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Updated: May 19, 2025
From an often-cited passage in the Anonimo, describing Giorgione's great Venus now in the Dresden Gallery, in the year 1525, when it was in the house of Jeronimo Marcello at Venice, we learn that it was finished by Titian. The text says: "La tela della Venere nuda, che dorme ni uno paese con Cupidine, fu de mano de Zorzo da Castelfranco; ma lo paese e Cupidine furono finiti da Tiziano." The Cupid, irretrievably damaged, has been altogether removed, but the landscape remains, and it certainly shows a strong family resemblance to those which enframe the figures in the Three Ages, Sacred and Profane Love, and the "Noli me tangere" of the National Gallery. The same Anonimo in 1530 saw in the house of Gabriel Vendramin at Venice a Dead Christ supported by an Angel, from the hand of Giorgone, which, according to him, had been retouched by Titian. It need hardly be pointed out, at this stage, that the work thus indicated has nothing in common with the coarse and thoroughly second-rate Dead Christ supported by Child-Angels, still to be seen at the Monte di Piet
It is certain that Georges Guynemer was a mechanician and a gunsmith. He knew his machine and his machine-gun, and how to make them do their utmost. But there were others who knew the same. Dorme and Heurtaux were perhaps more skillful in maneuvering than he. First the bird was brought out of the shed; then he minutely examined and fingered it.
Heurtaux was the Oliver of this Roland. In character and energy they were the same. Dorme used to take Deullin with him, or de la Tour. Or the choice was made alternately. This was the quartet of whom the enemy had cause to beware, and woe to the Boche who met any one of them! There was at that time at Bapaume a group of five one-seated German machines which never maneuvered singly.
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