[60] See Venetian Painting at the New Gallery. 1895.

[61] Unless we are to suppose that Vasari mistook a copy for an original.

[62] Francesco Torbido, called “il Moro,” born about 1490, and still living in 1545.  Vasari states that he actually worked under Giorgione.  Signed portraits by him are in the Brera, at Munich, and Naples.  Palma Vecchio also deserves serious consideration as possible author of the “Shepherd Boy.”

[63] Crowe and Cavalcaselle, ii. 144.

[64] Morelli, ii. 212.

[65] See Appendix, p. 123.

[66] Quoted by Morelli, ii. 212, note.

[67] Crowe and Cavalcaselle, ii. 155.

[68] Crowe and Cavalcaselle also cite a portrait in the Casa Ajata at Crespano; as I have never seen this piece I cannot discuss it.  It was apparently unknown to Morelli, nor is it mentioned by other critics.

[69] Morelli, ii. 205.

[70] Crowe and Cavalcaselle, ii. 128.  Mr. Claude Phillips, in the Gazette des Beaux Arts, 1884, p. 286, rightly admits Giorgione’s authorship.

[71] This sketch is to be found in Van Dyck’s note-book, now in possession of the Duke of Devonshire at Chatsworth.  It is here reproduced, failing an illustration of the original picture, which the authorities in Venice decline to have made. (A good reproduction has now (1903) been made by Anderson of Rome.)

[72] Archivio Storico, vi. 409.

[73] Ridolfi tells us Giorgione painted, among a long list of decorative pieces, “The Birth of Adonis,” “Venus and Adonis embracing,” and “Adonis killed by the Boar.”  It is possible he was alluding to these very cassone panels.

[74] The other important additions made by Signor Venturi in his recent volume, La Galleria Crespi, are alluded to in loco, further on.  I am delighted to find some of my own views anticipated in a wholly independent fashion.

CHAPTER III

INTERMEDIATE SUMMARY

It is necessary for anyone who seeks to recover the missing or unidentified works of an artist like Giorgione, first to define his conception of the artist based upon a study of acknowledged materials.  The preceding chapter has been devoted to a survey of the best authenticated pictures, the evidence for the genuineness of which is, as we have seen, largely a matter of personal opinion.  Nevertheless there is, on the whole, a unanimity of judgment sufficient to warrant our drawing several inferences as to the general character of Giorgione’s work, and to attempt a chronological arrangement of the twenty-six pictures here accepted as genuine.