the beard is like the Evander in the Vienna picture, the young man next
the executioner resembles the Adrastus in the Giovanelli figures, and
the young man stooping forward next to Solomon recurs in the "Three
Ages," in the Pitti, which Morelli considered to be by Giorgione. The
most obvious resemblances, however, are to be found in the Glasgow
"Adulteress before Christ," a work which several modern critics assign
to Cariani, although Dr. Bode, Sir Walter Armstrong, and others,
maintain it to be a real Giorgione. Consistently enough, those who
believe in Cariani's authorship in the one case, assert it in the
other,[33] and as consistently I hold that both are by Giorgione. It is
conceivable that Cariani may have copied Giorgione's types and
attitudes, but it is inconceivable to me that he can have so entirely
assimilated Giorgione's temperament to which this "Judgment of Solomon"
so eloquently witnesses. Moreover, let no one say that Cariani executed
what Giorgione designed, for, in spite of its imperfect condition, the
technique reveals a painter groping his way as he works, altering
contours, and making corrections with his brush; in fact, it has all the
spontaneity which characterises an original creation.

The date of its execution may well have been 1507-8, perhaps even
earlier; at any rate, we must not argue from its unfinished state that
the painter's death prevented completion, for the style is not that of
Giorgione's last works. Rather must we conclude that, like the "Aeneas
and Evander," and several other pictures yet to be mentioned, Giorgione
stopped short at his work, unwilling to labour at an uncongenial task
(as, perhaps, in the present case), or from some feeling of
dissatisfaction at the result, nay, even despair of ever realising his
poetical conceptions.

To this important trait in Giorgione's character further reference will
be made when all the available material has been examined; suffice it
for the moment that this "Judgment of Solomon" is to me a most _typical_
example of the great artist's work, a revelation alike of his weaknesses
as of his powers.

Following our method of investigation we will next consider the
pictures which Morelli accredits to Giorgione over and above the seven
already discussed, wherein he concurs with Crowe and Cavalcaselle. These
are twelve in number, and include some of the master's finest works,
some of them unknown to the older authorities, or, at any rate,
unrecor