Following our method of investigation we will next consider the
pictures which Morelli accredits to Giorgione over and above the seven
already discussed, wherein he concurs with Crowe and Cavalcaselle. These
are twelve in number, and include some of the master's finest works,
some of them unknown to the older authorities, or, at any rate,
unrecorded by them. Here, therefore, the opinions of Crowe and
Cavalcaselle are not of so much weight, so it will be necessary to see
how far Morelli's views have been confirmed by later writers during the
last twenty years.
Three portraits figure in Morelli's list--one at Berlin, one at
Buda-Pesth, and one in the Borghese Gallery at Rome.
[Illustration: _Hanfstaengl photo. Berlin Gallery_
PORTRAIT OF A YOUNG MAN]
First, as to the Berlin "Portrait of a Young Man," which, when Morelli
wrote, belonged to Dr. Richter, and was afterwards acquired for the
Berlin Gallery. "In it we have one of those rare portraits such as only
Giorgione, and occasionally Titian, were capable of producing, highly
suggestive, and exercising over the spectator an irresistible
fascination."[34] Such are the great critic's enthusiastic words, and no
one surely to-day would be found to gainsay them. We may note the
characteristic treatment of the hair, the thoughtful look in the eyes,
and the strong light on the face in contrast to the dark frame of hair,
points which this portrait shares in common with the "Knight of Malta"
in the Uffizi.
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