continued with the _Virgin and Child with SS. Ulfo and Brigida_ of
Madrid. The most popular of all those belonging to this still early time
is the _Virgin with the Cherries_ in the Vienna Gallery. Here the
painter is already completely himself. He will go much farther in
breadth if not in polish, in transparency, in forcefulness, if not in
attractiveness of colour; but he is now, in sacred art at any rate,
practically free from outside influences. For the pensive girl-Madonna
of Giorgione we now have the radiant young matron of Titian, joyous yet
calm in her play with the infant Christ, while the Madonna of his master
and friend was unrestful and full of tender foreboding even in seeming
repose. Pretty close on this must have followed the _Madonna and Child
with St. Stephen, St. Ambrose and St. Maurice_, No 439 in the Louvre, in
which the rich colour-harmonies strike a somewhat deeper note. An
atelier repetition of this fine original is No. 166 in the Vienna
Gallery; the only material variation traceable in this last-named
example being that in lieu of St. Ambrose, wearing a kind of biretta, we
have St. Jerome bareheaded.

Very near in time and style to this particular series, with which it may
safely be grouped, is the beautiful and finely preserved _Holy Family_
in the Bridgewater Gallery, where it is still erroneously attributed to
Palma Vecchio. It is to be found in the same private apartment on the
groundfloor of Bridgewater House, that contains the _Three Ages_. Deep
glowing richness of colour and smooth perfection without smallness of
finish make this picture remarkable, notwithstanding its lack of any
deeper significance. Nor must there be forgotten in an enumeration of
the early Holy Families, one of the loveliest of all, the _Madonna and
Child with the infant St. John and St. Anthony Abbot_, which adorns the
Venetian section of the Uffizi Gallery. Here the relationship to
Giorgione is more clearly shown than in any of these Holy Families of