Dr. Waagen pronounced
it to be Moretto's work, and accordingly the name was changed; as such
Braun has photographed it. It is now officially recognised rightly as a
Giorgione (_vide_ Catalogue of 1891).
_Brought from Italy to France, and eventually in Crozat's possession_.
(See p. 37.)
VIRGIN AND CHILD. 2 ft. 10 in. x 2 ft. 6. [No. 93.]
_Acquired at Paris in 1819 by Prince Troubetzkoy as a Titian_, under
which name it is still registered. (See p. 102, where Mr. Claude
Phillips's suggestion that it may be a Giorgione is discussed.)
SPAIN.
MADRID, PRADO GALLERY.
MADONNA AND CHILD AND SAINTS FRANCIS AND ROCH. Canvas, 3 ft. x 4 ft. 5
in. [No. 341.]
_From the Escurial_; restored to Giorgione by Morelli, and now
officially recognised as his work. (See p. 45.)
UNITED STATES.
BOSTON, COLLECTION OF MRS. GARDNER.
CHRIST BEARING THE CROSS. Wood, 1 ft. 8 in. x 1 ft. 4 in.
Several variations and repetitions exist. (See p. 18.)
_Till lately in the Casa Loschi at Vicenza._
* * * * *
A few drawings by Giorgione meet with general recognition, but, like his
paintings, they appear to have been unnecessarily restricted by an
over-anxiety on the part of critics to leave him only the best. E.g. the
drawing at Windsor for a part of an "Adoration of the Shepherds," is, no
doubt, a preliminary design for the Beaumont or Vienna pictures. The
limits of the present book will not allow a discussion on the subject,
but we may remark that, like all Venetian artists, Giorgione made few
preliminary sketches, concerning himself less with design and
composition than with harmony of colour, light and shade, and "effect.
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