di S. Marco_, where it was companion piece to Paris
Bordone's "Fisherman and Doge." Ascribed by Vasari to Palma Vecchio, by
Zanetti to Giorgione.

Too damaged to admit of definite judgment. (See p. 55.)

THREE FIGURES. Half-lengths; a woman fainting, supported by a man;
another behind.

Modern copy by Fabris of apparently a missing original. Can this be the
picture mentioned by C. and C. as in the possession of the King of
Holland? (C. and C. ii. 149, note.) _Cf_. also, Notes to Sansoni's
_Vasari_, iv. p. 104. Another version is at Buckingham Palace (_q.v_.),
but it differs in detail from this copy.

SEMINARIO.

APOLLO AND DAPHNE. _Cassone_ panel. Wood. Small figures, much defaced.
(See p. 34.)

CHURCH OF SAN ROCCO. CHRIST BEARING THE CROSS. Panel. Busts large as
life. About 3 ft. x 2 ft.

Christ clad in pale grey, head turned three-quarters looking out of the
picture, auburn hair and beard, bears cross. He is dragged forward by an
elderly man nude to waist. Another man in profile to left. An old man
with white beard just visible behind Christ. (See p. 54.)

PAL. ALBUZIO. JUDGMENT OF PARIS.

Another version of this subject, of which copies exist at Christiania,
Lord Malmesbury's, and Dresden.

PAL. GIOVANELLI. ADRASTUS AND HYPSIPYLE. Canvas, 2 ft. 9 in. x 2 ft. 5
in.

Described by the Anonimo in the house of Gabriel Vendramin (1530). (See
p. 11.)

Statius (lib. iv. 730 _ff_.) describes how King Adrastus, wandering
through the woods in search of a spring to quench the thirst of his
troops, encounters by chance Queen Hypsipyle, who had been driven out of
Lemnos by the wicked women, who had resolved to slay their husbands, and
she had taken refuge in the service of the King of Nemea, in capacity
of nurse.

Ex _Manfrini Palace._

PAL. QUERINI-STAMPALIA. PORTRAIT OF A MAN. Unfinished. Wood, 2 ft. 6 in.
square. (See p. 85.)

NORWAY.

CHRISTIANIA.

JUDGMENT OF PARIS.

Another version of this subject, of which copies exist at Lord
Malmesbury's, Dresden, and Venice.

RUSSIA.

ST. PETERSBURG, HERMITAGE GALLERY.

JUDITH. 4 ft. 9 in. x 2 ft. 2 in. [No. 112.]

Once ascribed to Raphael, and engraved as such (in 1620), by H.H.
Quitter, and afterwards by several other artists. Dr. Waagen pronounced
it to be Moretto's work, and accordingly the name was changed; as such
Braun has photographed it. It is now officially recognised rightly as a
Giorgione (_vide_ Catalogue of 1891).

_Brought from Italy