Barbarelli

His very origin has been disputed, some authorities claiming his father to have been of the great Barbarelli family and his mother a peasant girl of Vedelago, while later investigators find no proof of this, call the Barbarelli tradition false, and make him the descendant of peasants from the March of Treviso.

The Catholic Encyclopedia, Volume 6: Fathers of the Church-Gregory XI 1840-1916 1913

The tradition that the artist was a natural son of one of the great Barbarella family, and that in consequence he was called Barbarelli, is now shown to be false.

Giorgione Cook, Herbert 1904

Here the correct explanation is plausibly that “is so-called because of his size” expresses different properties depending on the name it is attached to, and so expresses the property of being called “Barbarelli” because of his size when attached to “Barbarelli” and being called

Identity Noonan, Harold 2006

Giorgione was so-called because of his size, Barbarelli was not, but Giorgione was Barbarelli (Quine, “Reference and Modality”, in 1963).

Identity Noonan, Harold 2006

[Dr. Gronau.] [5] It would seem, therefore, desirable to efface the name of Barbarelli from the catalogues.

Giorgione Cook, Herbert 1904

There can be little doubt, notwithstanding, that Morelli was right in denying the authorship of Barbarelli, and tentatively, for he does no more, assigning the so subtly attractive and pathetic Concert to the early time of Titian.

The Earlier Work of Titian Phillips, Claude 1897

The Concert of the Pitti, so far as it can be judged through the retouches that cover it, displays an art certainly not finer or more delicate, but yet in its technical processes broader, swifter, and more synthetic than anything that we can with certainty point to in the life-work of Barbarelli.

The Earlier Work of Titian Phillips, Claude 1897

In them a simplicity, a concentration akin to that of Giovanni Bellini and Bartolommeo Montagna is combined with the suavity and flexibility of Barbarelli.

The Earlier Work of Titian Phillips, Claude 1897

With Barbarelli, at any rate, there could be no question of light received back from painters of his own generation in exchange for that diffused around him; but with Titian and Palma the case was different.

The Earlier Work of Titian Phillips, Claude 1897

The composition has just the timidity, the lack of rhythm and variety, that to the last marks that of Barbarelli.

The Earlier Work of Titian Phillips, Claude 1897