[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.
[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.
[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.
[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