sadly destroyed by abrasion and repainting, we may still feel something of the magic charm which Giorgione knew so well how to impart.

This "Venus" is the prototype of all other Venetian versions; it is in painting what the "Aphrodite" of Praxiteles was in sculpture, a perfect creation of a master mind.

Scarcely less wonderful than the "Venus," and even surpa.s.sing it in solemn grandeur of conception, is the "Judith" at St. Petersburg.

Morelli himself had never seen the original, and includes it in his list with the reservation that it might be an old copy after Giorgione, and not the original. It would be presumptuous for anyone not familiar with the picture to decide the point, but I have no hesitation in following the judgment of two competent modern critics, both of whom have recently visited St. Petersburg, and both of whom have decided unhesitatingly in favour of its being an original by Giorgione. Dr. Harck has written enthusiastically of its beauty. "Once seen," he says, "it can never be forgotten; the same mystic charm, so characteristic of the other great works of Giorgione, pervades it; ... it bears on the face of it the stamp of a great master."[44] Even more decisive is the verdict of Mr.

Claude Phillips.[45] "All doubts," he says, "vanish like sun-drawn mist in the presence of the work itself; the first glance carries with it conviction, swift and permanent. In no extant Giorgione is the golden glow so well preserved, in none does the mysterious glamour from which the world has never shaken itself free, a.s.sert itself in more irresistible fas.h.i.+on.... The colouring is not so much Giorgionesque as Giorgione's own--a widely different thing.... Wonderful touches which the imitative Giorgionesque painter would not have thought of are the girdle, a mauve-purple now, with a sharply emphasised golden fringe, and the sapphire-blue jewel in the brooch. Triumphs of execution, too, but not in the broad style of Venetian art in its fullest expansion, are the gleaming sword held in so dainty and feminine a fas.h.i.+on, and the flowers which enamel the ground at the feet of the Jewish heroine." This "Judith," after pa.s.sing for many years under the names of Raphael and Moretto,[46] 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 conception is wholly Giorgionesque, the mood one of calm contemplation, as this lovely figure stands lost in reverie, with eyes cast down, gazing on the head on which her foot is lightly laid. The head and sword proclaim her story, they are symbols of her mission, else she had been taken for an embodiment of feminine modesty and gentle submissiveness.[47]

[Ill.u.s.tration: _Braun photo. Hermitage Gallery, St. Petersburg_

JUDITH]

Characteristic of the master is the introduction of the great tree-trunk, conveying a sense of grandeur and solemn mystery to the scene; characteristic, too, is the distant landscape, the splendid glow of which evokes special praise from the writers just mentioned. Again we find the parapet, or ledge, with its flat surface on which the play of light can be caught, and again the same curious folds, broken and crumpled, such as are seen on Solomon's robe in the Kingston Lacy picture, and somewhat less emphatically in the Castelfranco "Madonna."

Consistent, moreover, with that weakness we have already noticed elsewhere, is the design of the leg and foot, the drawing of which is far from impeccable. That the execution in this respect is not equal to the supreme conception of the whole, is no valid reason for the belief that this "Judith" is only a copy of a lost original, a belief that could apparently only be held by those who have never stood before the picture itself.[48] But even in the reproduction this "Judith" stands confessed as the most impressive of all Giorgione's single figures, and it may well rank as the masterpiece of the earlier period immediately preceding the Castelfranco picture of about 1504, to which in style it closely approximates.