ies of the work
were so obvious that it seemed going out of the way to introduce
Titian's name, as Morelli did, and ascribe the picture to him in a
Giorgionesque phase. It is just the same here. The conception is
typically Giorgione's own, the thoughtful, dreamy look, the turn of the
head, the refinement and distinction of this wonderful figure alike
proclaim him; whilst in the workmanship the quilted satin is exactly
paralleled by the painting of the dress in the Berlin and Buda-Pesth
portraits. Characteristic of Giorgione but not of Titian, is the oval of
the face, the construction of the head, the arrangement of the hair.
Titian, so far as I am aware, never introduces a parapet or ledge into
his portraits, Giorgione nearly always does so; and finally we have the
mysterious VV which is found on the Berlin portrait, and
(half-obliterated) on the Buda-Pesth "Young Man." In short, no one would
naturally think of Titian were it not for the misleading signature, and
I venture to hope competent judges will agree with me that the proofs
positive of Giorgione's authorship are of greater weight than a
signature which--for reasons given--is not above suspicion.[89]

Before I leave this wonderful portrait of a gentleman of the Barberigo
family (so says Vasari), a word as to its date is necessary. The
historian tells us it was painted by Titian at the age of eighteen.
Clearly some tradition existed which told of the youthfulness of the
painter, but may we assume that Giorgione was only eighteen at the time?
That would throw the date back to 1495. Is it possible he can have
painted this splendid head so early in his career? The freedom of
handling, and the mastery of technique certainly suggests a rather later
stage, but I am inclined to believe Giorgione was capable of this
accomplishment before 1500. The portrait follows the Berlin "Young Man,"
and may well take its place among the portraits which, as we have seen,
Giorgione must have painted during the last decade of the century prior
to receiving his commission to paint the Doge. And in this connection it
is of special interest to find the Doge was himself a Barberigo. May we
not conclude that the success of this very portrait was one of the
immediate causes which led to Giorgione obtaining so flattering a
commission from the head of the State?

I mentioned incidentally that four repetitions of the "Ariosto" exist,
all derived presumably from the Cobham original. We have a fu