Where, as in the present
case, the original is missing, even a partial copy is of great value,
for in it we can see the mind, if not the hand, of the great master. The
Anonimo tells us this "Birth of Paris" was one of Giorgione's early
works, a statement worthy of credence from the still Bellinesque stamp
and general likeness of one of the Shepherds to the "Adrastus" in the
Giovanelli picture. In pose, type, arrangement of hair, and in landscape
this fragment is thoroughly Giorgionesque, and we have, moreover, those
most characteristic traits, the pointing forefinger, and the unbroken
curve of outline. The execution is, however, raw and crude, and entirely
wanting in the magic quality of the master's own touch.[59]
[Illustration: _Dixon photo. Hampton Court Palace Gallery_
THE SHEPHERD BOY.]
Finally, on Morelli's list figures the "Shepherd" at Hampton Court, for
the genuineness of which the critic would not absolutely vouch, as he
had only seen it in a bad light. Perhaps no picture has been so strongly
championed by an enthusiastic writer as has been this "Shepherd" by Mr.
Berenson, who strenuously advocates its title to genuineness.[60]
Nevertheless, several modern authorities remain unconvinced in presence
of the work itself. The conception is unquestionably Giorgione's own,
as we may see from a picture now in the Vienna Gallery, where this head
is repeated in a representation of the young David holding the head of
Goliath.
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