8. Duke Guidobaldo [II.] Of this portrait I find no trace, though it is named in the Pesaro list, and may be that described by Venturi as in an antique dress.[*269]
9. Hannibal of Carthage, on canvas. Mentioned in the Pesaro inventory, but not now known.
10. Madonna, Child, St. John Baptist, and St. Anna, on panel, large. No trace of this picture appears in any inventory, or Florentine gallery.
11. The Nativity, on panel. Not mentioned elsewhere; it or the following may be the picture painted with a moonlight effect, now No. 443, of the Pitti Gallery; or that described by Venturi as "a woman swaddling an infant."[*270]
12. Quem genuit adoravit, on panel; or the Madonna adoring her Child. This I have nowhere been able to identify. (See the preceding No., and also below, [No. 20].)
13. Madonna della Misericordia, on canvas. The Pesaro list tells us it came from the Imperiale villa, and contained the painter's portrait, with many figures. It is No. 484 of the Pitti collection, where it is assigned to Marco di Tiziano, the cousin and favourite pupil of Titian. Following the usual type, this "Madonna of Mercy" is represented as a gigantic female, whose outstretched arms infold under her ample mantle of compassion, six men, five women, and two children; the eldest of the group is evidently Titian, and the rest are, no doubt, members of the Vecelli family. The picture was probably votive, in commemoration of some signal mercy vouchsafed to his house.
14. The Saviour, on panel. A half-length figure in profile, perhaps the finished study for some large composition. It is noted in all the inventories, and was carried by the French to Paris, but is now in the Pitti Palace, No. 228.
15. Ecce Homo, on panel. Also included in all the inventories, and probably the picture No. 330 of the Pitti Gallery, where it is called in the manner of Sebastian del Piombo.[*271]
16. Magdalen, on panel. This is now No. 67 in the Pitti collection; a half-length, half-nude penitent, with variations from the frequent repetitions of the same subject by this master; her eye, no longer tearful, is upraised with an expression of joyful hope: the penitent is at peace. (See above, p. [375].)
17. Judith, on canvas. In the Pesaro inventory it is described as on panel, and both there and in Pelli's note it is ascribed to Titian or Palma Vecchio, whilst Venturi assigns it to Pordenone. It is now in the Venetian room of the Uffizi, with the name of Pordenone, and is on panel.[*272]