the first period, and in so far the painting, which cannot be placed
very early among them, constitutes a partial exception in the series.
The Virgin is of a more refined and pensive type than in the _Madonna
with the Cherries_ of Vienna, or the _Madonna with Saints_, No. 439 in
the Louvre, and the divine Bambino less robust in build and aspect. The
magnificent St. Anthony is quite Giorgionesque in the serenity tinged
with sadness of his contemplative mood.

[Illustration: From a photograph by Braün-Clement & Cie. Virgin and
Child with Saints.]

Last of all in this particular group--another work in respect of which
Morelli has played the rescuer--is the _Madonna and Child with four
Saints_, No. 168 in the Dresden Gallery, a much-injured but eminently
Titianesque work, which may be said to bring this particular series to
within a couple of years or so of the _Assunta_--that great landmark of
the first period of maturity. The type of the Madonna here is still very
similar to that in the _Madonna with the Cherries_.

[Illustration: _St. Eustace (or St. Hubert) with the Miracle of the
Stag. From a Drawing by Titian in the British Museum._]

Apart from all these sacred works, and in every respect an exceptional
production, is the world-famous _Cristo della Moneta_ of the Dresden
Gallery. As to the exact date to be assigned to this panel among the
early works of Titian considerable difficulty exists. For once agreeing
with Crowe and Cavalcaselle, Morelli is inclined to disregard the
testimony of Vasari, from whose text it would result that it was painted
in or after the year 1514, and to place it as far back as 1508.
Notwithstanding this weight of authority the writer is strongly