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.)

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.