ling and beauty. Unfortunately it is in such a bad
state that little remains of the original work, and Giorgione's touch
is scarcely to be recognised in the damaged parts. Nevertheless, his
spirit breathes amidst the ruin, and modern critics have recognised the
justice of Morelli's view, rather than that of Crowe and Cavalcaselle,
who suggested Schiavone as the "author."[42] And, indeed, a comparison
with the "Adrastus and Hypsipyle" is enough to show a common origin,
although, as we might expect, the same consummate skill is scarcely to
be found in the _cassone_ panel as in the easel picture. There is a rare
daintiness, however, in these graceful figures, so essentially
Giorgionesque in their fanciful presentation, the young Apollo, a
lovely, fair-haired boy, pursuing a maiden with flowing tresses, whose
identity with Daphne is only to be recognised by the laurel springing
from her fingers. The story is but an episode in a sylvan scene, where
other figures, in quaint costumes, seem to be leading an idyllic
existence, untroubled by the cares of life, and utterly unconcerned at
the strange event passing before their eyes.

From the "Apollo and Daphne" it is an easy transition to the "Venus,"
that great discovery which we owe to Morelli, and now universally
recognised by modern critics. The one point on which Morelli did not,
perhaps, lay sufficient stress, is the co-operation in this work of
Titian with Giorgione, for here we have an additional proof that the
latter left some of his work unfinished. It is a fair inference that
Titian completed the Cupid (now removed), and that he had a hand in
finishing the landscape; the Anonimo, indeed, states as much, and
Ridolfi confirms it, and this view is officially adopted in the latest
edition of the Dresden Catalogue. The style points to Giorgione's
maturity, though scarcely to the last years of his life; for, in spite
of the freedom and breadth of treatment in the landscape, there is a
restraint in the figure, and a delicacy of form which points to a period
preceding, rather than contemporary with, the Louvre "Concert" and
kindred works, where the forms become fuller and rounder, and the
feeling more exuberant.

It would be mere repetition, after all that has been written on the
Dresden "Venus," to enlarge on the qualities of refinement and grace
which characterise the fair form of the sleeping goddess. One need but
compare it with Titian's representations of the same subject