44
;
hisBuffone,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;
cassonepanels by,34,56,89;
hisVenuscompleted 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 ofAriostoattributed 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),
97
,
148
,
ill. 92.
Golden Age, The
,
92
,
93
,
95
,
148
,
ill. 92
.
Gronau, Dr. (quoted),
1
,
5
,
40
,
42 note
,
50
,
70
,
74
,
78
,
97
.
Harck, Dr. (quoted),
37
Holy family, The
(Mr. R. Benson),
22
,
95
,
96
,
150
,
ill. 96
.
Judgment of Solomon, The
(Uffizi),
15
-
17
,
62
,
155
,
ill. 14
.
Judgment of Solomon, The
(Mr. R. Bankes),
20
,
23
,
25
-
29
,
39
,
42
,
65
,
102
,
104
,
110
,
152
,
ill. 26
.
Judith
(St. Petersburg),
37
,
64
,
78
,
94
,
103
,
158
,
ill. 38
.
Keats, Analogy between Giorgione and,
59
,
110
.
Kessel, Th. von, Engraving of Giorgione's
Birth of Paris
by,
47
,
147
.
Knight of Malta
(Uffizi),
15
,
19
,
30
,
31
,
32
,
44
,
60
,
65
,
70
,
155
,
ill. 18
.
Knight in Armour
(National Gallery),
20
,
149
.