high forehead, and the lighting of the face are points to be noted, as
we shall find the same characteristics elsewhere.

[Illustration: _Alinari photo_] _[Uffizi Gallery, Florence_

THE KNIGHT OF MALTA]

The "Knight of Malta," in the Uffizi, is a more mature work, and reveals
Giorgione to us as a portrait painter of remarkable power. The
conception is dignified, the expression resolute, yet tempered by that
look of abstract thought which the painter reads into the faces of his
sitters. The hair parted in the middle, and brought down low at the
sides of the forehead, was peculiarly affected by the Venetian gentlemen
of the day, and this style seems to have particularly pleased Giorgione,
who introduces it in many other pictures besides portraits. The oval of
the face, which is strongly lighted, is also characteristic. This work
shows no direct connection with Bellini's portraiture, but far more with
that which we are accustomed to associate with the names of Titian and
Palma. It dates probably from the early part of the sixteenth century,
at a time when Giorgione was breaking with the older tradition which had
strictly limited portraiture to the representation of the head only, or
at most to the bust. The hand is here introduced, though Giorgione feels
still compelled to account for its presence by introducing a rosary of
large beads. In later years, as we shall see, the expressiveness of the
human hand _per se_ will be recognised; but Giorgione already feels its
significance in portraiture, and there is not one of his portraits which
does not show this.[24]

The list of Giorgione's works now numbers seven; the next three to be
discussed are those that Crowe and Cavalcaselle added on their own