Page:Essays and Studies - Swinburne (1875).pdf/364

 Martyr; there is a head like Michel Angelo's Brutus, with large bread nose.

In samples of Giorgione's work the collection is not less rich. Sixteen sketches and studies, variously finished, bear witness for him. First, a most noble male profile, with blunt nose, mouth fretted, and hard cheek; a strong man weary, with tough spirit growing tired too. Unlike this, a large priestly head, loose about the jaw, firm in the upper part; with a long mouth like a slit; by no means unlike the recognisable head of Alexander VI.; on the medals of the great Borgia you see just such a strong brow of statecraft, such a resolute eye, such a heavy lax lustful under-face. Next, three heads together; the first may be boy's or girl's, having in it the delicious doubt of ungrown beauty, pausing at the point where the ways of loveliness divide; we may give it the typical strawberry flower (Fragoletta) and leave it to the Loves; the second is a priest's, wearing a skull-cap, and very like the middle musician of the three in Giorgione's divine picture in the Pitti; the third an old man's head, cowled and bearded. Next a girl with a book of music; many bend over her; two faces to the right are specially worth notice; a youth of that exquisite Venetian beauty which in all these painters lifts male and female together on an equal level of loveliness; and an older head near him, stamped with scorn as with a brand. Next, and slightly wrought, on a raised couch or step of a palace, a group of revellers embracing and gazing outward; one leans round a girl to read with her from some joyous book. Next, a full face, wasted by time or thought or pleasure, with a clear sardonic look left