The Vienna picture is, however, but a copy of a lost original
by Giorgione, the existence of which is independently attested by
Vasari.[61] Now, the question naturally arises, What relation does the
Hampton Court "Shepherd" bear to this "David," Giorgione's lost
original? It is possible, of course, that the master repeated himself,
merely transforming the David into a Shepherd, or _vice versa_, and it
is equally possible that some other and later artist adapted Giorgione's
"David" to his own end, utilising the conception that is, and carrying
it out in his own way. Arguing purely _a priori_, the latter possibility
is the more likely, inasmuch as we know Giorgione hardly ever repeats a
figure or a composition, whereas Titian, Cariani, and other later
Venetian artists freely adopted Giorgione's ideas, his types, and his
compositions for their own purposes. Internal evidence appears to me,
moreover, to confirm this view, for the general style of painting seems
to indicate a later period than 1510, the year of Giorgione's death. The
flimsy folds, in particular, are not readily recognisable as the
master's own. A comparison with a portrait in the Gallery of Padua
reveals, particularly in this respect, striking resemblances. This fine
portrait was identified by both Crowe and Cavalcaselle and by Morelli as
the work of Torbido, and I venture to place the reproduction of it
beside that of the "Shepherd" for comparison.
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