Padua.
Paris. Fete Champetre.
Rome. Villa Borghese: Portrait of a Lady.
Venice. Seminario: Apollo and Daphne.
Palazzo Giovanelli: Gipsy and Soldier.
San Rocco: Christ bearing Cross.
Boston. Mrs. Gardner: Christ bearing Cross.
London. Sketch of a Knight; Adoration of Shepherds.
Viscount Allendale: Adoration of Shepherds.
Vienna. Evander showing Aeneas the Future Site of Rome.

CHAPTER XVI

THE GIORGIONESQUE

Giorgione had given the impulse, and all the painters round him felt his
power. The Venetian painters that is, for it is remarkable, at a time
when the men of one city observed and studied and took hints from those
of every other, how faint are the signs that this particular manner
attracted any great attention in other art centres. Leonardo da Vinci
was a master of chiaroscuro, but he used it only to express his forms,
and never sacrifices to it the delicacy and fineness of his design. It
is the one quality Raphael never assimilates, except for a brief instant
at the period when Sebastian del Piombo had arrived in Rome from
Venice. It takes hold most strongly upon Andrea del Sarto, who seems,
significantly enough, to have had no very pronounced intellectual
capacity, but in Venice itself it now became the only way. The old
Bellini finds in it his last and fullest ideal; Catena, Basaiti, Cariani
do their best to acquire it, and so successfully was it acquired, so
congenial was it to Venetian art, that even second- and third-rate
Venetian painters have usually something attractive which triumphs over
superficial and doubtful drawing and grouping. It is easy to see how
much to their taste was this fused and golden manner, this disregard of
defined form, and this new play of chiaroscuro. The Venetian room in the
National Gallery is full of such examples: the Nymphs and _Amoretti_ of
No. 1695, charming figures against melting vines and olives; "Venus and
Adonis," in which a bewitching Cupid chases a butterfly; Lovers in a
landscape, roaming in the summer twilight; scenes in which neither
person nor scenery is a pretext for the other, but each has its full
share in arousing the desired emotion. Such pictures are ascribed to, or
taken from Giorgione by succeeding critics, but have all laid hold of
his charm, and have some share in his inspiration.

One of the ablest of his followers, a man whose work is still confounded
with the master's