[115] I am pleased to find Signor Venturi has anticipated my own conclusion in his recently published La Galleria Crespi.

[116] Mr. Cosmo Monkhouse (In the National Gallery, p. 223) has already rightly recognised the same hand in this picture and in the “Epiphany” hanging just below.

[117] Meravig, i. 124.

[118] By a happy accident the new “Giorgione” label, intended for the “Epiphany,” No. 1160, was for some time affixed to No. 1173.

[119] When in the Orleans Gallery the picture was engraved under Giorgione’s name by de Longueil and Halbon.

[120] New illustrated edition of the National Gallery Catalogue, 1900.

[121] Now in America, in Mrs. Gardner’s Collection.

[122] Crowe and Cavalcaselle:  Titian, i. p.  III.  This picture was then at Burleigh House.

[123] See La Galleria Crespi, 1900.

[124] The Earlier Work of Titian p. 24. Portfolio, October 1897.

[125] Tizian, p. 16.

[126] Morelli, ii. 57, note.

[127] See antea, p. 71.

[128] With the exception of the right arm, which Titian has let fall, instead placing it behind the head of the sleeping goddess.  The effect of the beautiful curve is thereby lost, and Titian shows himself Giorgione’s inferior in quality of line.

[129] As in the “Aeneas and Evander” (Vienna), the “Judith” (St. Petersburg), the Madrid “Madonna and Saints,” etc.

[130] As in the “Caterina Cornare” of the Crespi collection at Milan.

[131] Magazine of Art.  July 1895.

[132] North American Review.  October 1899.

[133] Magazine of Art, 1890, pp. 91 and 138.

[134] The small divergencies of detail in the dress of the “Adulteress,” etc., are just such as an imitator might have ventured to make.  The hand and arm of the Christ have, however, been altered for the better.

[135] This is the first time in Venetian art that the subject appears.  It is frequently found later.

[136] Cariani is by some made responsible for the whole picture.  A comparison with an authentic example hanging (in the new arrangement of the Long Gallery), close by, ought surely to convince the advocates of Cariani of their mistake.

[137] Morto da Feltre is mentioned by Vasari as having assisted Giorgione in the decoration of the Fondaco de’ Tedeschi.  This was in 1508.  Otherwise, we know of no pupils or assistants employed by the master, a fact which goes to show that his influence was felt, not so much through any personal teaching, as through his work.

CHAPTER VI

GIORGIONE’S ART, AND PLACE IN HISTORY