wavy hair, the
high cranium are all so many outward and visible signs of Giorgione's
spirit, whilst none but he could have created such magnificent contrasts
of colour, such effects of light and shade. This is indeed Giorgione,
the great master, the magician who holds us all fascinated by his
wondrous spell.

[Illustration: _Hanfstaengl photo. Vienna Gallery_

PORTRAIT OF A MAN]

Last on the list of portraits which I am claiming as Giorgione's, and
probably latest in date of execution, comes the splendid so-called
"Physician Parma," in the Vienna Gallery. Crowe and Cavalcaselle thus
describe it: "This masterly portrait is one of the noblest creations of
its kind, finished with a delicacy quite surprising, and modelled with
the finest insight into the modulations of the human flesh....
Notwithstanding, the touch and the treatment are utterly unlike
Titian's, having none of his well-known freedom and none of his
technical peculiarities. Yet if asked to name the artist capable of
painting such a likeness, one is still at a loss. It is considered to be
identical with the portrait mentioned by Ridolfi as that of 'Parma' in
the collection of B. della Nave (Merav., i. 220); but this is not
proved, nor is there any direct testimony to show that it is by Titian
at all."[110]

Herr Wickhoff[111] goes a step further. He says: "Un autre portrait qui
porte le nom de Titien est egalement l'une des oeuvres les plus
remarquables du Musee. On pretend qu'il represente le 'Medecin du
Titien, Parma'; mais c'est la une pure invention, imaginee par un ancien
directeur du Musee, M. Rosa, et admise de confiance par ses successeurs.
M. Rosa avait ete amene a la concevoir par la lecture d'un passage de
Ridolfi. Le costume suffirait a lui seul, pourtant, pour la dementir:
c'est le costume officiel d'un senateur venitien, et qui par suite ne
saurait avoir ete porte par un medecin. Le tableau est incontestablement
de la meme main que les deux 'Concerts' du Palais Pitti et du Louvre,
qui portent tous deux le nom de Giorgione. Si l'on attribue ces deux
tableaux au Giorgione, c'est a lui aussi qu'il faut attribuer le
portrait de Vienne; si, comme feu Morelli, on attribue le tableau du
Palais Pitti au Titien, il faut approuver l'attribution actuelle de
notre portrait au meme maitre." I am glad that Herr Wickhoff recognises
the same hand in all three works. I am sorry that in his opinion this
should be Domenico Campagnola's. I have already referred