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.
[123] See _La Galleria Crespi_, 1900.
[124] _The Earlier Work of Titian_ p. 24. _Portfolio_, October 1897.
[125] _Tizian_, p. 16.
[126] Morelli, ii. 57, note.
[127] See _antea_, p. 71.
[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.
[131] _Magazine of Art_. July 1895.
[132] _North American Review_. October 1899.
[133] _Magazine of Art_, 1890, pp. 91 and 138.
[134] The small divergencies of detail in the dress of the "Adulteress,"
etc., are just such as an imitator might have ventured to make. The hand
and arm of the Christ have, however, been altered for the better.
[135] This is the first time in Venetian art that the subject appears.
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