There is
even a purer ring about this lovely little "Holy Family," a child-like
sincerity and a simplicity which is very touching, while for sheer
beauty of colour it is more enjoyable than either of the others. It may
not have the depth of tone and mastery of chiaroscuro which make the
Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
and daintiness of treatment it is not surpassed by any other of
Giorgione's works. In its obvious defects, too, it is as thoroughly
characteristic; it is needless to repeat here what I said when
discussing the Beaumont and Vienna "Adoration"; the reader who compares
the reproductions will readily see the same features in both works. Mr.
Benson's little picture has this additional interest, that more than
either of its companion pieces it points forward to the Castelfranco
"Madonna" in the bold sweep of the draperies, the play of light on
horizontal surfaces, and the exquisite gaiety of its colour.
[Illustration: _Hanfstaengl photo. Vienna Gallery_ THE "GIPSY" MADONNA]
In claiming this picture for Giorgione I am claiming nothing new, for
his name, in spite of modern critics, has here persistently survived.
Not so with a group of three Madonnas, one of which has for at least two
centuries borne Titian's name, another which passes also for a work of
the same painter, whilst the third was claimed by Crowe and
Cavalcaselle again for Titian, partly on the analogy of the
first-mentioned one.
Pages:
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121