[25] Berenson:  Venetian Painters, 3rd edition.

[26] Daily Telegraph, December 29th, 1899.

[27] Even the so-called Pseudo-Basaiti has been separated and successfully diagnosed.

[28] 1895 Catalogue.

[29] See Appendix, where the letters are printed in full.

[30] Crowe and Cavalcaselle, ii. 142, and note.

[31] Giorgione painted in fresco in the portico of this palace.  Zanetti has preserved the record of a figure said to be “Diligence,” in his print published in 1760.

[32] See Byron’s Life and Letters, by Thomas Moore, p. 705.

[33] See Berenson’s Venetian Painters, illustrated edition.

[34] Morelli, ii. 219.

[35] See p. 32 for a possible explanation of these letters.

[36] ii. 218

[37] It has been suggested to me by Dr. Williamson that the letters may possibly be intended for ZZ (=Zorzon).  In old MSS. the capital Z is sometimes made thus [closed V] or V.

[38] i. 248.

[39] The methods by which he arrived at his conclusion are strangely at variance with those he so strenuously advocates, and to which the name of Morellian has come to be attached.

[40] Reproduced in Venetian Art at the New Gallery, under Giorgione’s name, but unanimously recognised as a work of Licinio.

[41] i. 249.

[42] Dr. Bode and Signor Venturi both recognise it as Giorgione’s work.

[43] To what depths of vulgarity the Venetian School could sink in later times, Palma Giovane’s “Venus” at Cassel testifies.

[44] Repertorium fuer Kunstwissenschaft. 1896. xix.  Band. 6 Heft.

[45] North American Review, October 1899.

[46] It was photographed by Braun with this attribution.

[47] Catena has adopted this Giorgionesque conception in his “Judith” in the Querini-Stampalia Gallery in Venice.

[48] See Gazette des Beaux Arts, 1897, tom, xviii. p. 279.

[49] See Gazette des Beaux Arts, 1893, tom. ix. p. 135 (Prof.  Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and Repertorium fuer Kunstwissenschaft, tom. xiv. p. 316 (Herr von Seidlitz).

[50] Crowe and Cavalcaselle, ii. 147.

[51] ii. 217.

[52] Dr. Gronau points this out in Rep. xviii. 4, p. 284.

[53] See Guide to the Italian Pictures at Hampton Court, by Mary Logan, 1894.

[54] Official Catalogue, and Crowe and Cavalcaselle, ii. 502.

[55] Pater:  The Renaissance, p. 158.

[56] ii. 219.

[57] The execution of this grotesque picture is probably due to Girolamo da Carpi, or some other assistant of Dosso.

[58] Crowe and Cavalcaselle, ii. 292, unaccountably suggested Francesco Vecellio (!) as the author.

[59] The subject is derived from a passage in the De Divinitate of Cicero, as Herr Wickhoff has pointed out.