LIST OF GIORGIONE’S PICTURES CITED BY “THE ANONIMO,” AS BEING IN HIS DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.[173]

CASA TADDEO CONTARINI (1525).

(i) The Three Philosophers (since identified as Aeneas, Evander, and Pallas, in the Vienna Gallery),

(ii) Aeneas and Anchises in Hades.

(in) The Birth of Paris. (Since identified by the engraving of Th. von Kessel.  A copy of the part representing the two shepherds is at Buda-Pesth.)

CASA JERONIMO MARCELLO (1525).

(i) Portrait of M. Jeronimo armed, showing his back and turning his head.

(ii) A nude Venus in a landscape with Cupid.  Finished by Titian. (Since identified as the Dresden Venus.)

(in) S. Jerome reading.

CASA M. ANTON.  VENIER (1528).

A soldier armed to the waist.

CASA G. VENDRAMIN (1530).

(i) Landscape with soldier and gipsy. (Since identified as the Adrastus and Hypsipyle of the Pal.  Giovanelli, Venice.)

(ii) The dead Christ on the Tomb, supported by one Angel.  Retouched by Titian. (This can hardly be the celebrated Pieta in the Monte di Pieta at Treviso, as there are here three angels.  M. Lafenestre, in his Life of Titian, reproduces an engraving answering to the above description, but it is hard to believe this mannered composition is to be traced back to Giorgione.)

CASA ZUANE RAM (1531).

(i) A youth, half-length, holding an arrow.

(ii) Head of a shepherd boy, who holds a fruit.

CASA A. PASQUALINO.

(i) Copy of No. (i) just mentioned.

(ii) Head of S. James, with pilgrim staff (or, may be, a copy).

CASA ANDREA ODONI (1532).

S. Jerome, nude, seated in a desert by moonlight.  Copy after Giorgione.

CASA MICHIEL CONTARINI (1543).

A pen drawing of a nude figure in a landscape.  The painting of the same subject belonged to the Anonimo.

CASA PIERO SERVIO (1575).

Portrait of his father.

It is noteworthy that two of the above pieces are cited as copies, from which we may infer that Giorgione’s productions were already, at this early date, enjoying such a vogue as to call for their multiplication at the hands of others, and we can readily understand how, in course of time, the fabrication of “Giorgiones” became a profitable business.

NOTES: 

[173] Notizie d’opere di disegno.  Ed. Frizzoni.  Bologna, 1884.