of mediæval manners, in a civilisation rapidly changing" (Pater). In Venice Giorgione's gracious bearing and varied accomplishments introduced him into congenial company. "He took no small delight," says Vasari, "in love-passages and in the sound of the lute, to which he was so cordially devoted, and which he practised so constantly, that he played and sang with the most exquisite perfection, insomuch that he was for this cause frequently invited to musical assemblies and festivals by the most distinguished personages." "It happened, about his thirty-fourth year, that in one of those parties at which he entertained his friends with music, he met a certain lady of whom he became greatly enamoured, and 'they rejoiced greatly,' says Vasari, 'the one and the other in their love.' And two quite different legends concerning it agree in this, that it was through this lady he came by his death; Ridolfi relating that, being robbed of her by one of his pupils, he died of grief at the double treason; Vasari, that she being secretly stricken of the plague, and he making his visits to her as usual, he took the sickness from her mortally, along with her kisses, and so briefly departed" (Pater).[125] This little panel is a study for the figure of San Liberale, the warrior-saint, in the altar-piece by Giorgione at Castelfranco--one of his acknowledged masterpieces, and according to Ruskin one of the two best pictures in the world.[126] Notice "the bronzed, burning flesh" of the knight--"the right Giorgione colour on his brow" characteristic of a race of seamen (_Modern Painters_, vol. i. pt. ii. sec. v. ch. i. § 19). This "original little study in oil, with the delicately gleaming silver-grey armour is," says Mr. Pater, "one of the greatest treasures of the National Gallery, and in it, as in some other knightly personages attributed to Giorgione, people have supposed the likeness of his own presumably gracious presence." From a MS. memorandum on the back of the Castelfranco picture, it appears, however, that the warrior was said to represent Gaston de Foix. The only difference between this study and the picture is that in the altar-piece the warrior wears his helmet, while in the picture he is bareheaded. On this ground, and owing to the high finish of our picture, some have argued that it is not an original study for the picture, but a later copy from it (see _e.g._ Richter's _Italian Art in the National Gallery_, p. 86). The argument does not seem conclusive. Do artists never make elaborate studies? and is not an artist as likely to vary his design as a copyist his model? Our picture, which was formerly in the collection of Benjamin West, P.R.A., was bequeathed to the National Gallery by Samuel Rogers. 270. "NOLI ME TANGERE!" _Titian_ (Venetian: 1477-1576). _See 4._