riety of attribution in the former case; it
follows, therefore, that here also Giorgione's name is the correct one,
and his name, we are glad to see, has recently been placed on the label
by the Director of the Gallery.

This beautiful little panel, which came from the Leigh Court Collection,
under Bellini's name, has much of the depth, richness, and glow which
characterises the Beaumont picture, although the latter is naturally
more attractive, owing to the wonderful landscape and the more elaborate
chiaroscuro. The figures are Bellinesque, yet with that added touch of
delicacy and refinement which Giorgione always knows how to impart. The
richness of colouring, the depth of tone, the glamour of the whole is
far superior to anything that we can point to with certainty as Catena's
work; and no finer example of his "Giorgionesque" phase is to be found
than the sumptuous "Warrior adoring the Infant Christ," which hangs
close by, whilst his delicate little "S. Jerome in his Study," also in
the same room, challenges comparison. Catena's work seems cold and
studied beside the warmth and spontaneity of Giorgione's little panel,
which is, indeed, as Crowe and Cavalcaselle assert, "of the most
picturesque beauty in distribution, colour, and costume."[70] It must
date from before 1500, probably just before the Beaumont "Nativity," and
proves how, even at that early time, Giorgione's art was rapidly
maturing into full splendour.

The total list of genuine works so far amounts to but twenty-three. Let
us see if we can accept a few others which later writers incline to
attribute to the master. I propose to limit the survey strictly to those
pictures which have found recognised champions among modern critics of
repute, for to challenge every "Giorgione" in public and private
collections would be a Herculean task, well calculated to provoke an
incredulous smile!

[Illustration: _Dixon photo. Duke of Devonshire's Collection,
Chatsworth_

PAGE OF VANDYCK'S SKETCH-BOOK, WITH GIORGIONE'S "CHRIST BEARING THE
CROSS," IN THE CHURCH OF S. ROCCO, VENICE]

Mr. Berenson, in his _Venetian Painters_, includes two other pictures in
an extremely exclusive list of seventeen genuine Giorgiones. These are
both in Venice, "The Christ bearing the Cross" (in S. Rocco), and "The
Storm calmed by S. Mark" (in the Academy). The question whether or no we
are to accept the former of these pictures has its origin in a curious
contradiction of Vasari, who,