The
"Apollo and Daphne" in the Seminario at Venice was probably a panel of a
_cassone_; but although intended for so humble a place, it is instinct
with rare poetic feeling and beauty. Unfortunately it is in such a bad
state that little remains of the original work, and Giorgione's touch
is scarcely to be recognised in the damaged parts. Nevertheless, his
spirit breathes amidst the ruin, and modern critics have recognised the
justice of Morelli's view, rather than that of Crowe and Cavalcaselle,
who suggested Schiavone as the "author."[42] And, indeed, a comparison
with the "Adrastus and Hypsipyle" is enough to show a common origin,
although, as we might expect, the same consummate skill is scarcely to
be found in the _cassone_ panel as in the easel picture. There is a rare
daintiness, however, in these graceful figures, so essentially
Giorgionesque in their fanciful presentation, the young Apollo, a
lovely, fair-haired boy, pursuing a maiden with flowing tresses, whose
identity with Daphne is only to be recognised by the laurel springing
from her fingers. The story is but an episode in a sylvan scene, where
other figures, in quaint costumes, seem to be leading an idyllic
existence, untroubled by the cares of life, and utterly unconcerned at
the strange event passing before their eyes.
From the "Apollo and Daphne" it is an easy transition to the "Venus,"
that great discovery which we owe to Morelli, and now universally
recognised by modern critics.
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