number of
little angels, in merry sport, assist him with his labours.[17]

I shall mention only one more work of Albrecht Duerer's, that which is
known as the Emperor Maximilian's Prayer Book. This is pen-and-ink
sketches for the borders of a book (as the old missals were
illuminated), which are now preserved in the Royal Library, Munich. In
these little drawings the fancy of the great artist held high revel, by
no means confining itself to serious subjects, such as apostles, monks,
or even men in armour, but indulging in the most whimsical vagaries,
with regard to little German old women, imps, piping squirrels, with
cocks and hens hurrying to listen to the melody.

CHAPTER VI.

LATER ITALIAN ART--GIORGIONE, 1477-1511--CORREGGIO. ABOUT
1493-1534--TINTORETTO, 1512-1574--VERONESE, 1530-1588.

Giorgio Barbarelli, known as 'Giorgione,--in Italian, 'big,' or, as I
have heard it better translated, 'strapping George'--was born at
Castelfranco, in Treviso, about 1477, the same year in which Titian was
born. Nothing is known of his youth before he came to Venice and studied
in the school of Gian Bellini along with Titian.

The two men were friends in those days, but soon quarrelled, and
Giorgione's early death completed their separation. Titian was impatient
and arrogant; Giorgione seems to have been one of those proud, shy,
sensitive men--possibly morbidly sensitive, with whom it is always
difficult to deal; but it is recorded of him, as it is not recorded of
his great compeer, that Giorgione was frank and friendly as an artist,
however moody and fitful he might be as a man.

Giorgione soon became known. According to one account, he painted the
facade of the house which he dwelt in, for an advertisement of his
abilities as a painter, a device which was entirely successful in
procuring him commissions; but unfortunately for posterity, these were
frequently to paint other facades, sometimes in company with Titian;
grand work, which has inevitably perished, if not by fire, by time and
by the sea-damp of Venice, for to Venice Giorgione belonged, and there
is no sign that he ever left it.

He had no school, and his love of music and society--the last taste
found not seldom, an apparent anomaly, in silent, brooding
natures--might tend to withdraw him from his art. He has left a trace of
his love for music in his pictures of 'Concerts' and of 'Pastorals,' in
which musical performances are made prominent. In Giorgione