This list might still be extended by half a dozen numbers by including pictures which may represent lost originals by Giorgione, but here we are in a field too subjective for profitable discussion in a handbook. _Pictures generally ascribed to Giorgione, I think erroneously._ The Knight of Malta (probably a Titian about 1515) Florence Portrait of Broccardo Budapest Storm Calmed by St. Mark (probably a Palma) Venice Judgment of Solomon (Hourticq plausibly regards as copy of lost fresco by Titian) Banks Coll., Kingston Lacy Madonna with St. Antony and St. Roch (probably a Titian) Madrid Portrait of a Woman Casino Borghese, Rome The reason for excluding such works is their over-pathetic or over-dramatic quality. The argument applies especially to the Adulteress before Christ at Glasgow. Corroborative technical evidence against this group may be found in L. Venturi’s excellent monograph. CHAPTER VIII.—TITIAN AND THE VENETIAN RENAISSANCE On the Venetian Renaissance in general we have the works cited at the head of Notes for Chapter VII and for biographies and lists D. V. Hadeln, new ed. Ridolfi, _Le Maraviglie dell’ Arte_, Berlin, 1914. A brief survey by the late Kenyon Cox, in _Concerning Painting_, New York, 1917, pp. 98–132, is valuable. Footnote 78: _Titian._ Crowe and Cavalcaselle’s _The Life and Times of Titian_, in 2 vols., London, 1881, is still the fullest repository of information. Georg Gronau’s popular but carefully done _Titian_, London and New York, 1904, takes account of later documentary discoveries. As a painter’s analysis of technical aims Charles Rickett’s _Titian_, London, 1910, is noteworthy. Nearly all of Titian’s works are published in _Klassiker der Kunst_, No. III, Stuttgart, 1906. Several newly discovered pictures are reproduced in the recent volumes, 1918–22, of the _Burlington Magazine_, _Art in America_, and _Zeitschrift für bildende Kunst_. Footnote 79: _Titian’s Age._ All the available material on this disputed matter is offered by Mr. Herbert Cook and Dr. George Gronau in a controversy printed as appendices to Cook’s _Giorgione_, London, 1907. The early evidence is very conflicting. Writing in 1557 Dolce implies Titian was born about 1489 „ „ 1566–7 Vasari „ „ „ „ 1489 „ „ 1564 A Spanish Envoy „ „ „ 1474 „ „ 1567 A Spanish Consul „ „ „ 1482 „ „ 1571 Titian himself „ „ „ „ 1477 „ „ 1584 Borghini „ „ „ „ 1478–9 Writing in 1545 and 1548 Titian refers to his old age and disabilities (Cook, p. 141 note), expressions more natural if he was sixty-eight and seventy-one than they would be if he were only fifty-six and fifty-nine.