In my opinion this is one of his earliest essays into the
region of romance, painted probably before his twenty-first year,
betraying, like the little legendary pictures in the Uffizi, a strong
affinity with Carpaccio.[116]
[Illustration: _Hanfstaengl photo. Na. nal Gallery, London_
? THE GOLDEN AGE]
As to the subject many conjectures have been made: Aristotle surrounded
by emblems illustrating the objects with which his philosophy was
concerned, an initiation into some mystic rite, the poet musing in
sadness on the mysteries of life, the philosopher imparting wisdom to
the young, etc. etc. I believe Giorgione is simply giving us a poetical
rendering of "The Golden Age," where, like Plato's philosopher-king, the
seer all-wise and all-powerful holds sway, before whom the arts and
sciences do homage; in this earthly paradise even strange animals live
in happy harmony, and all is peace. Such a theme would well have suited
Giorgione's temperament, and Ridolfi actually tells us that this very
subject was taken by Giorgione from the pages of Ovid, and adapted by
him to his own ends.[117] But whether this represents "The Golden Age,"
or some other allegory or classic story, the picture is completely
characteristic of all that is most individual in Giorgione, and I
earnestly hope the slur now cast upon its character by the misleading
label will be speedily removed.[118] For the public believes more in the
labels it reads, than the pictures it sees.
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