The
artist must have been in keen sympathy with this melancholy figure, for
the expression is so intense that, as Morelli says, "he seems about to
confide to us the secret of his life."[36]
Several points claim our attention. First, the parapet has an almost
illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the
young man's name. Further, we may notice the recurrence of the letter V
on a black device, and there is a second curious black tablet, which,
however, has nothing on it. Between the two is a circle with a device of
three heads in one surrounded by a garland of flowers. No satisfactory
explanation of these symbols can be offered, but if the second black
tablet had originally another V, we might conclude that these letters
were in some mysterious way connected with Giorgione, as they appear
also on the Berlin portrait. I shall be able to show that another
instance of this double V exists on yet another portrait by
Giorgione.[37]
Finally, the expressiveness of the human hand is here fully realised.
This feature alone points to a later date than the "Knight of Malta,"
and considerably after the still earlier Berlin portrait. The consummate
mastery of technique, moreover, indicates that Giorgione has here
reached full maturity, so that it would be safe to place this portrait
about the year 1508.
[Illustration: _Buda-Pesth Gallery_
PORTRAIT OF A MAN]
Signor Venturi ("La Galleria Crespi") ascribes this portrait to Licinio.
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