the "Portrait of a Gentleman," in the Querini-Stampalia Gallery in
Venice, the same hand as in the National Gallery picture, one might well
hesitate to claim it for Giorgione, so repainted is its present
condition. I make bold, however, to include it in my list, and the more
readily as Signor Venturi definitely assigns it to Giorgione himself,
whose name, moreover, it has always borne. This unfinished portrait is,
despite its repaint, extraordinarily attractive, the rich browns and
reds forming a colour-scheme of great beauty. It cannot compare,
however, in quality with our National Gallery highly-finished example,
to which it is also inferior in beauty of conception. These two
portraits illustrate the variableness of the painter; both were probably
done about the same time--the one seemingly _con amore_, the other left
unfinished, as though the artist or his sitter were dissatisfied.
Certainly the cause could not have been Giorgione's death, for the style
is obviously early, probably prior to 1500.

The view expressed by Morelli[109] that this may be a portrait of one of
the Querini family, who were Palma's patrons, has nothing tangible to
support it, once Palma's authorship is contested. But the unimaginative
Palma was surely incapable of such things as this and the National
Gallery portrait!

[Illustration: Collection of the Honourable Mrs. Meynell-Ingram, Temple
Newsam, Leeds

PORTRAIT OF A MAN]

England boasts, I believe, yet another magnificent original Giorgione
portrait, and one that is probably totally unfamiliar to connoisseurs.
This is the "Portrait of an Unknown Man," in the possession of the Hon.
Mrs Meynell-Ingram at Temple Newsam in Yorkshire. A small and
ill-executed print of it was published in the _Magazine of Art_, April
1893, where it was attributed to Titian. Its Giorgionesque character is
apparent at first glance, and I venture to hope that all those who may
be fortunate enough to study the original, as I have done, will
recognise the touch of the great master himself. Its intense expression,
its pathos, the distant look tinged with melancholy, remind us at once
of the Buda-Pesth, the Borghese, and the (late) Casa Loschi pictures;
its modelling vividly recalls the central figure of the Pitti "Concert,"
the painting of sleeve and gloves is like that in the National Gallery
and Querini-Stampalia portraits just discussed. The general pose is most
like that of the Borghese "Lady." The parapet, the