Tempesta "Pentimenti"

I did not include a discussion of the "pentimenti" in the "Tempesta" in my original paper because I believed that the painting should be evaluated on what Giorgione finally decided he wanted the viewer to see. I append a discussion here because much has been written about the underpainting. While not necessary in supporting an interpretation of the painting as "The Rest on the Flight into Egypt," the "pentimenti" do not contradict it, especially the heretofore inexplicable little man on the bridge. See the following.


In "Giorgione, Myth and Enigma," the catalog for the ground breaking 2004 Giorgione exhibition, the essay on the "Tempesta" by Giovanna Nepi-Scire included a discussion of “pentimenti” or “changes of mind” revealed by the scientific exploration of what lies beneath the surface of the famous painting.

X-ray and radiographic technology did shed some light on the techniques of the painter and the materials he used but the results were inconclusive when it came to the meaning and subject of the painting. The "pentimenti" did not reveal much of Giorgione's original intention. Or did they?

One of the discarded figures in the underpainting had already received much attention from scholars. Originally, the canvas included a nude woman dipping her legs in a stream at the lower left hand corner. The catalog article indicated that some scholars believe that this figure provides an important clue even though the radiographic image is so indistinct that it is impossible to say whether the figure was even part of the original painting, or whether it was even painted by Giorgione.

For some, however, the “bathing woman” indicates that Giorgione originally intended the painting to contain two women. This contention would necessarily send the hunt for a “subject” into an entirely different direction.

However, the size of this bathing figure in relation to the nursing woman led the author of the catalog entry to reject the theory that Giorgione had originally intended to place two women in the painting. “In addition, the proportions appear slightly larger than those of the man and the nursing woman in the final version. If this figure really was part of the initial version, then there must have been a male figure on the right…” [p. 192]

Interestingly, a “bathing Madonna” would not be out of place in a depiction of the “Rest on the Flight into Egypt.” One of the apocryphal legends refers to a fountain near the Egyptian village of Matarea that sprang up to nourish the Madonna and her child. In his “Madonna della Scodella,” Correggio painted a version of the Rest on the Flight into Egypt with Mary dipping a bowl into a stream.

But, in my opinion, there is a much more telling pentimento. The Catalog indicated that the radiographic technology revealed,

"the presence of a figure walking across the bridge in a long robe and carrying over his right shoulder a stick with a suspended load." (p. 192)

According to the Catalog this discovery contributed “nothing to the deciphering of the painting,” and there has been very little discussion of the little man since.

However, a walking man with a stick bearing a sack over his shoulder is easily recognizable as a pilgrim. St. Joseph’s sack is commonplace in depictions of the Flight into Egypt. Often in depicting the “Rest on the Flight into Egypt,” artists used a narrative format, which included the actual journey in the background and the resting figures in the foreground.

In Gerard David’s version of the “Rest on the Flight into Egypt” in New York’s Metropolitan Museum, the Madonna sits in the foreground nursing her Son while in the background she rides atop the Ass with Joseph trailing behind on foot carrying over his shoulder a stick with a suspended load.

This piece of evidence fits no other interpretation of the "Tempesta." Why would a pilgrim be in a mythological or classical setting? It is only explicable in reference to the “Flight into Egypt.”

Because the man is on the bridge, he must have been in the original painting but then Giorgione changed his mind. I can only guess that he realized he didn’t need it or that it would have been cumbersome to also include a miniature animal and rider.

To argue that Giorgione depicted a traditional subject in the Tempesta should in no way detract from his greatness. Another article in the Catalog [“Giorgione’s Materials and Painting Technique: Scientific Investigation of Three Paintings,”] indicated that in technique Giorgione was more traditional than commonly believed.

“One could say that the artistic revolution caused by Giorgione does not necessarily translate into strictly technological innovation….Instead, there is clear evidence of an ability to utilize the extensive materials available in Venice and of a sound knowledge of the painting techniques accumulated by Venetian workshops during the 15th century….This demonstrates how the greatness of an artist is in no way bound by ‘vile matter.’” [p. 260]







Dr. Francis P. DeStefano