Several points claim our attention. First, the parapet has an almost illegible inscription, ANTONIVS. BROKARDVS. M[=ARI]I.F, presumably the young man's name. Further, we may notice the recurrence of the letter V on a black device, and there is a second curious black tablet, which, however, has nothing on it. Between the two is a circle with a device of three heads in one surrounded by a garland of flowers. No satisfactory explanation of these symbols can be offered, but if the second black tablet had originally another V, we might conclude that these letters were in some mysterious way connected with Giorgione, as they appear also on the Berlin portrait. I shall be able to show that another instance of this double V exists on yet another portrait by Giorgione.[37] Finally, the expressiveness of the human hand is here fully realised. This feature alone points to a later date than the "Knight of Malta," and considerably after the still earlier Berlin portrait. The consummate mastery of technique, moreover, indicates that Giorgione has here reached full maturity, so that it would be safe to place this portrait about the year 1508. [Illustration: _Buda-Pesth Gallery_ PORTRAIT OF A MAN] Signor Venturi ("La Galleria Crespi") ascribes this portrait to Licinio. This is one of those inexplicable perversions of judgment to which even the best critics are at times liable. In _L'Arte_, 1900, p. 24, the same writer mentions that a certain Antonio Broccardo, son of Marino, made his will in 1527, and that the same name occurs among those who frequented the University of Bologna in 1525. There is nothing to prevent Giorgione having painted this man's portrait when younger. [Illustration: _Anderson photo. Borghese Gallery, Rome_ PORTRAIT OF A LADY] The third portrait in Morelli's list has not had the same friendly reception at the hands of later critics as the preceding two have had. This is the "Portrait of a Lady" in the Borghese Gallery at Rome, whose discovery by Morelli is so graphically described in a well-known passage.[38] And in truth it must be confessed that the authorship of this portrait is not at first sight quite so evident as in the other cases; nevertheless I am firmly convinced that Morelli saw further than his critics, and that his intuitive judgment was in this instance perfectly correct.[39] The simplicity of conception, the intensity of expression, the pose of the figure alike proclaim the master, whose characteristic touch is to be seen in the stone ledge, the fancy head-dress, the arrangement of hair, and the modelling of the features. The presence of the hands is characteristically explained by the handkerchief stretched tight between them, the action being expressive of suppressed excitement: "She stands at a window ... gazing out with a dreamy, yearning expression, as if seeking to descry one whom she awaits."