dividual to dominate a Titian, or to
leave upon his style and methods profound and enduring traces. As such,
Crowe and Cavalcaselle themselves hesitate to put him forward, though
they cling with great persistency to their pet theory of his influence.
This exquisite artist, though by no means inventive genius, did, on the
other hand, permanently shape the style of Cariani and the two elder
Bonifazi; imparting, it may be, also some of his voluptuous charm in the
rendering of female loveliness to Paris Bordone, though the latter must,
in the main, be looked upon as the artistic offspring of Titian.

It is by no means certain, all the same, that this question of influence
imparted and submitted to can with advantage be argued with such
absoluteness of statement as has been the rule up to the present time,
both on the one side and the other. It should be remembered that we are
dealing with three young painters of about the same age, working in the
same art-centre, perhaps, even, for a time in the same studio--issuing,
at any rate, all three from the flank of Giovanni Bellini. In a
situation like this, it is not only the preponderance of age--two or
three years at the most, one way or the other--that is to be taken into
account, but the preponderance of genius and the magic gift of
influence. It is easy to understand how the complete renewal, brought
about by Giorgione on the basis of Bellini's teaching and example,
operated to revolutionise the art of his own generation. He threw open
to art the gates of life in its mysterious complexity, in its fulness of
sensuous yearning commingled with spiritual aspiration. Irresistible was
the fascination exercised both by his art and his personality over his
youthful contemporaries; more and more did the circle of his influence
widen, until it might almost be said that the veteran Gian Bellino
himself was brought within it. With Barbarelli, at any rate, there could
be no question of light received back from painters of his own
generation in exchange for that diffused around him; but with Titian and
Palma the case was different. The germs of the Giorgionesque fell here
in each case upon a fruitful soil, and in each case produced a vigorous
plant of the same family, yet with all its Giorgionesque colour of a
quite distinctive loveliness. Titian, we shall see, carried the style to
its highest point of material development, and made of it in many ways a
new thing. Palma, with all his love o