In claiming this picture for Giorgione I am claiming nothing new, for his name, in spite of modern critics, has here persistently survived. Not so with a group of three Madonnas, one of which has for at least two centuries borne Titian's name, another which passes also for a work of the same painter, whilst the third was claimed by Crowe and Cavalcaselle again for Titian, partly on the analogy of the first-mentioned one.[122] The first is the so-called "Gipsy Madonna" in the Vienna Gallery, the second is a "Madonna" in the Bergamo Gallery, and the third is a "Madonna" again in Mr. Benson's collection. I am happily not the first to identify the "Gipsy Madonna" as Giorgione's work, for it requires no little courage to tilt at what has been unquestioningly accepted as "the earliest known Madonna of Titian." I am indebted, therefore, to Signor Venturi for the lead,[123] although I have the satisfaction of feeling that independent study of my own had already brought me to the same conclusion. Of course, all modern writers have recognised the "Giorgionesque" elements in this supposed Titian. "In the depth, strength, and richness of the colour-chord, in the atmospheric spaciousness and charm of the landscape background, in the breadth of the draperies, it is already," says Mr. Claude Phillips,[124] "Giorgionesque." Yet, he goes on, the Child is unlike Giorgione's type in the Castelfranco and Madrid pictures, and the Virgin has a less spiritualised nature than Giorgione's Madonnas in the same two pictures. On the other hand, Dr. Gronau, Titian's latest biographer, declares[125] that the thoughtful expression ("der tief empfundene Ausdruck") of the Madonna is essentially Giorgionesque. Morelli, with peculiar insight, protested against its being considered a very _early_ work of Titian, basing his protest on the advanced nature of the landscape, which, he says,[126] "must have been painted six or eight years later than the end of the fifteenth century." But even he fell into line with Crowe and Cavalcaselle in ascribing the picture to Titian, failing to see that all difficulties of chronology and discrepancies of judgment between himself and the older historians could be reconciled on the hypothesis of Giorgione's authorship. For Giorgione, as Morelli rightly saw, developed far more rapidly than Titian, so that a Titian landscape of, say, 1506-8 (if any such exist!) would correspond with one by Giorgione of, say, 1500. I agree with Crowe and Cavalcaselle and those writers who date back the "Gipsy Madonna" to the end of the fifteenth century, but I must emphatically support Signor Venturi in his claim that Giorgione is the author.