painter, formerly in the Sala dell' Anti-Collegio of the Doges' Palace. On wood: 1 ft. 6 in. by 1 ft. 1 in.

"The colour is rich, but heavy and raw, and laid on at one painting in the manner of Basaiti. The handling and the name do not exactly correspond." (C. & C.)

589. Christ at the Column. A repulsive picture, in which the agony of the Saviour is depicted with painful minuteness. Formerly in the Manfrini Gallery. Panel: 1 ft. 4 in. by 1 ft. 1 in.

"The vulgar type and the coarse form in which suffering is expressed bespeak a nature incapable of rising to the refined realism of the Tuscans. Minute finish is combined with smooth

ness and lustre." (C. & C., "N. It." ii. 93.) "The head of Christ is wild and superb.' 586.

* Portrait of a Young Man. Manfrini Gallery. Panel: 10₫ in. square.

(Paul Mantz.) Formerly in the

"The whole face is admirably modelled, with subtle gradations in the rich brown complexion, but assisted by little or no shadow. The execution and taste of this picture are about as perfect as any. thing to be found in the Gallery." (Eastlake.)

Avanzi. See under Venetian School.

162. Badile (Antonio). Christ and the Woman of Samaria at the Well. In the background, SS. Jerome and Francis, and figures on horseback. On wood: 10 in. by 1 ft. 11⁄2 in.

Bagati (or Bagatti-Valsecchi). Portrait of the artist Francesco Hayez, in miniature, on porcelain.

438. Balestra (Antonio). The Annunciation. Formerly in the old Academy of painting. Canvas: 5 ft. by 6 ft. 9 in. Barbarelli (Giorgio). See Giorgione.

Barbatelli (Bernardino). See Poccetti.

58. Baroccio (Federico). Ecce Homo. On wood: I ft.

34 in. by 9 in.

68. Basaiti (Marco). St. James the Apostle. wears sandals and a red pallium, rich in tone.

St. James His head is

rather large for his body, and his features lack expression. On wood formerly in the Convent of the Miracoli.

:

68. St. Anthony the Abbot. Originally part of the diptych of which_the_above-mentioned was the companion panel. On wood. St. Anthony wears a dark grey robe, with red hood. At his feet is a bell, his traditional emblem.

"Something in these pieces recalls the SS. Jerome and Augustine in this Gallery by Catena." (C. & C.)

108. Dead Christ with Two Angels. This picture resembles the work of Bellini in style and feeling. These three panels were formerly in the Convent of Santa Maria dei Miracoli I ft. 4 in. by 4 ft. 2 in. Rio remarks that the history of art offers few compositions more exquisite and more pathetic than these which are attributed to Basaiti. 87. Head of Christ. Canvas.

Formerly ascribed to Bellini.

"This picture attracts attention by its admirable drawing, colour and chiaroscuro. Indeed, it possesses all the essential elements of excellence in pictorial art. The head is admirably foreshortened. The delicate and refined features wear an expression of extreme benevolence." (Eastlake.)

69. - The Agony in the Garden; or, Christ on the Mount of Olives. The scene is imagined as observed from the high portico at the sides of which stands (left) St. Francis, reading; behind him is St. Louis, King of France; on the right are SS. Mark and Dominick. Christ is seen kneeling in the middle distance, while the disciples are represented sleeping at the foot of a rock. The lamp is a quaint device, similar to those used on altars. This picture was formerly in San Giobbe. It is signed and dated 1510. On wood: II ft. 11 in. by 7 ft. 3 in.

"The still pathos of nature is remarkable in this picture, where the fading light and the leafless trees seem to point to a new morrow and a new summer.' "" (Mrs. Jameson.)

"A lovely example of the religious school." (Ruskin.)

"Theatrical and unreal in the highest degree. Objectionable are the hardness of the drawing, the want of transition from light and shade, and the opaque substance of the colour." (C. & C.)

107. St. Jerome kneeling at the foot of a Rocky Bank. Presented by Molin. Panel: 1 ft. 9 in. by 1 ft. 44 in. "The forms are square." (C. & C.)

"The refined taste, the delicate execution, and subtle sense of colour which usually distinguish Basaiti's work are all absent from this picture." (Eastlake.)

39. *The Calling of the Sons of Zebedee. The Saviour, accompanied by James the Great, and John the Evangelist, has reached a bleak and rocky shore, intended to represent the coast of the Sea of Galilee. James kneels to receive the blessing, John steps out of the boat. This picture was formerly in Sant' Andrea della Certosa. It is signed and dated 1510. Ridolfi and Lanzi consider this his masterpiece. The humility of the brothers, and the naïveté of their attitudes is admirably rendered. On an arched panel: 15 ft. by 8 ft. 7 in. There is a replica of it in Vienna.

"Merely a vividly depicted scene of every-day life, with a landscape background." (Woltmann.)

"The great landscape is washy, and the trees brown and dull. Basaiti here is not only inferior to Cima, but inferior to himself.” (J. Gilbert, "Landscape in Art.")

66

The sharply-defined features of the figures have little or no expression, and indeed the chief interest of the picture centres in the distant landscape." (Eastlake.)

104. Bastiani (Lazzaro) or (Sebastiani). Three Saints of the Franciscan Order. St. Onofrio is on his tree, at the sides, St. Mark and St. Jerome sitting. Some consider that the figure in the tree is St. Francis, or, according to the Italian catalogue, St. Anthony of Padua, and those below St. Bonaventura and another saint. This picture was formerly in San Giuliano. On a cartello fastened to the tree is the artist's signature. Panel: 9 ft. 6 in. by 4 ft. 3 in.

"The treatment is in oil, the tones being low, and the medium viscous." (C. & C.)

100. - The Nativity. This was once attributed to Parentino. It was formerly in the church of the Island of Sant' Elena, Venice. It is mentioned by Boschini as of " the old manner." Panel: 6 ft. 2 in. by 6 ft. 4 in. At the sides are SS. Eustace and James, SS. Nicholas and Mark.

66

The colour is clear and shaded in grey, producing something ot the effect of emptiness." (C. & C.)

561. - The Gift of the Relic. Filippo Mazeri returning from Jerusalem, where he had been combatting the infidels, presents a relic of the True Cross to the brotherhood of San Giovanni Evangelista, 1370. Painted towards the close of the fifteenth century for the Scuola di S. Giov. Evangelista. On canvas : 10 ft. 5 in. by 14 ft. 4 in.

168. Descent from the Cross. The Virgin supports the body of Christ, while the Magdalene kneels at His feet. St. John, Joseph of Arimathea, Nicodemus and Mary Cleophas complete the scene. The picture has been made square at the top. It was formerly in San Servero. Canvas: 9 ft. 3 in. by 5 ft. 53 in.

"Looks like a school piece." (C. & C.)

Zanetti says that the master never did anything better; but the annotators of Vasari call it an ugly thing."

398. Bassano (Francesco da Ponte). Christ bound to the Column. Canvas: 1 ft. 9 in. by 3 ft. 7

409.

394.

2 ft. 6

Landscape, with Shepherds.

in.

Christ in the House of the Pharisee. Canvas each : in. by 3 ft. † in.

415. Bassano (Jacopo da Ponte). An Angel bringing the Good Tidings to the Shepherds. Canvas: I ft. 5 in. by 3 ft. 8 in.

Landscape, with Two Peasants. Canvas: I ft.

8 in. by 1 ft. 10 in.

417. I ft. 5

in.

The Flight into Egypt. Canvas: 1ft. 11 in. by

406. Landscape, with Fowls in the foreground. Canvas: in. by 3 ft. 6 in.

I ft. 5 418. 396.

by 3 ft. 9

410. Angel.

393. 3 ft. 10

397.

395.

.

Country People. Canvas: i ft. 8 in. by 2 ft. in. The Animals entering the Ark. Canvas: 4 ft. 4 in. in.

The Holy Family, St. John the Baptist, and an Canvas: 1 ft. 8 in. by 3 ft. 3 in.

Christ in the Garden of Gethsemane. in. by 3 ft. 3 in.

Canvas:

Shepherds. Canvas: 3 ft. 2 in. by 3 ft. 6 in.
Christ in the Garden of Gethsemane.

3 ft. 9 in. by 3 ft. 3 in.

Canvas:

412. The Coronation of Thorns. Canvas: 3 ft. 2 in. by

3 ft. 5 in.

Portrait of a Venetian Gentleman. Dressed in a black gown trimmed with fur. Canvas: 5 ft. 6 in. by 2 ft. 1 in.

Formerly in the Procuratie Nuove.

401. St. Eleuterio, Bishop, blessing Worshippers. The Redeemer is seen above with Angels. Formerly in the Brotherhood of the Bombardieri, Vicenza. Canvas: 9 ft. 4 in. by 6 ft. 7 in.

The Almighty surrounded with Angels. Presented by Signor Marco G. Ancona di Rovigo. Canvas: 7 in. by 5 in.

391. Holy Family. Presented by Molin. Canvas: 2 ft. 8 in. by 2 ft. 1 in.

407. Bassano (Leandro da Ponte). Lucretia. Canvas: 3 ft. 10 in. by 2 ft. 11 in.

399.

The Adoration of the Shepherds. Canvas: 3 ft.

Both on canvas: 2 ft. 11 in. by 2 ft. 6 in.

413. - Adoration of the Shepherds. Formerly in the Church of Santa Sofia.

404. Portrait of a Man in his Fifty-fifth year. Canvas: 3 ft. 6 in. by 2 ft. 10 in.

416. St. Thomas Aquinas.

229.

Portrait of the Doge Marcantonio Memmo. has a keen, clever-looking face.

He

These two were formerly in the convent of San Giacomo della Giudecca. Both canvas: 3 ft. 9 in. by 2 ft. 10 in.

252. The Raising of Lazarus. Formerly in the Scuola della Carità. Canvas: 13 ft. 4 in. by 7 ft. 9 in.

"Ce que nous frappa ce fut ce côté pittoresque de cette composition nombreuse, étoffée, remplie de force et de relief, travaillée avec soin, et finie avec amour.' (Chas. Blanc.)

411. The Risen Christ. St. Thomas and the other Apostles are gathered round. In the foreground are SS. "Vincent and Peter Martyr. Formerly in the Scuola di St. Vincenzo ai SS. Giov. e Paolo. Canvas: 6 ft. 9 in. by 4 ft. 1 in.

461. Battaglioli (Francesco). 10 ft. 10 in. by 7 ft. 5 in.

Architecture. Canvas:

443. Battoni (Pompeo). Tuscan, 1708-1787. The Virgin Enthroned, with SS. Clara, Dominick, Augustine, and an Angel. Canvas: 2 ft. 6 in. by 1 ft. 7 in.

525. Beccaruzzi (Francesco). Venetian, 1500-1550. The Dead Christ; at the sides, St. Job and Lazarus. Formerly in the Church of San Francesco, in Conegliano. On wood. Some authors describe the figures supporting Christ as Adam and Noah.

"The Saviour's figure, with the head thrown back, is cleverly foreshortened, and the features are refined. The Madonna is inferior in conception." (Eastlake.)

517. St. Francis receiving the Stigmata, with St. Louis of France (left), SS. Bonaventura, Catherine, Jerome, Anthony, and Paul. This picture, which is remarkable for the large space devoted to landscape background, was formerly in the Church of the Franciscans at Conegliano. Canvas: 14 ft. 6 in. by 8 ft. 3 in.

"Recalls Titian and Jacopo Bellini." (Burckhardt.)

"In point of general design the principal figures of this picture are satisfactory, but the heads, with the exception of the Cardinal's and that of the female saint, are deficient in interest." (Eastlake.)