h, not love ideal,
No, nor ideal beauty, that fine name,
But something better still, so very real,
That the sweet Model must have been the same;
A thing that you would purchase, beg, or steal,
Wer't not impossible, besides a shame;
The face recalls some face, as 'twere with pain.
You once have seen, but ne'er will see again;

One of those forms which flit by us, when we
Are young, and fix our eyes on every face:
And, oh! the Loveliness at times we see
In momentary gliding, the soft grace,
The Youth, the Bloom, the Beauty which agree,
In many a nameless being we retrace
Whose course and home we knew not nor shall know.
Like the lost Pleiad seen no more below.

The Giovanelli picture is one of the paintings which all the critics
agree to give to Giorgione, from Sir Sidney Colvin in the _Encyclopaedia
Britannica_ to the very latest monographer, Signor Lionello Venturi,
whose work, _Giorgione Giorgionismo_, is a monument to the diversity of
expert opinion. Giorgione, short as was his life, lived at any rate for
thirty years and was known near and far as a great painter, and it is to
be presumed that the work that he produced is still somewhere. But
Signor Lionello Venturi reduces his output to the most meagre
dimensions; the conclusion being that wherever his work may be, it is
anywhere but in the pictures that bear his name. The result of this
critic's heavy labours is to reduce the certain Giorgiones to thirteen,
among which is the S. Rocco altar-piece. With great daring he goes on to
say who painted all the others: Sebastian del Piombo this, Andrea
Schiavone that, Romanino another, Titian another, and so forth. It may
be so, but if one reads also the other experts--Sir Sidney Colvin,
Morelli, Justi, the older Venturi, Mr. Berenson, Mr. Charles Ricketts,
Mr. Herbert Cook--one is simply in a whirl. For all differ. Mr. Cook,
for example, is lyrically rapturous about the two Padua panels, of which
more anon, and their authenticity; Mr. Ricketts gives the Pitti
"Concert" and the Caterina Cornaro to Titian without a tremor. Our own
National Gallery "S. Liberate" is not mentioned by some at all; the
Paris "Concert Champetre," in which most of the judges believe so
absolutely, Signor Lionello Venturi gives to Piombo. The Giovanelli
picture and the Castel Franco altar-piece alone remain above suspicion
in every book.

Having visited the Giovanelli Pala