now or lately in the possession of Mr. T.W. Russell (reproduction in the
British Museum marked 1879-5-10-224) is in the opinion of the writer a
genuine Titian. _The Vision of St. Eustace_, reproduced in the first
section of this monograph ("The Earlier Work of Titian") from the
original in the British Museum, is a noble and pathetic example of the
earlier manner. Perhaps the most beautiful of the landscape drawings
still preserving something of the Giorgionesque aroma is that with the
enigmatic female figure, entirely nude but with the head veiled, and the
shepherds sheltering from the noonday sun, which is in the great
collection at Chatsworth (No. 318 in Venetian Exhibition at New
Gallery). Later than this is the fine landscape in the same collection
with a riderless horse crossing a stream (No. 867 in Venetian Exhibition
at New Gallery). The well-known _St. Jerome_ here given (British Museum)
is ascribed by no less an authority than Giovanni Morelli to the master,
but the poor quality of the little round trees, and of the background
generally, is calculated to give pause to the student. A good example of
the later style, in which the technique is more that of the painter and
less that of the draughtsman, is the so-called _Landscape with the
Pedlar_ at Chatsworth. But, faded though it is, the finest extant
drawing of the later period is that here (p. 78) for the first time
reproduced by the kind permission of the owner, Professor Legros, who
had the great good fortune and good taste to discover it in a London
book-shop. There can be no doubt that this ought to be in the Print Room
at the British Museum. A good instance, on the other hand, of a drawing
which cannot without demur be left to Titian, though it is a good deal
too late in style for Domenico Campagnola, and moreover, much too fine
and sincere for that clever, facile adapter of other people's work, is
the beautiful pastoral in the Albertina at Vienna (B. 283), with the
shepherd piping as he leads his flock homewards.] INDEX