To name first those which are either certain or command the most general acceptance, placing them in something like an approximate and probable order of date. In the Uffizi at Florence are two companion pieces of the "Trial of Moses" and the "Judgment of Solomon," the latter the finer and better preserved of the two, which pass, no doubt justly, as typical works of Giorgione's youth, and exhibit, though not yet ripely, his special qualities of colour-richness and landscape romance, the peculiar facial types of his predilection, with the pure form of forehead, fine oval of cheek, and somewhat close-set eyes and eyebrows, and the intensity of that still and brooding sentiment with which, rather than with dramatic life and movement, he instinctively invests his figures. Probably the earliest of the portraits by common consent called his is the beautiful one of a young man at Berlin. His earliest devotional picture would seem to be the highly finished "Christ bearing his Cross" (the head and shoulders only, with a peculiarly serene and high-bred cast of features) formerly at Vicenza and now in the collection of Mrs Gardner at Boston. Other versions of this picture exist, and it has been claimed that one in private possession at Vienna is the true original: erroneously in the judgment of the present writer. Another "Christ bearing the Cross," with a Jew dragging at the rope round his neck, in the church of San Rocco at Venice, is a ruined but genuine work, quoted by Vasari and Ridolfi, and copied with the name of Giorgione appended, by Van Dyck in that master's Chatsworth sketch-book. (Vasari gives it to Giorgione in his first and to Titian in his second edition.) The composition of a lost early picture of the birth of Paris is preserved in an engraving of the "Teniers Gallery" series, and an old copy of part of the same picture is at Budapest. In the Giovanelli Palace at Venice is that fascinating and enigmatical mythology or allegory, known to the Anonimo Morelliano, who saw it in 1530 in the house of Gabriel Vendramin, simply as "the small landscape with the storm, the gipsy woman and the soldier"; the picture is conjecturally interpreted by modern authorities as illustrating a passage in Statius which describes the meeting of Adrastus with Hypsipyle when she was serving as nurse with the king of Nemea. Still belonging to the earlier part of the painter's brief career is a beautiful, virginally pensive Judith at St Petersburg, which passed under various alien names, as Raphael, Moretto, &c., until its kindred with the unquestioned work of Giorgione was in late years firmly established. The great Castelfranco altarpiece, still, in spite of many restorations, one of the most classically pure and radiantly impressive works of Renaissance painting, may be taken as closing the earlier phase of the young master's work (1504). It shows the Virgin loftily enthroned on a plain, sparely draped stone structure with St Francis and a warrior saint (St Liberale) standing in attitudes of great simplicity on either side of the foot of the throne, a high parapet behind them, and a beautiful landscape of the master's usual type seen above it. Nearly akin to this masterpiece, not in shape or composition but by the type of the Virgin and the very Bellinesque St Francis, is the altarpiece of the Madonna with St Francis and St Roch at Madrid. Of the master's fully ripened time is the fine and again enigmatical picture formerly in the house of Taddeo Contarini at Venice, described by contemporary witnesses as the "Three Philosophers," and now, on slender enough grounds, supposed to represent Evander showing Aeneas the site of Troy as narrated in the eighth Aeneid. The portrait of a knight of Malta in the Uffizi at Florence has more power and authority, if less sentiment, than the earlier example at Berlin, and may be taken to be of the master's middle time. Most entirely central and typical of all Giorgione's extant works is the Sleeping Venus at Dresden, first recognized by Morelli, and now universally accepted, as being the same as the picture seen by the Anonimo and later by Ridolfi in the Casa Marcello at Venice. An exquisitely pure and severe rhythm of line and contour chastens the sensuous richness of the presentment: the sweep of white drapery on which the goddess lies, and of glowing landscape that fills the space behind her, most harmoniously frame her divinity. It is recorded that the master left this piece unfinished and that the landscape, with a Cupid which subsequent restoration has removed, were completed after his death by Titian. The picture is the prototype of Titian's own Venus at the Uffizi and of many more by other painters of the school; but none of them attained the quality of the first exemplar. Of such small scenes of mixed classical mythology and landscape as early writers attribute in considerable number to Giorgione, there have survived at least two which bear strong evidences of his handiwork, though the action is in both of unwonted liveliness, namely the Apollo and Daphne of the Seminario at Venice and the Orpheus and Eurydice of Bergamo. The portrait of Antonio Grocardo at Budapest represents his fullest and most penetrating power in that branch of art. In his last years the purity and relative slenderness of form which mark his earlier female nudes, including the Dresden Venus, gave way to ideals of ampler mould, more nearly approaching those of Titian and his successors in Venetian art; as is proved by those last remaining fragments of the frescoes on the Grand Canal front of the Fondaco dei Tedeschi which were seen and engraved by Zanetti in 1760, but have now totally disappeared. Such change of ideal is apparent enough in the famous "Concert" or "Pastoral Symphony" of the Louvre, probably the latest, and certainly one of the most characteristic and harmoniously splendid, of Giorgione's creations that has come down to us, and has caused some critics too hastily to doubt its authenticity. Entry: GIORGIONE
LEIGHTON, FREDERICK LEIGHTON, BARON (1830-1896), English painter and sculptor, the son of a physician, was born at Scarborough on the 3rd of December 1830. His grandfather, Sir James Leighton, also a physician, was long resident at the court of St Petersburg. Frederick Leighton was taken abroad at a very early age. In 1840 he learnt drawing at Rome under Signor Meli. The family moved to Dresden and Berlin, where he attended classes at the Academy. In 1843 he was sent to school at Frankfort, and in the winter of 1844 accompanied his family to Florence, where his future career as an artist was decided. There he studied under Bezzuoli and Segnolini at the Accademia delle Belle Arti, and attended anatomy classes under Zanetti; but he soon returned to complete his general education at Frankfort, receiving no further direct instruction in art for five years. He went to Brussels in 1848, where he met Wiertz and Gallait, and painted some pictures, including "Cimabue finding Giotto," and a portrait of himself. In 1849 he studied for a few months in Paris, where he copied Titian and Correggio in the Louvre, and then returned to Frankfort, where he settled down to serious art work under Edward Steinle, whose pupil he declared he was "in the fullest sense of the term." Though his artistic training was mainly German, and his master belonged to the same school as Cornelius and Overbeck, he loved Italian art and Italy and the first picture by which he became known to the British public was "Cimabue's Madonna carried in Procession through the Streets of Florence," which appeared at the Royal Academy in 1855. At this time the works of the Pre-Raphaelites almost absorbed public interest in art--it was the year of Holman Hunt's "Light of the World," and the "Rescue," by Millais. Yet Leighton's picture, painted in quite a different style, created a sensation, and was purchased by Queen Victoria. Although, since his infancy, he had only visited England once (in 1851, when he came to see the Great Exhibition), he was not quite unknown in the cultured and artistic world of London, as he had made many friends during a residence in Rome of some two years or more after he left Frankfort in 1852. Amongst these were Giovanni Costa, Robert Browning, James Knowles, George Mason and Sir Edward Poynter, then a youth, whom he allowed to work in his studio. He also met Thackeray, who wrote from Rome to the young Millais: "Here is a versatile young dog, who will run you close for the presidentship one of these days." During these years he painted several Florentine subjects--"Tybalt and Romeo," "The Death of Brunelleschi," a cartoon of "The Pest in Florence according to Boccaccio," and "The Reconciliation of the Montagues and the Capulets." He now turned his attention to themes of classic legend, which at first he treated in a "Romantic spirit." His next picture, exhibited in 1856, was "The Triumph of Music: Orpheus by the Power of his Art redeems his Wife from Hades." It was not a success, and he did not again exhibit till 1858, when he sent a little picture of "The Fisherman and the Syren" to the Royal Academy, and "Samson and Delilah" to the Society of British Artists in Suffolk Street. In 1858 he visited London and made the acquaintance of the leading Pre-Raphaelites--Rossetti, Holman Hunt and Millais. In the spring of 1859 he was at Capri, always a favourite resort of his, and made many studies from nature, including a very famous drawing of a lemon tree. It was not till 1860 that he settled in London, when he took up his quarters at 2 Orme Square, Bayswater, where he stayed till, in 1860, he moved to his celebrated house in Holland Park Road, with its Arab hall decorated with Damascus tiles. There he lived till his death. He now began to fulfil the promise of his "Cimabue," and by such pictures as "Paolo e Francesca," "The Star of Bethlehem," "Jezebel and Ahab taking Possession of Naboth's Vineyard," "Michael Angelo musing over his Dying Servant," "A Girl feeding Peacocks," and "The Odalisque," all exhibited in 1861-1863, rose rapidly to the head of his profession. The two latter pictures were marked by the rhythm of line and luxury of colour which are among the most constant attributes of his art, and may be regarded as his first dreams of Oriental beauty, with which he afterwards showed so great a sympathy. In 1864 he exhibited "Dante in Exile" (the greatest of his Italian pictures), "Orpheus and Eurydice" and "Golden Hours." In the winter of the same year he was elected an Associate of the Royal Academy. After this the main effort of his life was to realize visions of beauty suggested by classic myth and history. If we add to pictures of this class a few Scriptural subjects, a few Oriental dreams, one or two of tender sentiment like "Wedded" (one of the most popular of his pictures, and well known by not only an engraving, but a statuette modelled by an Italian sculptor), a number of studies of very various types of female beauty, "Teresina," "Biondina," "Bianca," "Moretta," &c., and an occasional portrait, we shall nearly exhaust the two classes into which Lord Leighton's work (as a painter) can be divided. Entry: LEIGHTON