G I O R G I O N E a n e w S t ud y o f h is a r t a s a L A N D S C A P E P A I N T E R THE WOODCUTTERS OF THE NETHE RLANDS IN THE FIFTEBNI’ ‘H CENT 1 8 8 URY, 4 THE ARTISTIC DEVELOPMENT OF REYNOLDS AN D GAINS O O 1 8 86 B R UGH, E E T T 1 8 8 ARLY FL MISH AR IS S, 7 THE L TE A RE N OF E T E 1 8 8 I R RY MAI S ALBR CH DUR R, 9 THE N OF T 1 8 1 DAW AR , 9 ’ C E G E To THE PENN NE AND LEPONTINE S LIMB RS UID S I ALP , 1 8 0 ETC . 9 , C N AN D EX ORAT ON IN THE K KO -H LIMBI G PL I ARA RAM IMALAYAS, 1 8 94 THE F O END To END 1 8 ALPS R M , 95 THE T C O N OF S T E EN 1 8 FIRS R SSI G PI SB RG , 97 W T SKI AND S E E OVE T G E 1 8 8 I H L DG R ARC IC LACI RS, 9 THE BO V N N E 1 0 1 LI IA A D S, 9 THE O N OF T 1 02 D MAI AR , 9 E N T T 1 02 ARLY TUSCA AR IS S, 9 ON AND E DEL E O 1 02 AC CAGUA TI RRA FU G , 9 G E T M TE 1 0 R A AS RS, 9 4 THE 1 0 ALPS, 9 4 E T AND EN VO E To S T E EN 1 0 ARLY DU CH GLISH YAG S PI SB RG , 9 4 ’ ’ NO M N L N Hzfl ofS itsber en 1 06 A S A D ( wy p g ), 9 THE S O T OF CO E TIN 1 1 P R LL C G, 9 4 THE C O IN PE E AND WAR 1 1 R WD AC , 9 5 THE E OF ST . EN 1 1 6 ABB Y D IS , 9 MO NT N ME O E 1 20 U AI M RI S, 9 THE VAN E K AND T E O O E 1 2 1 YC S H IR F LL W RS, 9 P E T NE AND MO O O 1 2 AL S I R CC , 9 3 THE T E E OF SOV ET R 1 2 AR TR ASUR S I USSIA, 9 5 GIO R G IO N E n e w s tud y O f h i s a r t a s L AN D S C A P E P A I N T E R 5} Sir M a r t in C o n w ay M P Litt. D. , . F ormer/J Slade Profauor qfA rt at Cambridge L O N D O N E R N E S T B E N N L I M I T E D Bo t/ e e r i e Ho m e F le e t S t r e e t L I S T O F I L L U S T R AT I O N S PARIS EXPOSED F ro ntispieoe FRAGMEN T OF THE BIRTH OF PARIS . Bndapeyt Gallery THE B i . L T O F P Co b e n e rs. elon in to Mrs Clear/e; oeyer IR H ARIS py y T B g g . AN i i i E B G o ann Be llin . i lle ALL GORY . y v Ufiz Ga ry THE N A llin to Caf t e o leetio FI DIN G OF PARIS . g n l C l n P E T A llin to C t e Colle t on ARIS GIV N O N URSE . g n ae l e i E D TAIL OF FIG . 4 B t DRAWIN G OF A CHILD . y Albre c h Dure x: DRAWIN G OF A LANDSCAPE . Froin tbe Vendrani in Catalogue N F ’ DRAWI G O PARIS AND THE THREE GODDESSES . tbe Venaranzin ’ THE F U i i Galler JUDGMEN T O SOLOMON . jjz y THE O E F E U i Galler RD AL O MOS S . fiz y O E AN D E E eranzo Galle RPH US URYDIC . B g y ’ O O AND N E S eminario aella Salute Venice AP LL DAPH . , ’ TWO C N E P Paana Galler ASSO ANELS . y % T AND G atina Galle A OU H A IRL . P ry LE AND THE S Paolna Gal/e r DA WAN . a THE E E T . ala o Giooanelli Veniee T MP S P zz , i a o ' ort a ton A GIRL AND A SOLDIER . Belong ng to tbe M rquis f N b nip THE CASTE LFRAN CO MADONNA THE EE P E Vienna Galler THR HILOSOPH RS . y i arl o Mal bar PARIS AND THE THRE E GODDESSES . Belong ng to tbe E f ni em y ’ Drexaen Galle SLEEPIN G VENUS . ry HE E Tbe L enore T FET CHAMPETRE . Tbe majority of tbe pbotograpby bane been ep eeially takenfor tbe d w er Han e taen l antbor Otb r: ar b eur A linari an M e . e e M e . y f g G IO R G IO N E A S A L A NDS C A P E P A INT ER GI R GI N c m m i i i f rm e m a i O O E of Castelfranco is , in the o on op n on of n o d nk nd, a a mir hi nt m o r one of the greatest painters of all time . He w s d e d by s c o e p aries his reputation has never suffered eclipse but rather increased With the % e t m is passing ce nturies . of the man hi self little is know n and less of con f temporary record . His short li e covers a most interesting period When the i f w as fl . ts tide of the Renaissance setting in ood He himself, borne on irst its great wave, expressed its spirit and inspired exponents in the domain of T hus . painting . in the history of Venetian art he is a pivotal personage To i i H s h s . OW understand him to probe the ideals of day his art arose, by What w as ho w o w n in influences it shaped , his gifted nature responded to those flue nce s , What he absorbed and What he refused, What he received and what he gave—the discovery and clear exposition of these facts is a prime duty for the historian of Venetian art . h as It is nevertheless unfortunately true that, notwithstanding all that been written by the most learned experts on Italian art, these particular problems h as n have never been squarely faced . There been much writi g about u - ff Giorgione . Strenuo s and long continued e orts have been made to draw up a list of his ex istin g works Which might receive general acceptance Gio r io ne s but no such union ofopinion has been attained . The g of Crowe and Cavalcase lle C , of Morelli, of Berenson, of ook, of Venturi, and of Ludwig Justi overlap one another but do not coincide . The trouble is that many the t n him of pic ures defi itely recorded as by no longer exist, While of the t fe w a ro x i pic ures reasonably ascribable to him, are authenticated by pp mately contemporary record and several are in very bad condition . The problem his of later works , Which does not here concern us , is further complicated by the recorded fact that the pictures he left behind him in an incomplete condition ni f so is were fi shed by his Slightly younger ollower Titian, that it a matter of great difficulty to draw a line between such works and others painted Wholly w as l by Titian at the same date , While the influence of Giorgione powerfu upon him . During the last half-century or thereabout a group o f connoisseurs has arisen, Who , by intensive study of pictures in minute detail, have been able to 9 G IORGI ONE ul group together sets ofpictures as assuredly the work ofpartic ar artists , either ni known or not known by name . These experts have learned to recog ze the i actual handiwork of a man, his individual tricks of touch, as a handwrit ng iff expert d erentiates script . But handwriting experts for all their care and n l learning are far from i fallib e, and experts in painting attributions are no more M . 18 une from error There not one of them Who on occasion has not made , nf n and co essed to maki g, serious blunders . We regard their judgments With W e d . respect, but do not surrender to them an uncon itional assent Moreover, it is obvious that in the nature o f things there must be many limitations to their h ’ . W assurance ere an artist s output is large, continuous , and amply preserved, it is possible to follow the changes in his style from year to year and even from ’ ni month to month .