in the first edition of his Lives (1550),
names Giorgione as the painter, whilst in the second (1565), he assigns
the authorship to Titian. Later writers follow the latter statement, and
to this day the local guides adhere to this tradition. That the
attribution to Giorgione, however, was still alive in 1620-5, is proved
by the sketch of the picture made by the young Van Dyck during his visit
to Italy, for he has affixed Giorgione's name to it, and not that of
Titian.[71] I am satisfied that this tradition is correct. Giorgione,
and not Titian, painted the still lovely head of Christ, and Giorgione,
not Titian, drew the arm and hand of the Jew who is dragging at the
rope. Characteristic touches are to be seen in the turn of the head, the
sloping axis of the eyes, and especially the fine oval of the face, and
bushy hair. This is the type of Giorgione's Christ; "The Tribute Money"
(at Dresden) shows Titian's. Unfortunately the panel has lost all its
tone, all its glow, and most of its original colour, and we can scarcely
any longer admire the picture which, in Vasari's graphic language, "is
held in the highest veneration by many of the faithful, and even
performs miracles, as is frequently seen"; and again (in his _Life of
Titian_), "it has received more crowns as offerings than have been
earned by Titian and Giorgione both, through the whole course of their
lives."

The other picture included by Mr. Berenson in his list is the large
canvas in the Venice Academy, with "The Storm calmed by S. Mark."
According to this critic it is a late work, finished, in small part, by
Paris Bordone. In my opinion, it would be far wiser to withhold
definite judgment in a case where a picture has been so entirely
repainted. Certainly, in its present state, it is impossible to
recognise Giorgione's touch, whilst the glaring red tones of the flesh
and the general smeariness of the whole render all enjoyment out of
question. I am willing to admit that the conception may have been
Giorgione's, although even then it would stand alone as evidence of an
imagination almost Michelangelesque in its _terribilita._ Zanetti (1760)
was the first to connect Giorgione's name with this canvas, Vasari
bestowing inordinate praise upon it as the work of Palma Vecchio! It
only remains to add that this is the companion piece to the well-known
"Fisherman presenting the Ring to the Doge," by Paris Bordone, which
also hangs in the Venice Academy. Both illustrate