the National Gallery thus affording unrivalled opportunity for studying the varying phases of the great Venetian master at different stages of his career. * * * * * We may now pass from the realm of "fancy" subjects to that of sacred art--that is, to the consideration of the "Madonnas," "Holy Families," and "Santa Conversazione" pictures, other than those already described. The Beaumont "Adoration of the Shepherds," with its variant at Vienna, the National Gallery "Epiphany," the Madrid "Madonna with S. Anthony and S. Roch," and the Castelfranco altar-piece are the only instances so far of Giorgione's sacred art, yet Vasari tells us that the master "in his youth painted very many beautiful pictures of the Virgin." This statement is on the face of it likely enough, for although the young Castelfrancan early showed his independence of tradition and his preference for the more modern phases of Bellini's art, it is extremely probable he was also called upon to paint some smaller devotional pieces, such, for instance, as "The Christ bearing the Cross," lately in the Casa Loschi at Vicenza.[121] It is noteworthy, all the same, that scarcely any "Madonna" picture exists to which his name still attaches, and only one "Holy Family," so far as I am aware, is credibly reputed to be his work. This is Mr. Benson's little picture, in all respects a worthy companion to the Beaumont and National Gallery examples. There is even a purer ring about this lovely little "Holy Family," a child-like sincerity and a simplicity which is very touching, while for sheer beauty of colour it is more enjoyable than either of the others. It may not have the depth of tone and mastery of chiaroscuro which make the Beaumont "Adoration" so subtly attractive, but in tenderness of feeling and daintiness of treatment it is not surpassed by any other of Giorgione's works. In its obvious defects, too, it is as thoroughly characteristic; it is needless to repeat here what I said when discussing the Beaumont and Vienna "Adoration"; the reader who compares the reproductions will readily see the same features in both works. Mr. Benson's little picture has this additional interest, that more than either of its companion pieces it points forward to the Castelfranco "Madonna" in the bold sweep of the draperies, the play of light on horizontal surfaces, and the exquisite gaiety of its colour. [Illustration: _Hanfstängl photo. Vienna Gallery_ THE "GIPSY" MADONNA]