The question of his birthplace and origin has been in great dispute.  Without going into the evidence at length, we may accept with some degree of certainty the results at which recent German research has arrived.[3] Dr. Gronau’s conclusion is that Giorgione was the son (or grandson) of a certain Giovanni, called Giorgione of Castelfranco, who came originally from the village of Vedelago in the march of Treviso.  This Giovanni was living at Castelfranco, of which he was a citizen, in 1460, and there, probably, Giorgione his son (or grandson) was born some seventeen years later.

The tradition that the artist was a natural son of one of the great Barbarella family, and that in consequence he was called Barbarelli, is now shown to be false.  This cognomen is first found in 1648, in Ridolfi’s book, to which, in 1697, the picturesque addition was made that his mother was a peasant girl of Vedelago.[4] None of the earlier writers or contemporary documents ever allude to such an origin, or speak of “Barbarelli,” but always of “Zorzon de Castelfrancho,” “Zorzi da Castelfranco,” and the like,[5]

We may take it as certain that Giorgione spent the whole of his short life in Venice and the neighbourhood.  Unlike Titian, whose busy career was marked by constant journeyings and ever fresh incidents, the young Castelfrancan passed a singularly calm and uneventful life.  Untroubled, apparently, by the storm and stress of the political world about him, he devoted himself with a whole-hearted simplicity to the advancement of his art.  Like Leonardo, he early won fame for his skill in music, and Vasari tells us the gifted young lute-player was a welcome guest in distinguished circles.  Although of humble origin, he must have possessed a singular charm of manner, and a comeliness of person calculated to find favour, particularly with the fair sex.  He early found a quasi-royal friend and patroness in Caterina Cornaro, ex-Queen of Cyprus, whose portrait he painted, and whose recommendation, as I believe, secured for him important commissions in the like field.  But we may leave Giorgione’s art for fuller discussion in the following chapters, and only note here two outside events which were not without importance in the young artist’s career.

The one was the visit paid by Leonardo to Venice in the year 1500.  Vasari tells us “Giorgione had seen certain works from the hand of Leonardo, which were painted with extraordinary softness, and thrown into powerful relief, as is said, by extreme darkness of the shadows, a manner which pleased him so much that he ever after continued to imitate it, and in oil painting approached very closely to the excellence of his model."[6] This statement has been combated by Morelli, but although historical evidence is wanting that the two men ever actually met, there is nothing improbable in Vasari’s account.  Leonardo certainly came to Venice for a short time in 1500, and it would be perfectly natural to find the young Venetian, then in his twenty-fourth year, visiting the great Florentine, long a master of repute, and from him, or from “certain works of his,” taking hints for his own practice.[7]