must be disengaged; this can generally be done. In his sensitiveness, his poetry, his largeness of spirit, he has no real rival.
The most important follower of Giorgione was Sebastiano del Piombo, a distinctly independent genius. Thoroughly Venetian, distinctly sympathetic with Giorgone, he drifted to Rome about 1510, while M. Angelo was painting in the Sistine Chapel, and became one of the most loyal friends of the great painter throughout his life. Del Piombo's late work shows the mingling of these two influences, and yet he always retains his personal outlook, his passionate feeling, his realism modified by a dramatic intention. He misses the sheer concentration and direct vision of the highest genius, but he is one of the greatest of secondary minds.
The influence of Giorgione is clear in the Santa Conversazione ( S. Giovanni Crisostomo, Venice), genial, real, yet beautiful as pure design. All of Piombo's early work is Giorgionesque. It is more reposeful and beautiful than afterwards. His later pictures, in comparison with early work, seem forced and rhetorical, as the Resurrection of Lazarus ( London), but he always remains high-minded and really noble, and the extraordinary Pietà (Viterbo), and several glorious portraits,1 as the Doge Andrea Doria ( Rome) are concentrated examples of his genius.
Turning from Giorgione to Titian we meet a contrasting nature and contrasting conditions. Giorgione's genius, compressed into a few years, makes an epoch; Titian's grows slowly into leadership throughout a century.____________________