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.
It is absolutely necessary for those whose judgment depends upon a study
of the actual pictures to be constantly registering and adjusting their
impressions. I have personally seen and studied all the pictures I
believe to be by Giorgione, with the exception of those at St.
Petersburg; and many galleries and churches where they hang have been
visited repeatedly, and at considerable intervals of time. If in the
course of years my individual impressions (where they deviate from
hitherto recognised views) fail to stand the test of time, I shall be
the first to admit their inadequacy.
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