[113] The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of Cordova, Giovanni Borgherini and his tutor, Luigi Crasso, and others, are mentioned as having sat to Giorgione for their portraits. Modern criticism has recently distributed several "Giorgionesque" portraits in English collections among Licinio, Lotto, and even Polidoro! But this disintegrating process may be, and has been, carried too far.
[114] Two more small works may be mentioned which may tentatively be ascribed to Giorgione. "The Two Musicians," in the Glasgow Gallery (recently transferred to Campagnola), and a "Sta. Justina" (known to me only from a photograph), which has passed lately into the collection of Herr von Kauffmann at Berlin.
Signor Venturi (_L'Arte_, 1900) has just acquired for the National Gallery in Rome a "St. George slaying the Dragon." Judging only from the photograph, I should say he is correct in his identification of this as Giorgione's work. It seems to be akin to the "Apollo and Daphne," and "Orpheus and Eurydice."
[115] I am pleased to find Signor Venturi has anticipated my own conclusion in his recently published _La Galleria Crespi_.
[116] Mr. Cosmo Monkhouse (_In the National Gallery_, p. 223) has already rightly recognised the same hand in this picture and in the "Epiphany" hanging just below.
[118] By a happy accident the new "Giorgione" label, intended for the "Epiphany," No. 1160, was for some time affixed to No. 1173.
[119] When in the Orleans Gallery the picture was engraved under Giorgione's name by de Longueil and Halbon.
[120] New illustrated edition of the National Gallery Catalogue, 1900.
[121] Now in America, in Mrs. Gardner's Collection.
[122] Crowe and Cavalcaselle: _Titian_, i. p. III. This picture was then at Burleigh House.
[124] _The Earlier Work of Titian_ p. 24. _Portfolio_, October 1897.
[128] With the exception of the right arm, which Titian has let fall, instead placing it behind the head of the sleeping goddess. The effect of the beautiful curve is thereby lost, and Titian shows himself Giorgione's inferior in quality of line.
[129] As in the "Aeneas and Evander" (Vienna), the "Judith" (St. Petersburg), the Madrid "Madonna and Saints," etc.
[130] As in the "Caterina Cornare" of the Crespi collection at Milan.