which Bellini and the older Venetian artists never adopted.[13] So
simple a scheme required naturally large and spacious treatment; flat
surfaces would be in place, and the draperies cast in ample folds.
Dignity of bearing, and majestic sweep of dress are appropriately
introduced; the colour is rich and harmonious, the preponderance of
various shades of green having a soothing effect on the eye. The golden
glow which doubtless once suffused the whole, has, alas! disappeared
under cruel restorations, and flatness of tone has inevitably resulted,
but we may still admire the play of light on horizontal surfaces, and
the chiaroscuro giving solidity and relief to the figures.

An interesting link with Bellini is seen in the S. Francis, for the
figure is borrowed from that master's altar-piece of S. Giobbe (now in
the Venice Academy). Bellini's S. Francis had been painted seventeen or
eighteen years before, and now we find Giorgione having recourse to the
older master for a pictorial motive. But, as though to assert his
independence, he has created in the S. Liberale a type of youthful
beauty and manliness which in turn became the prototype of subsequent
knightly figures. Palma Vecchio, Mareschalco, and Pennacchi all borrowed
it for their own use, a proof that Giorgione's altar-piece acquired an
early celebrity.[14]

[Illustration: _Anderson photo. Giovanelli Palace, Venice_

ADRASTUS AND HYPSIPYLE]

Exquisite feeling is equally conspicuous in the other two works
universally ascribed to Giorgione. These are the "Adrastus and
Hypsipyle," in the collection of Prince Giovanelli, in Venice, and
the "Aeneas, Evander, and Pallas," in the gallery at Vienna.[15]