is lost. The best known
copy is in the Uffizi. Crowe and Cavalcaselle long ago pointed out the
absurdity of regarding this fancy portrait as a true likeness of the
long deceased queen. It bears no resemblance whatever to the Buda-Pesth
portrait, which is the latest of the group.

[99] _Cicerone_, sixth edition.

[100] _Gazette des Beaux Arts_, 1897, pp. 278-9.

[101] _Venetian Painting at the New Gallery_, 1895, p. 41.

[102] _Titian_, ii. 58.

[103] _Gazette des Beaux Arts, loc cit_.

[104] _Life of Giorgione_. The letters T.V. either were added after
1544, or Vasari did not interpret them as Titian's signature.

[105] _La Galleria Crespi, op. cit_.

[106] The importance of this portrait in the history of the Renaissance
is discussed, _postea_, p. 113.

[107] ii. 19.

[108] This picture was transferred in 1857 from panel to canvas, but is
otherwise in fine condition.

[109] Morelli, ii. 19, note.

[110] Crowe and Cavalcaselle: _Titian_, p. 425.

[111] _Gazette des Beaux Arts_, 1893, p. 135.

[112] It is customary to cite the Prague picture of 1525 as his work.
The clumsy signature CAM was probably intended for Campi, the real
author, and its genuineness is not above suspicion. It is a curious
_quid pro quo_.

CHAPTER V

ADDITIONAL PICTURES OTHER THAN PORTRAITS

I have now pointed out six portraits which, in my opinion, should be
included in the roll of genuine Giorgiones. No doubt others will, in
time, be identified, but I leave this fascinating quest to pass to the
consideration of other paintings illustrating a different phase of the
master's art.[113]

We know that the romantic vein in Giorgione was particularly strong,
that he naturally delighted in producing fanciful pictures where his
poetic imagination could find full play; we have seen how the classic
myth and the mediaeval romance afforded opportunities for him to indulge
his fancy, and we have found him adapting themes derived from these
sources to the decoration of _cassoni_, or marriage chests. Another
typical example of this practice is afforded by his "Orpheus and
Eurydice," in the gallery at Bergamo, a splendid little panel, probably,
like the "Apollo and Daphne" in the Seminario at Venice, intended as a
decorative piece of applied art. Although bearing Giorgione's name by
tradition, modern critics have passed it by presumably on the ground
that "it is not good enough,"--that fatal argument which has thrown dust
in the e