PAL.  GIOVANELLI.  ADRASTUS AND HYPSIPYLE.  Canvas, 2 ft. 9 in. x 2 ft. 5 in.

Described by the Anonimo in the house of Gabriel Vendramin (1530). (See p. 11.)

Statius (lib. iv. 730 ff.) describes how King Adrastus, wandering through the woods in search of a spring to quench the thirst of his troops, encounters by chance Queen Hypsipyle, who had been driven out of Lemnos by the wicked women, who had resolved to slay their husbands, and she had taken refuge in the service of the King of Nemea, in capacity of nurse.

Ex Manfrini Palace.

PAL.  QUERINI-STAMPALIA.  PORTRAIT OF A MAN.  Unfinished.  Wood, 2 ft. 6 in. square. (See p. 85.)

NORWAY.

CHRISTIANIA.

JUDGMENT OF PARIS.

Another version of this subject, of which copies exist at Lord
Malmesbury’s, Dresden, and Venice.

RUSSIA.

ST. PETERSBURG, HERMITAGE GALLERY.

JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]

Once ascribed to Raphael, and engraved as such (in 1620), by H.H.  Quitter, and afterwards by several other artists.  Dr. Waagen pronounced it to be Moretto’s work, and accordingly the name was changed; as such Braun has photographed it.  It is now officially recognised rightly as a Giorgione (vide Catalogue of 1891).

Brought from Italy to France, and eventually in Crozat’s possession.  (See p. 37.)

VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]

Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian, under which name it is still registered. (See p. 102, where Mr. Claude Phillips’s suggestion that it may be a Giorgione is discussed.)

SPAIN.

MADRID, PRADO GALLERY.

MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH.  Canvas, 3 ft. x 4 ft. 5 in. [No. 341.]

From the Escurial; restored to Giorgione by Morelli, and now officially recognised as his work. (See p. 45.)

UNITED STATES.

BOSTON, COLLECTION OF MRS. GARDNER.

CHRIST BEARING THE CROSS.  Wood, 1 ft. 8 in. x 1 ft. 4 in.

Several variations and repetitions exist. (See p. 18.)

Till lately in the Casa Loschi at Vicenza.

* * * * *

A few drawings by Giorgione meet with general recognition, but, like his paintings, they appear to have been unnecessarily restricted by an over-anxiety on the part of critics to leave him only the best.  E.g. the drawing at Windsor for a part of an “Adoration of the Shepherds,” is, no doubt, a preliminary design for the Beaumont or Vienna pictures.  The limits of the present book will not allow a discussion on the subject, but we may remark that, like all Venetian artists, Giorgione made few preliminary sketches, concerning himself less with design and composition than with harmony of colour, light and shade, and “effect.”  The engraving by Marcantonio commonly called “The Dream of Raphael,” is now known to be derived from Giorgione, to whom the subject was suggested by a passage in Servius’ Commentary on Virgil (lib. iii. v. 12). (See Wickhoff, loc. cit.)