GIORGIONE
BY
HERBERT COOK, M.A., F.S.A.
BARRISTER-AT-LAW
1904
"Born half-way between the mountains and the sea—that young Georgeof Castelfranco—of the Brave Castle: Stout George they called him,George of Georges, so goodly a boy he was—Giorgione."
(RUSKIN: Modern Painters, vol. V. pt. IX. ch. IX.)
First Published, November 1900 Second Edition, revised, with newAppendix, February 1904.
PREFACE
Unlike most famous artists of the past, Giorgione has not yet foundamodern biographer. The whole trend of recent criticism has, in hiscase,been to destroy not to fulfil. Yet signs are not wanting that thedisintegrating process is at an end, and that we have reached the pointwhere reconstruction may be attempted. The discovery of documents andthe recovery of lost pictures in the last few years have increased theavailable material for a more comprehensive study of the artist, andthetime has come when the divergent results arrived at by independentmodern inquirers may be systematically arranged, and a reconciliationofapparently conflicting views attempted on a psychological basis.
Crowe and Cavalcaselle were the first to examine the subjectcritically.They separated—so far as was then possible (1871)—the real from thetraditional Giorgione, and their account of his life and works muststill rank as the nearest equivalent to a modern biography. Morelli,whofollowed in 1877, was in singular sympathy with his task, and haswritten of his favourite master enthusiastically, yet with consummatejudgment. Among living authorities, Dr. Gronau, Herr Wickhoff, SignorVenturi, and Mr. Bernhard Berenson have contributed effectively to theelucidation of obscure or disputed points, and the latter writer hasprobably come nearer than anyone to recognise the scope of Giorgione'sart, and grasp the man behind his work. The monograph by Signor Contiand the chapter in Pater's Renaissance may be read for theirdelicateappreciations of the "Giorgionesque"; other contributions on thesubjectwill be found in the Bibliography.
It is absolutely necessary for those whose judgment depends upon astudyof the actual pictures to be constantly registering and adjusting theirimpressions. I have personally seen and studied all the pictures Ibelieve to be by Giorgione, with the exception of those at St.Petersburg; and many galleries and churches where they hang have beenvisited repeatedly, and at considerable intervals of time. If in thecourse of years my individual impressions (where they deviate fromhitherto recognised views) fail to stand the test of time, I shall bethe first to admit their inadequacy. If, on the other hand, they provesound, some of the mists which at present envelop the figure ofGiorgione will have been dispersed.
H.C.
November 1900
NOTE TO THE SECOND EDITION
To this Edition an Appendix has been added, containing—(1) anarticleby the Author on the age of Titian, which was published in theNineteenth Century of January 1902; (2) the translation of areply byDr. Georg Gronau, published in the Repertorium fürKunstwissenschaft;(3) a further reply by the Author, published