a new thing.  Palma, with all his love of beauty in colour and form, in nature as in man, had a less finely attuned artistic temperament than Giorgione, Titian, or Lotto.  Morelli has called attention to that element of downright energy in his mountain nature which in a way counteracts the marked sensuousness of his art, save when he interprets the charms of the full-blown Venetian woman.  The great Milanese critic attributes this to the Bergamasque origin of the artist, showing itself beneath Venetian training.  Is it not possible that a little of this frank unquestioning sensuousness on the one hand, of this terre a terre energy on the other, may have been reflected in the early work of Titian, though it be conceded that he influenced far more than he was influenced?[6] There is undoubtedly in his personal development of the Giorgionesque a superadded element of something much nearer to the everyday world than is to be found in the work of his prototype, and this not easily definable element is peculiar also to Palma’s art, in which, indeed, it endures to the end.  Thus there is a singular resemblance between the type of his fairly fashioned Eve in the important Adam and Eve of his earlier time in the Brunswick Gallery—­once, like so many other things, attributed to Giorgione—­and the preferred type of youthful female loveliness as it is to be found in Titian’s Three Ages at Bridgewater House, in his so-called Sacred and Profane Love (Medea and Venus) of the Borghese Gallery, in such sacred pieces as the Madonna and Child with SS.  Ulfo and Brigida at the Prado Gallery of Madrid, and the large Madonna and Child with four Saints at Dresden.  In both instances we have the Giorgionesque conception stripped of a little of its poetic glamour, but retaining unabashed its splendid sensuousness, which is thus made the more markedly to stand out.  We notice, too, in Titian’s works belonging to this particular group another characteristic which may be styled Palmesque, if only because Palma indulged in it in a great number of his Sacred Conversations and similar pieces.  This is the contrasting of the rich brown skin, the muscular form, of some male saint, or it may be some shepherd of the uplands, with the dazzling fairness, set off with hair of pale or ruddy gold, of a female saint, or a fair Venetian doing duty as a shepherdess or a heroine of antiquity.  Are we to look upon such distinguishing characteristics as these—­and others that could easily be singled out—­as wholly and solely Titianesque of the early time?  If so, we ought to assume that what is most distinctively Palmesque in the art of Palma came from the painter of Cadore, who in this case should be taken to have transmitted to his brother in art the Giorgionesque in the less subtle shape into which he had already transmuted it.  But should not such an assumption as this, well founded as it may appear in the main, be made with all the allowances which the situation demands?