As to the subject many conjectures have been made: Aristotle surrounded by emblems illustrating the objects with which his philosophy was concerned, an initiation into some mystic rite, the poet musing in sadness on the mysteries of life, the philosopher imparting wisdom to the young, etc. etc. I believe Giorgione is simply giving us a poetical rendering of "The Golden Age," where, like Plato's philosopher-king, the seer all-wise and all-powerful holds sway, before whom the arts and sciences do homage; in this earthly
paradise even strange animals live in happy harmony, and all is peace. Such a theme would well have suited Giorgione's temperament, and Ridolfi actually tells us that this very subject was taken by Giorgione from the pages of Ovid, and adapted by him to his own ends.[[117]] But whether this represents "The Golden Age," or some other allegory or classic story, the picture is completely characteristic of all that is most individual in Giorgione, and I earnestly hope the slur now cast upon its character by the misleading label will be speedily removed.[[118]] For the public believes more in the labels it reads, than the pictures it sees.
Finally, in the "Venus disarming Cupid," of the Wallace collection, we have, in my opinion, the wreck of a once splendid Giorgione. In the recent re-arrangement of the Gallery, this picture, which used to hang in an upstairs room, and was practically unknown, has been hung prominently on the line, so that its beauties, and, alas! its defects, can be plainly seen. The outlines are often distorted and blurred, the Cupid has become monstrous, the delicacy of the whole effaced by ill-usage and neglect. Yet the splendour of colour, the cast of drapery, the flow of line, proclaims the great master himself. There is no room, moreover, for such a mythical compromise as that which is proposed by the catalogue, "It stands midway in style between Giorgione and Titian in his Giorgionesque phase." No better instance could be adduced of the fallacy of perfection implied in the minds of most critics at the mention of Giorgione's name; yet if we accept the Louvre "Concert," if we accept the Hermitage "Judith," why dispute Giorgione's claim on the ground of "weakness of construction"? This "Venus and Cupid" is vastly inferior in quality to the Dresden "Venus,"—let us frankly admit it,—but it is none the less characteristic of the artist, who must not be judged by the standard of his exceptional creations, but by that of his normal productions.[[119]]
Just such another instance of average merit is afforded by the "Venus and Adonis" of the National Gallery (No. 1123), from which, had not an artificial standard of excellence been falsely raised, Giorgione's name would never have been removed. I am happily not the first to call attention to the propriety of the old attribution, for Sir Edward Poynter claims that the same hand that produced the Louvre "Concert" is also responsible for the "Venus and Adonis."[[120]] I fully share this opinion. The figures, with their compactly built and rounded limbs, are such as Giorgione loved to model, the sweep of draperies and the splendid line indicate a consummate master, the idyllic landscape framing episodes from the life of Adonis is just such as we see in the Louvre picture and elsewhere, the glow and splendour of the whole reveal a master of tone and colouring. Some good judges would give the work to the young Titian, but it appears too intimately "Giorgionesque" to be his, although I admit the extreme difficulty in drawing the line of division. Passages in the "Sacred and Profane Love" of the Borghese Gallery are curiously recalled, but the National Gallery picture is clearly the work of a mature and experienced hand, and not of any young artist. In my opinion it dates from about 1508, and illustrates the later phase of Giorgione's art as admirably as do the "Epiphany" (No. 1160) and the "Golden Age" (No. 1173) his earliest style. Between these extremes fall the "Portrait" (No. 636), and the "S. Liberale" (No. 269), the National Gallery thus affording unrivalled opportunity for studying the varying phases of the great Venetian master at different stages of his career.
We may now pass from the realm of "fancy" subjects to that of sacred art—that is, to the consideration of the "Madonnas," "Holy Families," and "Santa Conversazione" pictures, other than those already described. The Beaumont "Adoration of the Shepherds," with its variant at Vienna, the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony and S. Roch," and the Castelfranco altar-piece are the only instances so far of Giorgione's sacred art, yet Vasari tells us that the master "in his youth painted very many beautiful pictures of the Virgin."
This statement is on the face of it likely enough, for although the young Castelfrancan early showed his independence of tradition and his preference for the more modern phases of Bellini's art, it is extremely probable he was also called upon to paint some smaller devotional pieces, such, for instance, as "The Christ bearing the Cross," lately in the Casa Loschi at Vicenza.[[121]] It is noteworthy, all the same, that scarcely any "Madonna" picture exists to which his name still attaches, and only one "Holy Family," so far as I am aware, is credibly reputed to be his work. This is Mr. Benson's little picture, in all respects a worthy companion to the Beaumont and National Gallery examples. There is even a purer ring about this lovely little "Holy Family," a child-like sincerity and a simplicity which is very touching, while for sheer beauty of colour it is more enjoyable than either of the others. It may not have the depth of tone and mastery of chiaroscuro which make the Beaumont "Adoration" so subtly attractive, but in tenderness of feeling and daintiness of treatment it is not surpassed by any other of Giorgione's works. In its obvious defects, too, it is as thoroughly characteristic; it is needless to repeat here what I said when discussing the Beaumont and Vienna "Adoration"; the reader who compares the reproductions will readily see the same features in both works. Mr. Benson's little picture has this additional interest, that more than either of its companion pieces it points forward to the Castelfranco "Madonna" in the bold sweep of the draperies, the play of light on horizontal surfaces, and the exquisite gaiety of its colour.