peculiarly affected by the Venetian gentlemen
of the day, and this style seems to have particularly pleased Giorgione,
who introduces it in many other pictures besides portraits. The oval of
the face, which is strongly lighted, is also characteristic. This work
shows no direct connection with Bellini's portraiture, but far more with
that which we are accustomed to associate with the names of Titian and
Palma. It dates probably from the early part of the sixteenth century,
at a time when Giorgione was breaking with the older tradition which had
strictly limited portraiture to the representation of the head only, or
at most to the bust. The hand is here introduced, though Giorgione feels
still compelled to account for its presence by introducing a rosary of
large beads. In later years, as we shall see, the expressiveness of the
human hand _per se_ will be recognised; but Giorgione already feels its
significance in portraiture, and there is not one of his portraits which
does not show this.[24]

The list of Giorgione's works now numbers seven; the next three to be
discussed are those that Crowe and Cavalcaselle added on their own
account, but about which Morelli expressed no opinion. Two are in
English private collections, the third in the National Gallery. This is
the small "Knight in Armour," said to be a study for the figure of S.
Liberale in the Castelfranco altar-piece. The main difference is that in
the latter the warrior wears his helmet, whilst in the National Gallery
example he is bareheaded. By some this little figure is believed to be a
copy, or repetition with variations, of Giorgione's original, but it
must honestly be confessed that absolutely no proof is forthcoming in
support of this view. The quality of this fragment is unquestionable,
and its very divergence from the Castelfranco figure is in its favour.
It would perhaps be unsafe to dogmatise in a case where the material is
so slight, but until its genuineness can be disproved by indisputable
evidence, the claim to authenticity put forward in the National Gallery
catalogue, following Crowe and Cavalcaselle's view, must be allowed.

[Illustration: _Hanfstaengl photo. Vienna Gallery_

THE ADORATION OF THE SHEPHERDS]

The two remaining pictures definitely placed by Crowe and Cavalcaselle
among the authentic productions of Giorgione are the "Adoration of the
Shepherds," belonging to Mr. Wentworth Beaumont, and the "Judgment of
Solomon," in the possession