y in drawing the line of
division. Passages in the "Sacred and Profane Love" of the Borghese
Gallery are curiously recalled, but the National Gallery picture is
clearly the work of a mature and experienced hand, and not of any young
artist. In my opinion it dates from about 1508, and illustrates the
later phase of Giorgione's art as admirably as do the "Epiphany" (No.
1160) and the "Golden Age" (No. 1173) his earliest style. Between these
extremes fall the "Portrait" (No. 636), and the "S. Liberale" (No. 269),
the National Gallery thus affording unrivalled opportunity for studying
the varying phases of the great Venetian master at different stages of
his career.

* * * * *

We may now pass from the realm of "fancy" subjects to that of sacred
art--that is, to the consideration of the "Madonnas," "Holy Families,"
and "Santa Conversazione" pictures, other than those already described.
The Beaumont "Adoration of the Shepherds," with its variant at Vienna,
the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony and
S. Roch," and the Castelfranco altar-piece are the only instances so far
of Giorgione's sacred art, yet Vasari tells us that the master "in his
youth painted very many beautiful pictures of the Virgin."

This statement is on the face of it likely enough, for although the
young Castelfrancan early showed his independence of tradition and his
preference for the more modern phases of Bellini's art, it is extremely
probable he was also called upon to paint some smaller devotional
pieces, such, for instance, as "The Christ bearing the Cross," lately in
the Casa Loschi at Vicenza.[121] It is noteworthy, all the same, that
scarcely any "Madonna" picture exists to which his name still attaches,
and only one "Holy Family," so far as I am aware, is credibly reputed to
be his work. This is Mr. Benson's little picture, in all respects a
worthy companion to the Beaumont and National Gallery examples. There is
even a purer ring about this lovely little "Holy Family," a child-like
sincerity and a simplicity which is very touching, while for sheer
beauty of colour it is more enjoyable than either of the others. It may
not have the depth of tone and mastery of chiaroscuro which make the
Beaumont "Adoration" so subtly attractive, but in tenderness of feeling
and daintiness of treatment it is not surpassed by any other of
Giorgione's works. In its obvious defects, too, it is as thoroughl