PAGE OF VANDYCK’S SKETCH-BOOK, WITH GIORGIONE’S “CHRIST BEARING THE CROSS,” IN THE CHURCH OF S. ROCCO, VENICE]

Mr. Berenson, in his Venetian Painters, includes two other pictures in an extremely exclusive list of seventeen genuine Giorgiones.  These are both in Venice, “The Christ bearing the Cross” (in S. Rocco), and “The Storm calmed by S. Mark” (in the Academy).  The question whether or no we are to accept the former of these pictures has its origin in a curious contradiction of Vasari, who, in the first edition of his Lives (1550), names Giorgione as the painter, whilst in the second (1565), he assigns the authorship to Titian.  Later writers follow the latter statement, and to this day the local guides adhere to this tradition.  That the attribution to Giorgione, however, was still alive in 1620-5, is proved by the sketch of the picture made by the young Van Dyck during his visit to Italy, for he has affixed Giorgione’s name to it, and not that of Titian.[71] I am satisfied that this tradition is correct.  Giorgione, and not Titian, painted the still lovely head of Christ, and Giorgione, not Titian, drew the arm and hand of the Jew who is dragging at the rope.  Characteristic touches are to be seen in the turn of the head, the sloping axis of the eyes, and especially the fine oval of the face, and bushy hair.  This is the type of Giorgione’s Christ; “The Tribute Money” (at Dresden) shows Titian’s.  Unfortunately the panel has lost all its tone, all its glow, and most of its original colour, and we can scarcely any longer admire the picture which, in Vasari’s graphic language, “is held in the highest veneration by many of the faithful, and even performs miracles, as is frequently seen”; and again (in his Life of Titian), “it has received more crowns as offerings than have been earned by Titian and Giorgione both, through the whole course of their lives.”

The other picture included by Mr. Berenson in his list is the large canvas in the Venice Academy, with “The Storm calmed by S. Mark.”  According to this critic it is a late work, finished, in small part, by Paris Bordone.  In my opinion, it would be far wiser to withhold definite judgment in a case where a picture has been so entirely repainted.  Certainly, in its present state, it is impossible to recognise Giorgione’s touch, whilst the glaring red tones of the flesh and the general smeariness of the whole render all enjoyment out of question.  I am willing to admit that the conception may have been Giorgione’s, although even then it would stand alone as evidence of an imagination almost Michelangelesque in its terribilita. Zanetti (1760) was the first to connect Giorgione’s name with this canvas, Vasari bestowing inordinate praise upon it as the work of Palma Vecchio!  It only remains to add that this is the companion piece to the well-known “Fisherman presenting the Ring to the Doge,” by Paris Bordone, which also hangs in the Venice Academy.  Both illustrate the same legend, and both originally hung in the Scuola di S. Marco.