him is
certainly due the splendid chiaroscuro and magic colour-chord; but it
becomes a question whether some of the detail was not actually finished
by Giorgione's pupil, Sebastiano del Piombo.[136] The drawing, for
instance, of the hands vividly suggests his help, the type of S. Joseph
in the background reminds us of the figure of S. Chrysostom in
Sebastiano's Venice altar-piece, while the S. Catherine recalls the
Angel in Sebastiano's "Holy Family" at Naples. If this be the case, we
here have another instance of the pupil finishing his master's work, and
this time probably after his death, for, as already pointed out, the
"Evander and Aeneas" (at Vienna) must have been left by Giorgione
well-nigh complete at an earlier stage than the year of his death.

That Sebastiano stood in close relation to his master, Giorgione, is
evidenced not only by Vasari's statement, but by the obvious dependence
of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque
models. Moreover, the "Violin Player," formerly in the Sciarra Palace,
at once reminds us of the "Barberigo" portrait at Cobham, while the
"Herodias with the Head of John Baptist," dated 1510, now in the
collection of Mr. George Salting, shows conclusively how closely related
were the two painters in the last year of Giorgione's life. Sebastiano
was twenty-five years of age in 1510, and appears to have worked under
Giorgione for some time before removing to Rome, which he did on, or
shortly before, his master's death. His departure left Titian, his
associate under Giorgione, master of the field; he, too, had a hand in
finishing some of the work left incomplete in the atelier, and his
privilege it became to continue the Giorgionesque tradition, and to
realise in utmost perfection in after years the aspirations and ideals
so brilliantly anticipated by the young genius of Castelfranco.[137]

NOTES:

[113] The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of
Cordova, Giovanni Borgherini and his tutor, Luigi Crasso, and others,
are mentioned as having sat to Giorgione for their portraits. Modern
criticism has recently distributed several "Giorgionesque" portraits in
English collections among Licinio, Lotto, and even Polidoro! But this
disintegrating process may be, and has been, carried too far.

[114] Two more small works may be mentioned which may tentatively be
ascribed to Giorgione. "The Two Musicians," in the Glasgow Gallery
(recently transferred