ADDITIONAL PICTURES--PORTRAITS
Vasari, in his _Life of Titian_, in the course of a somewhat confused
account of the artist's earliest years, tells us how Titian, "having
seen the manner of Giorgione, early resolved to abandon that of Gian
Bellino, although well grounded therein. He now, therefore, devoted
himself to this purpose, and in a short time so closely imitated
Giorgione that his pictures were sometimes taken for those of that
master, as will be related below." And he goes on: "At the time when
Titian began to adopt the manner of Giorgione, being then not more than
eighteen, he took the portrait of a gentleman of the Barberigo family
who was his friend, and this was considered very beautiful, the
colouring being true and natural, and the hair so distinctly painted
that each one could be counted, as might also the stitches[85] in a
satin doublet, painted in the same work; in a word, it was so well and
carefully done, that it would have been taken for a picture by
Giorgione, if Titian had not written his name on the dark ground." Now
the statement that Titian began to imitate Giorgione at the age of
eighteen is inconsistent with Vasari's own words of a few paragraphs
previously: "About the year 1507, Giorgione da Castel Franco, not being
satisfied with that mode of proceeding (i.e. 'the dry, hard, laboured
manner of Gian Bellino, which Titian also acquired'), began to give to
his works an unwonted softness and relief, painting them in a very
beautiful manner.... Having seen the manner of Giorgione, Titian now
devoted himself to this purpose," etc. In 1507 Titian was thirty years
old,[86] not eighteen, so that both statements cannot be correct. Now it
is highly improbable that Titian had already discarded the manner of
Bellini as early as 1495, at the age of eighteen, and had so identified
himself with Giorgione that their work was indistinguishable.
Everything, on the contrary, points to Titian's evolution being anything
but rapid; in fact, so far as records go, there is no mention of his
name until he painted the façade of the Fondaco de' Tedeschi in company
with Giorgione in 1507. It is infinitely more probable that Vasari's
first statement is the more reliable--viz. that Titian began to adopt
Giorgione's manner about the year 1507, and it follows, therefore, that
the portrait of the gentleman of the Barberigo family, if by Titian,
dates from this time, and not 1495.
[Illustration: _Dixon photo. Collection of the Earl of Darnley, Cobham
Hall_
PORTRAIT OF A GENTLEMAN]
Now there is a picture in the Earl of Darnley's Collection at Cobham
Hall which answers pretty closely to Vasari's description. It is a
supposed portrait of Ariosto by Titian, but it is as much unlike the
court poet of Ferrara as the portrait in the National Gallery (No. 636)
which, with equal absurdity, long passed for that of Ariosto, a name now
wisely removed from the label. This magnificent portrait at Cobham was
last exhibited at the Old Masters in 1895, and the suggestion was then
made that it might be the very picture mentioned by Vasari in the
passage quoted above.[87] I believe this ingenious suggestion is
correct, and that we have in the Cobham "Ariosto" the portrait of one of
the Barberigo family said to have been painted by Titian in the manner
of Giorgione. "Thoroughly Giorgionesque," says Mr. Claude Phillips, in
his _Life of Titian_, "is the soberly tinted yet sumptuous picture in
its general arrangement, as in its general tone, and in this respect it
is the fitting companion and the descendant of Giorgione's 'Antonio
Broccardo' at Buda-Pesth, of his 'Knight of Malta' at the Uffizi. Its
resemblance, moreover, is, as regards the general lines of the
composition, a very striking one to the celebrated Sciarra
'Violin-Player,' by Sebastiano del Piombo.... The handsome, manly head
has lost both subtlety and character through some too severe process of
cleaning, but Venetian art has hardly anything more magnificent to show
than the costume, with the quilted sleeve of steely, blue-grey satin,
which occupies so prominent a place in the picture." Its Giorgionesque
character is therefore recognised by this writer, as also by Dr. Georg
Gronau, in his recent _Life of Titian_ (p. 21), who significantly
remarks, "Its relation to the 'Portrait of a Young Man' by Giorgione, at
Berlin, is obvious."
It is a pity that both these discerning writers of the modern school
have not gone a little further and seen that the picture before them is
not only Giorgionesque, but by Giorgione himself. The mistake of
confusing Titian and Giorgione is as old as Vasari, who, _misled by the
signature_, naïvely remarks, "It would have been taken for a picture by
Giorgione if Titian had not written his name on the dark ground (in
ombra)." _Hinc illae lacrimae!_ Let us look into this question of
signatures, the ultimate and irrevocable proof in the minds of the
innocent that a picture must be genuine. Titian's methods of signing his
well-authenticated works varied at different stages of his career. The
earliest signature is always "Ticianus," and this is found on works
dating down to 1522 (the "S. Sebastian" at Brescia). The usual signature
of the later time is "Titianus," probably the earliest picture with it
being the Ancona altar-piece of 1520. "Tician" is found only twice. Now,
without necessarily condemning every signature which does not accord
with this practice, we must explain any apparent irregularity, such, for
instance, as the "Titianus F." on the Cobham Hall picture. This form of
signature points to the period after 1520, a date manifestly
inconsistent with the style of painting. But there is more than this to
arouse suspicion. The signature has been painted over another, or
rather, the F. (= fecit)[88] is placed over an older V, which can still
be traced. A second V appears further to the right. It looks as if
originally the balustrade only bore the double V, and that "Titianus F."
were added later. But it was there in Vasari's day (1544), so that we
arrive at the interesting conclusion that Titian's signature must have
been added between 1520 and 1544--that is, in his own lifetime. This
singular fact opens up a new chapter in the history of Titian's
relationship to Giorgione, and points to practices well calculated to
confuse historians of a later time, and enhance the pupil's reputation
at the expense of the deceased master. Not that Titian necessarily
appropriated Giorgione's work, and passed it off as his own, but we know
that on the latter's death Titian completed several of his unfinished
pictures, and in one instance, we are told, added a Cupid to Giorgione's
"Venus." It may be that this was the case with the "Ariosto," and that
Titian felt justified in adding his signature on the plea of something
he did to it in after years; but, explain this as we may, the important
point to recognise is that in all essential particulars the "Ariosto" is
the creation not of Titian, but of Giorgione. How is this to be proved?
It will be remembered that when discussing whether Giorgione or Titian
painted the Pitti "Concert," the "Giorgionesque" qualities of the work
were so obvious that it seemed going out of the way to introduce
Titian's name, as Morelli did, and ascribe the picture to him in a
Giorgionesque phase. It is just the same here. The conception is
typically Giorgione's own, the thoughtful, dreamy look, the turn of the
head, the refinement and distinction of this wonderful figure alike
proclaim him; whilst in the workmanship the quilted satin is exactly
paralleled by the painting of the dress in the Berlin and Buda-Pesth
portraits. Characteristic of Giorgione but not of Titian, is the oval of
the face, the construction of the head, the arrangement of the hair.
Titian, so far as I am aware, never introduces a parapet or ledge into
his portraits, Giorgione nearly always does so; and finally we have the
mysterious VV which is found on the Berlin portrait, and
(half-obliterated) on the Buda-Pesth "Young Man." In short, no one would
naturally think of Titian were it not for the misleading signature, and
I venture to hope competent judges will agree with me that the proofs
positive of Giorgione's authorship are of greater weight than a
signature which--for reasons given--is not above suspicion.[89]
Before I leave this wonderful portrait of a gentleman of the Barberigo
family (so says Vasari), a word as to its date is necessary. The
historian tells us it was painted by Titian at the age of eighteen.
Clearly some tradition existed which told of the youthfulness of the
painter, but may we assume that Giorgione was only eighteen at the time?
That would throw the date back to 1495. Is it possible he can have
painted this splendid head so early in his career? The freedom of
handling, and the mastery of technique certainly suggests a rather later
stage, but I am inclined to believe Giorgione was capable of this
accomplishment before 1500. The portrait follows the Berlin "Young Man,"
and may well take its place among the portraits which, as we have seen,
Giorgione must have painted during the last decade of the century prior
to receiving his commission to paint the Doge. And in this connection it
is of special interest to find the Doge was himself a Barberigo. May we
not conclude that the success of this very portrait was one of the
immediate causes which led to Giorgione obtaining so flattering a
commission from the head of the State?
I mentioned incidentally that four repetitions of the "Ariosto" exist,
all derived presumably from the Cobham original. We have a further
striking proof of the popularity of this style of portraiture in a
picture belonging to Mr. Benson, exhibited at the Venetian Exhibition,
New Gallery, 1894-5, where the painter, whoever he may be, has
apparently been inspired by Giorgione's original. The conception is
wholly Giorgionesque, but the hardness of contour and the comparative
lack of quality in the touch betrays another and an inferior hand.
Nevertheless the portrait is of great interest, for could we but imagine
it as fine in execution as in conception we should have an original
Giorgione portrait before us. The features are curiously like those of
the Barberigo gentleman.
* * * * *
In his recently published _Life of Titian_, Dr. Gronau passes from the
consideration of the Cobham Hall picture immediately to that of the
"Portrait of a Lady," known as "La Schiavona," in the collection of
Signor Crespi in Milan. In his opinion these two works are intimately
related to one another, and of them he significantly writes thus: "The
influence of Giorgione upon Titian" (to whom he ascribes both portraits)
"is evident. The connection can be traced even in the details of the
treatment and technique. The separate touches of light on the
gold-striped head-dress which fastens back the lady's beautiful dark
hair, the variegated scarf thrown lightly round her waist, the folds of
the sleeves, the hand with the finger-tips laid on the parapet: all
these details might indicate the one master as well as the other."[90]
The transition from the Cobham Hall portrait to the "Lady" in the Crespi
Collection is, to my mind, also a natural and proper one. The painter of
the one is the painter of the other. Tradition is herein also perfectly
consistent, and tradition has in each case a plausible signature to
support it. The TITIANVS F. of the former portrait is paralleled by the
T.V.--i.e. Titianus Vecellio, or Titianus Veneziano of the latter.[91] I
have already dealt at some length with the question of the former
signature, which appears to have been added actually during Titian's
lifetime; in the present instance the letters appear almost, if not
quite, coeval with the rest of the painting, and were undoubtedly
intended for Titian's signature. The cases, therefore, are so far
parallel, and the question naturally arises, Did Titian really have any
hand in the painting of this portrait? Signor Venturi[92] strongly
denies it; to him the T.V. matters nothing, and he boldly proclaims
Licinio the author.
I confess the matter is not thus lightly to be disposed of; there is no
valid reason to doubt the antiquity of the inscription, which, on the
analogy of the Cobham Hall picture, may well have been added in
Titian's own lifetime, and for the same reason that I there
suggested--viz. that Titian had in some way or other a hand in the
completion, or may be the alteration, of his deceased master's work.[93]
For it is my certain conviction that the painter of the Crespi "Lady" is
none other than Giorgione himself.
Before, however, discussing the question of authorship, it is a matter
of some moment to be able to identify the lady represented. An old
tradition has it that this is Caterina Cornaro, and, in my judgment,
this is perfectly correct.[94] Fortunately, we possess several
well-authenticated likenesses of this celebrated daughter of the
Republic. She had been married to the King of Cyprus, and after his
death had relinquished her quasi-sovereign rights in favour of Venice.
She then returned home (in 1489) and retired to Asolo, near
Castelfranco, where she passed a quiet country life, enjoying the
society of the poets and artists of the day, and reputed for her
kindliness and geniality. Her likeness is to be seen in three
contemporary paintings:--
1. At Buda-Pesth, by Gentile Bellini, with inscription.
2. In the Venice Academy, also by Gentile Bellini, who introduces her
and her attendant ladies kneeling in the foreground, to the left, in his
well-known "Miracle of the True Cross," dated 1500.
3. In the Berlin Gallery, by Jacopo de' Barbari, where she appears
kneeling in a composition of the "Madonna and Child and Saints."
[Illustration: _From a print. Pourtalès Collection, Berlin_
MARBLE BUST OF CATERINA CORNARO]
Finally we see Caterina Cornaro in a bust in the Pourtalès Collection at
Berlin, here reproduced,[95] seen full face, as in the Crespi portrait.
I know not on what outside authority the identification rests in the
case of the bust, but it certainly appears to represent the same lady as
in the above-mentioned pictures, and is rightly accepted as such by
modern German critics.[96]
[Illustration: _Anderson photo. Crespi Collection, Milan_
PORTRAIT OF CATERINA CORNARO]
To my eyes, we have the same lady in the Crespi portrait. Mr. Berenson,
unaware of the identity, thus describes her:[97] "Une grande dame
italienne est devant nous, éclatante de santé et de magnificence,
énergique, débordante, pleine d'une chaude sympathie, source de vie et
de joie pour tous ceux qui l'entourent, et cependant réfléchie,
pénétrante, un peu ironique bien qu'indulgente."
Could a better description be given to fit the character of Caterina
Cornaro, as she is known to us in history? How little likely, moreover,
that tradition should have dubbed this homely person the ex-Queen of
Cyprus had it not been the truth!
Now, if my contention is correct, chronology determines a further point.
Caterina died in 1510, so that this likeness of her (which is clearly
taken from life) must have been done in or before the first decade of
the sixteenth century.[98] This excludes Licinio and Schiavone (both of
whom have been suggested as the artist), for the latter was not even
born, and the former--whose earliest known picture is dated 1520--must
have been far too young in 1510 to have already achieved so splendid a
result. Palma is likewise excluded, so that we are driven to choose
between Titian and Giorgione, the only two Venetian artists capable of
such a masterpiece before 1510.
As to which of these two artists it is, opinions--so far as any have
been published--are divided. Yet Dr. Gronau, who claims it for Titian,
admits in the same breath that the hand is the same as that which
painted the Cobham Hall picture and the Pitti "Concert," a judgment in
which I fully concur. Dr. Bode[99] labels it "Art des Giorgione."
Finally, Mr. Berenson, with rare insight proclaimed the conception and
the spirit of the picture to be Giorgione's.[100] But he asserts that
the execution is not fine enough to be the master's own, and would rank
it--with the "Judith" at St. Petersburg--in the category of contemporary
copies after lost originals. This view is apparently based on the
dangerous maxim that where the execution of a picture is inferior to the
conception, the work is presumably a copy. But two points must be borne
in mind, the actual condition of the picture, and the character of the
artist who painted it. Mr. Berenson has himself pointed out
elsewhere[101] that Giorgione, "while always supreme in his conceptions,
did not live long enough to acquire a perfection of draughtsmanship and
chiaroscuro equally supreme, and that, consequently, there is not a
single universally accepted work of his which is absolutely free from
the reproaches of the academic pedant." Secondly, the surface of this
portrait has lost its original glow through cleaning, and has suffered
other damage, which actually debarred Crowe and Cavalcaselle (who saw
the picture in 1877) from pronouncing definitely upon the authorship.
The eyes and flesh, they say,[102] were daubed over, the hair was new,
the colour modern. A good deal of this "restoration" has since been
removed, but the present appearance of the panel bears witness to the
harsh treatment suffered years ago. Nevertheless, the original work is
before us, and not a copy of a lost original, and Mr. Berenson's
enthusiastic praise ought to be lavished on the actual picture as it
must have appeared in all its freshness and purity. "Je n'hésiterais
pas," he declares,[103] "à le proclamer le plus important des portraits
du maître, un chef-d'oeuvre ne le cédant à aucun portrait d'aucun pays
ou d'aucun temps."
And certainly Giorgione has created a masterpiece. The opulence of
Rubens and the dignity of Titian are most happily combined with a
delicacy and refinement such as Giorgione alone can impart. The intense
grasp of character here displayed, the exquisite _intimité_, places this
wonderful creation of his on the highest level of portraiture. There is
far less of that moody abstraction which awakens our interest in most of
his portraits, but much greater objective truth, arising from that
perfect sympathy between artist and sitter, which is of the first
importance in portrait-painting. History tells us of the friendly
encouragement the young Castelfrancan received at the hands of this
gracious lady, and he doubtless painted this likeness of her in her
country home at Asolo, near to Castelfranco, and we may well imagine
with what eagerness he acquitted himself of so flattering a commission.
Vasari tells us that he saw a portrait of Caterina, Queen of Cyprus,
painted by Giorgione from the life, in the possession of Messer Giovanni
Cornaro. I believe that picture to be the very one we are now
discussing.[104] The documents quoted by Signor Venturi[105] do not go
back beyond 1640, so that it is, of course, impossible to prove the
identity, but the expression "from the life" (as opposed to Titian's
posthumous portrait of her) applies admirably to our likeness. What a
contrast to the formal presentation of the queenly lady, crown and
jewels and all, that Gentile Bellini has left us in his portrait of her
now at Buda-Pesth!--and in that other picture of his where she is seen
kneeling in royal robes, with her train of court ladies, as though
attending a state function! How Giorgione has penetrated through all
outward show, and revealed the charm of manner, the delightful
_bonhomie_ of his royal patroness!
We are enabled, by a simple calculation of dates, to fix approximately
the period when this portrait was painted. Gentile Bellini's picture of
"The Miracle of the True Cross" is dated 1500--that is, when Caterina
Cornaro was forty-six years old (she was born in 1454). In Signor
Crespi's picture she appears, if anything, younger in appearance, so
that, at latest, Giorgione painted her portrait in 1500. Thus, again, we
arrive at the same conclusion, that the master distinguished himself
very early in his career in the field of portraiture, and the similarity
in style between this portrait and the Cobham Hall one is accounted for
on chronological grounds. All things considered, it is very probable
that this portrait was his earliest real success, and proved a passport
to the favourable notice of the fashionable society of Venice, leading
to the commission to paint the Doge, and the Gran Signori, who visited
the capital in the year 1500. That Giorgione was capable of such an
achievement before his twenty-fourth year constitutes, we may surely
admit, his strongest right to the title of Genius.[106]
The Barberigo gentleman and the Caterina Cornaro are comparatively
unfamiliar, owing to their seclusion in private galleries. Not so the
third portrait, which hangs in the National Gallery, and which, in my
opinion, should be included among Giorgione's authentic productions.
This is No. 636, "Portrait of a Poet," attributed to Palma Vecchio; and
the catalogue continues: "This portrait of an unknown personage was
formerly ascribed to Titian, and supposed to represent Ariosto; it has
long since been recognised as a fine work by Palma." I certainly do not
know by whom this portrait was first recognised as such, but as the
transformation was suddenly effected one day under the late Sir Frederic
Burton's _regime_, it is natural to suppose he initiated it. No one
to-day would be found, I suppose, to support the older view, and the
rechristening certainly received the approval of Morelli;[107] modern
critics apparently acquiesce without demur, so that it requires no
little courage to dissent from so unanimous an opinion. I confess,
therefore, it was no small satisfaction to me to find the question had
been raised by an independent inquirer, Mr. Dickes, who published in the
_Magazine of Art_, 1893, the results of his investigations, the
conclusion at which he arrived being that this is the portrait of
Prospero Colonna, Liberator of Italy, painted by Giorgione in the year
1500.
Briefly stated, the argument is as follows:--
I. (1) The person represented closely resembles
Prospero Colonna (1464-1523), whose authentic
likeness is to be seen--
(_a_) In an engraving in Pompilio Totti's
"Ritratti et Elogie di Capitani illustri.
Rome, 1635."
(_b_) In a bust in the Colonna Gallery, Rome.
(_c_) In an engraving in the "Columnensium
Procerum" of the Abbas Domenicus
de Santis. Rome, 1675.
(All three are reproduced in the article in question.)
[Illustration: _Hanfstängl photo. National Gallery, London_.
PORTRAIT OF A MAN]
(2) The description of Prospero Colonna, given
by Pompilio Totti (in the above book)
tallies with our portrait.
(3) The accessories in the picture confirm the
identity--e.g. the St Andrew's Cross, or
saltire, is on the Colonna family banner;
the bay, emblem of victory, is naturally
associated with a great captain; the rosary
may refer to the fact of Prospero's residence
as lay brother in the monastery of the
Olivetani, near Fondi, which was rebuilt
by him in 1500.
II. Admitting the identity of person, chronology
determines the probable date of the execution
of this portrait, for Prospero visited
Venice presumably in the train of Consalvo
Ferrante in 1500. He was then thirty-six
years of age.
III. Assuming this date to be correct, no other Venetian
artist but Giorgione was capable of producing
so fine and admittedly "Giorgionesque"
a portrait at so early a date.
IV. Internal evidence points to Giorgione's authorship.
It will be seen that the logic employed is identical with that by which
I have tried to establish the identity of Signor Crespi's picture. In
the present case, I should like to insist on the fourth consideration
rather than on the other points, iconographical or chronological, and
see how far our portrait bears on its face the impress of Giorgione's
own spirit.
The conception, to begin with, is characteristic of him--the pensive
charm, the feeling of reserve, the touch of fanciful imagination in the
decorative accessories, but, above all, the extreme refinement. All this
very naturally fits the portrait of a poet, and at a time when it was
customary to label every portrait with a celebrated name, what more
appropriate than Ariosto, the court poet of Ferrara? But this dreamy
reserve, this intensity of suppressed feeling is characteristic of all
Giorgione's male portraits, and is nowhere more splendidly expressed
than in this lovely figure. Where can the like be found in Palma, or
even Titian? Titian is more virile in his conception, less lyrical, less
fanciful, Palma infinitely less subtle in characterisation. Both are
below the level of Giorgione in refinement; neither ever made of a
portrait such a thing of sheer beauty as this. If this be Palma's work,
it stands alone, not only far surpassing his usual productions in
quality, but revealing him in a wholly new phase; it is a difference not
of degree, but of kind.
[Illustration: _Anderson photo. Querini-Stampalia Collection, Venice_
PORTRAIT OF A MAN (Unfinished)]
Positive proofs of Giorgione's hand are found in the way the hair is
rendered--that lovely dark auburn hair so often seen in his work,--in
the radiant oval of the face, contrasting so finely with the shadows,
which are treated exactly as in the Cobham picture, only that here the
chiaroscuro is more masterly, in the delicate modelling of the features,
the pose of the head, and in the superb colour of the whole. In short,
there is not a stroke that does not reveal the great master, and no
other, and it is incredible that modern criticism has not long ago
united in recognising Giorgione's handiwork.[10
8]
The date suggested--1500--is also consistent with our own deductions as
to Giorgione's rapid development, and the distinguished character of his
sitter--if it be Prospero Colonna--is quite in keeping with the vogue
the artist was then enjoying, for it was in this very year, it will be
remembered, that he painted the Doge Agostino Barberigo.
I therefore consider that Mr. Dickes' brilliant conjectures have much to
support them, and, so far as the authorship is concerned, I
unhesitatingly accept the view, which he was the first to express, that
Giorgione, and no other, is the painter. Our National Collection
therefore boasts, in my opinion, a masterpiece of his portraiture.
If it were not that Morelli, Mr. Berenson and others have recognised in
the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
Venice, the same hand as in the National Gallery picture, one might well
hesitate to claim it for Giorgione, so repainted is its present
condition. I make bold, however, to include it in my list, and the more
readily as Signor Venturi definitely assigns it to Giorgione himself,
whose name, moreover, it has always borne. This unfinished portrait is,
despite its repaint, extraordinarily attractive, the rich browns and
reds forming a colour-scheme of great beauty. It cannot compare,
however, in quality with our National Gallery highly-finished example,
to which it is also inferior in beauty of conception. These two
portraits illustrate the variableness of the painter; both were probably
done about the same time--the one seemingly _con amore_, the other left
unfinished, as though the artist or his sitter were dissatisfied.
Certainly the cause could not have been Giorgione's death, for the style
is obviously early, probably prior to 1500.
The view expressed by Morelli[109] that this may be a portrait of one of
the Querini family, who were Palma's patrons, has nothing tangible to
support it, once Palma's authorship is contested. But the unimaginative
Palma was surely incapable of such things as this and the National
Gallery portrait!
[Illustration: Collection of the Honourable Mrs. Meynell-Ingram, Temple
Newsam, Leeds
PORTRAIT OF A MAN]
England boasts, I believe, yet another magnificent original Giorgione
portrait, and one that is probably totally unfamiliar to connoisseurs.
This is the "Portrait of an Unknown Man," in the possession of the Hon.
Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
ill-executed print of it was published in the _Magazine of Art_, April
1893, where it was attributed to Titian. Its Giorgionesque character is
apparent at first glance, and I venture to hope that all those who may
be fortunate enough to study the original, as I have done, will
recognise the touch of the great master himself. Its intense expression,
its pathos, the distant look tinged with melancholy, remind us at once
of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
its modelling vividly recalls the central figure of the Pitti "Concert,"
the painting of sleeve and gloves is like that in the National Gallery
and Querini-Stampalia portraits just discussed. The general pose is most
like that of the Borghese "Lady." The parapet, the wavy hair, the
high cranium are all so many outward and visible signs of Giorgione's
spirit, whilst none but he could have created such magnificent contrasts
of colour, such effects of light and shade. This is indeed Giorgione,
the great master, the magician who holds us all fascinated by his
wondrous spell.
[Illustration: _Hanfstängl photo. Vienna Gallery_
PORTRAIT OF A MAN]
Last on the list of portraits which I am claiming as Giorgione's, and
probably latest in date of execution, comes the splendid so-called
"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
describe it: "This masterly portrait is one of the noblest creations of
its kind, finished with a delicacy quite surprising, and modelled with
the finest insight into the modulations of the human flesh....
Notwithstanding, the touch and the treatment are utterly unlike
Titian's, having none of his well-known freedom and none of his
technical peculiarities. Yet if asked to name the artist capable of
painting such a likeness, one is still at a loss. It is considered to be
identical with the portrait mentioned by Ridolfi as that of 'Parma' in
the collection of B. della Nave (Merav., i. 220); but this is not
proved, nor is there any direct testimony to show that it is by Titian
at all."[110]
Herr Wickhoff[111] goes a step further. He says: "Un autre portrait qui
porte le nom de Titien est également l'une des oeuvres les plus
remarquables du Musée. On prétend qu'il représente le 'Médecin du
Titien, Parma'; mais c'est là une pure invention, imaginée par un ancien
directeur du Musée, M. Rosa, et admise de confiance par ses successeurs.
M. Rosa avait été amené à la concevoir par la lecture d'un passage de
Ridolfi. Le costume suffirait à lui seul, pourtant, pour la démentir:
c'est le costume officiel d'un sénateur vénitien, et qui par suite ne
saurait avoir été porté par un médecin. Le tableau est incontestablement
de la même main que les deux 'Concerts' du Palais Pitti et du Louvre,
qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
tableaux au Giorgione, c'est à lui aussi qu'il faut attribuer le
portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
Palais Pitti au Titien, il faut approuver l'attribution actuelle de
notre portrait au même maître." I am glad that Herr Wickhoff recognises
the same hand in all three works. I am sorry that in his opinion this
should be Domenico Campagnola's. I have already referred to this opinion
when discussing the Louvre "Concert," and must again emphatically
dissent from this view. Campagnola, as I know him in his pictures and
frescoes at Padua,--the only authenticated examples by which to judge
him,[112]--was utterly inadequate to such tasks. The grandeur and
dignity of the Vienna portrait is worthy of Titian, whose virility
Giorgione more nearly approaches here than anywhere else. But I agree
with the verdict of Crowe and Cavalcaselle that his is not the hand that
painted it, and believe that the author of the Temple Newsam "Man" also
produced this portrait, probably a few years later, at the close of his
career.
NOTES:
[85] Or "points" (_punte_). The translation is that used by Blashfield
and Hopkins, vol. iv. 260.
[86] Assuming he was born in 1477, which is by no means certain.
[87] Dr. Richter in the _Art Journal_, 1895, p. 90. Mr. Claude Phillips,
in his _Earlier Work of Titian_, p. 58, note, objects that Vasari's
"giubone di raso inargentato" is not the superbly luminous steel-grey
sleeve of this "Ariosto," but surely a vest of satin embroidered with
silver. I think we need not examine Vasari's casual descriptions quite
so closely; "a doublet of silvered satin wherein the stitches could be
counted" is fairly accurate. "Quilted sleeves" would no doubt be the
tailor's term.
[88] It is not quite clear whether the single letter is F or T.
[89] A curious fact, which corroborates my view, is that the four old
copies which exist are all ascribed to Giorgione (at Vicenza, Brescia,
and two lately in English collections). See Crowe and Cavalcaselle, p.
201.
[90] Gronau: _Tizian_, p. 21.
[91] See, however, note on p. 133.
[92] _La Galleria Crespi_.
[93] The documents quoted by Signor Venturi show the signature was there
in 1640.
[94] When in the Martinengo Gallery at Brescia (1640) it bore this name.
See Venturi, _op. cit_., and Crowe and Cavalcaselle, _Titian_, ii. 58.
[95] From _Das Museum_, No. 79. "_Unbekannter Meister um_ 1500. _Bildnis
der Caterina Cornaro_." I am informed the original is now in the
possession of the German Ambassador at The Hague, and that a plaster
cast is at Berlin.
[96] Dr. Bode _(Jahrbuch_, 1883, p. 144) says that Count Pourtalès
acquired this bust at Asolo.
[97] _Gazette des Beaux Arts_, 1897, pp. 278-9. Since (1901)
republished in his _Study and Criticism of Italian Art_, vol. i. p. 85.
[98] Titian's posthumous portrait of Caterina is lost. The best known
copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the
absurdity of regarding this fancy portrait as a true likeness of the
long deceased queen. It bears no resemblance whatever to the Buda-Pesth
portrait, which is the latest of the group.
[99] _Cicerone_, sixth edition.
[100] _Gazette des Beaux Arts_, 1897, pp. 278-9.
[101] _Venetian Painting at the New Gallery_, 1895, p. 41.
[102] _Titian_, ii. 58.
[103] _Gazette des Beaux Arts, loc cit_.
[104] _Life of Giorgione_. The letters T.V. either were added after
1544, or Vasari did not interpret them as Titian's signature.
[105] _La Galleria Crespi, op. cit_.
[106] The importance of this portrait in the history of the Renaissance
is discussed, _postea_, p. 113.
[107] ii. 19.
[108] This picture was transferred in 1857 from panel to canvas, but is
otherwise in fine condition.
[109] Morelli, ii. 19, note.
[110] Crowe and Cavalcaselle: _Titian_, p. 425.
[111] _Gazette des Beaux Arts_, 1893, p. 135.
[112] It is customary to cite the Prague picture of 1525 as his work.
The clumsy signature CAM was probably intended for Campi, the real
author, and its genuineness is not above suspicion. It is a curious
_quid pro quo_.