CATALOGUE OF THE WORKS OF GIORGIONE
ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED
BUDA-PESTH GALLERY.
PORTRAIT OF A YOUNG MAN. [No. 94.]
Esterhazy Collection. (See p. 31.)
TWO FIGURES STANDING. [No. 95.]
Copy of a portion of Giorgione's lost picture of the "Birth of Paris." These are the two shepherds. (See p. 46.)
The whole composition was engraved by Th. von Kessel for the Theatrum pictorium under Giorgione's name. The original picture was seen and described by the Anonimo in 1525.
VIENNA GALLERY.
EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF ROME. Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]
Seen by the Anonimo in 1525, in Venice, and said by him to have been finished by Sebastiano del Piombo. (See [p. 12.])
Collection of the Archduke Leopold William, and registered in the inventory of 1659.
ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. x 3 ft. 10 in. [No. 23.]
Inferior replica by Giorgione of the Beaumont picture in London.
I have sought to identify this piece with the picture "da una Nocte," painted by Giorgione for Taddeo Contarini. ([See p. 24] and [Appendix], where the original document is quoted.)
From the Collection of the Archduke Leopold William, and registered in the inventory of 1659 as a Giorgione.
VIRGIN AND CHILD. Wood, 2 ft. 2 in. x 2 ft. 9 in. [No. 176.]
Known as the "Gipsy Madonna," and ascribed to Titian. Collection of the Archduke Leopold William. (See [p. 97.])
PORTRAIT OF A MAN. Canvas, 3 ft. 5 in. x 2 ft. 9 in. [No. 167.]
Commonly, though erroneously, called "The Physician Parma," and ascribed to Titian.
Collection of the Archduke Leopold William. (See [p. 87.])
DAVID WITH THE HEAD OF GOLIATH. Wood, 2 ft. 2 in. x 2 ft. 6 in. [No. 21.]
Copy after a lost original, which is thus described by Vasari: "A David (which, according to common report, is a portrait of the master himself) with long locks, reaching to the shoulders, as was the custom of that time, and the colouring is so fresh and animating that the face appears to be rather real than painted; the breast is covered with armour, as is the arm with which he holds the head of Goliath."
This picture was at that day in the house of the Patriarch of Aquileia; the copy can be traced back to the Collection of the Archduke Leopold William at Brussels. (See [p. 48.])
Herr Wickhoff, however, seems to think that, were the repaints removed, the Vienna picture might prove to be Giorgione's original painting. See Berenson's Study and Criticism of Italian Art, vol. i. p. 74, note.
BRITISH ISLES
LONDON, NATIONAL GALLERY.
ADORATION OF THE MAGI, or THE EPIPHANY. Panel. 12 in. x 2 ft. 8 in. [No. 1160.]
From the Leigh Court sale, 1884. (See [p. 53.])
UNKNOWN SUBJECT, possibly THE GOLDEN AGE. Panel. 1 ft. 11 in. x 1 ft. 7 in. [No. 1173.]
Now catalogued as "School of Barbarelli." (See [p. 91.]) Purchased in 1885 at the sale of the Bohn Collection as a Giorgione.
Formerly in the Aldobrandini Palace, Rome, where it was bought by Mr. Day for the Marquis of Bristol, but afterwards sold at Christie's to Mr. White, and by him for £73.10s. to Bohn.
PORTRAIT OF A MAN, possibly PROSPERO COLONNA. Transposed in 1857 from wood to canvas, 2 ft. 8 in. x 2 ft. [No. 636.]
Catalogued as "Portrait of a Poet," by Palma Vecchio.
Formerly in possession of Mr. Tomline, and purchased in 1860 from M. Edmond Beaucousin at Paris.
It was then called the portrait of Ariosto by Titian. (See [p. 81.])
A KNIGHT IN ARMOUR, probably S. LIBERALE. Wood, 1 ft. 3 in. x 10 in. [No. 269.]
Formerly in the Collection of Benjamin West, P.R.A., and bequeathed to the National Gallery by Mr. Samuel Rogers in 1855. (See [p. 20.])
VENUS AND ADONIS. Canvas, 2 ft. 6 in. x 4 ft. 4 in. [No. 1123.]
Catalogued as "Venetian School," and more recently as "School of Giorgione."
Purchased in 1882 as a Giorgione at the Hamilton Palace sale. (See [p. 94.])
GLASGOW GALLERY.
THE ADULTERESS BEFORE CHRIST. Canvas, 4 ft. 6 in. x 5 ft. 11 in. [No. 142.]
Ex M'Lellan Collection. (See [p. 102.])
TWO MUSICIANS. Panel. 1 ft. 9 in. x 1 ft. 4 in. [No. 143.]
Recently attributed to Campagnola. Said to be Titian and Giorgione, playing violin and violoncello. The former attribution to Giorgione is probably correct.
Graham-Gilbert Collection.
New Gallery, Venetian Exhibition, 1895. [No. 99.]
SHEPHERD BOY. Canvas, 1 ft. 11 in. x 1 ft. 8 in. [No. 101.]
From Charles I. Collection, where it was called a Giorgione. (See [p. 49] for a suggestion as to its possible authorship.)
BUCKINGHAM PALACE.
THREE FIGURES. Half-length; two men, and a woman fainting. Canvas, 2 ft. 5 in. x 2 ft. 1 in.
Ascribed to Titian, but probably derived from a Giorgione original. Other versions are said (C. and C. ii. 149) to have been at the Hague and in the Buonarroti Collection at Florence. The London picture is so damaged and repainted, although still of splendid colouring, as to preclude all certainty of judgment.
Formerly in Charles I. Collection.
MR. WENTWORTH BEAUMONT'S COLLECTION.
ADORATION OF THE SHEPHERDS, or NATIVITY. Wood, 3 ft. 6 in. x 2 ft. (about).
From the Gallery of Cardinal Fesch, and presumably the same as the picture in the Collection of James II. I have sought to identify this piece with the picture "da una Nocte," painted by Giorgione for Vittorio Beccare (See [p. 20], and Appendix quoting the original document.)
MR. R.H. BENSON'S COLLECTION.
HOLY FAMILY. Wood, 14 in. x 17 in.
New Gallery, 1895. [No. 148.] (See [p. 96.])
MADONNA AND CHILD. Wood, 1 ft. 6 in. x 1 ft. 10 in.
New Gallery, 1895. [No. 1, under Titian's name.] (See [p. 101.])
From the Burghley House Collection.
PORTRAIT OF A MAN. Canvas, 38 in. x 32 in.
Copy of a lost original. Three-quarter length; life-size; standing towards right; head facing; hands resting on a column, glove in left; black dress, cut square at throat.
New Gallery, 1895. [No. 52, as "Unknown.">[ (See [p. 74.])
COBHAM HALL, THE EARL OF DARNLEY'S COLLECTION.
PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.
Erroneously called Ariosto, and ascribed to Titian.
I have sought to identify this with the "Portrait of a Gentleman" of the Barberigo family, said by Vasari to have been painted by Titian at the age of eighteen. (See [p. 69.])
HERON COURT, THE EARL OF MALMESBURY.
THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.
Copy of an unidentified original, of which other versions are to be found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is probably a Bolognese repetition of the seventeenth century.
Ridolfi mentions this subject in his list of Giorgione's works.
New Gallery, 1895. [No. 29.]
HERTFORD HOUSE, WALLACE COLLECTION.
VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]
The picture was engraved as a Giorgione when in the Orleans Gallery. (See [p. 93.])
KENT HOUSE, THE LATE LOUISA LADY ASHBURTON.
TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.
The damaged state precludes any certainty of judgment. The composition is that of the Adrastus and Hypsipyle picture; the colouring recalls the National Gallery "Golden Age(?)." If an original, it is quite an early work. New Gallery, 1895. [No. 147.]
TWO FIGURES (half-lengths), A WOMAN AND A MAN.
Copy after a missing original, and in the style of the figures at Oldenburg. (See Venturi, La Gall. Crespi.) This or the original was engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in aedibus Burghesianis asservata.
KINGSTON LACY, COLLECTION OF MR. RALPH BANKES.
THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.
Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia, colla figura del ministro non finita." Afterwards in the Marescalchi Gallery at Bologna, where (1820) it was seen by Lord Byron, who especially praised it (vide Life and Letters, ed. by Moore, p. 705), and at whose suggestion it was purchased by his friend Mr. Bankes. (See [p. 25.])
Exhibited Royal Academy, 1869.
A PAINTED CEILING.
With four putti climbing over a circular balcony, seen in steep perspective, and covered with beautiful vine leaves and flowers. This is said to have been painted by Giorgione in the last year of his life (1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably preserved, and most likely a genuine work.
TEMPLE NEWSAM, COLLECTION OF THE HON. MRS MEYNELL-INGRAM.
PORTRAIT OF A MAN.
Traditionally ascribed to Titian. Just under life-size; he holds a black hat. Blue-black silk dress with sleeve of pinky red and golden brown gloves. Dark auburn hair. Dark grey marble wall behind. In excellent preservation. (See [p. 86.])
COLLECTION OF SIR CHARLES TURNER.
THE ADULTERESS BEFORE CHRIST.
A free Venetian repetition, perhaps based on an alternative design for the Glasgow picture. (See [p. 104.])
FRANCE.
LOUVRE.
FÊTE CHAMPÊTRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8 in. x 4 ft. 9 in.
Said to have been in Charles I. Collection, and sold to Louis XIV. by Jabuch. (See [p. 39.])
HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3 ft. 4 in. x 4 ft. 6 in.
Perhaps left incomplete by Giorgione at his death, and finished by Sebastiano del Piombo. (See [p. 105.])
From Charles I. Collection.
GERMANY.
BERLIN GALLERY.
PORTRAIT OF A YOUNG MAN.
Acquired from Dr. Richten (See p. 30.)
BERLIN, COLLECTION OF HERR VON KAUFFMANN.
STA. GIUSTINA.
A small seated figure with the unicorn. Recently acquired at Cologne, and known to the writer only by photograph and description, but tentatively accepted as genuine.
VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]
Formerly catalogued as a copy by Sassoferrato after Titian. Restored by Morelli to Giorgione, and universally accepted as such. Mentioned by the Anonimo and Ridolfi, and said to have been completed by Titian. (See [p. 35.])
THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.
Copy after a lost original. C. and C. suggest Girolamo Pennacchi as possible author. It bears the Este arms.
From the Manfrini and Barker Collections.
(See Gazette des Beaux Arts, 1884, tom. xxx. p. 223.)
JUDGMENT OF PARIS. Canvas, 1 ft. 9 in. x 2 ft. 3 in.
One of several copies of a lost original. [See under British Isles—Heron Court.]
ITALY
BERGAMO, GALLERY.
ORPHEUS AND EURYDICE. Wood, 1 ft. 3 in, x 1 ft. 9 in. [No. 179, Lochis section.]
(See [p. 89.])
MADONNA AND CHILD. Wood, 1 ft. 3 in. x 1 ft. 6 in. [No. 232, Lochis section, as "Titian.">[
The composition is very similar to Mr. Benson's "Madonna and Child" (q.v.). (See [p. 101.])
THE ADULTERESS BEFORE CHRIST. 4 ft. 11 in. x 7 ft. 3 in. [No. 26, Carrara section.]
Later copy, with slight variations, of the Glasgow picture, Ascribed to Cariani, and in a dirty state. (See [p. 104.])
CASTELFRANCO, DUOMO.
MADONNA AND CHILD ENTHRONED, SS. LIBERALE AND FRANCIS BELOW. Wood, 7 ft. 6 in. x 4 ft. 10 in.
(See [p. 7.])
THE CONCERT. Canvas, 3 ft. 10 in. x 7 ft. 4 in. [No. 185.]
Described by Ridolfi and Boschini.
An old copy is at Hyde Park House, another in the Palazzo Doria, Rome. (See [p. 49.])
THE THREE AGES. Wood, 3 ft. 8 in. x 5 ft. 4 in. [No. 157.]
By C. and C. ascribed to Lotto, by Morelli to Giorgione.
(See [p. 42.])
NYMPH AND SATYR. Canvas. [No. 147.]
(See [p. 44.])
FLORENCE, UFFIZI GALLERY.
TRIAL OF MOSES, or ORDEAL BY FIRE. Canvas. Figures one-eighth life-size. [No. 621.]
From Poggio Imperiale.(See [p. 15.])
JUDGMENT OF SOLOMON. Companion piece to last. Wood. [No. 630.]
(See [p. 15.])
KNIGHT OF MALTA. Canvas. Bust, life-size. [No. 622.]
The letters XXXV probably refer to the man's age. Mr. Dickes (Magazine of Art, April 1893) thinks he is Stefano Colonna, who died 1548. (See [p. 19.])
MILAN, CRESPI COLLECTION.
PORTRAIT OF CATERINA CORNARO. Canvas, 3 ft. 11 in. x 3 ft. 2 in.
From the Alessandro Martinengo Gallery, Brescia (1640), thence to Collection Francesco Riccardi, Bergamo, where C. and C. saw it in 1877. They state it was engraved in the line series of Sala. It has been known traditionally both as Caterina Cornaro and "La Schiavona." (See [p. 74.])
In the signature T.V. it is clear that the V represents the last letter but one in TITIANVS. The first three letters can just be made out. There are many pentimenti on the marble parapet, which seems to have been painted over the dress.
Two cassone panels with mythological scenes. Wood, about 4 ft. x 1 ft. each. [Nos. 416, 417.]
(See [p. 56.])
Two very small panels with mythological scenes, one representing LEDA AND THE SWAN. Wood, about 5 in. x 3 in. each. [Nos. 42, 43.]
(See [p. 90.])
ROME, BORGHESE GALLERY.
PORTRAIT OF A LADY. Canvas, 3 ft. 2 in. x 2 ft. 6 in.
(See [p. 33.])
NATIONAL GALLERY, PAL. CORSINI.
S. GEORGE AND THE DRAGON.
Recently acquired.
(Tentatively accepted from the photograph. See [p. 91.])
ROVIGO, GALLERY.
MADONNA AND CHILD. [NO. 2.]
Repetition by Titian 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. Cassone 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 pronounced 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 Titian, 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 repetitions 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 passage in Servius' Commentary on Virgil (lib. iii. v. 12). (See Wickhoff, loc. cit.)
LIST OF GIORGIONE'S PICTURES CITED BY "THE ANONIMO," AS
BEING IN HIS
DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.[[173]]
CASA TADDEO CONTARINI (1525).
(i) The Three Philosophers (since identified as Aeneas, Evander, and Pallas, in the Vienna Gallery),
(ii) Aeneas and Anchises in Hades.
(in) The Birth of Paris. (Since identified by the engraving of Th. von Kessel. A copy of the part representing the two shepherds is at Buda-Pesth.)
CASA JERONIMO MARCELLO (1525).
(i) Portrait of M. Jeronimo armed, showing his back and turning his head.
(ii) A nude Venus in a landscape with Cupid. Finished by Titian. (Since identified as the Dresden Venus.)
(in) S. Jerome reading.
CASA M. ANTON. VENIER (1528).
A soldier armed to the waist.
CASA G. VENDRAMIN (1530).
(i) Landscape with soldier and gipsy. (Since identified as the Adrastus and Hypsipyle of the Pal. Giovanelli, Venice.)
(ii) The dead Christ on the Tomb, supported by one Angel. Retouched by Titian. (This can hardly be the celebrated Pietà in the Monte di Pietà at Treviso, as there are here three angels. M. Lafenestre, in his Life of Titian, reproduces an engraving answering to the above description, but it is hard to believe this mannered composition is to be traced back to Giorgione.)
(i) A youth, half-length, holding an arrow.
(ii) Head of a shepherd boy, who holds a fruit.
CASA A. PASQUALINO.
(i) Copy of No. (i) just mentioned.
(ii) Head of S. James, with pilgrim staff (or, may be, a copy).
CASA ANDREA ODONI (1532).
S. Jerome, nude, seated in a desert by moonlight. Copy after Giorgione.
CASA MICHIEL CONTARINI (1543).
A pen drawing of a nude figure in a landscape. The painting of the same subject belonged to the Anonimo.
CASA PIERO SERVIO (1575).
Portrait of his father.
It is noteworthy that two of the above pieces are cited as copies, from which we may infer that Giorgione's productions were already, at this early date, enjoying such a vogue as to call for their multiplication at the hands of others, and we can readily understand how, in course of time, the fabrication of "Giorgiones" became a profitable business.
NOTES:
Notizie d'opere di disegno. Ed. Frizzoni. Bologna, 1884.