PORTRAIT OF A MAN. Canvas, 2 ft. 1 in. x 2 ft. 9 in.
Erroneously called Ariosto, and ascribed to t.i.tian.
I have sought to identify this with the "Portrait of a Gentleman" of the Barberigo family, said by Vasari to have been painted by t.i.tian at the age of eighteen. (See p. 69.)
HERON COURT, THE EARL OF MALMESBURY.
THE JUDGMENT OF PARIS. Canvas, 22 in. x 28 in.
Copy of an unidentified original, of which other versions are to be found at Dresden, Venice (Pal. Albuzio), and Christiania. This one is probably a Bolognese repet.i.tion of the seventeenth century.
Ridolfi mentions this subject in his list of Giorgione"s works.
New Gallery, 1895. [No. 29.]
HERTFORD HOUSE, WALLACE COLLECTION.
VENUS DISARMING CUPID. 3 ft. 7 in. x 3 ft. [No. 19.]
The picture was engraved as a Giorgione when in the Orleans Gallery.
(See p. 93.)
KENT HOUSE, THE LATE LOUISA LADY ASHBURTON.
TWO FIGURES IN A LANDSCAPE. Panel. 18 in. x 17 in.
The damaged state precludes any certainty of judgment. The composition is that of the Adrastus and Hypsipyle picture; the colouring recalls the National Gallery "Golden Age(?)." If an original, it is quite an early work. New Gallery, 1895. [No. 147.]
TWO FIGURES (half-lengths), A WOMAN AND A MAN.
Copy after a missing original, and in the style of the figures at Oldenburg. (See Venturi, _La Gall. Crespi_.) This or the original was engraved as a Giorgione in 1773 by Dom. Cunego ex tabula Romae in aedibus Burghesianis a.s.servata.
KINGSTON LACY, COLLECTION OF MR. RALPH BANKES.
THE JUDGMENT OF SOLOMON. Canvas, 6 ft. 10 in. x 10 ft. 5 in.
Mentioned by Dr. Waagen, Suppl. Ridolfi (1646) mentions: "In casa Grimani da Santo Ermagora la Sentenza di Salomone, di bella macchia, colla figura del ministro non finita." Afterwards in the Marescalchi Gallery at Bologna, where (1820) it was seen by Lord Byron, who especially praised it (vide _Life and Letters_, ed. by Moore, p. 705), and at whose suggestion it was purchased by his friend Mr. Bankes. (See p. 25.)
Exhibited Royal Academy, 1869.
A PAINTED CEILING.
With four putti climbing over a circular balcony, seen in steep perspective, and covered with beautiful vine leaves and flowers. This is said to have been painted by Giorgione in the last year of his life (1510) for the Palace of Grimani, Patriarch of Aquileia. Admirably preserved, and most likely a genuine work.
TEMPLE NEWSAM, COLLECTION OF THE HON. MRS MEYNELL-INGRAM.
PORTRAIT OF A MAN.
Traditionally ascribed to t.i.tian. Just under life-size; he holds a black hat. Blue-black silk dress with sleeve of pinky red and golden brown gloves. Dark auburn hair. Dark grey marble wall behind. In excellent preservation. (See p. 86.)
COLLECTION OF SIR CHARLES TURNER.
THE ADULTERESS BEFORE CHRIST.
A free Venetian repet.i.tion, perhaps based on an alternative design for the Glasgow picture. (See p. 104.)
FRANCE.
LOUVRE.
FeTE CHAMPeTRE, or PASTORAL SYMPHONY. Canvas, 3 ft. 8 in. x 4 ft. 9 in.
_Said to have been in Charles I. Collection, and sold to Louis XIV. by Jabuch._ (See p. 39.)
HOLY FAMILY AND SAINTS CATHERINE AND SEBASTIAN, WITH DONOR. Wood, 3 ft.
4 in. x 4 ft. 6 in.
Perhaps left incomplete by Giorgione at his death, and finished by Sebastiano del Piombo. (See p. 105.)
_From Charles I. Collection._
GERMANY.
BERLIN GALLERY.
PORTRAIT OF A YOUNG MAN.
_Acquired from Dr. Richten_ (See p. 30.)
BERLIN, COLLECTION OF HERR VON KAUFFMANN.
STA. GIUSTINA.
A small seated figure with the unicorn. Recently acquired at Cologne, and known to the writer only by photograph and description, but tentatively accepted as genuine.
DRESDEN GALLERY.
VENUS. Canvas, 3 ft. 7 in. x 5 ft. 10 in. [No. 185.]
Formerly catalogued as a copy by Sa.s.soferrato after t.i.tian. Restored by Morelli to Giorgione, and universally accepted as such. Mentioned by the Anonimo and Ridolfi, and said to have been completed by t.i.tian. (See p.
35.)
THE HOROSCOPE. Canvas, 4 ft. 5 in. x 6 ft. 2 in.
Copy after a lost original. C. and C. suggest Girolamo Pennacchi as possible author. It bears the Este arms.
_From the Manfrini and Barker Collections._