Before I leave this wonderful portrait of a gentleman of the Barberigo family (so says Vasari), a word as to its date is necessary.  The historian tells us it was painted by Titian at the age of eighteen.  Clearly some tradition existed which told of the youthfulness of the painter, but may we assume that Giorgione was only eighteen at the time?  That would throw the date back to 1495.  Is it possible he can have painted this splendid head so early in his career?  The freedom of handling, and the mastery of technique certainly suggests a rather later stage, but I am inclined to believe Giorgione was capable of this accomplishment before 1500.  The portrait follows the Berlin “Young Man,” and may well take its place among the portraits which, as we have seen, Giorgione must have painted during the last decade of the century prior to receiving his commission to paint the Doge.  And in this connection it is of special interest to find the Doge was himself a Barberigo.  May we not conclude that the success of this very portrait was one of the immediate causes which led to Giorgione obtaining so flattering a commission from the head of the State?

I mentioned incidentally that four repetitions of the “Ariosto” exist, all derived presumably from the Cobham original.  We have a further striking proof of the popularity of this style of portraiture in a picture belonging to Mr. Benson, exhibited at the Venetian Exhibition, New Gallery, 1894-5, where the painter, whoever he may be, has apparently been inspired by Giorgione’s original.  The conception is wholly Giorgionesque, but the hardness of contour and the comparative lack of quality in the touch betrays another and an inferior hand.  Nevertheless the portrait is of great interest, for could we but imagine it as fine in execution as in conception we should have an original Giorgione portrait before us.  The features are curiously like those of the Barberigo gentleman.

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In his recently published Life of Titian, Dr. Gronau passes from the consideration of the Cobham Hall picture immediately to that of the “Portrait of a Lady,” known as “La Schiavona,” in the collection of Signor Crespi in Milan.  In his opinion these two works are intimately related to one another, and of them he significantly writes thus:  “The influence of Giorgione upon Titian” (to whom he ascribes both portraits) “is evident.  The connection can be traced even in the details of the treatment and technique.  The separate touches of light on the gold-striped head-dress which fastens back the lady’s beautiful dark hair, the variegated scarf thrown lightly round her waist, the folds of the sleeves, the hand with the finger-tips laid on the parapet:  all these details might indicate the one master as well as the other."[90]