Giorgione Part 17

MADONNA AND CHILD. [NO. 2.]

Repet.i.tion by t.i.tian of Giorgione's original at Vienna

(See p. 98.)

A SMALL SEATED FIGURE. DANAE? [No. 156.]

Copy of a missing original.

VENICE, ACADEMY.

STORM AT SEA CALMED BY S. MARK. Wood, 11 ft. 8 in. x 13 ft. 6 in. [No.

516.]

_From the Scuola di S. Marco_, where it was companion piece to Paris Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by Zanetti to Giorgione.

Too damaged to admit of definite judgment. (See p. 55.)

THREE FIGURES. Half-lengths; a woman fainting, supported by a man; another behind.

Modern copy by Fabris of apparently a missing original. Can this be the picture mentioned by C. and C. as in the possession of the King of Holland? (C. and C. ii. 149, note.) _Cf_. also, Notes to Sansoni's _Vasari_, iv. p. 104. Another version is at Buckingham Palace (_q.v_.), but it differs in detail from this copy.

SEMINARIO.

APOLLO AND DAPHNE. _Ca.s.sone_ panel. Wood. Small figures, much defaced.

(See p. 34.)

CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as life. About 3 ft. x 2 ft.

Christ clad in pale grey, head turned three-quarters looking out of the picture, auburn hair and beard, bears cross. He is dragged forward by an elderly man nude to waist. Another man in profile to left. An old man with white beard just visible behind Christ. (See p. 54.)

PAL. ALBUZIO. JUDGMENT OF PARIS.

Another version of this subject, of which copies exist at Christiania, Lord Malmesbury's, and Dresden.

PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft. 5 in.

Described by the Anonimo in the house of Gabriel Vendramin (1530). (See p. 11.)

Statius (lib. iv. 730 _ff_.) describes how King Adrastus, wandering through the woods in search of a spring to quench the thirst of his troops, encounters by chance Queen Hypsipyle, who had been driven out of Lemnos by the wicked women, who had resolved to slay their husbands, and she had taken refuge in the service of the King of Nemea, in capacity of nurse.

Ex _Manfrini Palace._

PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6 in.

square. (See p. 85.)

NORWAY.

CHRISTIANIA.

JUDGMENT OF PARIS.

Another version of this subject, of which copies exist at Lord Malmesbury's, Dresden, and Venice.

RUSSIA.

ST. PETERSBURG, HERMITAGE GALLERY.

JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]

Once ascribed to Raphael, and engraved as such (in 1620), by H.H.

Quitter, and afterwards by several other artists. Dr. Waagen p.r.o.nounced it to be Moretto's work, and accordingly the name was changed; as such Braun has photographed it. It is now officially recognised rightly as a Giorgione (_vide_ Catalogue of 1891).

_Brought from Italy to France, and eventually in Crozat's possession_.

(See p. 37.)

VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]

_Acquired at Paris in 1819 by Prince Troubetzkoy as a t.i.tian_, under which name it is still registered. (See p. 102, where Mr. Claude Phillips's suggestion that it may be a Giorgione is discussed.)

SPAIN.

MADRID, PRADO GALLERY.

MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft. 5 in. [No. 341.]

_From the Escurial_; restored to Giorgione by Morelli, and now officially recognised as his work. (See p. 45.)

UNITED STATES.

BOSTON, COLLECTION OF MRS. GARDNER.

CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.

Several variations and repet.i.tions exist. (See p. 18.)

_Till lately in the Casa Loschi at Vicenza._

A few drawings by Giorgione meet with general recognition, but, like his paintings, they appear to have been unnecessarily restricted by an over-anxiety on the part of critics to leave him only the best. E.g. the drawing at Windsor for a part of an "Adoration of the Shepherds," is, no doubt, a preliminary design for the Beaumont or Vienna pictures. The limits of the present book will not allow a discussion on the subject, but we may remark that, like all Venetian artists, Giorgione made few preliminary sketches, concerning himself less with design and composition than with harmony of colour, light and shade, and "effect."

The engraving by Marcantonio commonly called "The Dream of Raphael," is now known to be derived from Giorgione, to whom the subject was suggested by a pa.s.sage in Servius' _Commentary on Virgil_ (lib. iii. v.

12). (See Wickhoff, loc. cit.)