The Renaissance, the rejuvenation of art, seems to have slowly developed until at length it culminated in Giorgione. He was the man who opened the door, the one great modern genius of his period, whose influence remains and is felt to this day. Velasquez would never have been known but for Giorgione. Imagine this young man with his new ideas and his sweeps of golden colouring suddenly appearing in a studio full of men, all painting in the correct severe style established at the period. Such a man must needs influence all his fellows. Even Giovanni Bellini, the Watts of his day, acknowledged the young man's genius, and almost unconsciously began to mingle Giorgione's style with his own. We cannot realise what they meant at that period--these new ideas of Giorgione. He created just as much of a "furore" as when Benvenuto Cellini, in his sculpture, allowed a limb to hang over the edge of a pedestal. He needed this to complete his design. Since then almost everyone that has modelled has hung a limb over a pedestal. But Benvenuto Cellini started this new era. So, in much the same sort of way, did Giorgione. He cut away from convention, and introduced landscape as backgrounds to his figure subjects. He was the first to get actuality and movement in the arrangement of drapery. The Venetian public had long been waiting, though unconsciously, for this work; and Giorgione was so well in touch with the needs of the people that the moment he gave them what they wanted they would take nothing else.