_Portrait of a Lady in Mourning_, 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 _naïveté_ 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 München 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 £2500 apiece.]