INDEX

Adoration of the Magi, The

(National Gallery),

[22]

[53]

Adoration of the Shepherds, The

(Mr. Beaumont),

;

replica at Vienna, [24], [147], [ill. 20].

Adrastus and Hypsipyle

(Prince Giovanelli, Venice),

Adulteress before Christ, The

(Glasgow),

Adulteress before Christ, The

(Sir Charles Turner),

[104]

[153]

Aeneas, Evander, and Pallas

(Vienna),

Anonimo, The (quoted),

Antonello,

Apollo and Daphne

(Seminario, Venice),

Ariosto

, So-called portrait of (Cobham Hall),

;

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,

Barberigo, Portrait of a gentleman of the family of,

Bellini, Gentile,

Bellini, Giovanni,

;

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),

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),

Bordone, Paris,

;

his Fisherman presenting the Ring to the Doge, [56].

Broccardo, Antonio, Portrait of,

[32]

[70]

Burton, Sir Frederic,

[82]

Campagnola, Pictures attributed to,

Cariani, Pictures attributed to,

;

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),

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),

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),

Golden Age, The

Gronau, Dr. (quoted),

Harck, Dr. (quoted),

Holy family, The

(Mr. R. Benson),

Judgment of Solomon, The

(Uffizi),

Judgment of Solomon, The

(Mr. R. Bankes),

Judith

(St. Petersburg),

Keats, Analogy between Giorgione and,

[59]

[110]

Kessel, Th. von, Engraving of Giorgione's

Birth of Paris

by,

[47]

[147]

Knight of Malta

(Uffizi),

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,

;

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),

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),

Madonna and Saints

(Louvre),

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,

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),

Padua, Two

cassone

panels at,

;

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),

Pastoral Symphony

(Louvre),

Pater, Walter, his "Renaissance" quoted,

[43]

Pennacchi, influenced by Giorgione,

[10]

Penther, Herr,

[38]

Phillips, Mr. Claude (quoted),

Pordenone, Giorgione's

Madonna

at Madrid attributed to,

[45]

Portrait of a Lady

(Borghese Gallery, Rome),

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),

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),

Portrait of a Young Man

(Berlin),

Portrait of a Young Man

(Buda-Pesth),

Portrait of a Young Man

(Lady Ashburton) by Licinio,

[34]

Poynter, Sir Edward,

[94]

Raphael, Giorgione's

Judith

attributed to,

[38]

Richter, Dr. (quoted),

Ridolfi (quoted),

Ruskin (quoted),

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,

Statius, Story from,

Storm calmed by S. Mark

(Academy, Venice) attributed to Giorgione by Mr Berenson,

Stormy Landscape with the Soldier and Gipsy.

See

Adrastus and Hypsipyle

Three Ages, The

(Pitti),

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),

Two Musicians, The

(Glasgow), 91 note,

[149]

Van Dyck, Sketch of

Christ bearing the Cross

by,

Vasari (quoted),

Vecellio, Francesco, Giorgione's

Madonna

at Madrid attributed to, 45 note.

Venturi, Signor (quoted),

, 57 note,

Venus

(Dresden),

;

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),

Zanetti,