CHAPTER VII

.—EARLY VENETIAN PAINTING

Footnote 70:

Little literature of a general sort is available to the English speaking reader. Crowe and Cavalcaselle, _A History of Painting in Northern Italy_, admirably edited by Tancred Borenius, in three volumes, London, 1913, is the chief repository of facts. Evelyn March Phillipps, _The Venetian School of Painting_, London, 1912, is an excellent brief survey. For readers of Italian Lionello Venturi’s _Le Origini della Pittura Veneziana_, Venice, 1911, is the best book. A treasure house of materials in Laudadeo Testi’s two volumes, _La Storia della Pittura Veneziana_, Bergamo. John Ruskin’s masterpiece, _Stones of Venice_, may be consulted with profit and delight. There are treasures of antiquarian information in Pompeo Molmenti, _La Storia di Venezia nella Vita Privata_, 3 vols., Bergamo, 1905.

Footnote 71:

_Jacopo Bellini._ The extraordinary and fascinating sketch books are published in two forms, by Corrado Ricci, _Jacopo Bellini e i suo libri di designi_, 2 vols., Florence, 1908, and by V. Goloubew, _Les Dessins de Jacopo Bellini_, Bruxelles, 1908.

Footnote 72:

G. McNeill Rushforth, _Carlo Crivelli_, London, 1900.

Footnote 73:

_Andrea Mantegna._ The standard work is by Paul Kristeller, _Andrea Mantegna_, London and New York, 1901. Maud Crutwell’s short biography, _Andrea Mantegna_, London, 1901, is excellent. Mr. Berenson’s subtle analysis in _North Italian Painters of the Renaissance_ perhaps overstresses Andrea’s defects. Mantegna’s complete works are reproduced in _Klassiker der Kunst_, No. XVI, Stuttgart, 1910.

Footnote 74:

_Antonello da Messina._ See L. Venturi, _Le Origini_, and A. Venturi, _Storia_, VII, pt. 4. Recent attributions, Bernard Berenson, _Study and Criticism of Italian Art_, 3rd Series, London, 1916, p. 79 _ff._

Footnote 75:

_Giovanni Bellini._ Nothing notable in English except casual criticism by Ruskin and Roger E. Fry’s admirable little book, _Giovanni Bellini_, London, 1899, which is unfortunately out of print. For such as read German—Georg Gronau, _Die Künstler-familie Bellini_, Leipzig, 1907, with abundant illustrations. Recently discovered pictures and a better chronology, in Bernard Berenson: _Venetian Painting in America_, New York, 1916.

Footnote 76:

_Vettor Carpaccio._ Ludwig and Molmenti’s _The Life and Works of Victor Carpaccio_, London, 1907, gives, aside from its main topic, a vivid picture of the cultural condition of Venice about 1500. See my essay review of it in _The Nation_, Vol. 86, (1908) pp. 315 _ff._ John Ruskin’s delightful comments on Carpaccio are mostly in the _Guide to the Academy_ at Venice and in _St. Mark’s Rest_, chapter _The Shrine of the Slaves_, Library ed. Vol. XXIV.

Footnote 77:

_Giorgione._ For the smallest list L. Venturi, _Giorgione e il Giorgionismo_, Milan, 1913; for the longest list Herbert Cook, _Giorgione_; for a middle view L. Justi, _Giorgione_, 2 vols., Berlin, 1908, most useful plates.

The general conditions of the problem are clearly stated by the late Richard Norton in _Bernini and other Studies_, New York, 1914. L. Hourticq, in _La Jeunesse de Titien_, Paris, 1919, has lately worked over the pictures which lie between Titian and Giorgione in an interesting but highly subjective fashion. Kenyon Cox, _Art in America_, Vol. I, pp. 115 _ff._, makes the plausible suggestion that the several portraits signed V or VV are by Titian, the letters meaning Vecellius Venetus. This would make the Berlin portrait a Titian.

Walter Pater’s essay on _The School of Giorgione_, in _The Renaissance_ is as masterly for insight as it is for verbal beauty.

I hesitate to add one more to the varying opinions concerning Giorgione’s paintings. At least I may introduce a novelty by classing them according to probability, or rather according to the completeness of my own conviction. In the whole matter we are largely in the field of taste and opinion. E means early.

_Paintings, m. j. surely by Giorgione_

1. The Shepherds finding the Infant Paris (repainted fragment, E) Budapest

2. “The Soldier and the Gipsy” E. Prince Giovanelli

3. Madonna with St. Francis and St. George (1504) Castelfranco

4. The Three Philosophers (finished by Sebastiano del Piombo) Vienna

5. Orpheus and Eurydice (_cassone_ panel) Bergamo

6. The Sleeping Venus (landscape by Titian) Dresden

7. Fresco of Nude Woman, nearly effaced (1508), represented by Zanetti’s print Fondaco de’ Tedeschi

8. Judith (cut down at sides) Petrograd

9. His own Portrait (much cut down and damaged) Brunswick

10. Christ with his Cross Church of S. Rocco

11. The Concert (finished by Titian? or repainted in his manner?) Florence

_Paintings probably by Giorgione._ I accept these, but do not think the evidence demonstrative.

12–13. Stories of the Infant Paris (two _cassone_ panels, E.) Sir Martin Conway, Allington Castle, Maidstone, England

14. The Fire Ordeal of Moses (door panel, E.) Florence

15. The Judgment of Solomon (door panel, E.) Florence

16. Christ bearing his Cross, E. Fenway Court, Boston.

17. Homage to a Poet, E. London

18. Portrait of a Young Man (possibly an early Titian) Berlin

19. Boy With an Arrow (old copy?) Vienna

20. Shepherd with a Flute Hampton Court

21. David with Goliath’s Head (copy? or ruined original?) Vienna

22. Altar-piece of St. John Chrysostom (mostly executed by Sebastiano del Piombo) S. Giovanni Crisostomo

23. The Pastoral Symphony (radically repainted in recent times.) Paris

24. Portrait of a Man New York

This list might still be extended by half a dozen numbers by including pictures which may represent lost originals by Giorgione, but here we are in a field too subjective for profitable discussion in a handbook.

_Pictures generally ascribed to Giorgione, I think erroneously._

The Knight of Malta (probably a Titian about 1515) Florence

Portrait of Broccardo Budapest

Storm Calmed by St. Mark (probably a Palma) Venice

Judgment of Solomon (Hourticq plausibly regards as copy of lost fresco by Titian) Banks Coll., Kingston Lacy

Madonna with St. Antony and St. Roch (probably a Titian) Madrid

Portrait of a Woman Casino Borghese, Rome

The reason for excluding such works is their over-pathetic or over-dramatic quality. The argument applies especially to the Adulteress before Christ at Glasgow. Corroborative technical evidence against this group may be found in L. Venturi’s excellent monograph.

## CHAPTER VIII .—TITIAN AND THE VENETIAN RENAISSANCE

On the Venetian Renaissance in general we have the works cited at the head of Notes for