Index
Adoration of the Magi, The
(National Gallery),
22
,
53
,
62
,
91
,
95
,
96
,
148
,
ill. 52
.
Adoration of the Shepherds, The
(Mr. Beaumont),
20
,
21
-
25
,
53
,
62
,
86
,
103
,
150
;
replica at Vienna, 24, 147, ill. 20.
Adrastus and Hypsipyle
(Prince Giovanelli, Venice),
10
-
12
,
23
,
28
,
35
,
40
,
43
,
63
,
137
,
ill. 10
.
Adulteress before Christ, The
(Glasgow),
28
,
102
-
105
,
149
,
ill. 102
.
Adulteress before Christ, The
(Sir Charles Turner),
104
,
153
.
Aeneas, Evander, and Pallas
(Vienna),
11
,
12
-
14
,
23
,
28
,
29
,
43
,
147
,
ill. 12
.
Anonimo, The (quoted),
11
,
13
,
18
,
35
,
47
,
60
,
161
,
162
.
Antonello,
18
,
114
.
Apollo and Daphne
(Seminario, Venice),
34
,
40
,
157
,
ill. 34
.
Ariosto
, So-called portrait of (Cobham Hall),
69
,
70
,
114
,
151
,
ill. 70
;
repetitions, 73 note, 74.
Armstrong, Sir Walter,
28
,
102
.
Barbarelli, name wrongly given to Giorgione,
2
.
Barbari, Jacopo de', Portrait of Caterina Cornaro by,
77
.
Barberigo, Doge Agostino, Portrait of, said to have been painted by Giorgione,
67
,
74
,
89 note
,
112
,
114
.
Barberigo, Portrait of a gentleman of the family of,
68
,
69
,
106
.
Bellini, Gentile,
62
,
114
.
Bellini, Giovanni,
9
;
his S. Giov. Crisostomo altar-piece, 9 note;
his influence on Giorgione, 10, 13, 16, 18, 24, 25, 47, 53, 62;
his altar-piece of S. Giobbe, 10;
his sacred allegory in the Uffizi, 15;
his Corpus Christi Procession, 17;
his influence on Titian, 68, 69;
portraits of Caterina Cornaro by, 76, 80;
his Miracle of the True Cross, 76, 81;
his temperament contrasted with Giorgione's, 109;
influenced by Giorgione, 115, 116.
Berenson, Mr. (quoted),
21
,
29
,
47
,
50
,
54
,
55
,
77
,
78
,
79
,
85
,
113
.
Birth of Paris, The
, lost picture by Giorgione,
47
,
63
;
engraved by Th. von Kessel, 47, 147;
copy of a portion at Buda-Pesth, 46, 47, ill. 46.
Bode, Dr. (quoted),
1
,
28
,
35
,
50
,
67
,
77
,
78
,
102
.
Bordone, Paris,
55
;
his Fisherman presenting the Ring to the Doge, 56.
Broccardo, Antonio, Portrait of,
32
,
70
.
Burton, Sir Frederic,
82
.
Campagnola, Pictures attributed to,
39
,
88
,
91 note
,
102
.
Cariani, Pictures attributed to,
28
,
29
,
102
,
105
,
106
;
his Venus at Hampton Court, 36;
influence of Giorgione on, 48.
Carpaccio, Influence of, on Giorgione,
17
,
62
;
his Legend of S. Ursula, 17.
Castelfranco, birthplace of Giorgione,
1
,
2
;
altar-piece at, 7-10, 23, 39, 63, 96, 117, ill. Front.
Catena, Pictures attributed to,
21
,
53
;
his Judith, 38 note;
his pictures in the National Gallery, 53.
Chaldean Sages, The.
See
Aeneas, Evander, and Pallas
Christ bearing the Cross
(Mrs. Gardner, Boston),
15
,
18
,
62
,
95
,
96
,
109
,
159
,
ill. 18
.
Christ bearing the Cross
(S. Rocco, Venice),
54
,
109
,
157
;
sketch of, by Van Dyck, 55, ill. 54.
Colonna, Prospero, Portrait of,
82
-
85
.
Concert, The
(Pitti),
49
-
52
,
65
,
78
,
86
,
88
,
155
,
ill. 50
.
Concert, The
(Louvre). See
Pastoral Symphony
Consalvo, of Cordova, Portrait of, painted by Giorgione,
89 note
,
114
.
Conti, Signor (quoted),
50
.
Cornaro, Caterina, Ex-Queen of Cyprus, patroness of Giorgione,
3
;
portrait of (Crespi Collection), 76-81, 112, 113, 155, ill. 76;
other portraits of, 76, 77;
bust of, 77, ill. 76.
Costanzo, Matteo,
63
.
Crasso, Luigi, Portrait of, painted by Giorgione,
89 note
.
Crespano, Portrait at, mentioned by Crowe and Cavalcaselle,
53 note
.
Crespi, Signor, Portrait of Caterina Cornaro in the possession of,
74
,
112
.
Crowe and Cavalcaselle (quoted
passim
)
David with the Head of Goliath
(Vienna),
48
,
49
,
148
.
Dickes, Mr., on the portrait of Prospero Colonna (quoted),
82
,
85
.
Dossi, Dosso, Giorgione's
Nymph pursued by a Satyr
wrongly attributed to,
44
;
his Buffone, 44.
Epiphany, The
(National Gallery). See
Adoration of the Magi
Este, Isabella d', Marchioness of Mantua, commissioned her agent to purchase a picture by Giorgione,
24
.
Family Concert
(Hampton Court),
42
.
Feltre, Morto da, and Giorgione, story concerning,
5
;
The Three Ages, wrongly attributed to, 42;
said to have assisted Giorgione, 107 note.
Ferrante, Consalvo,
83
;
portrait of, painted by Giorgione, 64.
Fête Champêtre
(Louvre). See
Pastoral Symphony
Fry, Mr. Roger, on Bellini (quoted),
15
,
115
.
Giorgione, birthplace and origin of,
1
;
wrongly called "Barbarelli," 2, 5;
his life spent in Venice, 2;
his skill in music, 2;
visit to Leonardo, 3;
his frescoes on the Fondaco de' Tedeschi, 4, 60, 65;
other perished frescoes, 4;
death, 4;
his individuality, 6;
true test of the authenticity of his pictures, 6, 23, 59;
three universally accepted pictures by, 7;
his lyrical quality, 8, 9;
influence of Bellini on, 10, 13, 16, 18, 24, 25, 47, 53, 62;
pictures accepted by Crowe and Cavalcaselle and Morelli, 14;
his freedom from conventionality, 16, 17;
disproportionate sizes of the figures in his pictures, 23;
introduction of the hand in his portraits, 19, 31, 32;
his signature VV., 31, 32, 73;
cassone panels by, 34, 56, 89;
his Venus completed by Titian, 35, 72;
his mastery of line, 36, 41, 42, 46, 100, 116, 118;
his faults of drawing, 39, 118;
exuberance of his later style, 41;
comparison of with Dosso, 44;
influence of on later artists, 48;
works as to which Crowe and Cavalcaselle and Morelli disagree, 49;
difficulty of deciding between Giorgione and Titian, 50, 69, 71;
works accepted by Berenson, 54;
works accepted by Venturi, 56;
chronology of accepted works by, 58, 62-66;
versatility and precocity of, 59, 66;
inequality of, 59, 103;
analogy of with Schubert and Keats, 59, 110;
his productiveness, 60, 61;
his success in portraiture, 64, 65, 67;
additional portraits attributed to, 68;
influence of on Titian, 68, 69, 74;
pictures by, completed by Titian, 72;
the portrait of Ariosto attributed to, 69-74;
the portrait of Caterina Cornaro (Signor Crespi) attributed to, 74-81;
portrait of Prospero Colonna by, 82-85;
other portraits now attributed to, 85-88;
other romantic pictures attributed to, 89-95;
sacred pictures attributed to, 95-106;
misapprehension of the critics with regard to, 103;
relation to Sebastiano del Piombo, 106;
his characteristics, 108;
his genius essentially lyrical, 108;
his limitations, 110;
his greatness in portraiture, 111;
the Herald of the Renaissance, 113, 114;
his influence on succeeding painters, 115;
his School, 115;
points wherein he was an initiator, 116;
his use of colour, 116, 117;
treatment of chiaroscuro, 117;
his position in history, 118, 119;
compared with Titian, 118;
his drawings, 159.
Giovanelli, Prince,
10
.
Giovanelli Figures, The
, See
Adrastus and Hypsipyle
Gipsy Madonna, The
(Vienna),
97
,
148
,
ill. 92.
Golden Age, The
,
92
,
93
,
95
,
148
,
ill. 92
.
Gronau, Dr. (quoted),
1
,
5
,
40
,
42 note
,
50
,
70
,
74
,
78
,
97
.
Harck, Dr. (quoted),
37
Holy family, The
(Mr. R. Benson),
22
,
95
,
96
,
150
,
ill. 96
.
Judgment of Solomon, The
(Uffizi),
15
-
17
,
62
,
155
,
ill. 14
.
Judgment of Solomon, The
(Mr. R. Bankes),
20
,
23
,
25
-
29
,
39
,
42
,
65
,
102
,
104
,
110
,
152
,
ill. 26
.
Judith
(St. Petersburg),
37
,
64
,
78
,
94
,
103
,
158
,
ill. 38
.
Keats, Analogy between Giorgione and,
59
,
110
.
Kessel, Th. von, Engraving of Giorgione's
Birth of Paris
by,
47
,
147
.
Knight of Malta
(Uffizi),
15
,
19
,
30
,
31
,
32
,
44
,
60
,
65
,
70
,
155
,
ill. 18
.
Knight in Armour
(National Gallery),
20
,
149
.
La Schiavata
,
74
.
See Cornaro, Caterina, Portrait of
Leda and the Swan
,
90
,
156
.
Leonardo da Vinci, his visit to Venice, 1500,
3
.
his masterpieces subsequent to Giorgione's, 114.
L'homme au gant
(Louvre) by Titian,
51
.
Licinio, Pictures attributed to,
32
,
33
,
75
,
78
;
his Portrait of a Young Man (Lady Ashburton), 34.
Logan, Mary (quoted),
117
.
Loredano, Doge Leonardo, Portrait of, painted by Giorgione,
65 note
,
89 note
,
112
.
Lotto, Lorenzo,
The Three Ages
wrongly attributed to,
43
.
Ludwig, Dr. Gustav,
61
.
Madonna and Child
(Bergamo),
97
,
101
,
154
.
Madonna and Child
(Mr. R.H. Benson),
97
,
101
,
140
,
ill. 100
.
Madonna
(Rovigo) by Titian,
98
,
99
,
156
.
Madonna and Child
(St. Petersburg),
102
,
158
.
Madonna with SS. Francis and Roch
(Madrid),
45
,
159
,
ill. 44
.
Madonna with SS. Francis and Liberale
(Castelfranco),
7
-
10
,
23
,
39
,
63
,
96
,
117
,
154
,
ill. Front.
Madonna and Saints
(Louvre),
102
,
105
,
153
,
ill. 104.
Marcantonio, his
Dream of Raphael
derived from Giorgione,
159
.
Mareschalco, influenced by Giorgione,
10
.
Michel Angelo, his masterpieces subsequent to Giorgione's,
114
.
Monkhouse, Mr. Cosmo (quoted),
92 note
.
Morelli (quoted
passim
)
Moretto, Giorgione's
Judith
attributed to,
38
.
Müntz, M. (quoted), 3 note,
50
.
National Gallery, Pictures by Giorgione in the,
20
,
53
,
81
,
94
,
148
,
149
.
Nativity, The.
See
Adoration of the Shepherds
Nymph pursued by a Satyr
(Pitti),
44
,
155
,
ill. 44
.
Ordeal by Fire, The.
See
Trial of Moses
Orpheus and Eurydice
(Bergamo),
89
,
90
,
154
,
ill. 90
.
Padua, Two
cassone
panels at,
56
,
91
,
156
,
ill. 56
;
two small mythological panels at, 90, 156.
Palma Vecchio, influenced by Giorgione,
10
;
his pictures of Venus, 36;
the Storm calmed by S. Mark attributed by Vasari to, 56;
other pictures attributed to, 78, 86.
the Portrait of a Poet (National Gallery) wrongly attributed to, 81, 84.
Paoletti, Signor Pietro,
61
.
Parma, the Physician, so-called portrait of (Vienna),
87
,
88
,
112
,
148
,
ill. 86
.
Pastoral Symphony
(Louvre),
23
,
36
,
39
-
42
,
66
,
88
,
94
,
103
,
116
,
118
,
153
,
ill. 40
.
Pater, Walter, his "Renaissance" quoted,
43
.
Pennacchi, influenced by Giorgione,
10
.
Penther, Herr,
38
.
Phillips, Mr. Claude (quoted),
37
,
50
,
51
,
57
,
70
,
97
,
102
.
Pordenone, Giorgione's
Madonna
at Madrid attributed to,
45
.
Portrait of a Lady
(Borghese Gallery, Rome),
33
,
34
,
86
,
112 note
,
156
,
ill. 32
.
Portrait of a Man
(Rovigo),
52
.
Portrait of a Man
(Venice, Querini-Stampalia Gallery),
85
,
158
,
ill. 84
.
Portrait of a Man
(Mrs. Meynell-Ingram),
86
,
88
,
152
,
ill. 86
.
Portrait of a Man
(Vienna).
See
Parma, Portrait of
Portrait of a Man
(Padua) by Torbido,
48
,
ill. 48
.
Portrait of a Man
(Cobham Hall). See
Ariosto
Portrait of a Poet
(National Gallery),
69
,
82
,
95
,
114
,
149
,
ill. 82
.
Portrait of a Young Man
(Berlin),
30
,
31
,
63
,
71
,
73
,
143
,
ill. 30
.
Portrait of a Young Man
(Buda-Pesth),
31
,
32
,
65
,
66
,
73
,
147
,
ill. 32
.
Portrait of a Young Man
(Lady Ashburton) by Licinio,
34
.
Poynter, Sir Edward,
94
.
Raphael, Giorgione's
Judith
attributed to,
38
.
Richter, Dr. (quoted),
70 note
.
Ridolfi (quoted),
16
,
28
,
35
,
53 note
,
67
,
87
.
Ruskin (quoted),
7
.
S. Liberale
(in the Castelfranco altar-piece),
10
;
(National Gallery), 20, 95, 149.
S. George slaying the Dragon
(National Gallery, Rome),
91
,
156
.
Sta. Justina
(Herr von Kauffmann, Berlin),
91
,
153
.
Schiavone, Pictures attributed to,
35
,
78
,
89
.
Schubert, Analogy between Giorgione and,
59
,
110
.
Sebastiano del Piombo, believed to have completed Giorgione's
Aeneas, Evander, and Pallas
,
13
;
his Violin-Player, 70, 103;
Giorgione's Madonna and Saints (Louvre) completed by, 106;
his close relation with Giorgione, 106, 115;
his Herodias with the Head of John Baptist, 106.
Shepherd Boy
(Hampton Court),
47
,
48
,
150
, ill. 48.
Shepherds, Two
, from the
Birth of Paris
, now at Buda-Pesth,
46
,
47
,
147
.
Statius, Story from,
11
,
157
.
Storm calmed by S. Mark
(Academy, Venice) attributed to Giorgione by Mr Berenson,
54
,
55
,
66
,
156
.
Stormy Landscape with the Soldier and Gipsy.
See
Adrastus and Hypsipyle
Three Ages, The
(Pitti),
28
,
42
,
52
,
66
,
155
,
ill. 42
.
Three Philosophers, The.
See
Aeneas, Evander, and Pallas
Titian, Giorgione's
Venus
at Dresden completed by,
35
;
influence of Giorgione on, 48;
the Pitti Concert attributed to by Morelli, 50, 51.
Christ bearing the Cross (Venice) wrongly attributed to, 54, 55;
difficulty of distinguishing between Giorgione and, 50, 69, 71;
influence of Giorgione on, 68, 69, 74;
his Tribute Money, 55;
the portrait of a gentleman of the Barberigo family, said to have been painted by, 68, 73;
portrait called Arrosto, wrongly attributed to, 69, 70;
his signature, 71;
pictures by Giorgione completed by, 72;
Portrait of a Lady (Crespi Collection) wrongly attributed to, 74, 75;
portrait of Caterina Cornato by, 78 note;
other pictures wrongly attributed to, 86, 87, 94, 97;
his Sacred and Profane Love, 95;
his Madonna at Rovigo, 95-100;
his Venus (Uffizi) copied from Giorgione, 99;
his genius essentially dramatic, 108;
relations with the School of Bellini, 115;
compared with Giorgione, 117-118, 119.
See Appendix II
Torbido, Francesco,
Portrait of a Man
by, at Padua,
48
;
suggested as the author of the Shepherd at Hampton Court, 49.
Trial of Moses, The
(Uffizi),
15
,
16
,
62
,
155
,
ill. 16
.
Two Musicians, The
(Glasgow), 91 note,
149
.
Van Dyck, Sketch of
Christ bearing the Cross
by,
55
.
Vasari (quoted),
3
,
48
,
49
,
55
,
64
,
65
,
66
,
68
,
80
,
107 note
.
Vecellio, Francesco, Giorgione's
Madonna
at Madrid attributed to, 45 note.
Venturi, Signor (quoted),
18
,
32
,
35
,
56
, 57 note,
74
,
76
,
80
,
85
,
91
,
97
,
98
.
Venus
(Dresden),
35
-
37
,
40
,
44
,
65
,
94
,
117
,
118
,
154
,
ill. 36
;
copied by Titian, 99, 100.
Venus and Adonis
(National Gallery),
94
,
149
,
ill. 94
.
Venus disarming Cupid
(Wallace Collection),
93
,
151
.
Vivarini, Alvise,
114
.
Wickhoff, Herr Franz (quoted),
11
,
40
,
47
,
87
,
88
,
126
.
Zanetti,
56
,
65
.