The third volume of the history of Venetian painting covers the period from the end of the Quattrocento to around 1520. At its center is Giorgione, who laid the foundation for modern Venetian painting with the inauguration of the maniera moderna (Vasari). There is hardly another Italian painter who has divided art historical research as much as Giorgione. The reasons for this disagreement stem from a sparse source situation and the fact that only a few works by the artist are considered secure. A goal of this work is to critically refer to the opulent and highly disparate state of research, to confirm or correct theses, and at times to arrive at independent new findings. Additionally, there is the often neglected endeavor in the literature to examine the paintings in terms of form, color, and iconography.