Giorgione

Unlike most famous artists of the past, Giorgione has not yet found a modern biographer. The whole trend of recent criticism has, in his case, been to destroy not to fulfil. Yet signs are not wanting that the disintegrating process is at an end, and that we have reached the point where reconstruction may be attempted. The discovery of documents and the recovery of lost pictures in the last few years have increased the available material for a more comprehensive study of the artist, and the time has come when the divergent results arrived at by independent modern inquirers may be systematically arranged, and a reconciliation of apparently conflicting views attempted on a psychological basis. Crowe and Cavalcaselle were the first to examine the subject critically. They separated-so far as was then possible (1871)-the real from the traditional Giorgione, and their account of his life and works must still rank as the nearest equivalent to a modern biography. Morelli, who followed in 1877, was in singular sympathy with his task, and has written of his favourite master enthusiastically, yet with consummate judgment. Among living authorities, Dr. Gronau, Herr Wickhoff, Signor Venturi, and Mr. Bernhard Berenson have contributed effectively to the elucidation of obscure or disputed points, and the latter writer has probably come nearer than anyone to recognise the scope of Giorgione's art, and grasp the man behind his work. The monograph by Signor Conti and the chapter in Pater's Renaissance may be read for their delicate appreciations of the "Giorgionesque"; other contributions on the subject will be found in the Bibliography.