[167] Dr. Gronau further points out (in a letter recently sent to the writer) that Titian, writing to the emperor in 1545, says:  “I should have liked to take them (i.e. the paintings) to your Majesty in person, but that my age and the length of the journey forbade such a course” (C. and C. ii. 103).  Writing also in 1548 to Granvella he refers to his “vechia vita.”  Would not such expressions (asks Dr. Gronau) be more applicable to a man of sixty-eight and seventy-one respectively than to one of only fifty-six and fifty-nine?

[168] XXIV.  Band. 6 Heft, p. 457.

[169] January 1902, pp. 123-130.

[170] Quoted from Crowe and Cavalcaselle.  II. 344.  The Spanish original is given at p. 535.

[171] I have quoted Titian’s letter in full in the Nineteenth Century.  That of the Spanish Consul is given in the Jahrbuch der Sammlungen des A.H.  Kaiserhauses, vii. p. 221, from which I extract the passage:  “El dicho Ticiano besa pies y manos de V.M., y suplica umilmente a V.M. mande le sea pagado lo que le ha corrido de las pensiones de que V.M. le tiene echo merced en Milan y en esa corte, y la trata de Napoles, y con los 85 anos de su edad servira a V.M. hasta la muerte.”

[172] I have quoted this letter also in full in the Nineteenth Century. I am indebted to M. Salomon Reinach for making this point (Chronique des Arts, Feb. 15, 1902, p. 53, where he expresses himself a convert to my views).

CATALOGUE OF THE WORKS OF GIORGIONE

ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED

AUSTRIA-HUNGARY

BUDA-PESTH GALLERY.

PORTRAIT OF A YOUNG MAN. [No. 94.]

Esterhazy Collection. (See p. 31.)

TWO FIGURES STANDING. [No. 95.]

Copy of a portion of Giorgione’s lost picture of the “Birth of Paris.” 
These are the two shepherds. (See p. 46.)

The whole composition was engraved by Th. von Kessel for the Theatrum pictorium under Giorgione’s name.  The original picture was seen and described by the Anonimo in 1525.

VIENNA GALLERY.

EVANDER AND HIS SON PALLAS SHOWING TO AENEAS THE FUTURE SITE OF ROME. 
Canvas, 4 ft. x 4 ft. 8 in. [No. 16.]

Seen by the Anonimo in 1525, in Venice, and said by him to have been finished by Sebastiano del Piombo. (See p. 12.)

Collection of the Archduke Leopold William, and registered in the inventory of 1659.

ADORATION OF THE SHEPHERDS, or NATIVITY.  Wood, 3 ft. x 3 ft. 10 in. [No. 23.]

Inferior replica by Giorgione of the Beaumont picture in London.

I have sought to identify this piece with the picture “da una Nocte,” painted by Giorgione for Taddeo Contarini. (See p. 24 and Appendix, where the original document is quoted.)