appear to be somewhat later in
date of execution, but reveal many points in common with the "Gipsy
Madonna." The beauty of line is here equally conspicuous; the way the
drapery is carried out beyond the elbow so as to form one long unbroken
curve, the triangular composition, the marble parapet, are so many
proofs of Giorgione's hand. Moreover, we find in Mr. Benson's picture
the characteristic tree-trunks, so suggestive of solemn grandeur,[129]
and the striped scarf,[130] so cunningly disposed to give more flowing
line and break the stiffness of contour.

The Bergamo picture closely resembles Mr. Benson's "Madonna," from
which, indeed, it varies chiefly in the pose of the Child (whose left
leg here sticks straight out), whilst the landscape is seen on the left
side, and there are no tree-trunks. I cannot find that any writer has
made allusion to this little gem, which hangs high up on the end wall of
the Lochis section of the gallery (No. 232); I hope others will examine
this new-found work at a less inconvenient height, as I have done, and
that their opinion will coincide with mine that the same hand painted
the Benson "Madonna," and that that hand is Giorgione's.

Before quitting the subject of the "Madonna and Child," another example
may be alluded to, about which it would be unwise to express any decided
opinion founded only on a study of the photograph. This is a picture at
St. Petersburg, to which Mr. Claude Phillips first directed
attention,[131] stating his then belief that it might be a genuine
Giorgione. After a recent visit to St. Petersburg, however, he has seen
fit to register it as a probable copy after a lost original by the
master, on the ground that "it is not fine enough in execution."[132]
This, as I have often pointed out, is a dangerous test to apply in
Giorgione's case, and so the authenticity of this "Madonna" may still be
left an open question.

Finally, in the category of Sacred Art come two well-known pictures,
both in public galleries, and both accredited to Giorgione. The first is
the "Christ and the Adulteress" of the Glasgow Gallery, the second the
"Madonna and Saints" of the Louvre. Many diverse opinions are held about
the Glasgow picture; some ascribe it to Cariani, others to Campagnola.
It is asserted by some that the same hand painted the Kingston Lacy
"Judgment of Solomon," but that it is not the hand of Giorgione, and
finally--to come to the view which I believe is the correct one--