at the right. This has also been regarded by some as a "Judith". Context The painting relates to two different types of painting found in Venetian painting in the years dominated by Giorgione, including his posthumous influence. The first is a number of Venetian paintings of the 1510s showing two or three half-length figures with heads close together, often with their expressions and interactions enigmatic. Many of these are "Giorgionesque" genre or tronie subjects where the subjects are anonymous. But Titian's Lucretia and her Husband shows a specific subject, even if views differ as to the point in the story shown. His Bravo may have a specific subject; both of these are now in Vienna. The Lovers (Royal Collection) probably does not. His Tribute Money (Dresden, ) has a clear subject, also from the New Testament. The other type it relates to is Titian's series of belle donne half-length female figures from the mid-1510s, which also includes Lucretia and her Husband, as well as the single figures of Flora at the Uffizi, the Woman with a Mirror at the Louvre, the Violante and Vanity in Munich. Most of these have the appearance of portraits, and were sometimes regarded as contemporaries as portraits of leading Venetian courtesans, but are best thought of as idealized figures of beautiful women which may only loosely reflect any individual. This type was more long-lived in Venetian painting, and made by many other artists; Palma Vecchio for one made a speciality of them. Versions There are several early repetitions that might be by Titian or his workshop, or partly by both. A version in the Norton Simon Museum, Pasadena has been considered to be the best of the workshop versions. It was also in the Doria Pamphilj collection from its ownership by Cardinal Aldobrandini at the start of the 17th century to its sale 1797–98 during the French revolutionary invasion of Italy, when much Italian art was sold, mostly to the English, in anticipation of the French looting it otherwise. William Young Ottley was the initial purchaser, who took it to London and sold it in 1801. Another version that was part of the collections of Prince Salviati, Christina of Sweden and of Prince Odescalchi is now owned by the real estate magnate Luke Brugnara. That Salome was also attributed to il Pordenone and Giorgione, and finally to Titian in the late 19th century; now regarded