thought they display has been mostly in the direction of secular
subjects. The two early examples just described show that even where the
subject is quasi-religious, the revolutionary spirit made itself felt;
but it would be perfectly natural to find the young artist also
following his master Giambellini in the painting of strictly sacred
subjects. No better example could be found than the "Christ bearing the
Cross," the small work which has recently left Italy for America. We are
told by the Anonimo that there was in his day (1525) a picture by
Bellini of this subject, and it is remarkable that four separate
versions exist to-day which, without being copies of one another, are so
closely related that the existence of a common original is a legitimate
inference. That this was by Bellini is more than probable, for the
different versions are clearly by different painters of his school. By
far the finest is the example which Crowe and Cavalcaselle and Morelli
unhesitatingly ascribe to the young Giorgione; this version is, however,
considered by Signor Venturi inferior to the one now belonging to Count
Lanskeronski in Vienna.[22] Others who, like the writer, have seen both
works, agree with the older view, and regard the latter version, like
the others at Berlin and Rovigo, as a contemporary repetition of
Bellini's lost original.[23]

[Illustration: _Anderson photo. Collection of Mrs. Gardner, Boston,
U.S.A._

CHRIST BEARING THE CROSS]

Characteristic of Giorgione is the abstract thought, the dreaminess of
look, the almost furtive glance. The minuteness of finish reminds us of
Antonello, and the turn of the head suggests several of the latter's
portraits. The delicacy with which the features are modelled, the