which adds such a charm to so many of this painter's conceptions; but the Madonna is an ideal which is all Bellini's own, and which no painter has surpassed." (Eastlake.)

*Madonna with Cherubim in a landscape. Originally in the office of the Customs House. On wood : 2 ft. 6 in. by 2 ft.

"One of the most silvery and exquisitely handled things that can well be imagined." (C. & C.)

"No one can fail to appreciate the careful painting of the child's head, though it is studied from a singularly graceless model." (Eastlake.)

38. **Madonna with Six Saints. This most beautiful and celebrated picture was painted for a chapel in San Giobbe, Venice. It established the artist's fame, and led to his employment by the State. It is signed "Joannes Bellinus." Canvas 15 ft. 5 in. by 8 ft. 4 in. In a lofty hall the Virgin sits enthroned, holding the child on her knee, whose gaze seems to be into the future, yet full of calm benevolence. On the right are Saint Francis and two other saints; on the left St. John the Baptist and two others. At the base of the throne are three angels (Angioletti) playing on musical instruments. Lanzi and Zanetti date this work in 1510, but the statement of Sansovino ("Ven. Desc." p. 155) that it was the first masterpiece in oil publicly exhibited in Venice "cannot be denied." (C. & C.) The artistic taste of the whole is of a higher order than Titian's "Assumption."

"One of the greatest pictures ever painted in Christendom in her central art-power. Alone worth an entire modern exhibitionbuilding, hired fiddlers and all. It is the best John Bellini in the Academy of Venice; the third best in Venice, and probably in the world." (Ruskin.)

"This beautiful production still appears to combine all the 'qualities for which Bellini might, up to this time, have claimed praise-appropriate and dignified composition, noble character, elevated feeling, and chastened design." (C. & C.)

"The greatest, the most beautiful, the most precious, and the best preserved of the master's pictures. In spite of the rich, intense, and varied colouring, it appeals more to our heart than to our eye. Its soft murmur soothes us in the midst of the uproar of the Venetian school." (Chas. Blanc.) •.

595. *Venus (?), Car of Bacchus, Truth (?), Slander (?), and Fortune. These five very curious pictures, of which the figures are about eight inches high, deserve careful examination. They are apparently painted in tempera on panel, and are supposed to have formed the decorations of a piece of furniture. The subjects are peculiar, and were no doubt done to order, it being impossible to tell their date.

The

figures are well drawn, and some of the naked children are particularly charming. Mr. Ruskin, in his "Notes," expresses a special interest in them, but their meaning being obscure, they may not be appreciated by all.

"They are remarkable for the exquisite grace of the figures, and for depth and richness of colouring, and poetical feeling-qualities which place them almost on a level with the finest productions of classical art." (Layard, i. p. 313.)

595. Venus (?) seated in a boat; she supports a globe, representing the world, upon her knees. The landscape background is very beautifully rendered; the sky is repainted. Panel: 1 ft. 1 in. by 8 in.

I

595. The Car of Bacchus. Sky repainted. Panel: 1 ft. I in. by 8 in.

"Vivid colour, easy action, and classical shape." (C. & C.) 595. Truth (?). Panel: 1 ft. 2 in. by 8 in.

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The naked mistress of some noble on a pedestal points to the likeness of her lord, reflected in a mirror, and babes with trump and drum gambol at her feet, a life-like reproduction of some Venetian beauty suggestive of fecundity." (C. & C. "N. It." i. 170.) "The woman's form is well modelled, but her features are singularly ugly." (Eastlake.)

595.

Slander (?) (La Médisance). Two men support a sea-shell, from which the form of a man issues with a serpent twisted round his arms. The meaning of this allegory is obscure. Panel: 1 ft. 1 in. by 8 in.

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'Nothing more sweet or brilliant than the solid warmth of the Giorgionesque touch." (C. & C.)

595. Fortune, or Opportunity. A harpy, with the head and torso of a woman, and the wings and legs of a bird, whose claws rest on two gilt balls. Her eyes are blindfolded. She carries bronze vases in her hands. Panel: I ft. by 8 in. "The art is classical, like that of an old cameo.' (C. & C.) 583. Attributed to Bellini (Giovanni). Madonna. Originally in the Magistrato del Monte Novissimo. Panel: 2 it. 6 in. by 2 ft.

in.

"A good school picture, much changed by restorers." (C. & C.) 87. School of Bellini (Giovanni). Head of Christ. Canvas: I ft. I in. by 8 in.

582. Bellini (Jacopo). Madonna. The Virgin holds the infant Christ before her on the coping of a balcony. He sits on a cushion, with His right hand raised in benediction. The nimbus is inscribed with Oriental characters.

It was originally in the Scuola di San Giov. Evangelista. The frame, with its inscription of Bellini's name, appears to be of the same date as the panel. His works are very rare. On wood : 2 ft. 71⁄2 in. by 1 ft. 10 in.

"Jacopo's surviving works are of no great importance." (Woltmann & Woermann.)

101. Bello (Marco). Madonna with St. John the Baptist. To the left the Virgin holds the child in her lap, the infant St. John standing before them.

"This is a small and somewhat inferior example. The drawing throughout the whole design is feeble. The chief excellence of the work lies in the colour, and the tasteful treatment of the little landscape." (Eastlake.)

366. Berck-Heyde (Gerrit). Dutch; 1645-1698. Horse Fair. Panel: 1 ft. 3 in. by 1 ft. 7 in.

354. Berchem (Nicholas). Dutch; 1620-1683. Landscape, with Three Figures. Canvas: 3 ft. 8 in. by 2 ft. 9 in.

363. Beijeren (Abraham Van). Dutch; A. 1620. Still Life. On wood 2 ft. 1 in. by 3 ft. in.

88. Bissolo (Pier Francesco). Two Angels supporting the Dead Christ. Injured by repainting. On wood: 1 ft. 4 in. by 2 ft. 4 in.

This is a small picture, low in tone and delicate in colour. Notwithstanding certain faults of drawing, the composition is, on the whole, graceful and refined in sentiment." (Eastlake, p. 32.)

93. Presentation of Christ in the Temple. The Virgin places the infant Christ on a pedestal. On the opposite side kneels St. Simon. SS. Joseph and Anthony of Padua, and a woman carrying the doves are present. By the side of the Virgin kneels the donor of the picture, a man past middle age. This is the same composition as that in San Zaccharia. Originally in the Renier collection. On wood: 2 ft. 7 in. by 3 ft. 10 in.

"The colour is of stiff impasto, clear in tint, uniform, and glazed all over." (C. & C.)

79. Christ presenting the Crown of Thorns to St. Catherine of Siena. There are also present SS. Peter, Paul, James the Less, the Magdalene, and the angel Raphael who holds Tobias by the hand.

This fine and attractive picture, repainted, was formerly in San Pietro Martire, Murano. Canvas 12 ft. 2 in. by 8 ft. 4 in.

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'A calm, religious spirit pervades this piece, and gives it a special charm." (C. & C.)

94.

Madonna, with SS. James, Job, John the Baptist, and Rosa. The Virgin is seated before a green curtain with the Child on her knees. Greatly injured by restoring. Panel: 2 ft. 3 in. by 3 ft. 4 in.

C

"The Child is exquisitely graceful. The composition, symmetrical without formality, is strongly suggestive of Bellini's influence." (Eastlake.)

92. Copy of Bissolo. Madonna. The Virgin is seated on a stone balcony, with the Child in her arms. On wood: 2 ft. 9 in. by 2 ft. 1 in.

"There is great beauty in the design of the Child's head, but the Virgin's features wear a weak and commonplace expression. (Eastlake.)

184. Bles (Enrico Met) called “Civetta." Flemish ; c. 14801550. Panel representing_two episodes from Dante's Inferno. Formerly in the Doges' Palace. 2 ft. 11 in. by I ft. 8 in. 185. - The Tower of Babel. Panel: 1 ft. 11 in. by 2 ft. 6 in. 182.

Two Episodes from Dante's Paradiso. Formerly in the Doges' Palace. Panel: same size as Inferno.

600. Boccaccino (Boccaccio). *Madonna and Saints. The Virgin is seated holding the Child on her lap. In the centre stands Santa Rosa; St. Peter kneels before the Virgin, and behind him, also kneeling, is St. John the Baptist On the left kneels St. Catherine. This is one of the earliest and most beautiful examples of this kind of "Santa Conversazione," for which, later on, Palma and Titian showed such great predilection. Morrelli considered it Boccaccino's finest work.

"The kneeling figure of St. John is excellent in design and colour, but in the rest of the picture there is a want of chromatic harmony." (Eastlake, p. 37.)

598. Christ disputing with the Doctors. This is a doubtful work of Boccaccino's, which has been groundlessly attributed to Leonardo da Vinci. On wood: I ft. 10 in. by 3 ft. 6 in.

605. Madonna. At the sides SS. Simeon and Jerome. From the Convent of San Giobbe. On wood : 2 ft. 4 in. by 3 ft. 8 in.

599. Christ washing the feet of the Apostles. This picture, which is dated 1500, was formerly, groundlessly, attributed to Leonardo da Vinci, and afterwards to Perugino. Originally in the Manfrini Gallery. Panel: 4 ft. 5 in. by 3 ft. 8 in.

"An interesting and beautiful picture. The heads are admirably modelled, and so ingeniously varied in pose, that not two appear in the same plane. The colours are vivid, but refined in tone, and carefully gradated with shadow." (Eastlake, p. 37.)

17. Bologna (Giovanni da). The Annunciation above, and

Bolognese ; fl. 14th century. the Virgin and Child below.