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ng_, No. 174 in the Dresden Gallery. The master never painted with such a lack of charm and distinction. Very doubtful, but difficult to judge in its present state, is the _Portrait of a Lady with a Vase_, No. 173 in the same collection. Morelli accepts as a genuine example of the master the _Portrait of a Lady in a Red Dress_ also in the Dresden Gallery, where it bears the number 176. If the picture is his, as the technical execution would lead the observer to believe, it constitutes in its stiffness and unambitious _naivete_ a curious exception in his long series of portraits.] [Footnote 46: It is impossible to discuss here the atelier repetitions in the collections of the National Gallery and Lord Wemyss respectively, or the numerous copies to be found in other places.] [Footnote 47: For the full text of the marriage contract see Giovanni Morelli, _Die Galerien zu Muenchen und Dresden_, pp. 300-302.] [Footnote 48: Joshua Reynolds, who saw it during his tour in Italy, says: "It is so dark a picture that, at first casting my eyes on it, I thought there was a black curtain before it."] [Footnote 49: Crowe and Cavalcaselle, vol. ii. p. 272.] [Footnote 50: They were, with the _Rape of Europa_, among the so-called "light pieces" presented to Prince Charles by Philip IV., and packed for transmission to England. On the collapse of the marriage negotiations they were, however, kept back. Later on Philip V. presented them to the Marquis de Grammont. They subsequently formed part of the Orleans Gallery, and were acquired at the great sale in London by the Duke of Bridgewater for L2500 apiece.] [Footnote 51: This great piece is painted on a canvas of peculiarly coarse grain, with a well-defined lozenge pattern. It was once owned by Van Dyck, at the sale of whose possessions, in 1556, a good number of years after his death, it was acquired by Algernon Percy, Earl of Northumberland. In 1873 it was in the exhibition of Old Masters at the Royal Academy.] [Footnote 52: The best repetition of this Hermitage _Magdalen_ is that in the Naples Museum; another was formerly in the Ashburton Collection, and yet another is in the Durazzo Gallery at Genoa. The similar, but not identical, picture in the Yarborough Collection is anything but "cold in tone," as Crowe and Cavalcaselle call it. It is, on the contrary, rich in colour, but as to the head of the saint, much less attractive than the original.] [Footnote 53: This pictur
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