In his early phase, if I am right in thinking that Sir Martin Conway’s two stories of Paris, Figure 250, and the Ordeal of the Infant Moses and Judgment of Solomon in the Uffizi, are his, Giorgione was merely a graceful continuer of the slighter narrative mood of Giovanni Bellini and Carpaccio,—that is, distinctly a primitive artist. In his fully developed Arcadian vein he is neither a primitive nor fully of the Renaissance, but midway between, and his work constitutes not so much a pioneer effort as a delectable episode quite complete in itself. Unhappily we are almost without biographical details. Giorgione was born in 1478, in Castelfranco, a long day’s ride towards the Friulian Alps. The country abounds in streams, meadows, and immemorial trees—is a subalpine Arcadia. He came pretty young to Venice and worked with Giovanni Bellini. Legend tells us that he was big and handsome, amorous, and a musician. We know that he died of the plague of 1510, in his thirty-third year. The rest is conjecture from pictures some of which are his, and all of which are inspired by him. [Illustration: FIG. 250. Giorgione. The Infant Paris found by Shepherds.—Sir Martin Conway. _Maidstone, England._ ] These breathe a single mood, that of Arcadian revery. It is a world of desire indulged for its own sweetness, of day dreaming apart from will, action, and results. More blithely it had pre-existed in the Idyls of Theocritus; more pensively, in the Eclogues of Virgil. This world revives a far-away pastoral golden age, of lovers and their lasses, of nymphs and fauns, of vague ardors at once tempered and reinforced by a sympathetic nature. We are dealing with one of the oldest resources of poetry, and we can only understand this most beautiful visualization of the old theme by associating it with the tradition of literary pastoralism.