. The table book of art; a history of art in all countries and ages . ades, sometimes incompany with Titian; grand work, which has inevitably perished, if not by fire, bytime and by the sea-damp of Venice, for to Venice Giorgione belonged, and there isno sign that he ever left it. He had no school, and his love of music and society—the last taste found notseldom, an apparent anomaly, in silent, brooding natures—might tend to withdrawhim from his art. He has left a trace of his love for music in his pictures of Concerts and of Pastorals, in which musical performances are made Giorg
. The table book of art; a history of art in all countries and ages . ades, sometimes incompany with Titian; grand work, which has inevitably perished, if not by fire, bytime and by the sea-damp of Venice, for to Venice Giorgione belonged, and there isno sign that he ever left it. He had no school, and his love of music and society—the last taste found notseldom, an apparent anomaly, in silent, brooding natures—might tend to withdrawhim from his art. He has left a trace of his love for music in his pictures of Concerts and of Pastorals, in which musical performances are made Giorgione, with his romantic, idealizing temperament, genre pictures took thisform, while he is known to have painted from Ovid and from the Italian tales of histime. He was employed frequently to paint scenes on panels, for the richlyornamented Venitian furniture. Giorgione was not without a bent to realism in hisvery idealism, and is said to have been the first Italian painter who imitated thereal texture of stuffs and painted draperies from the actual ~jZ CORREGGIO. g $ Giorgione died at the early age of thirty-three years, in 1511. One accountrepresents him as dying of the plague, others attribute his death to a sadder is said to have had a friend and fellow-painter who betrayed their friendship,and carried off the girl whom Giorgione loved. Stung to the quick by the doublefalsehood, the tradition goes on to state that Giorgione fell into despair with lifeand all it held, and so died. Giorgiones historic pictures are rare, his sacred pictures, rarer still; amon- thelast is a Finding of Moses, now in Milan. In portraits Giorgione has only been exceeded by Titian. In the NationalGallery, London, there is an unimportant St. Peter the Martyr, and a finer Maestro diCapella giving a music lesson, which Kugler assigns to Giorgione, though it has beengiven elsewhere to Titian. The refined voluptuousness and impassioned sombre-ness of Giorgiones painting have in
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