[30] Crowe and Cavalcaselle, ii. 142, and note. [31] Giorgione painted in fresco in the portico of this palace. Zanetti has preserved the record of a figure said to be "Diligence," in his print published in 1760. [32] See Byron's _Life and Letters_, by Thomas Moore, p. 705. [33] See Berenson's _Venetian Painters_, illustrated edition. [34] Morelli, ii. 219. [35] See p. 32 for a possible explanation of these letters. [36] ii. 218 [37] It has been suggested to me by Dr. Williamson that the letters may possibly be intended for ZZ (=Zorzon). In old MSS. the capital Z is sometimes made thus _[closed V]_ or _V._ [38] i. 248. [39] The methods by which he arrived at his conclusion are strangely at variance with those he so strenuously advocates, and to which the name of Morellian has come to be attached. [40] Reproduced in _Venetian Art at the New Gallery_, under Giorgione's name, but unanimously recognised as a work of Licinio. [41] i. 249. [42] Dr. Bode and Signor Venturi both recognise it as Giorgione's work. [43] To what depths of vulgarity the Venetian School could sink in later times, Palma Giovane's "Venus" at Cassel testifies. [44] _Repertorium für Kunstwissenschaft_. 1896. xix. Band. 6 Heft. [45] _North American Review_, October 1899. [46] It was photographed by Braun with this attribution. [47] Catena has adopted this Giorgionesque conception in his "Judith" in the Querini-Stampalia Gallery in Venice. [48] See _Gazette des Beaux Arts_, 1897, tom, xviii. p. 279. [49] See _Gazette des Beaux Arts_, 1893, tom. ix. p. 135 (Prof. Wickhoff); 1894, tom. xii. p. 332 (Dr. Gronau); and _Repertorium für Kunstwissenschaft_, tom. xiv. p. 316 (Herr von Seidlitz). [50] Crowe and Cavalcaselle, ii. 147. [51] ii. 217. [52] Dr. Gronau points this out in _Rep_. xviii. 4, p. 284. [53] See _Guide to the Italian Pictures_ at Hampton Court, by Mary Logan, 1894. [54] Official Catalogue, and Crowe and Cavalcaselle, ii. 502. [55] Pater: _The Renaissance_, p. 158. [56] ii. 219. [57] The execution of this grotesque picture is probably due to Girolamo da Carpi, or some other assistant of Dosso. [58] Crowe and Cavalcaselle, ii. 292, unaccountably suggested Francesco Vecellio (!) as the author. [59] The subject is derived from a passage in the _De Divinitate_ of Cicero, as Herr Wickhoff has pointed out. [60] See _Venetian Painting at the New Gallery_. 1895. [61] Unless we are to suppose that Vasari mistook a copy for an original. [62] Francesco Torbido, called "il Moro," born about 1490, and still living in 1545. Vasari states that he actually worked under Giorgione. Signed portraits by him are in the Brera, at Munich, and Naples. Palma Vecchio also deserves serious consideration as possible author of the "Shepherd Boy." [63] Crowe and Cavalcaselle, ii. 144. [64] Morelli, ii. 212. [65] See Appendix, p. 123. [66] Quoted by Morelli, ii. 212, note. [67] Crowe and Cavalcaselle, ii. 155.