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." The engraving by Marcantonio commonly called "The Dream of Raphael," is now known to be derived from Giorgione, to whom the subject was suggested by a passage in Servius' _Commentary on Virgil_ (lib. iii. v. 12). (See Wickhoff, loc. cit.) LIST OF GIORGIONE'S PICTURES CITED BY "THE ANONIMO," AS BEING IN HIS DAY (1525-75) IN PRIVATE POSSESSION AT VENICE.[173] CASA TADDEO CONTARINI (1525). (i) The Three Philosophers (since identified as Aeneas, Evander, and Pallas, in the Vienna Gallery), (ii) Aeneas and Anchises in Hades. (in) The Birth of Paris. (Since identified by the engraving of Th. von Kessel. A copy of the part representing the two shepherds is at Buda-Pesth.) CASA JERONIMO MARCELLO (1525). (i) Portrait of M. Jeronimo armed, showing his back and turning his head. (ii) A nude Venus in a landscape with Cupid. Finished by Titian. (Since identified as the Dresden Venus.) (in) S. Jerome reading. CASA M. ANTON. VENIER (1528). A soldier armed to the waist. CASA G. VENDRAMIN (1530). (i) Landscape with soldier and gipsy. (Since identified as the Adrastus and Hypsipyle of the Pal. Giovanelli, Venice.) (ii) The dead Christ on the Tomb, supported by one Angel. Retouched by Titian. (This can hardly be the celebrated Pietà in the Monte di Pietà at Treviso, as there are here three angels. M. Lafenestre, in his _Life of Titian_, reproduces an engraving answering to the above description, but it is hard to believe this mannered composition is to be traced back to Giorgione.) CASA ZUANE RAM (1531). (i) A youth, half-length, holding an arrow. (ii) Head of a shepherd boy, who holds a fruit. CASA A. PASQUALINO. (i) Copy of No. (i) just mentioned. (ii) Head of S. James, with pilgrim staff (or, may be, a copy). CASA ANDREA ODONI (1532). S. Jerome, nude, seated in a desert by moonlight. Copy after Giorgione. CASA MICHIEL CONTARINI (1543). A pen drawing of a nude figure in a landscape. The painting of the same subject belonged to the Anonimo. CASA PIERO SERVIO (1575). Portrait of his father.