By Bernhard Berenson

The Ve e an Pa e s o f the R e a ssa n ti int r n i nc e. With F s e e. Third E Re se a ronti pi c dition . vi d e e C w 8 vo and nlarg d . ro n , gilt top

The F e e Pa t e s the R e a ss lor ntin in r of n i a n ce.

W F s e e T e se ith a ronti pi c . hird r vi d and enlarged e C w 8v o dition . ro n .

The C ent ral Italian P aint ers of the R enai s

‘ s e W F s e e e e se anc . ith a ronti pi c . S cond r vi d

e e e . C w 8v o and nlarg d dition ro n .

The No t ita an Pa nte s the R ena ssanc e r h li i r of i . W F s e e C w 8 v o ith ronti pi c . ro n .

UT N AM ' N G P . P S SO S .

N e w Yo r k Lo n d o n

THE VENETIAN PAINTERS

OF

THE RENAISSANCE

WITH AN INDEX TO THEIR WORKS

BERNH ARD BERENSON ” R r n o nnmmmPAI NTE RS o r w e BN I AUTH O o R A SSAN CI . CENTRAL l TALl AN PAI NTERS o n TH E RE NAI SSANCE

P P AM’S SON G. . UTN S NEW YORK AND LONDON !the ‘Rntckewochet press m 1 cow nrc , 894 BY UTNAM’ S SONS G P. . P

) oa e E nter ed a t Station er s H al l , L d d

’ P 'mm s SONS Bv G. u P.

S es of Ame ic Made in t he United tat r a T NOT E O T H I RD E DITION .

I N this edition changes have been made in the numbering of the Venice and Vi enna

Galleries , as well as of some m inor collections , M to correspond to recent rehanging . any other alterations have been requ ired by the breaking up o f private collections . I n several instances it has been impossible to trace pictures to their new homes , and of such the more important remain under the names o f their former owners . To the lists of painters

e Beccaru z zi P hav been added , Caprioli , olidoro

Lanz ani M A e , Rocco arconi , ndr a Schiavone ,

e s and Girolamo da Tr viso , arti ts important

e enough to be missed , but of m rit so unequal that only their more interesting works are here

Bu . t given the bulk of new additions , amount ing to a third as much again as was comprised in the last edition , is of pictures in the various

R 276294 I RD E D I TI ON iv N OTE TO TH . provincial galleries and private colle B F . Great ritain , rance , and Germany The author takes great pleasure in e Mr H l dging his indebtedness to . Cook for invaluable aid in visiting so

e B almost numberl ss ritish collections. PR E FAC E .

TH E following essay owes its origin to the author ’ s belief that Venetian painting is the most co mplete expression in art of the

a e I talian Renaissance . The Renaiss nce is ven more important typically than historically . Historically it may be looked upon as an age o f glory or o f shame according to the different views entertained of European events during

Bu the past five centuries . t typically it stands — for youth , and youth alone for intellectual curiosity and en ergy grasping at the whole of life as material which it hopes to mould to any shape . Every generation has an innate sympathy with some epoch of the past wherein it seems

e to find itself foreshadowed . Scienc has of late revealed and given much , but its revelation and

vii PRE PACE gifts are as nothing to the promise it holds o u t o f constant acqu isition and perpetual growth , of everlasting youth . We ourselves , because of

e our faith in sci nce and the power of work, are instinctively in sympathy with the Renais

u r sance . O problems d o not seem so easy to solve , our tasks are more difficult because our vision is wider, but the spirit which animates us was anticipated by the spirit of the Renais sance , and more than anti cipated . That spirit seems like the small rough model after which ours is being fashioned . Italian painting interests many of us more than the painting of any other school not be

o f cause its essential superiority , but because it expressed the Renaissance ; and Venetian painting is interesting above all because it was at Venice alone that this expression attained

. F perfection Elsewhere , particularly in lorence , it died away before it found complete utter

ance . I n order to keep the main idea clearly be

o f fore the mind the reader , to show him how the Renaissance reveals itself in Venetian

painting, the introduction of anything not PRE FACE

strictly relevant to the subject has been

e avoided . The salient points once p rceived and connected with the more important ffi painters, the reader will find no di culty in seeing the proper place of any given work by a great master, or the relative importance o f those second and third - rate painters of whom no special mention has been made because they are comprised within what has been said about

he t greater artists .

Bu t happily art is too great and too v ital a subject to be crowd ed into any single formula ; and a formula that would , without distorting our entire view of Italian art in the fifteenth

fu ll century , do justice to such a painter as

Carlo Crivelli , does not exist . H e takes rank with the most genuine artists of all times and

e countries , and does not weary ven when

great masters grow tedious . He expresses with the freedom and spirit of Japanese design

’ To di s a piety as wild and tender as Jacopo da , a sweetness of emotion as sincere and dainty as of a Virgin and Child carved in ivory by a F rench craftsman of the fourteenth century .

M the The mystic beauty of Simone artini , X PRE PACE

B are agonized compassion of the young ellini , embodied by Crivelli in forms which have the strength of line and the metallic lustre of old

Satsuma or lacquer, and which are no less tempting to the touch . Crivelli must be treated by himself and as the product of sta

tionar . y, if not reactionary , conditions Having lived most of his life far away from the main currents o f culture , in a province where St .

Bernardino had been spending his last en ergies in the endeavour to call the world back to the ideals o f an in fantile civilisation , Crivelli does not belong to a movement o f constant progress , and therefore is not within the scope of this work . To make the essay useful as a handbook to

Venetian painting, lists have been appended of the works , in and out of Italy , by the principal

Venetian masters . These lists d o not pretend to absolute completeness . Only such private collections have been mentioned as are well known and accessible to students , although in the case of very rare painters all of their known works are given , and even such as are of doubt

r ful authenticity are alluded to . The autho PRE FACE x5 has seen and carefully considered all the pic tures he mentions , except one or two at St . P etersburg, which are , however, well known MM B from the photographs of . raun Cie . The attributions are based on the results of the most recent research . Even such painstaking critics of some years ago as Messrs . Crowe and Cav al caselle laboured under terrible disadv an tages , because most of their work was done at a time when travelling was much slower than it has now become , and when photography was not su fli ciently perfected to be of great service . Rapid transit and isochromatic pho tography are beginning to enable the student to make of connoisseurship something like an exact science . To a certain extent , therefore ,

Cav alcaselle Messrs . Crowe and have been superseded , an d to a great degree supple mented M by the various writings o f orelli ,

Friz zo ni . Richter, , and others The author takes pleasure in acknowledging his indebtedness to the first syst ematic writers on Italian painting no less than to the perfectors of the new critical method , now adopted by nearly all serious students of I talian art . To the founder of xii PREPACE M the new criticism , the late Giovanni orelli ,

. Frizz oni and to his able successor, Dr Gustavo , the author feels bound to ascribe many of his attributions , although a number are based on

alone independent research , and for these he is responsible . Special thanks are due to a dear friend , Enrico Costa , for placing his notes of a M ’ recent visit to adrid at the author s d isposal . fi They have been used , with a con dence war

’ ranted by Signor Costa s unrivalled co nno is

’ seu rshi p, to supplement the author s own notes, taken some years ago . Having noted the dependence of scientific art study upon isochromatic photography, the author is happy to t ake this opportunity of ex pressing his gratitude to such able photogra

hers o p as L wy of Vienna, Tamme of Dresden ,

Mar oz z i M Alinar B F c i . of ilan , ros of lorence , A and Dominic nderson of Rome, all of whom have devoted themselves with special zeal to the paintings o f the Venetian masters . The author is peculiarly indebted to Signor Anderson for having materially assisted his studies by photo graphing many pictures which at present have a scientific rather than a popular interest .

O S C NTENT .

PAC B TH E VENETIAN PAI NTER S OF TH E R ENAI S AN S CE O O O 0

I VA V T A ART . LUE OF ENE I N

I I TH E C AND A T . HURCH P IN ING

I I I TH E R A A . EN ISS NCE

I V A T N AND TH E R A A . P IN I G EN ISS NCE

V A A T T . P GE N PIC URES

VI A T AND TH E C AT N T . P IN ING ONFR ER I IES

VI I EA T AND . SEL PIC URES GIORGIONE

VI I I TH E GI ORGI ONES UE T . Q SPIRI

I X TH E T AT . POR R I

X TH E T T A . YOUNG I I N

X I A A T FA TH E R A A . PP REN ILURE OF EN ISS NCE

X I I TT . LO O

X I I I TH E AT R A SA AND T T A . L E EN IS NCE I I N

X I V H MA T AND TH E R A A . U NI Y EN ISS NCE

X V A T A M . SEB S I NO DEL PIO BO

V T T TT X I . IN ORE O CON E N TS xvi T .

X VI I VA M E ART . LUE OF INOR PISODES IN

' VI I I T T R TT T A T X . IN O E O S POR R I S

V T A ART AND TH E X I X . ENE I N PROVINCES

X A V N X . P UL ERO ESE

X X I BA A AND A A . SS NO , GENRE , L NDSC PE

X I I TH E V T AN AND VELAS UEz X . ENE I S Q

X I I I D V T A ART X . ECLINE OF ENE I N

X X IV I . LONGH

X X V CA A E TT AND A . N L O GU RDI X X V T I . IEPOLO

VI I I V T A ART X X . NFLUENCE OF ENE I N I ND EX TO TH E WORKS OF TH E PRINCI PAL VE NETIAN PAI NTERS I NDEX OF PLACES PAINTE RS OF ISSANCE .

THE VENETIAN PAINTE RS OF THE RENAISSANCE

1 a u e of ene an Art —A the . V l V ti mong S Italian chools of painting the Venetian has ,

- for the majority of art loving people , the strongest and most enduring attraction . I n the course of the present bri ef account of the life of that school we shall perhaps di scover some of the causes of our peculiar delight and inter

in as est the Venetian painters , we come to realise what tendencies of the human Spirit their

e art mbodied , and of what great consequence their example has been to the whole of E uro pean painting for the last three centuries .

The Venetians as a school were from the first endowed with exquisite tact in their use of colour . Seldom cold and rarely too warm ,

o their c louring never seems an afterthought, 2 TH E VE N E TI A/V PAI N TE R S

F as in many of the lorentine painters , nor is it always suggesting paint , as in some of the

s e e Veronese master . Wh n the ye has grown accustomed to make allowance for the darken

the ing caused by time , for dirt that lies in layers on so many pictures , and for unsuccess ful attempts at restoration , the better Venetian pamtings present such harmony of intention and execution as distingu ishes the highest

e achi vements of genuine poets . Their mastery over colour is the first thing that attracts most people to the painters of Venice . Their colour

the ing not only gives direct pleasure to eye ,

e stimu lat but acts lik music upon the moods , ing thought and memory in much the same

e way as a work by a gr at composer.

— Th u rc and Pa nt n . I I . e Ch h i i g The Church from the first took account of the influence of colour as well as of music upon the F emotions . rom the earliest times it em ployed mosaic and painting to en force its dogmas and relate its legends , not merely because this was the only means of reaching

e people who could neith r read nor write , but

4 TH E VE N E TI AN PAI N TE R S

P emotion . eople began to feel the need o f painting as som ething that entered into th eir every- day lives almost as much as w e nowadays feel the ne ed o f the newspaper ; nor was this unnatural , considering that , u ntil the invention of printing, painting was the only way, apart

S from d irect peech , of conveying ideas to the At masses . about the time when Bellini and his contemporaries were attaining maturity , the Renaissance had ceased to be a movement carried on by scholars and poets alon e . I t had become su fficiently widespread to seek popular as well as literary utterance , and thus , toward

e the end of the fifteenth c ntury , it naturally turned to painting, a vehicle of expression

he which t Church , after a thousand years of

e . use , had mad fam iliar and beloved To u nderstand the Renaissance at the time when its spirit began to find complete embo di ment in painting , a brief survey of the move

ment o f thought in Italy during its earlier p eriod is necessary , because only when that movement had reached a certain point did painting come to be its most natural medium of expression . TH E RE N A!SSAN GE 5

n s I I I . The R e ai s an ce. The thousand years that elapsed between the triumph of Christianity and the middle of the fourteenth centu ry have been not inaptly compared to the first fifteen or sixteen years in the life o f the individual . Whether full of sorrows or joys, of storms or peace , these early years are chiefly characterised by tutelage and u n

o Bu t consciousness f personality . toward the end of the fourteenth century something hap pened in Europe that happens in the lives of

was all gifted individuals . There an awaken A ing to the sense of personality . lthough it

e was felt to a gr ater or less degree everywhere , Italy felt the awakening earlier than the rest of E urope , and felt it far more strongly . Its first manifestation was a boundless and insatia ble n e curiosity , urgi g people to find out all th y could about the world and about man . They turned eagerly to the study of classic literature and ancient monuments , because these gave the key to what seemed an immense store house o f forgotten knowledge ; they were in fact led to antiquity by the sam e impulse which , a little later, brought about the in. 6 TH E VE N E TI AN PAI IvTER S

v ention of the printing- press and the d iscovery

of America . The first consequence of a return to classical

literature was the worship of human greatness .

Roman literature , which the I talians naturally m astered much earlier than Greek , dealt chiefly with politics and war, seeming to give an alto gether disproportionate place to the individual , because it treated only of such individuals as were concerned in great events . I t is but a step from realising the greatness of an event to believing that the persons concerned in it were equally great , and this belief, fostered by the somewhat rhetorical literature of Rome , met the new consciousness of person ality more than half way , and led to that unlimited admi ration for human genius and achievement which was so prominent a feature o f the early

Renaissance . The two tendencies reacted upon each other . Roman literature stimulated the

e admiration for g nius , and this admiration in turn reinforced the interest in that period of the world ’ s history when genius was supposed to be the rule rath er than the exception ; that is to say , it reinforced the interest in antiquity. TH E REN A N CE 7

The spirit of discovery , the never satisfied

curiosity of this time , led to the study of ancient art as well as of ancient literature , and the love of antiquity led to the imitation of its buildings and statues as well as of its books and poems . Until comparatively recent times scarcely any ancient paintings were found , although buildings and statues were every. where to be seen , the moment anyone seriously thought of looking at them . The result was that while the architecture and Sculpture of the Renaissance were directly and strongly

infl u influenced by antiquity , painting felt its ence only in so far as the study of antiquity in the other arts had conduced to better draughtsmanship and purer taste . The spirit o f discovery could thus Show itself only indi rectl — y in painting, only in so far as it led painters to the gradual perfection of the tech ni al e c means of th ir craft. Unlimited admiration for genius and won der that the personalities of antiquity should have survived with their great names in no way diminished , soon had two consequences .

ne O was love of glory , and the other the 8 TH E VE N E TI AIV P AI N TE R S

patronage o f those arts which were supposed to hand down a glorious nam e undiminished

to posterity . The glory of old Rome had

come down through poets and historians ,

architects and sculptors , and the Italians , feel ing that the same means might be used to hand down the achievements of their own time

new to as d istant a posterity, made a religion

of glory , with poets and artists for the priests . At first the n ew priesthood was confined almost

entirely to writers , but in little more than a generation architects and sculptors began to

have their part . The passion for building is in

’ itself one of the m ost instinctive , and a man s

name and armorial bearings , tastefully but

prominently displayed upon a church or palace ,

e was wer as likely, it felt , to hand him down

to posterity as the praise of poets or historians .

It was the passion for glory , in reality , rather

than any love of beauty , that gave the first impulse to the patronage of the arts in the

e Be Renaissanc . auty was the concern of the

artists , although no doubt their patrons were well aware that the more impressive a building

was , the more beautiful a monument , the more TH E REN AI SSAN CE 9

likely was it to be admired , and the more likely were their names to reach posterity .

Their instincts did not mislead them , for where their real achievements would have tempted only the specialist or antiquarian into a study of their career, the buildings and monuments — put up by them by such princes as Sigis M F mondo alatesta , rederick o f Urbino , or — A . lfonzo of Naples , have made the whole in telligent public believe that they were really as great as they wished posterity to believe them . As painting had done nothing whatever to transmit the glory of the great Romans , the earlier generations of the Renaissance expected nothing from it , and did not give it that patronage which the Church , for its own pur poses , continued to hold ou t to it . The Renaissance began to make especial use of painting only when its own spirit had spread

e the very widely , and wh n love of knowledge , of power, and of glory had ceased to be the only recognised passions , and when , following

o f the lead the Church , people began to turn to painting for the expression of deep emotion . 10 TH E VE N E TI AN PAI N TE R S

e The new r ligion , as I have called the love of glory , is in its very essence a thing o f this world , founded as it is on human esteem . The boundless curiosity of the Renaissance led back inevitably to an interest in life and to an acceptance of things for what they were , for their intrinsic quality . The moment people stopped looking fixedly toward heaven their eyes fell upon the earth , and they began to see much on its surface that was pleasant . Their own faces and figures must have struck them as surprisingly interesting, and , consider B ing how little St . ernard and other mediaeval saints and doctors had led them to expect , A singularly beautiful . new feeling arose that mere living was a big part of life, and with it came a new passion , the passion for beauty , for grace , and for comeliness .

It has already been suggested that the Re. naissance was a period in the history of modern E urope comparable to youth in the life of the

’ individual . It had all youth s love o f finery and of play . The more people were imbued

r a with the new spi it , the more they loved p

s geants. The pageant wa an outlet for many of

12 TH E VE N E TI AN P AI N TE R S it is Obvious that painting is peculiarly fitted for rendering the appearances of things with a glow of light and richn ess of colour that cor respond to and express warm human emotions .

P n n nd the R n ss a a e a ance. IV . i ti g i When it once reached the point where its vi ew of the world naturally sought expression

e in painting , as r ligious ideas had done before , the Renaissance found in Venice clearer utter

e e ance than els where, and it is p rhaps this fact which makes the most abiding interest of

Venetian painting . I t is at this point that we shall take it up .

The growing delight in life with the c o nse

e quent lov of health , beauty , and j oy were felt more powerfully in Venice than anywhere else

The e in Italy . xplanation of this may be found in the character of the Venetian governm ent which was such that it gave little room for the

the e satisfaction of passion for p rsonal glory, and k ept its citiz ens so busy in duti es of state

s e fo r l rnin that they had mall l isure ea g . Some of the chief passions of the R enaissance thus

s finding no outlet in Venice , the other passion . P AI N TI N G AN D TH E REN AI SSAN CE I 3

insisted all the more on being satisfied . Venice , moreover, was the only state in I taly which

e was njoying, and for many generations had

ee . b n enjoying, internal peace This gave the

Venetians a love of comfort , of ease , and of splendour, a refinement of manner, and humane ness of feeling, which made them the first really modern people in Europe . Since there was little room for personal glory in Venice ,

e the p rpetuators of glory , the H umanists , found at first scant encouragement there, and the Venetians were saved from that absorption in archaeology and pure Science which overwhelmed

e e n e ~ Florence at an arly dat . This was not ec s saril y an advantage in itself, but it happened

e to suit V nice , where the conditions of life had for som e time been such as to build up a love

As e of beautiful things . it was , the fe ling for beauty was not hindered in its natural devel

ment A ae op . rch ology would have tried to

the submit it to good taste of the past , a proceeding which rarely promotes good taste

e ae in the pr sent . Too much arch ology and too much science might have end ed in making

Venetian art academic , instead of letting it be I 4 TH E VE N E TI AN PAI N TE RS

l come what it did , the product of a natura ripening of interest in li fe and love of pleasure .

F n u e I n lore ce, it is tr , painting had developed almost simultaneously with the other arts , and it may be due to this very cause that the Flor entine painters never qu it e realised what a

' ’ difl erent task from the architect s and sculp ’ At tor s was theirs . the time , therefore , when the Renaissan ce was beginning to find its best F expression in painting, the lorentines were already too mu ch attached to classical ideals of

form and composition , in other words, too aca demic, to give embodiment to the throbbing

feeling for life and pleasure . Thus it came to pass that in the Venetian pic tures of the end o f the fifteenth century we find neither the contrition nor the devotion of those earlier years when the Church alon e employed painting as the interpreter of emo

e i tion , nor the learning which charact r sed the

e Florentines . The V netian m asters of this

time , although nom inally continuing to paint

the Madonna and saints , were in reality paint

a ing h ndsome, healthy, san e people like them

S selves, people who wore their plendid robes PAI N TI N G AN D TH E RE N AI SSAN CE 15

di nIt e with g y, who found lif worth the mere living and sought no metaphysical basis for it .

e In short , the Venetian pictur s of the last decad e of the century seemed intended not for devotion , as they had been , nor for admira F tion , as they then were in lorence, but for enjoyment .

a The Church itself, as has been s id , had edu cated its children to understand painting as a language . N ow that the passions men dared to avow were no longer connected with happi. ness in some future state only, but mainly with life in the present , painting was expected to give voice to these more human aspi rations and to desert the outgrown ideals o f the F Church . In lorence , the painters seemed u nable or unwilling to make their art really popular . N or was it so necessary there , for P P M oliziano , ulci , and L orenzo dei edici sup plied the need of self- expression by addressing the Florentines in the language which their early enthusiasm for antiquity and their natural gifts had made them understand better than — any other the lan guage o f poetry . In Venice alone p ainting remained what it had been all I 6 TH E VE NE TI AN PAI N TE R S

e over Italy in earlier times, the comm on tongu of the whole mass of the people . Venetian artists thus had the strongest inducements to perfect the processes which painters must em . ploy to make pictures look real to their own generation ; and their generation had an alto gether firmer hold on reality than any that had been known since the triumph of Christianity . H ere again the comparison o f the Renaiss ance to youth must be born e in mind . The grasp that youth has on reality is not to be compared

. to that brought by age , and we must not ex pect to find in the Renaissance a passion for an acquaintance with things as they are such as we ourselves have but still its grasp o f facts M was far firmer than that of the iddle Ages . P ainting , in accommodating itself to the new

satisfac ideas , found that it could not attain to tory representation merely by form and colour, but that it required light and shadow and

f Of . e fects space Indeed , venial faults of draw ing are perhaps the least disturbing, while faults of perspective , of spacing , and of colour completely spoil a picture for people who have an every- day acquaintan ce with painting such PAGE AN T PI CTURE S I 7

as the Venetians had . We find the Venetian

painters , therefore , m ore and more intent upon giving the space they paint its real depth , upon ff giving solid objects the full e ect of the round , upon keeping the difi erent parts of a figure within the same plane , and upon compelling things to hold their proper places one behind

As the other. early as the beginning of the Sixteenth century a few of the greater Venetian painters had succeeded in making distant ob

ects j less and less distinct , as well as smaller and smaller, and had succeeded also in giving some appearance of reality to the atmosphere . These are a few of the special problems of

a p inting, as distinct from sculpture for instan ce , and they are problems which , among the

Italians , only the Venetians and the painters closely connected with them solved with any success .

n P u r — V . Pag ea t ict es The painters of the end of the fifteenth century who met with the greatest success in solving these problems were B Giovanni and Gentile ellini , Cima da Cone

liano g , and Carpaccio , and we find each of 18 TH E VE N E TI AN PAI N TER S them enjoyable to the degree that he was in touch with the life o f his day I have already spoken of pageants and of how char acteristic e th y were of the Renaissance , form ing as th ey did a sort of safety- valve for its chief passions . Ven ice , too , knew the love of glory, and the passion was perhaps only the m ore intense because it was all dedi cated to the State . There was nothing the Venetians would not do to add to its great

r ness, glo y, and splendou r . I t was this which led them to make of the city itself that won dro u s monument to the love and awe they felt

ad for their Republic , which still rouses more miration and gives more pleasure than any other one achievement o f the art - impulse in m an . They were not content to make their city the m ost beautiful in the world ; they per formed ceremonies in its hon our partaking of

Proces all the solemnity o f religious rites .

and sions pageants by land and by sea , free from that gross element of improvisation which

characterised them elsewhere in Italy , formed n o less a part of the functions of the Venetian State than the High Mass in the Catholic

20 TH E VE N E TI AN PAI N TE R S

d the austere Cima , as he grew older, turne every biblical and saintly legend into an occa sion for the picture of a pageant . Bu t there was a further reason for the popu larit y of such pictures . The decorations which were then being executed by the most reputed masters in the H all of Great Council in the ’ P Doge s alace , were , by the nature of the sub

ect j , required to represent pageants . The Venetian State encouraged painting as did the

Church , i n order to teach its subjects its own glory in a way that they could understand withou t being led on to critical enquiry .

Venice was not the only city, it is tru e , that used painting for political purposes ; but the frescoes of L orenzetti at Siena were admoni tions to govern in accordance with the Cate

chism , while the pictures in the Great Hall of the Doge ’ s Palace were of a nature to remind the Venetians of their glory and also of their state policy . These mural paintings represented such subjects as the Doge bringing abou t a reconciliation between the Pope and the E m B pet or arbarossa, an event which marked the first entry of Venice into the field of Conti PAGEAN T PI CTURE S 2 1

its u n neu tal politics , and typified as well

own changing policy , which was to gain its ends by keeping a balance of power between the allies o f the Pope and the allies of his

opponents . The first edition , so to speak, of these works had been executed at the end of the fourteenth century and in the beginning

of the fifteenth . Toward the end of that cen tu ry it no longer satisfied the new feeling for

a re lity and beauty, and thus had ceased to serve its purpose , which was to glori fy the

B A Vivarini . State . The ellin i , lvise , and Car paccio were employed to make a second ren

dering of the very same subjects , and this gave the Venetians ample opportunity for finding out how much they liked pageant

pictures . It is curious to note here that at the same time Florence also commissioned its greatest

painters to execute works for its Council Hall , but left them practically free to choose their own M subjects . ichelangelo chose for his theme “The Florentines while Bathing Surprised by P ” B the isans , and L eonardo The attle of the ” Standard . Neither of these was intended in 2 2 TH E VE N E TI AN PAI N TE R S the first place to glorify the Florentine R e

’ public , but rather to give scope to the painter s M ’ genius , ichelangelo s for the treatment of the

’ nude , L eonardo s for movement and animation .

E ach , having given scope to his peculiar talents in his cartoon , had no further interest , and

e neither of the undertakings was ev r completed . N o r do we hear that the Florentine councillors enjoyed the cartoons , which were instantly snatched up by students who turned the hall containing them into an academy .

—I P nt n and the onfratern t es . t VI . ai i g C i i does not appear that the H all of Great Council

’ in Venice was turned into a students academy, and , although the paintings there doubtless gave f a decided incentive to artists , their e fect upon the public, for whom they were designed , was

al even greater . The councillors were not lowed to be the only people to enjoy fas cinating pictures of gorgeous pageants and M Aid — ceremonials . The utual Societies the — Schools , as they were called were not long in getting the masters who were employed in the

’ Doge s Palace to execute for their own meet~ PAI N TI N G AN D TH E CON FRATE RN I TI E S 2 3

ing places pictures equally splendid . The

’ Schools of San Giorgio , Sant Ursula , and Santo

Stefano , employed Carpaccio , the Schools of M B San Giovanni and San arco , Gentile ellini ,

e and oth r Schools employed minor painters . The works carried out for these Schools are of

peculiar importance, both because they are all that remain to throw light upon the pictures in

’ P 1 6 the Doge s alace destroyed in the fire o f 5 7 , and because they form a transition to the art

of a later day . j ust as the State chose sub j ects that glorified itself and taught its own

history and policy , so the Schools had pictures

painted to glorify their patron saints , and to

e M keep their deeds and xample fresh . any — — of these pictures most in fact took the form

of pageants ; but even in such , intended as

s they were for almo t domestic purposes , the

e styl of high ceremonial was relaxed , and elements tak en directly from life were intro ” B du ced. In his Corpus Christi , Gentile ellini paints not only the solemn and dazzling pro

the P cession in iazza , but the elegant young

men who strut about in all their finery, the

n i r foreig loungers , and even the unfail ng begga 24 TH E VE N E TI AN PAI N TE R S

’

M . M by the portal of St . ark s In his iracle ” of the True Cross , he introduces gondoliers , taking care to bring out all the beauty of their

lithe , comely figures as they stand to ply the

oar, and does not reject even such an episode

as a serving- maid standing in a doorway watch ing a negro who is about to plunge into the

canal . H e treats this bit o f the picture with all the charm and much of that delicate feeling for simple effects of light and colour that we find in such Dutch painters as Vermeer van

Delft and Peter de H oogh . Episodes such as this in the works of the earliest great Venetian master must have acted

on the public like a spark on tinder. They certainly found a sudden and assured popular

i‘ ty , for they play a more and more important

part in the pictures executed for the Schools, many o f the subjects o f which were readily

turn ed into studies o f ordinary Venetian life . This was particularly tru e of the works o f Car M accio . p uch as he loved pageants , he loved “ e homelier scenes as w ll . His Dream o f St . Ursula ” shows us a young girl asleep in a

room filled with the quiet morn ing light . In PAI N TI N G AN D TH E CON FRATE RN I TI E S 2 5

deed , it may be better described as the picture of a room with the light playing softly upon

fl ower- its walls , upon the pots in the window,

- and upon the writing table and the cupboards . A young girl happens to be asleep in the bed , but the picture is far from being a merely eco n omic illustration to this episode in the life of A the saint . gain , let us take the work in the same series where King Maure dismisses the ambassadors . Carpaccio has made this a scene of a Chancellery in which the most striking fea tures are neither the king nor the ambas sadors f , but the e fect o f the light that streams through a side door on the left and a poor

. Or . clerk labouring at his task , again , take St j erome in his study, in the Scuola di San

Giorgio . H e is nothing but a Venetian scholar e s ated in his comfortable , bright library, in the midst of his books , with his little shelf of bric af brac running along the wall . There is n othing in his look or surroundings to speak of a life of self-denial or o f arduous devotion to the prob

Pre lems of sin and redemption . Even the ” n ation f se t of the Virgin , which of ered such a splendid chance for a pageant, Carpaccio , in 26 TH E VE N E TI AN PAI N TE R S

one instance , turned into the picture of a sim

her ple girl going to first communion . I n other

’ words, Carpaccio s quality is the quality o f a

enre painter of g , of which he was the earliest

r di r Italian master. His g en e fl e s from Dutch F or rench not in kind but in degree . Dutch

enre g is much more democratic, and , as paint ing, it is o f a far finer qu ality, but it deals with

e its subject , as Carpaccio does , for the sak of its own pictorial capacities and for the sake o f f the e fects of colour and of light and shade .

E ase P tu res and r ne —At VI I . l ic Gio gio . the beginning o f the Renaissance painting was almost wholly confined to the Church . From the Church it extended to the Council

H all , and thence to the Schools . There it rapidly developed into an art which had no higher aim than painting the sumptuous life of the aristocracy . When it had reached this

e point , th re was no reason whatever why it should not begin to grace the dwellings of all

- - well to do people . I n the Sixteenth century painting was not looked upon with the estranging reverence paid

28 TH E VE N E TI AN P AI N TE R S

sweet dreams of youth . Venetian painting alone among I talian schools was ready to sat

isf y such a demand , and it thus became the first genuinely modern art : for the most vital dif ference that can be indicated between the arts — in antiqu ity and modern times is this that now the arts tend to address themselves more

and more to the actu al needs of men , while in olden times they were supposed to serve

some more than human purpose . The pictures requ ired for a house were natu rally o f a difierent kind from those suited to

the Cou ncil H all or the School , where large

paintings , which could be filled with many

. For ll figures, were in place the house sma er

pictures were n ecessary , such as could easily be

carried about . The mere dimensions , there

fore , excluded pageants, but , in any case , the pageant was too formal a subject to suit all m oods—too much like a brass band always

playing in the room . The easel picture had to

be without too definite a subject , and could n o more permit being translated into words than a

’ sonata . Some of Giovanni Bellini s late works are already of this kind . They are full of that E ASE L PI CTURE S AN D GI OR GI ON E 29

r subtle , refined poet y which can be expressed

Bu in form and colour alone . t they were a little too austere in form , a little too sober in

- colour, for the gay , care free youth of the time . Carpaccio does not seem to have painted m any easel pictures , although his brillian cy, his de lightful fancy, his love of colour, and his gaiety of humour would have fitted him admirably

. Bu t for this kind of painting Giorgione , the follower o f both these masters , starting with

a the qu lities of both as his inheritance , com bined the refined feeling and poetry o f Bellini with Carpaccio ’ s gaiety and love of beauty and colour . Stirred with the enthusiasms of his own generation as people who had lived

a through other ph ses of feeling could not be , Giorgione painted pictures so perfectly in touch with the ripened spirit of the Renaissance that they met with the success which those things only find that at the sam e moment wake us to h t e full sense of a need and satisfy it .

’ Gior ione s S g life was hort , and very few of his works—not a score in all—have escaped destruction . Bu t these suffice to give us a glimpse into that brief moment when the R e 30 TH E VE N E TI AN P AI N TE R S naissance found its most genuine expression in

- painting . I ts over boisterous passions had quieted down into a sincere appreciation of beauty and of human relations . It would be really hard to say more about Giorgione than

this , that his pictures are the perfect reflex of

the Renaissance at its height . H is works , as well as those of his contemporaries and follow

ers, still continue to be appreciated most by people whose attitude of mind and spirit has

most in common with the Renaissance , or by those who look upon Italian art not merely as

For art , but as the product o f this period .

that is its greatest interest . Other schools

have accomplished much more in mere paint. A ing than the Italian . serious student of art will scarcely think of putting many of even the

highest achievements of the Italians , considered

purely as technique , beside the works of the

a great Dutchmen , the great Sp niard , or even

- u r the masters of to day . O real interest in Italian painting is at bottom an interest in that art which we almost instinctively feel to have been the fittest expression found by a peri od in the history of modern Europe which has TH E 6101?GI ON E SQUE SPI RI T 3 I

much in common with youth . The Renais sance has the fascination o f those years when we seemed so full of promise both to ourselves

and to everybody else .

Th i r n —Gior VII I . e G o g io esqu e Spirit gione created a demand which other painters were forced to supply at the risk o f finding

no favour . The older painters accommodated

ne themselves as best they could . O of them

indeed , turning toward the new in a way

that is full of singular charm , gave his later works all the beauty and softness of the first

spring days in Italy . Upon hearing the title of one of Catena ’s works in the N ational Gal A A i ” lery, Warrior doring the Infant Chr st , who could imagine what a treat the picture itself had in store for him ? I t is a fragrant summer landscape enj oyed by a few quiet people , one of whom , in armour, with the glamour of the O ’ rient about him , kneels at the Virgin s feet , while a romantic young page holds his horse ’s bridle . I mention this picture in particular be it cause is so accessible , and so good an instance of the Giorgionesqu e way of treating a su b 32 TH E VE N E TI AN PAI N TE R S

ect sto r ' nor j ; not for the y, for the display of skill , nor for the obvious feeling , but for the

the f lovely landscape , for e fects of light and

colour, and for the sweetness o f human rela

’ Gi r ione s - tions . o g altar piece at Castelfranco is treated in precisely the same spirit , but with

far more genius . The young painters had n o chan ce at all u n less they undertook at once to furnish pictures

’ r i Bu t a in Gio g one s style . before we can p preciate all that the younger men were called upon to do , we must turn to the consideration of that most wonderful product of the Renais ’ — sance and of the painter s craft the Portrait .

T P rtra — IX . he o it The longing for the

’ perpetuation o f one s fame , which has already been mentioned several times as one of the chief passions o f the Renaissance , brought with it the more universal desire to hand down the

’ memory of one s face and figure . The surest way to accomplish this end seemed to be the one which had proved successful in the case of

effi ies the great Romans , whose g were growing more and more familiar as new busts and TH E P OR TRAI T 33

medals were dug up . The earlier generations of the Renaissance relied therefore on the sculptor and the medallist to hand down their

features to an interested posterity . These artists were ready for their task . The mere f materials gave them solidity , an e fect so hard At to get in painting . the same time , n othing was expected from them except that they should mould the material into the desired shape . N o setting was required and no colour. Their art on this account alone would natu rally have been the earliest to reach fruition .

Bu t over and above this , sculptors and medal lists had the direct inspiration of antique models , and through the study of these they were at an early date brought in contact with the tendencies of the Renaissance . The passion then prevailing for pronounced types , and the spirit of analysis this produced , forced them to such patient study o f the face as would enable them to give the features that look of belonging to one consistent whole which we call character. Thus , at a time when painters had not yet learned to distin gu ish between one face and another, Donatello was t 34 TH E VE N E TI AN PAI N TE R S

carving busts which remain un rivalled as studies P o f character , and isanello was casting bronze and silver medals which are among the greatest claims to renown of those whose effigies they

bear .

’ ’ D onat ello s bust of N iccolo d Uz z ano shows

clearly , nevertheless , that the Renaissance could not long remain satisfied with the sculp

t u red . portrait I t is coloured like nature , and succeeds so well in producing for an instant

' the efl ect of actual life as to seem u ncanny the

’ D onatello s next moment . contemporaries

must have had the same impression , for busts

Yet of this kind are but few . these few prove that the element of colour had to be included before the satisfacto ry portrait was found : in

. other words, that painting and n ot sculp

ture was to be the portrait - art of the Renais

sance . The most creative sculptor of the earlier Renaissa nce was not the only artist who felt

the need of colou r in portraiture . Vittore P isano , the greatest medallist of this or any

r age , felt it quite as keenly , and being a painte

as l ar we l, he was among the first to turn this t

36 TH E VE N E TI AN PAI N TE R S who looked u pon all such qualities as impious in the individual because they were the strict

monopoly o f the State . I n the portraits of Doges which decorated the frieze of its great ‘ efli ies Council H all , Venice wanted the g of t functionaries entirely devoted to the S ate , and

ot n of great personalities , and the profile lent itself more readily to the omission of purely

individual traits . I t is significant that Venice was the first state which made a business of preserving the portraits of its chief rulers Those which Gentile and Giovanni Bellini executed for this end must have had n o less influence on por

t raitu re than their mural paintings in the same

Bu t H all had on other branches of the art . the State was not satisfied with leaving records

of its glory in the Ducal Palace alone . The Church and the saints were impressed for the — same purpose happily for us , for while the

portraits in the Great Hall have perished , sev

eral altar- pieces still preserve to u s the like. nesses of some o f the D oges

Early in the sixteenth century , when people began to want pictures in their own homes as TH E P OR TRAI T 37

well as in their public halls , personal and reli giou s motives combined to dictate the choice

o f subjects . In the minds o f many , painting,

r although a ve y familiar art , was too much connected with solemn religious rites and with state ceremonies to be used at once for ends of personal pleasure . So landscape had to slide in under the patronage of St . J erome ; while

a F rom ntic biblical episodes , like the inding of ” “ ” M Of oses , or the Judgment Solomon , gave

enre an excuse forg , and the portrait crept in half hidden under the mantle of a patron saint . Its position once secure , however, the portrait

ofI took no time to cast all tutelage , and to declare itself one of the most attractive sub j ects possible . Over and above the obvious satisfaction afforded by a likeness , the portrait had to give pleasure to the eye , and to pro duce those agreeable moods which were ex

’ pected from all other paintings in Giorgio ne s

P ram time . ortraits like that of Sca po are scarcely less hard to live with than such a

person himself must have b een . They tyran

Bu t ior nize rather than soothe and please . G gione and his immediate followers painted men 38 TII E VE NE TI AN PAI N TE R S and women whose very look leads one to think

of sym pathetic friends , people whose features

are pleasantly rou nded , whose raiment seems

soft to touch , whose surroundings call up the memory of sweet landscapes and refreshing

breezes . I n fact , in these portraits the least

apparent object was the likeness, the real pur pose being to please the eye and to turn the

mind toward pleasant themes . This no doubt helps to account for the great popularity of portraits in Venice during the sixteenth cen

r tu y . Their number, as we shall see , only

grows larger as the century advances .

— ’ Th You n it an. Gior ione s X . e g T i g fol lowers had only to exploit the vein th eir master hit upon to find ample remunera

tion . Each , to be sure , brought a d istinct

personality into play , but the demand for

Gio r iones u e the g q article , if I may be allowed

the phrase , was too strong to permit of much

d eviation . It no longer mattered what the picture was to represent or where it was going

to be placed ; the treatment had to be always i l . M br ght , romantic , and joyous any artists stil TIIE yo UN G TI TI AN 39

confined themselves to painting ecclesiastical

subjects chiefly , but even among these , such P painters as L otto and alma , for example , are

Gio r iones u e B fully as g q as Titian , onifazio , or B Paris ordone .

Titian , in spite of a sturdier, less refined nature, did nothing for a generation after ’ A Giorgione s death but work on his lines . difference in qual ity between the two masters shows itself from the first , but the spirit that animated each is identical . The pictures Titian was painting ten years after his companion ’ s death have not only many of the qualities of

’ Gio r io ne s g , but something more , as if done by

e e an older Giorgion , with better poss ssion of

e himself, and with a larger and firm r hold on A . t S the world the same time , they how no

e e diminution of spontan ous joy in life , and ven

an increased sense o f its value and dignity .

What an array of mas t erpi eces might be “ ” ! the A brought to witness I n ssumption ,

e the e e for xample , Virgin soars h av nward , not

e s e helpl s in the arms of angels, but born up by

e . the fulness o f lif within her , and by the feel

ing that the universe is naturally her own , and TH E VE N E TI AN PAI N TE R S

s that nothing can check her course . The angel seem to be there only to sing the victory of a human being over his environment . They are embodied joys , acting on our nerves like the rapturous outburst of the orchestra at the end

r B of Parsifal . O look at the acchanals “ M the B A in adrid , or at acchus and riadne in the National Gallery . H ow brimful they are of exuberant joy ! you see no sign of a struggle of inner and outer conditions , but life so free , so strong, so glowing, that it almost

. Bac intoxicates They are truly Dionysiac , chanalian triumphs- the triumph of life over the ghosts that love the gloom and chill and hate the sun . The portraits Titian painted in these years Show no less feeling of freedom from sordid cares , and no less mastery over life . Think of

Man The with the Glove in the Louvre , of “ Y the Concert , and oung Englishman in P Florence , and of the esaro family in their — altar- piece in the Prari at Venice call up these portraits , and you will see that they are true children o f the Renaissance whom life has taug ht no meannesses and no fears . AP PARE N T FAI LURE 4 I

A r n . a e t F a u re of th R ena anc XI pp il e i ss e. - Bu t even while such pictures were being

painted , the spirit o f the Italian Renaissance

e was proving inad quate to life . This was not the fault of the spirit , which was the spirit of

Bu youth . t youth cannot last more than a certain length of time . N o matter how it is s pent , manhood and middle age will come . L ife began to Show a sterner and more sober face than for a brief moment it had seemed to

Men wear . became conscious that the passions

ad for knowledge , for glory , and for personal vancement were not at the bottom of all the F problems that life presented . lorence and

Rome discovered this suddenly, and with a M ’ shock . I n the presence of ichelangelo s sculp “ tures in San Lorenzo , or of his L ast J udg ” m ent , we still hear the cry of angu ish that went up as the inexorable truth dawned upon them .

Bu t Venice , although humiliated by the League

e of Cambrai , impov rished by the Turk, and by the change in the routes of commerce , was not

e crushed , as was the r st of Italy , under the heels of Spanish infantry , nor so drained o f resource as not to have some wealth still flow 42 TH E VE N E TI AN P AI N TER S

' o fi rs r ing into her c e . L ife g ew soberer and t sterner, but it was still amply wor h the living, although the relish of a little stoicism and of

earnest thought no longer seemed out of place . The spirit of the Renaissance had found its way to Venice slowly ; it was even more slow

to depart . We therefore find that toward the middle of

S the ixteenth centu ry, when elsewhere in I taly painting was trying to adapt itself to the hy po crisy of a Chu rch whose chief reason for surviving as an institution was that it helped

Spain to subject the world to tyranny , and when portraits were already exhibiting the fas c inating youths o f an earlier generation turned

—in into obsequious and elegan t courtiers , Venice painting kept tru e to the ripened and more reflective spirit which succeeded to the

most glowing decades of the Renaissanc e . This

led men to take themselves more seri ously, to

act with more consideration of consequences, and to think of life with less hope and exulta

the tion . Quieter j oys were sought , pleasures

of friendship and of the afiectio ns . Life not having proved the endless holiday it had prom

44 TH E VE N E TI AN PAI N TE R S s ensitive of feeling and born in the heyday of

new the Renaissan ce , to whom the must have come as a disappointment . I t had to come from one who had not been brought in personal

the contact with woes o f the rest of Italy, from on e less conscious of his environment , one like Titian who was readier to receive the patronage o f the n ew master than to feel an oppression which did n ot touch him perso nally ; or it had to come from on e like Tintoretto , born to the new order o f things and n ot having to outlive a disappointment before adapting himself to it.

The La e R ena s sance and tian. XI I I . t i T i —I t is as impossible to keep u ntouched by what happens to your neighbours as to have a bright sky over your own house when it is

. stormy everywhere else . Spain did not di rectl n y dominate Ven ice , but the n ew fashio s o f life and thought inaugurated by her nearly u niversal triumph could not be kept out . Her

al S h victims , among whom the It ian c olars must be reckoned , flocked to Venice for shelter, per secu ted by a rule that cherished the Inquisi

fi s tion . N ow for the rst time Venetian painter TH E LATE RE N AI SSAN CE AN D TI TI AN 45

were brought in contact with men of letters .

As . they were already, fortunately for them selves , too well acquainted with the business of their own art to be taken in tow by learning or even by poetry, the relation of the man of let ters to the painter became on the whole a stim u la in t g and at any rate a profitable one , as in the instance of two of the greatest , where it took the form o f a partnership for mutual ad I t vantage . is not to our purpose to speak of

’ r ino s Aet gain , but Titian would scarcely have acquired such fame in his lifetime i f that founder P A of modern journalism , ietro retino , had n ot

been at his side , eager to trumpet his praises

and to advise him whom to court . The overwhelming triumph of Spain entailed

still another consequence . I t brought home

n to all Italians , even to the Venetia s, the sense of the individu al ’ s helplessness before organ

ized —a power sense which , as we have seen ,

the early Renaissance , with its belief in the

omnipotence of the individual , totally lacked . This was not without a decided influence

on art . I n the last three decades of his

long career, Titian did not paint man as if 46 TH E VE N E TI AN P AI N TE R S he were as free from care and as fitted to his A environment as a lark on an pril morning . Rather did he represent man as acting on his environmen t and su ffering from its reactions . H e made the faces and figures Show clearly what life had done to them . The great E cce H omo and the Crowning with Thorns are imbued with this feeling no less than the eques trian portrait of Charles the Fifth . I n the E cce H omo ” we see a man with a godlike personality , humbled by the imperial majesty,

a u n broken by the imperi l power, and u tterly able to hold out against them . I n the Crown ing with Tho rns ” we have the same godlike ff being almost brutalised by pain and su ering . I n the portrait of the Emperor we behold a man whom life has en feebled , and who has to meet a foe who may crush him . Yet Titian became n either soured nor a pes M simist . any o f his late portraits are even m ore energetic than those of his early matu

S rity . H e hows himself a wise man of the ” world . Do n ot be a grovelling sycophant , “ some of them seem to say, but remember that courtly manners and tempered elegan ce TH E LATE RE N AI SSAN CE AN D TI TI AN 47

can do you no harm . Titian , then , was ever ready to change with the times , and on the whole the change was toward a firmer grasp of

et reality, necessitating y another advance in

’ ’ the painter s mastery of his craft . Titian s real greatness consists in the fact that he was as able to produce an effect of greater reality as he was ready to appreciate the need of a

firmer hold on life . I n painting, as I have ff said , a greater e ect o f reality is chiefly a mat ter of light and shadow , to be obtained only by considering the canvas as an enclosed

S pace , filled with light and air, through which the objects are seen . There is more than one ff way of getting this e ect , but Titian attains it by the almost total suppression of outlines , by m the har onising of his colours , an d by the largeness and vigour of his brushwork . In fact , the old Titian was , in his way of painting, remarkably like some of the best French mas

- ters of to day . This makes him only the more attractive, particularly when with handling of this kind he combined the power of creating forms of beauty such as he has given us in the ” P Wisdom of the Venetian Royal alace , or 48 TH E VEN E TI AN PAI N TE E S

“ in the Shepherd and Nymph of Vienn a.

difierence The between the old Titian , author

of these works, and the young Titian , painter “ A B of the ssumption , and of the acchus A ” ff and riadne , is the di erence between the “ ’ Shak speare of the Midsummer - N ight s “ Dream and the Shak speare of the Tem ” hak s re pest . Titian and S pea begin and end

so much in the same way by no mere accident .

They were both products of the Renaissance ,

they u nderwent similar changes , and each was the highest and completest expression of his

own age . This is not the place to elaborate

the comparison , but I have dwelt so long on l Titian , because, historica ly considered , he is the only painter who expressed nearly all of the Renaissance that could find expression in

painting . I t is this which makes him even

more interesting than Tintoretto , an artist who

in many ways was deeper, finer, and even more

brilliant .

u man and th R ena ss ance. XIV . H ity e i Tintoretto grew to manhood when the fruit

of the Renaissance was ripe on every bough. SE BASTI AN O D EL P I OMB O 49

The Renaissance had resulted in the emancipa

the tion of individual , in making him feel that the u niverse had no other purpose than his

new an happiness . This brought an entirely swer to the question , Why should I do this “ ? B - or that It used to be , ecause self insti ” t u t ed authority commands you . The answer B ” now was , ecause it is good for men . In this

s lies our greatest debt to the Renai sance , that it instituted the welfare of man as the end of all action . The Renaissance did not bring this idea to practical issue , but our debt to it is endless on account of the results the idea has produced in our own days . This alone would have made the Renaissance a period o f peculiar interest , even if it had had no art whatever.

Bu t when ideas are fresh and strong, they are almost sure to find artistic embodiment , as indeed this whole epoch found in painting, and this particular period in the works of

Tintoretto .

m — . Se a ano del P o XV b sti i b o . The eman cipation of the individual had a direct effect on the painter in freeing him from his guild . 5 0 TH E VE N E TI AN P AI N TE R S

It now occurred to him that possibly he might becom e more proficient and have greater success if he deserted the influen ces he was u nder by the acciden t of birth and resi dence , and placed himself in the school that seemed best adapted to foster his talents . This led to the unfortunate experiment o f Eclecti cismwhich checked the purely organ ic develop ment o f the separate schools . I t brought about their fusion into an art which no longer appealed to the Italian people , as did the art which sprang naturally from the soil , but to the

’ ' small class o f dzlettantz who considered a kn owl edge o f art as one o f the birthrights o f their ff social position . Venice , however , su ered lit tle from E clecticism , perhaps because a strong sense of individuality was late in getting there , an d by that time the painters were already well enough educated in their craft to know that

they had little to learn elsewhere . The one

Venetian who became an E clectic , remained

in Spite of it a great painter . Sebastiano del Piombo fell und er the influence of Michelau

gelo, but while this influen ce was pernicious in i t most cases, the hand that had learned to pa n

5 2 TH E VE N E TI AN P AI N TE R S

religion , and in Venice poetry was making its way more than it had previously done , not only because Venice had become the refuge of f men of letters, but also because of the di fusion of printed books . Tintoretto took to the new feeling for religion and poetry as to his birth

Yet right . whether classic fable or biblical episode were the subject of his art , Tintoretto coloured it with his feeling for the human life at the heart of the story . H is sense o f power did n ot express itself in colossal nudes so much as in the immense energy, in the glowing health of the figures he painted , and more still ff in his e ects of light , which he rendered as if he had it in his hands to brighten or darken the heavens at will and subdue them to his own moods .

H e could not have accomplished this , we may be sure, if he had not had even greater skill than Titian in the treatment o f light and shadow and of atmosphere . It was this which enabled him to give such living version s of

Fo r biblical stories and saintly legends . , granting that an effect o f reality were attain able in painting without an adequate treatment TI N TOE E TTO 5 3

e of light and atmospher , even then , the reality w ould look hideous , as it does in many modern painters who attempt to paint people of to- day in their every-day dress and among their usual surroundings . I t is not Realism which

a m kes such pictures hideous , but the want of that toning down which the atmosphere gives i to things in life , and of that harm on is n g to which the light subjects all colours . It was a great mastery of light and Shadow which enabled Tintoretto to put into his pic tures all the poetry there was in his soul with out once tempting us to think that he might have found better expression in words . The poetry which quickens most of his works in the

Scuola di San Rocco is almost entirely a matter of light and colour. What is it but the light that changes the solitudes in which the Mag. M dalen and St . ary of Egypt are sitting, into dreamlands seen by poets in their moments of happiest inspiration ? What but light and c olour, the gloom and chill of evening , with the white- stoled figure standing resign edly be “ fore the judge , that give the Christ before P ? ilate its sublime magic What , again , but 5 4 TH E VE N E TI AN P AI N TE R S

- light , colour, and the star procession of cherubs that imbue the realism o f the “Annunciation with music which thrills us through and through Religion and poetry did n ot exist for Tinto retto because the love and cultivation of the Muses was a duty prescribed by the Greeks ea and Romans , and b c use the love of God an d the saints was prescribed by the Church ; but

e rather, as was the case with the best peopl of his time , because both poetry and religion were

e useful to man . They h lped him to forget what was mean and sordid in life , they braced o him to his task , and c nsoled him for his dis appointments . Religion answered to an ever B living need of the human heart . The ible was n o longer a mere document wherewith to j ustify Christian dogma . I t was rather a series of parables and symbols pointing at all times

ed e to the path that l to a fin r and nobler life .

Why then continu e to picture Christ and the

A P P e postles , the atriarchs and roph ts , as per

sons living u nder Roman rule , wearing the

a Roman tog , and walking about in the land

scape o f a Roman has- relief ? Christ and the TI N TOPE TTO 5 5

P P Apostles , the atriarchs and rophets , were the embodiment of living principles and of living ideals . Tintoretto felt this so vividly that he could not think of them otherwise than as people o f his own kind , living under condi tions easily intelligible to himself and to his

- l fellow men . Indeed , the m ore intel igible and the more familiar the look and garb and sur

r roundings of biblical and saintly pe sonages , the more would they drive home the principles and ideas they incarnated . So Tintoretto did not hesitate to turn every biblical episode into a picture of what the scene would look like had it taken place under his own eyes , nor to tinge it with his own mood .

H is conception of the human form was, it is

e the e tru , colossal , although slender el gance that was then coming into fashion , as if in protest

infl u against physical force and organisation , enced him considerably in his construction of

' the female figure but the efl ect which he must always have produced upon his contem

oraries p , and which most of his works still pro duce , is on e of astounding reality as well as of

. D i ‘ wide sweep and power Thus, in the scov 5 6 TH E VE N E TI AN PAI N TE R S M er B . B a y of the ody of St ark, in the rer 1 and in the Storm Rising while the Corpse is being Carried through the Streets of Alexan ” P fi dria, in the Royal alace at Venice , the g u res, although colossal , are so energetic and so

f ers e easy in movement , and the e fects o f p p c tive and of light and atmosphere are so on a nt level with the giga ic figures , that the eye at

S once adapts itself to the cale , and you feel as if you too partook of the strength and health o f heroes .

a u e of M n r E s d in XVI I . V l i o pi o es Art . That feeling for reality which made the great painters look upon a picture as the repre sentation of a cubic content of atmosphere enveloping all the objects depicted , made them also consider the fact that the given quantity of atmosphere is sure to contain other objects than those the artist wants for his purpose .

H e is free to leave them out , of course , but in so far as he does , so far is he from producing an effect of reality . The eye does not see everything, but all the eye would naturally see along with the principal objects, must be VALUE OF MI N OR E PI SOD E S I N AE T 5 7

painted , or the picture will not look true to life . This incorporation of small episodes run ning parallel with the subject rather than form ing part of it , is one of the chief characteristics of modern as distinguished from ancient art . It is this which makes the Elizabethan drama so different from the Greek . It is this again which already separates the works o f Duccio and Giotto from the plastic arts of Antiqu ity . Painting lends itself willingly to the considera tion of minor episodes, and for that reason is almost as well fitted to be in touch with mod ern life as the novel itself. Such a treatment e saves a picture from looking prepar d and cold , just as light and atmosphere save it from rigid ity and crudeness . N o better illustration of this can be found among I talian masters than Tintoretto ’ s Cru ” cifixion in the Scuola di San Rocco . The scene is a vast one , and although Christ is on the Cross , life does not stop . To most of the people gathered there , what takes place is n o M m ore than a common execution . any of them are attending to it as to a tedious duty . Others work away at some menial task more or less 5 8 TH E VE N E TI AN P AI N TEE S

connected with the Crucifixion , as u nconcerned M as cobblers humming over their last . ost of

e the people in the hug canvas are represented , as n o doubt they were in life , without much per sonal feeling about Christ . H is own friends are painted with all their grief and despair, but the others are allowed to feel as they please . The painter does not t ry tO give them the proper emotions . I f one of the great novelists of to if day, Tolstoi , for instance , were to describe the

Crucifixion , his account would read as if it were

’ Bu t a description of Tintoretto s picture . Tin

’ torett o s fairness went even further than letting all the spectators feel as they pleased about what he himself believed to be the greatest A event that ever took place . mong this multi tude he allowed the light of heaven to shine upon the wicked as well as upon the good , and the air to refresh them all equally . In other words , this enorm ous canvas is a great sea of air and light at the bottom of which the scene takes place . Without the atmosphere and the just distribution of light , it would look as life less and desolate , in spite o f the crowd and ani mation , as if it were the bottom of a dried up sea .

60 TH E VE N E TI AN PAI N TE E S

kind represented in most of Tintoretto ’ s por

traits . With Tintoretto ends the universal interest the Venetian school arouses ; for although

painting does n ot d eteriorate in a day any more than it grows to maturity in the sam e brief moment , the story o f the decay has none o f

Bu t the fascination of the growth . several artists remain to be considered who were not of the Venetian school in the strict sense of the term , but who have always been included w ithin it .

n t an Art an he r v n s . XIX . Ve e i d t P o i ce The Venetian provinces were held together not merely by force of rule . I n language and feeling no less than in government , they formed a distinct u nit within the Italian peninsula . Painting being so truly a product o f the soil i as it was in Italy dur ng the Renaissance , the art of the provinces could not help holding the same close relation to the art o f Venice that

Bu t their language and modes o f feeling held . a differen c e must be made at once between towns like Verona , with a school of at least as VE N E TI AN AE T AN D TH E PE OVI N CE S OI

long a growth and with as independent an evo

lu tion as the school of Venice itself, and towns like Vicenza and Brescia whose chief painters never developed quite ind ependently o f Venice

e or Verona . What mak s Romanino and

M B Mon oretto of rescia , or even the powerful

tagna of Vicenza , except when they are at

er e their v y best , so much less enjoyabl as a rule — than the Venetians that is to say the paint .

- ers wholly educated in Venice , is something they have in common with the Eclectics of

a later day . They are ill at ease about their art , which is no longer the utterly unpremeditated

outcome of a natural impulse . They saw greater

painting than their own in Venice and Verona , and not un frequently their own works Show an

uncouth attempt to adopt that greatness, which comes out in exaggeration o f colour even more

Of than form , and speaks for that want of taste which is the indelible stamp of provincial

Bu t ism . there were Venetian towns without the traditions even of the schools Of Vicenza

B n and rescia , where , if you wanted to lear

painting, you had to apprentice yourself to somebody who had been taught by Somebody 62 TH E VE N E TI AN PAI N TE E S who had been a pupil of one of Giovanni

’ Bellini s pupils . This was particularly tru e of

’ the t owns in that long stretch of plain between

A he t F . the J ulian lps and sea , known as riuli Friuli produced one painter o f remarkable \ talents and A great force , Giovanni ntonio

P e ordenon , but n either his talents nor his force , nor even later study in Venice, could erase from his works that stam p of provincialism which he inherited from his first provincial m aster .

Such artists as these , however, never gained great favour in the capital . Those whom Venice drew to herself when her own strengt h was wan ing an d when , like Rome in her decline, She began to absorb into herself the talen t of

as the provinces, were rather painters such

P inde en aolo Veronese whose art , although of p f d ent growth , was su ficiently like her own to

an be readily understood, or painters with B entirely new vein , such as the assani .

Pau er nes e —P XX . l V o aolo was the product of four or five generations of i Veronese pa nters, the first two or three PAUL VE E ON E SE 63 o f which had spoken the language of the whole mass o f the people in a way that few

e e e other artists had ver don . Cons quently, in the early Renaissan ce , there were no painters

e F in the N orth of Italy , and few ven in lorence , who were not touched by the influence of

’ Bu t P the Veronese . aolo s own immediate predecessors were no longer able to speak the language o f the whole mass of the people .

There was one class they left out entirely, the class to whom Titian and Tintoretto appealed so strongly, the class that ruled , and that thought in the new way . Verona, being a dependency of Venice, did no ruling, and cer tainl y not at all so much thinking as Venice , t and life here continued healthful, simple , unconscious , untroubled by the approaching

’ Bu storm in the world s feelings . t although thought and feeling may be Slow in invading a town , fashion comes there quickly . Span ish

e fashions in dress , and Spanish c remonial in

e e manners reach d V rona soon enough , and in

P aliari w e aolo C find all these fashions reflected , but health , simplicity, and unconsciousness as well . This combination of seemingly opposite 64 TH E VE N E TI AN PAI N TE R S

d qualities forms his great charm for us to ay,

and it must have proved as great an attraction

to many of the Venetians of his own time , for they were already far enough removed from simplicity to appreciate to the full his singularly happy combination of ceremony and splendour with an almost childlike naturalness o f feeling . Perhaps among his strongest admirers were

’ the very men who most appreciated Titian s

’ r Bu t distinction and Tintoretto s poet y . it is curious to note that Paolo ’ s chief employers were the mon asteries . His cheerfulness , and l his frank and joyous worldliness , the qu a ities , in short , which we find in his huge pictures of feasts , seem to have been particularly welcome to those who were expected to make their meat and drink o f the very opposite qualities .

This is n o small comment on the times , and shows how thorough had been the permeation o f the spirit of the Renaissance when even the r eligious orders gave up their pretence to asceticism and piety .

L nd a Bassano enre and a sc e. XXI . , G , p Venetian painting would n ot have been the BASSAN O GE N EE AN D LAN D SCAPE 6 , , 5 complete expression of the riper Renaissance

r if it had entirely neglected the count y . City people have a natu ral love of the country , but when it was a matter of doubt whether a man would ev er return if he ventured out of the

- M A town gates , as was the case in the iddle ges , this love had no chance of showing itself. I t had to wait u ntil the country itself was safe for wayfarers , a state of things which came about in Italy with the gradual submission of the country to the rule of the neighbouring cities and with the general advance of civilisa tion . During the Renaissance the love of the country and its pleasures received an immense impulse from Latin authors . What the great

Romans without exception recommended , an

Italian was not slow to adopt , particularly when ,

in as in this case , it harmonised with natural clination and with an already common prac tice . I t was the usual thing with those who could afford to do so to retire to the villa for a

e larg part of the year . Classic poets helped such Italians to appreciate the simplicity of the country and to feel a little of its beauty . Many took such delight in country life that s 66 TH E VE N E TI AN PAI N TE E S

they wished to have reminders of it in town . I t may have been in response to some such half formulated wish that Palma began to

” e a — paint his Sante Conv rs zioni , groups of saintly personages gath ered und er pleasant B trees in pretty landscapes . H is pupil , oni fazio , continued the same lin e , gradually, how ever , discarding the traditional group o f M adonna and saints , and , u nder such titles as The Rich Man ’ s Feast or The Finding o f M oses, painting all the scenes of fashionable country life , music on the terrace of a villa , hunting parties , and picnics in the forest .

’ Bo nifaz io s B pupil , J acopo assano , no less

e fond of painting country sc nes , d id not how ever confine himself to representing city people

in in their parks . H is pictures were for the habitants of the small market- town from which

e he tak s his name , where inside the gates you still see men and women in rustic garb crouching over th eir many- coloured wares ; and where, j ust outside the walls , you may see all the ordinary occupation s connected with farm ing and grazing . Inspired , although unawares , by the new idea of giving perfectly modern

68 TH E VE N E TI AN PAI N TE E S

appealed to this class in a special way . In Venice there had long been a love of objects At for their sensuous beauty . an early date the Venetians had perfected an art in which there

is scarcely any intellectual content whatever,

e - and in which colour, j wel like or opaline , is

he almost everything . Venetian glass was at t same time an outcome of the Venetians ’ love of sensuous beauty and a continu al stimulant

P P . to it . ope aul I I , for example , who was a

Venetian , took such a delight in the colour and glow of j ewels , that he was always looking at them and always handling them . When paint in g , accordingly , had reached the point where

e it was no longer depend nt upon the Church ,

nor even expected to be decorative , but when

it was used purely for pleasure, the day could not be far distant when people would expect painting to give them the same enj oyment they

’ received from j ewels and glass . In Bassano s M works this taste found full satisfaction . ost

s se as a e o f his picture em at first d zzling, th n

as cooling and soothing , as the best kind of

e stained glass ; whil the colouring of details ,

e particularly of thos under high lights , is jewel BASSAN O GE N E E AN D LAN D SCAPE 6 , , 9

like , as clear and deep and satisfying as rubies and emeralds . I t need scarcely be added after all that has been said about light and atmosphere in con nectio n with Titian and Tintoretto , and their

’ e B handling of r al life , that assano s treatment of both was even more masterly . I f this were

- e not so , neither picture fanci rs of his own time ,

S nor we nowadays , hould care for his works as we do . They represent life in far more humble phases than even the pictures of Tintoretto , f and , without recompensing e fects of light and

e atmosphere , they would not be mor enj oyable than the cheap work of the smaller Dutch masters . It must be added , too , that without

- n B his jewel like colouri g , assano would often be no more delightful than Teniers . A B nother thing assano could not fail to do ,

he r working as did in the count y , and for

e t o e . country p ople , was paint landscap H e had to paint the real country , and his skill in the treatm ent O f light and atmosphere was great enough to enable him to do it well . Bassano was in fact the first modern landscape painter. Titian and Tintoretto and Giorgione, 70 TH E VE N E TI AN P AI N TE E S

B e and even ellini and Cima before th m , had

e painted beautiful landscapes, but th y were

e seldom direct studies from nature . Th y were

decorative backgrounds , or fine harmonising accompan iments to the r eligious or human ele

e n o i . n ai o me ts f the p cture Th—y ever f led t get grand and effective lines a setting worthy B o f the subject . assano did not need such B setting for his country versions of ible stories, and he n eeded them even less in his studies of

For rural life . pictures of this kind the cou n try itself naturally seemed the best background — an d the best accompaniment possible, indeed ,

the only kind desirable . Without knowing it , B therefore , and withou t intending it , assano was the first Italian who tried to paint the l country as it rea ly is , and not arranged to look like scenery .

Th n n n u z . e et a s a d e as e XXI I Ve i V l q . B ’ Had assano s qu alities, however, been o f the kind that appealed only to the collectors

e of his time , he would scarcely rous the strong

e inter st we take in him . We care for him chiefly because he has so many of the more D E CLI N E OF VE N E TI AN AR T 7I — essential qualities of great art truth to life , and spontaneity . H e has another interest still , in that he began to beat out the path which ended

at at last in Velasquez . Indeed , one of the tractions of the Venetian school of painting is that , more than all others , it went to form that great Spanish master . H e began as a sort of B follower of assano , but his style was not fixed before he had given years o f study to Veronese, to Tintoretto , and to Titian .

D e n of n an Ar —B XXI I I . cli e Ve eti t as sano appealed to collectors by mere acci dent . He certainly did not work for them . The painters who came after him and after

e Tintor tto no longer worked uncon sciously, as

Veronese did , nor for the whole intelligent class , as Titian and Tintoretto had done , but for people who prided themselves on their connoisseurship . Palma the Younger and Domenico Tintoretto began well enough as natural followers o f

Tintoretto , but before long they became aware o f their in feriority to the masters who had pre

e t ced d them , and , feeling no longer the streng h 72 TH E VE N E TI AN PAI N TE R S

to go beyond them , fell back upon painting variations o f those pictures of Tintoretto and

Titian which had proved most popular . So

their works recall the great masters , but only

Padov anino to bring out their own weakness . , P L iberi , and ietro della Vecchia went even fower down and shamelessly manu factured pic

tures which , i n the distant markets for which they were intended , passed for works of Titian ,

Veronese, and Giorgione . N or are these pic tures altogether unenjoyable . There are airs by the great composers we so love that we enjoy them even when woven into the com

o f - positions some third rate master.

- Lon i. Bu t XXIV . g h Venetian painting was not destined to die u nnoticed . In the

eu eighteenth centu ry , before the Republic

irel t y d isappeared , Venice produced three or four painters who deserve at the least a place with the best painters of that cen

tury . The constitution of the Venetian M State had remained u nchanged . agnificent

ceremonies still took place , Venice was still the most splendid and the most luxurious city in LON GH I 73

the world . I f the splendour and luxury were

e hollow , they were not more so than lsewhere in Europe . The eighteenth century had the strength which comes from great self- confidenc e and profou nd satisfaction with one ’ s surround

- satisfied ings . It was so self that it could not dream of striving to be much b etter than it was . Everything was just right ; there seemed to be n o great issues , no problems aris ing that human intelligence untrammelled by

r superstition could not instantly solve . Eve y

in body was therefore holiday mood , and the gaiety and frivolity of the century were o f almost as much account as its politics and cul ture . There was no room for great distinctions . Hair—dressers and tailors found as much con sideration as philosophers and statesmen at a ’ P lady s levee . eople were delighted with their

e own occupations, their whol lives ; and what

in ever people delight , that they will have represented in art . The love for pictures was by no means dead in Venice , and L onghi painted for the picture- loving Venetians their own lives in all their ordinary domestic and

a - fashionable ph ses . In the hair dressing scenes 74 TH E VE N E TI AN P AI N TE R S we hear the gossip of the periwigged barber ; in the dressmaking scenes, the chatter of the

- maid ; in the dancing school , the pleasant music o f the violin . There is no tragic note anywhere . Everybody dresses, dances, makes f bows , takes cof ee , as if there were nothing else in the world that wanted doing . A tone o f high courtesy , of great refinement , coupled

- with an all pervading cheerfulness , distin gu ishes

’ L onghi s pictures from the works of Hogarth , at once so brutal and so full of presage of change .

n and u ard — XXV . C a aletto G i . Venice herself had not grown less beautiful in her

o ccu decline . Indeed , the buildin g which pies the very centre of the picture Venice leaves in the mind , the Salute , was not built until the seventeenth century . This was the picture that the Venetian himself loved to have painted for him , and that the stranger

e wanted to carry away . Canal painted Venice with a feeling for space and atmosphere , with a mastery over the delicate effects o f mist pe c u iar l to the city , that make his views of the

76 TH E VE N E TI AN P AI N TE E S

licit P p y and candour which never failed aolo, n o matter how proud the event he might be

’ Tie olo s p ortraying . p people are haughty , as if they felt that to keep a firm hold on their dignity they could not for a moment relax their faces and figures from a monumental look

and bearing . They evidently feel themselves so

superior that they are not pleasant to live with , l a though they carry themselves so well , and are

o dressed with such splendour, that nce in a

while it is a great pleasure to look at them . I t

’ was Tiepolo s vision of the world that was at

fault , and his vision o f the world was at fault

only because the world itself was at fault . Paolo saw a world touched only by the fashions

of the Spanish Court , while Tiepolo lived among people whose very hearts had been

vitiated by its measureless haughtiness .

’ Bu t Tie olo s p feeling for strength , for move

ment , and for colour was great enough to At give a new impulse to art . times he seems not so much the last of the old masters as

the first of the new . The works he left in Spain do more than a little to explain the t e

viv al of painting in that count ry u nder Goya I N FLUE N CE OF VE N E TI AN AR T 77

and Goya , in his turn , had a great influence upon many of the best French artists of our own times .

n u en e of ene an Art . XXVI I . I fl c V ti

Thus, Venetian painting before it wholly died , flickered up again strong enough to light

n w the torch that is burning so steadily o . d Indee , not the least attraction of the Venetian masters is their note of modernity, by which I mean the feeling they give us that th ey were

- on the high road to the art of to day . We have seen how on two separate occasions Vene tian painters gave an impulse to Spaniards, who in turn have had an extraordinary infl u ence on modern painting . It would be easy, too , although it is not my purpose , to show how much other schools of the seventeenth F and eighteenth centuries , such as the lemish ,

the led by Rubens , and English led by Rey nolds M e , owed to the Venetians . y ndeavour has been to explain some o f the attractions of

S the school , and particularly to how its close dependence upon the thought and feeling of the Renaissance . This is perhaps its greatest 78 TH E VE N E TI AN PAI N TE R S

t in erest , for being such a complete expression of the riper spirit of the Renaissance , it helps us to a larger understanding o f a period which has in itself the fascination of youth , and which

r is pa ticularly attractive to us , because the spirit that animates us is singularly like the

~ better spirit of that epoch . We , too , are pos s sessed of boundles curiosity . We , too , have an almost intoxicating sense of human capacity .

We , too , believe in a great future for humanity, and n othing has yet happened to check ou r delight in discovery or our faith in life.

WORK S OF

L nd n . The 1 6 . 1 1 1 . t o o . 673 Saviour , 4 5 4 Por rait of Man 1 166 x 1 1 18 C . . . . rucifi ion , 477 4 e me his St . J ro in Study .

M w e Be e 1 . adonna ith SS . Gr gory and n dict , 473 Mu sEo C Man we IVICO , 95 . Portrait of aring W e r ath . Man 1 6 R T U . P INCE RIV LZIO , Portrait of , 47 A A 1 Man A 6 r . S L GR NDE , . Port ait of

1 1 . C e e 1 34 ondotti r , 474 . V AB 6 Man ILL ORGHESE , 39 . Portrait of . A M H m A 8 E e . C DE Y , 5 9. cc o o A L Man GIOV NE LI , Portrait of . A m A IV 1 . C s C S L , 7 hri t at olu n .

A P BA BA J CO O DI R RI .

0 r —1 16 i A se Vivarini e e 145 ci ca 5 c rca . Pupil of lvi ; influ nc d A e Mess by nton llo da ina .

A s e e e 1 0 . ug burg . Still Lif Pi c , 5 4 A LOCH I S 1 1 8 H e s Be amo . . u rg G LLERY , 47, 4 ad of Yo ng M n e .

FRI zzONI - A H e C s S LIS , ad of hri t . A M B n 26 . s e . rli . adonna and Saint

D esde C s B ess . r n . 5 7. hri t l ing

B . 8 . . C e e 5 , 5 9 SS ath rin and arbara

2 e . . 94 . Galat a L F e s e c e. TT 8 . . . lor n PI I , 3 4 St S ba tian m W Old Man o H a . C 2 . burg ONSUL EBER , 4 and Y ung W m 0 1 . o an . 5 3

Lo d MR D T Man. . n on . . OE SCH , Portrait of Young L

Na es . A A O A T 1 . B s pl S L DEGLI L NDESI E EDESCHI , 5 u t

3. C i of ard nal . O F es es T m O T eviso. . N . r S ICCOL , r co around o b of nigo

18 A AD EL D M Frescoes F a e. PI ZZ UO O , on ac d I AN P AI N TE E S TH E VE N E T . 8 I

A A A AF Ve ce . ni . L DY L Y RD , alcon FRARI 2d C AP OF C D e e , H EL L . HOIR , corativ F es es r co .

V e 22 . Man i nn a. Portrait of Young . W H e s e ma C . i r . ad of hri t

BA MME VE T RTOLO O NE O.

e 1 0 - 1 l e e Be e e Activ 5 5 5 5 5 . Pupi of G ntil llini ; influ nc d by Be m s M ese e s rga a k and ilan paint r . M Be 22 . lluno . adonna . Be amo CA RA A 1 8 s e E rg . R R , 5 . Land cap . . R 1 2 M 1 0 LOC IS , 7. adonna , 5 5 . B s se s M E M E B s Ve e N e ru l . . L ON SO Z E , u t of a n tian obl . 2 M n D a a . ou i . 3 4 . Portrait of Young 2 m D es e . 2 . e r d n 9 Salo . F e U 6 0 r M n 1 e . . a lor nc FFIZI , 5 Port ait of a , 5 5 5 .

F a 1 . r s C e . r nkfort . 3 Port ait of a ourt an

20 C e e. . St . ath rin A Ge a D . no . PRINCE GIORGIO ORI , Portrait of a Lady

as w 10. C e e w e Gl go . 5 St . ath rin cro n d . 2 8 i M 1 0 o . . e L ndon 7 Portrait of Ludov co artin ngo , 5 3 . MR B M A e s E . ENSON , adonna and ng l . . D T H Man 1 1 2 ORCHES ER OUSE , Portrait of , 5 . an AM A A 2 M Ma M . . . n il BROSI N , 4 adonna Portrait of B in lack . M e B C e. ORRO EO , St . ath rin D M ewess e k her We i UKE ELZI , J br a ing dd ng R ing . Man Portrait of Young . 16 73 . Portrait of Lady .

C 610. Man ORSINI , Portrait of Young . D A 82 The ORI , 4 . Saviour . PALAz zo D A E C A E Ma UC L , H P L , donna. M E adonna . . 8 2 WORK S OF

BASA MARCO ITI .

C 1 0—1 2 A se Viv arini we irca 47 5 7. Pupil of lvi follo r of Be llini .

MR A - Ba e s e . . F . C C B s dg r H all (Shrop hir ) PEL URE , u t of Bo y. am A A A 16 The 1 1 Be . C . rg o RR R , 5 . Saviour , 5 7 LOCH I S 1 88 Man , . Portrait of . M I Man 1 2 1 ORELL , Portrait of , 5 .

Fe z0NI - A M w M S LIS , adonna ith SS . onica F s and ranci .

ie é E A - Be l n 6. P t . 20. e e. . . e s . r i . . ltar pi c 3 7 St S ba tian 0 M E 4 . adonna . . H AT me B . e . ERR VON ECKER H , St J ro A MA m H K . e e. ERR UF NN , St J ro Bost E m me E S A. . . on , U . . 3 5 nto b nt .

- R B Pe 10 . e e e m s . . C . . e e uda th 3 St ath rin ading St J ro . 2 1 m M Lo o . 8 . . e e . . nd n St J ro . 5 99 adonna MR B e me es e 1 0 . ENSON , St . J ro b id a Pool , 5 5 . Man M Portrait of . adonna and Saints. s I nfant Bacchu . MR C B T D e C s . . U LER , ad hri t . A T M MR . E . S L ING , adonna .

SIR M A A - T A T M ICH EL SH W S EW R , adonna . A A A A A in n n D . Me e . . i g . UC L P L CE , St ntony bbot St Paul . L . AM A A 0 R es te C s M an . r e il . BROSI N , 3 u r c d hri t . M M n h . 10 1 s D E c . u i 3 adonna , Saint , and onor. . Ass m V M ano. . T . ur S PIE RO , u ption of irgin A M 2 2 Ma A E O . n 1 21 M Padua. . a S L , 5 Portrait of 5

w . e e e e donna ith SS Lib ral and P t r. M MA LE ROY e Pa s . T s . ri . R IN , St . S ba tian A m D . e s R e . . o . ORI , 45 9 St S ba tian s e me Stra sburg . St . J ro . M t a t 2 . . Stu tg r . 4 adonna M w em e Sai 5 7. adonna ith f al nt .

84 WOEE' S OF

Bassano Com . D M . M ( ) UO O , St Lucy in Glory , and artyr dom e e N of St ph n . L . ativity . A M . s S GIOV NNI , adonna in Glory , SS . Giu tina , B M arbara , and ark . M A C x es . S . . DELLE GR ZIE , rucifi ion (fr co) A A A 1 mo C . M e Be a . 0 rg RR R , 9 al Portrait . ’ LOCH I S . w e . 82 . Portrai , 5 4 Portrait of La y r e of a Paint r .

FRI ZZONI - A M Old S LIS , adonna . Portrait of Man . A B t Old Man . SIGNOR GLIONI , Por rait of A A A e me D e C . se S SU RDI , St J ro in rt . B n H KA MA B s e e . rli . ERR UF NN , u t of S nator H W ESEND ONCK A m s n Ark ERR , ni al goi g into . B MR H AM D N B S. T es z e . O s. i l , . IL ON GILVIE , iv and La aru N ativity . L . Bo na C I V Two M e B s s log . ORRIDOR , al u t . B s s s 01 ld Man se e ru el . 4 . O at d .

B a- t 108 H e e m Pes . e. ud h . . ad of St J ro C a sw ort D D N h t h . UKE OF EVONSHIRE , Portrait of iccolo C e app llo . C ta D u oMo C s Em E e a s. . it d ll . , hri t at au D n 0 A e ij o . 4 . gony in Gard n .

1 . e s . 4 St . S ba tian D sde 2 I s e e D e . e M s i s se . 2 6 se s r n . 5 3 ra lit in rt 5 . o trik ng R ock .

2 8 . C e s Paul 5 onv r ion of . 2 Man E din . . burg h . 3 7 Portrait of 6 A M E 3 7. doration of agi . . V A r Old M n F e t e. a . l r ESCOV DO , Port ait of Two H F enc e U 610. D s lor . FFIZI , unting og . B R WEMYS B M Gos o d H ou se N . . s Old an. f r , LO D , u t of e se e s S nator at d . St . John in Land cape. H e d n t . Ol Man. H ampt o Cou r . 94 ad of M 1 6 e . 3 . al Portrait ’

1 2 s e . 4 . Jacob Journ y E E I N PAI N E R S TH E V N T A T . 85

H u rt Cor . 1 B z R . ampton Co ( a) 5 3 . oa and uth ’

e e s e . E . 163 . Sh ph rd Off ring

16 . C s the H se the see 9 hri t in ou of Phari . A m V 1 6 ss . 7 . u ption of irgin M n B 2 10 e ea s. . fighting r T e M e 2 2 . 3 . ribut on y

‘ ‘ H o etoun H o se N . B. H OPEI OUN t p u , LORD , Por rait of a D e e te og S a d . Linlathen N B COL E A r e , . . . RSKINE , gony in Ga d n . Man 28 s h L ndon 1 . . 2 . C t e o . 73 Portrait of hri t and M 2 Th m e C e s . e on y hang r . 77 Good Sa ari

tan . W MR. B . the e ess . ENSON , St John in ild rn e Wo Chri st in H ouse of L vi . Portrait of man .

A Man e 2 MR . . D G ON LDSON , Portrait of ag d 7, 1 8 5 5 . AM A A 226 An e e s BROSI N , . nunciation to Sh ph rd . 2 0 A e e s E L . 3 . doration of Sh ph rd . .

M n 22 e . ode a. . 4 St . Paul and anoth r Saint Man Am Mont i 6 . Old pell er. 5 4 in r our .

2 Man s . 1 1 8 Muni 1 1 8 . Old ch. . . , Son , and Grand on 4 St

e me D ese 1 1 0. D e s m J ro in rt . 5 po ition fro M C ss 1 1 1 . e e two ro . 5 adonna nthron d and s Saint .

Lor znacx C T 101 . OLLEC ION , Portrait of

Lady . MA AmVA E m me 8 . . RI NZO , nto b nt

1 2 8 . V e. . 1 2 4 intag L 4 9. Portrait of Giovanni

B . 1 6 Old Man da ologna 4 7. Portrait of . A Vi LL B 1 . s e 12 The ORGHESE , 44 La t Supp r . 7. T rinity .

C . . ORSINI , 5 33 Portrait of Lady C T A TAF A N OUN ESS S N IOR , ativity . KI NNArRD A R ossie P o N . B. . ri ry, LORD , nnunciation Man s . B s Old Tour . 4 u t of . 86 WORK S OF

M t en e A A . h is 0 V c . C e i C DE Y , 395 r t in Gard n . 4 3 Por Ve e N e 01 E en trait of a n tian obl . 4 . St . l teriu s ess the F bl ing aithful . ’ PALAzzo D A A T - C s UC LE , N I OLLEGIO . Jacob e Journ y . A A R A e me 1 6 P L ZZO E LE , St . J ro , 5 9 . A M D A ’ O M S . GI CO O LL RIO , adonna in Glory tw o s and Saint .

Ve o a 2 1 . e r n . 4 Portrait of a S nator .

A AV M s V cenz a. . E . i S L , adonna and Saint E T A E H A 2 M M N R NC LL , . adonna , St . ark , and two e s S nator . PALAzzo osem N e e L , ight Sc n . m V enna 28 . The a . i . 3 Good Sa arit n T m l ed h e 26 . t e 9 ha ar to Stak . 2 6 A M 7 . doration of agi .

01 R Man za s. 3 . ich and La ru 266 The s ws A m the m se . Lord ho braha Pro i d

Land . Th 06 e we . 3 . So r 28 1 A H . unt . 1 Wa 3 9. y to Golgotha . 268 N e e the Ark . oah nt ring . M e e s 26 C s the C . 7. hri t and on y hang r 6 e he F o A t . 2 5 . ft r lo d i F R 26 . e s 3 SS . S ba t an , lorian , and och .

2 A M . 27 . doration of agi

1 1 . 3 . Portrait of Procurator

12 e . 3 . Portrait of S nator C s e C ss 45 3 . hri t b aring ro . 0 wo Men 23 . T . 0 Man 24 . Portrait of Young . 0 Man 48 . Portrait of Young .

A A M 2 1 . . C DE Y , Portrait of Procurator V a 16. e e e W oburn Abbey. Portrait of n ti n S nator.

88 WORK S OF

A H London Com . ( ) PSLEY OUSE , Portrait of Lady . MR B T Ma C n . . e e . . U LER , Portrait of St G org he D and t ragon . SI R W AM FA C e s z e ILLI RRER , Santa onv r a ion . D T H i D e A r e ORCHES ER OUSE , Portra t of og nd a i Gr tti . VI sCOUNT POWE RSCOURT , Portrait of Politian .

N T C e s z e. LORD OR HBROOK , Santa onv r a ion MR A T Man . G . S L ING , Portrait of . MR A A W Ke N B. . T m ir, . RCHIB LD S IRLING , Young o an i O play ng rgan . 1 Man M an M C 0 . w il . USEO IVICO , 4 Portrait of ith e Spani l . Na n M e e 2 e . C . rbo n e. 5 3 . arriag of St ath rin

O e r 8 1 D e C ri s . ld nbu g . . ad h t P s z a ua . C e e. d . 9 Santa onv r a ion 1 M W e 62 B s . 3 . u t of onk in hit 2 i Man 5 4 . Portra t of . A 16 A e C C . OLONN , . avali r D A 62 W m 86 Man w ORI , . Portrait of o an . 3 . ith F we lo r . ANT B sm Se ava e. . . rr ll S ONIO , apti ’ ras s e e e m o s C x M e St burg . Sc n tak n fro L tto rucifi ion at ont s San Giu to . M a t 1 0. B s an Stut tg r . 9 u t of . H F m I e To o se es D e. ul u . oly a ily and nfant John pr nting ov M T D 1 TA D e s T ev so C . e s . r i . ON E PIE , ad hri t Proph t Wa E PERAZZOLO o . REDI , y to G lgotha A A T S . LUCI , S CRIS Y , St . Lucy . A M 1 F e ma ni A . . s re Ve ce. . C DE Y , 5 7 St ranci c iving Stig ta 2 D e s 5 5 . po ition . C R Ces e B OR ER , Portrait of ar orgia . MANFRI N A C e s z e G LLERY . Santa onv r a ion and D onor .

- AMPALIA 8 s z e UI RI NI ST 6 . C e Q , Santa onv r a ion . M A A R A E a C er e. P L ZZO E L , donna and St . ath in TH E VE N E TI AN P A11VTE ) ? 5 . 89

m . A 1 R . Ve ce Co . ni ( ) GIOV NELLI , 3 5 . St och ’ Lawence H M. . T e e O . S . DELI R O , SS , l n , e D m e z s i Gr gory , o inic , and Lor n o Giu tin

V e na. 1 i n 5 7. Portrait of Lady . W 206 A . . arrior Th 20 e B is . 9. apt t 2 1 1 T e s . hadd u . N A A M . w e e 6 . 20 C DE Y , 5 . St La r nc . . ativity

D e s i 1 . . po it on . 4 St . Paul

G BE ENTILE LLINI .

1 2 —1 0 his e Be e e 4 9 5 7. Pupil of fath r, Jacopo llini ; influ nc d the s by Paduan .

- B a Pest 101 . C e e C ud h . Portrait of ath rin ornaro . F a M 1 8 B s M E rt a . . . r nkfo l . u t of St ark . M Lo on 808 . e e nd . . St P t r artyr . 1 2 1 M em i 3 . Portrait of ath at cian . 1 0 H e M 44 . ad of a onk . M N M E MR . e E LUDWIG O D , adonna nthron d. .

M 16 M Fi ~ lan B A 8 . e n i . RER , Pr aching of St . ark . L . ( i h l s ed by Giovanni Bel ini . ) Mono ol D M e me D E p i . UO O , St . J ro and onor . Ven ce A A MY 0 Be e z s i i . C DE , 5 7 . ato Lor n o Giu t niani 1 6 68 M e T e C ss 1 00 4 5 . 5 . iracl of ru ro , 5 . i s 1 6 6 6 . C s C s r e s . 5 7 orpu hr ti P oc ion , 49 . 5 3 H ealing accomplished by Fragment of True

C ss. ro L . M C t D e USEO ORRER , Por rait of og Giovanni M e oc nigo . SAN MA FA A O A TT RCO BBRICERI , RG N SHU ERS , T e d e M e me SS . h o or and ark , SS . J ro and F s E ranci . . A LAYAR d tion L D A ora M . DY , of agi Portrait of Mohamet 1 80 Sultan , 4 . 90 WORK S OF

OVA B GI NNI ELLINI . — 1 0 1 16 his e me 43 5 . Pupil of fath r , Jacopo for d in Padua e the e e D e und r influ nc of onat llo .

Be am LOCH I S 2 10 M E o. . . . rg , adonna M M 1 M 2 . . ORELLI , 7. adonna 4 adonna. Be e a 2 8 D e C s rlin . 4 . Pi t . L . . ad hri t . F e c 6 1 A e T ee e e. U . . lor n FFIZI , 3 ll gory of r of Lif L . Lon o 18 e 280 M d n . 9. Portrait of Lor dano . L . . adonna . 26 A e E 1 2 L . 7 . gony in Gard n . . 33 . B Re eeme E lood of d r . . R s M M M D e C . . LUDWIG OND , ad hri t adonna . A 28 e a E 261 M 2 B ...... RER , 4 Pi t adonna 97 M 1 10 adonna , 5 . D R T FRI Z ZONI M E . GUS . , adonna . . M ano T w M and A s M d . ur . S . PIE RO , a onna ith SS ark ugu D e Barbari o 1 88 tin and og g , 4 .

Na es . A A A T s pl S L GR NDE , 7. ran figuration . N w e A MR T H D A M . E . t S . . . por , U . . . VIS , adonna

Pesa C x E 2 . od the F G e . ro . I I . rucifi ion . 5 ath r

A - e m . F A e s. S R NCESCO , ltar pi c in any part D e E ad Christ . . M E 779. adonna . . A A M M 6 M . C DE Y , 5 9 . adonna . 5 94 . adonna F e sm Al e es 61 Ma 5 95 . iv all l gori . L . 3 . M e w C e e . donna ith St . ath rin and agdal n

6 M e e. 10 wi . . adonna th SS Paul and G org 612 M 8 M wi six . adonna . 3 . adonna th s Saint . M A VI I 2 Transfi a C A . ur USEO ORRER , S L , 3 g E tion . . A I 6 A X 2 D e C is E . C S L , 7. ad hr t . 4 . ruci fixion E . .

D e s s e ee 5 4 . ad Chri t upport d by thr

A e s E . ng l .

PALAzzo D A A A TRE ed E . UC LE , S L DI , Pi .

WORK S OF

M . MR B A i . London. . ENSON , nnunc ation adonna MR M N M w l . O D , adonna ith SS . Pau and C e i e ath r n . A BR A 2 e e . 28 . . ER , 3 7. St. St ph n 5 St ntony of

2 8 AB s . Padua . 9 . i hop V A B 1 6 Ma E ILL ORGHESE , 7 . donna . . D M T ee s D UO O , hr Saint and onor . A A M two s S . NDRE , adonna and Saint . A A M 88 D e C is ese i Venice . . C DE Y , ad hr t . 93 . Pr ntat on h T m s t e e e . C C w 8 . in pl . 79 hri t ro ning C e e M w mes ath rin . 94 . adonna ith SS . Ja

and Job . M C A A I X M w USEO ORRER , S L , 5 7. adonna ith M e e . St . P t r artyr A BRAGORA T S . GIOV NNI IN , riptych . MARI A MAT D M T s S . ER O INI , ran figuration . R T M w 8 8 C EDEN ORE , adonna ith . John and ath

erin e. A A A M w M e L DY L Y RD , adonna ith SS . icha l and U s D r ula and onors. m is C . E ircu c ion . 1 T 1 . e 1 3 Lady at oil t , 5 5 . m . B is 4 apt .

B FAZ V ONI IO ERONESE .

i 1 10- 1 0 m Ve e e Active c rca 5 5 4 . Pupil of Pal a cchio influ nc d r e by Gio gion .

A A A 1 1 8 m m B amo C . e es. erg . RR R , 97, 9 S all ythological Sc n

- A FRI ZZONI e we . S LIS , Parabl of So r

MRS. . A A. . ve Bos on . S. C t , U J L G RDNER , Santa on r

sazione. E .

AT o r A m e o . O . T e Ca o S. P p i r R ORY S N ONIO , Pr aching A of St . ntony (in part). M n 208 F ses . D resde . . inding of o TH E VE N E TI AN PAI N TE R S . 93

‘ ' M z lo enc . PI TI I 8 . . E e and D . F r e , 4 adonna , St li ab th , onor

E .

R es F . 89. t in light M s 161 F es. . inding of o m the D I 0 . C s s n 4 5 hri t a ong octor ( part). W m 2 2 . B s 5 u t of o an .

r 1 6. C e s z e. Cou t . 4 Santa onv r a ion 1 Es e e e A s e s. 7 7. th r b for ha u ru

1 202 a C e s z e. E . . S nta onv r a ion MR B O A e es M . ENS N , ll gori of orning , and of N ight (in part) . Mr B T C e s z e R e . U LER , Santa onv r a ion . ap of H e e e m R m e l n . Subj ct fro a o anc . R A T D REws B M . C . C H RLES . , irth of John . D R R T se wn the We . ICH ER , Jo ph dra out of ll . H e m e C es ad of Po p y brought to a ar . A 0 M B 2 . F ses RER , 9 inding of o . AM A A 2 1 H F m w T s BROSI N , 3 . oly a ily ith obia A e . E and ng l .

- A T A D V s POLDI PEZZOLI , PIN CO EC , 99. octor i it e ing a Pati nt .

C e s z e. 1 171 . Santa onv r a ion ’ A B 1 6 M e s V . e edee ILL ORGHESE , 5 oth r of Z b e 186 R e the Childr n . . turn of Prodigal Son . C A 1 H F m w e me OLONN , . oly a ily ith SS . J ro and

Lucy . A 6 D 1 C e s z e. ORI , . Santa onv r a ion F M se C s. PRINCE HIGI , inding of o ’ A A 2 1 R M F 1 V M . s e s M en ce. . . as i C DE Y , 9 ich an a t 3 9 s e I e 2 me acr of nnoc nts. 95 . Judg nt of Solo mon 1 , 5 3 3 (in part) . PALALZO R A M w C e e E LE , adonna ith SS . ath rin the Ams e 1 and John l giv r , 5 3 3 . A C e s z e GIOV NELLI , Santa onv r a ion . A A A Twe e e sm l es L DY L Y RD , lv v ry a l pictur s s Ru tic Occupation . 94 WORK S OF

V enn 1 . C e s z e. i a. 93 Santa onv r a ion 201 T m e 1 6 T m . riu ph of Lov . 5 . riu ph of Chas

tity . m 1 e. 45 . Salo F A S O BONSI GNOR I — R NCE C . 1 1 B mme A is e Viv arini 145 3 5 9. Pupil of artolo o and lv e e Be e M e influ nc d by Giovanni llini , and lat r by ant gna his own w sm e e Ve n and to n an , Lib ral of ro a .

LOCH I S 1 . z B am . . erg o , 5 4 Portrait of a Gon aga ’ h W w s M . T e ORELLI , 45 ido Son . L . 0 Be n 6 . . e s . rli . 4 St S ba tian A s e C F e ce. B C ss. . lor n RGELLO , hri t b aring ro L MR M an W s . A M F . onthill ( ilt ) LFRED ORRISON , Portrait of . N B W EMYs M e e G s o H ou s e . . . o f rd , LORD , adonna nthron d

Man 1 8 . o n 6. r L ndo . 73 Port ait of , 4 7

Mantu A A M A V A A Wa G . a. CC DE I IRGILI N , y to olgotha V the N u n ision of Osanna . A 16 B 1 B Mil n B . . e 0. . e n t a . . RER , 3 St rnardino 7 SS r a dino and Louis holding the I nitials of C s hri t .

- P H e em e . POLDI EZZOLI , ad of a f al Saint St . Man B s Be e Old . rnardino . Profil of u t of V N e enetian obl . N A A B s z PRI CE SCI RR , u t of a Gon aga . ’ ALAz zo D A M Ma P D E T R . UC LE , IR C ORS OO E donna . .

A A 2d A ar R A - e e S . GIOV NNI E P OLO , lt . ltar pi c s E in 9 part . . 1 M 1 8 2 1 M e e V rona. 8 . . . e 4 adonna, 4 3 7 adonna nthron d

wi s 1 8 . th four Saint , 4 4 B A M e e wi S . ERN RDINO , adonna nthron d th SS . e me e e 1 8 8 J ro and G org , 4 . NA A CELso M s fin S . ZZ RO E , adonna and Saint , ished m by Girola o dai Libri . A M w A A o and S . P OLO , adonna ith St. ntony bb t M e the E . agdal n .

96 WORK S OF

A 2 12 B sm 16 D M an B . . 2 . es e H l il . RER , apti c nt of o y

Spirit . D m se e V 2 1 . e 4 . S o inic pr nt d to Saviour by irgin . 2 2 M an s 4 . adonna d Saint . 06 bis T ree H e s 3 . h ad . Am se ese e e V St . bro pr nting a G n ral to irgin . C e N m SIGNOR RESPI , Jov and a y ph . MA A PREsso CELso M S . RI , adonna and St . m J ero e .

Man ewe s . M 1 1 2 1 . unich . counting J l " A H I sTORI CAL T 20 New Yo . S. . . R es rk , U SOCIE Y , 5 t in F light. A A EMO C s h Pad a. . e e is u S L , 93 hri t taking l av of

Mother . M 1 Man Pa s 1 1 8 . an. 1 . ri . 7 Portrait of 79 Portrait of ,

15 40.

R m SI R F C R H ece c o . . . i h nd OO , unting Pi AB 1 1 e A e R ome V . . ILL ORGHESE , 9 Jupit r and ntiop . N 2 F m w e me C A . H . OLON , 9 oly a ily ith St J ro . 1 16 H F m e s . oly a ily , SS . S ba tian , and e me J ro . A 2 Ve s M D . s . ORI , 94 nu and ar ’ VAT A A T - AM o r POPE s A A T IC N , N E CH BER P R M e e h D T . t e EN S , St G org and ragon . X A A I . A . 1 M S e a . i n . S L , 9 nnunciation 5 adonna and

D onor . m M e e. S ass . tr burg. adonna and St J ro so M w e me the Trev i . 4 . adonna ith SS . J ro and John B s apti t . D M A e e s M UO O , doration of Sh ph rd . adonna m s e w e s e e. ith SS . S ba tian and J ro Go p l e sm e Sc nes (on a all pictur ). A A M 20 F s e m D e E 22 V nice. . . . . e C DE Y , 3 i h r an and og 3 se Paradi . A A D A C A D e C s . P L ZZO UC LE, H PEL , ad hri t A M s GIOV NELLI , adonna and Saint . TH E VE N E TI AN P AI N TE R S . 97

V e Com A A A C a is e . s nic ( ) L DY L Y RD , hri t b pt ing a Youth s in Pri on . A I N A B AC s e . S . GIOV NNI R OR , La t Supp r A ew o e s . tw S GIOBBE , S . ndr and oth r Saint .

2 . A e Vie a . nn . 3 3 ll gory

A e . 24 6. ll gory 2 8 T e 4 . Lady at oil t . 2 1 W m 3 . Young o an . C Ve e C ss ZERNIN , n tian adoring ro .

A O O A A e A A NT NI C N LE call d C N LETTO.

16 - 1 6 97 7 8 .

N B MRS. H AM T B el . O V ew zi . i , . IL ON GILVIE , i of Scal - 6 Th B a Pes . e e t . ud h . 5 9 Panth on

D s e 8 1 . The C re d n . 5 Grand anal . 8 2 e 5 . S . Giovanni Paolo . 8 C m m di R 5 3 . a po S . Giaco o ialto . 8 z z M 5 4 . Pia a di S . arco .

1 The U 06 . zze F e e. . lor nc FFIZI , 4 Pia tta a M 1 E e a . . Fr nkfort / 5 ntranc to Grand Canal .

Ve e e B e . 5 3 . n tian Palac and ridg Th m 1 H m C t . e C sse . a pton our olo u , 75 3 R m H e H se N . B . H T Ve e op toun ou , LO D OPE OUN , nic fro

Lagoon . i a A . 1 2 . e C r t L o ndon . 7 Scuola d lla . 93 7 Scuola di San R occo . TH E MI SSE s C T ee u es OHEN , hr St di . B G H V ew zze m OR HESI ER OUSE , i of Pia tta fro

Lagoon . H T H T ee iew s Ve e ER FORD OUSE , hirt n v of nic . MR M Two ews the i zz . OND , vi of P a a . R T The D D R . ICH ER , ogana . W TM T D UE E C . OF ES INS ER , Grand anal ‘ A A EMA The B e R Milan. C . e e S SO NI , uc ntaur c ption of Am ss an ba ador . 98 WORK S OF

A ’ M T A . l m N ew Ba tle N . B. s t , RQUIS OF LO HI N , St Pau fro M he T me . e. t ha s. S Giorgio aggior 1 The e P a s 20 . . ri . 3 Salut w A E T o e Ve e. MME . ws NDR , vi of nic MA K e . M. A e es URICE NN , Salut . P ch ria

V enna. LI CI I TENSTE I N 1 1 1 2 1 1 6 1 8 1 i , 9 , 9 , 93 , 9 , 9 , 99,

20 20 20 206 2 10 2 16 2 1 . V ews 3 , 4 , 5 , , , , 7 i of Ve e nic .

W so Cast e e es e ews the z z . ind r l . S ri of larg vi of Pia a

- o rn A e Twe ews Ve e. W bu bb y . nty four vi of nic

OM AP O D ENICO C RI LI .

8— 1 60 I fl e e T r s B e A e 1 1 . ctiv 5 circa 5 n u nc d by itian , Pa i ordon ,

e e B z Savoldo M e . Pord non , onifa io , , and or tto

Be n 1 6 Man in B rli . 5 . Portrait of lack . 1 8 Te s e e 5 . nni Play r and Pag . L . 1 e s 95 . St . S ba tian . MR H W M Br o . TT M e . ight n . . ILLE , adonna of rcy N T m e . . C . E . Ca S A. bridg , U . PROF OR ON , Portrait of

D omenico Grimani . wE M r Man Bo M . Cas le Ba na . s t r rd USEU , 339 Port ait of ,

1 5 28 .

D i 6 Ass m i j on . . u pt on . A N AM T L ondon . LORD SHBUR H , Portrait of itian . L . MR R B M e E . . ENSON , adonna in Profil . D an 1 1 OF RA T M . UKE G F ON , Portrait of 5 4 . M a Di L e z a M D EI M A A o t v . . t i n S . IR COLI , doration of e e s Sh ph rd . m Na s M FI LANGI ERI 1 E m e . e 8 . pl . USEO , 43 . nto b nt L B N MA LOTII I AN R e N ew a e B. ttl , . RQUIS OF , turn of

Prodigal .

ME . R D Pa is M C . e r . DE OSENBERG , Portrait of og Gri

R m 1 0 1 2 H e s o e B . C ed . . ORGHESE , 3 , 3 aricatur ad

C A 12 C . OLONN , . Portrait of Sciarra olonna

TH E VE N E TI AN PAI N TE R S. l OI

Y n Woman md oLd Man. t rs nr 1 16. ou SL Pe e b g . g

m 2 t Portn it os n . 2 2. H oly Fa i . 99 7 W Bust oI Old omz n.

m ao n m. m

Sc ohn Evm s m J geIi t. Am m Madonm r ifl I SS ohn md . 77. J

VI ARPA TTORE C CCIO.

A i e 8 - i l of 1 1 22 . we en tile ct v 4 7 5 Pup l and fol o r G M a i.

Cam de e h 1 1 1 2 . en 3 n of St p , 5 . ers zi ne in t 1 1. Co . 7 Santa nv a o ( w ) . L

F em SAM VI I I 10. Bent f the Vi in 1 08 , h o g , 5 . m 8 is! a Fl en ce. Urr . Fr mmt P of Tm or , 5 3 g , M

Bl i H a l ne an . O C AWFO rtrait of gh l ( ar t ) L RD R RD , Po

ad onm with m md h London 0. M ss. a C fistn m . 75 J p ,

1 21 1 Ste hm . p m m. L. - tutt art. 1 . l en o! 1 0 S g 3 G y St. Thm 5 7. 1 M 1 1 3 2. art rdom te hen y of S p . 5 5 . 102 WORK S OF

A M M m h . A 8 . t e Vir Venice. C DE Y , 9 artyrdo of s 1 1 66 H e M m in gin , 5 5 . 5 . aling of ad an ew R 1 2 vi of ialto . 494 5 7 . 5 73 . 5 74 . 5 75 . 1 1 0 1 6 495 5 79. 49 ; 5 77. 493 ; 5 7 .

1 1 M e U s 0. e 49 . Story of St . r ula. 9 ting of m A 1 1 ese Joachi and nna , 5 5 . 44 . Pr ntation I C s 1 10 of nfant hri t , 5 . M A A X 1 i C I . V s . USEO ORRER , S L , 4 i itat on L . A A X 8 Two C e s s . S L , . ourt an PALAzzo D A A A D I TRE UC LE , S L , Lion of S . M c 1 16 ar o , 5 . MA A A D EL C A S . GIORGIO GGIORE , S L ONCL VE , e e the D w e el e St . G org and ragon , ith pr d l , 1 1 2 5 .

A ten es S . GIORGIO DEGLI SCHI VONI , pictur w l s O along al of ratory on ground floor , and M e s e . e adonna ov r altar . St G org laying e D D ragon St . Georg bringing ragon cap e e r e s the ess tiv St . G o g bapti ing Princ and

her F e MD V . Tr ath r , . Story of St y phoniu s ; Agony in Garden ; Chris t in H se e me se e 1 02 . ou of Phari , 5 St J ro bring

ing his Lion to Monastery ; Burial of St . 2 m hi e me 1 0 e e s . J ro , 5 St . J ro in Study V TA V e e wee e e S . I LE , St . ital b t n SS . G org and V e 1 1 al ria , 5 4 . D e A A A A s s . . L DY L Y RD , ugu tu aud Sibyl L ath m U s and Assu ption of Virgin . L . St . r ula e e her F e taking l av of ath r . a A e s 1 6 V e . . C s e . i nn 7 hri t ador d by ng l , 49

V E Z A E A INC N O C T N .

A t e 1 - 1 1 u the Be e e Car! c iv 495 5 3 . P pil of llini ; influ nc d by acc o e p i and Giorgion .

As r d e BROW NLow N h i g . LORD , ativity.

104 WORK S OF

D A 26 C m s ORI , 3 . ircu ci ion . PALAzzo D A A A TRE M two UC LE , S L DI , adonna , s D e Loredan E Saint , and og . .

UI RI NI - STAMPALI A A AI I I 1 Q , S L , . Judith . L . A M w the B s GIOV NELLI , adonna ith John apti t m e e E . and f al Saint . MA AMAT D M C s S . RI ER O INI , St . hri tina . M E TA The T E S . SI EON PROF , rinity . . T A M n E S . ROV SO , adon a . .

Vienna. 20. Portrait of C . e a anon

G VA BA S A MA IO NNI TTI T CI .

- 1 1 Av se Viv arini e e 1460 5 7 circa . Pupil of l i ; influ nc d by B Giovanni ellini . m l H m As e. BROWNLow F hridg LORD , S al oly a ily and s Saint . m M a M . Be o. . rg ORELLI , 5 7 adonna M e e w B n 2 . s erli . adonna nthron d ith four Saint . M D 7. adonna and onor .

1 H e Anianu s . 5 . aling of (in part)

1 M . 7. adonna 61 M d Bolo na . g . . a onna MR A M Bos n A. E S. . . . t o , U . QUINCY SH W , adonna D M M s 1 Co e ano . . n gli UO O , adonna and Saint , 493

D esden. 61 The . 6 . ese Vi r . Saviour 3 Pr ntation of rgin .

D rf 1 8 M C t . iisseldo . . adonna . oronation (in par ) L .

M M . ank ort a . F r f / . 39 adonna 0 M two s 4 . adonna and Saint , M 6 M 8 16 I ncredu ndon 00. . . . . Lo . 3 adonna 34 adonna lit T m s 1 0 1 1 20 e me y of ho a , 5 4 . . St . J ro . m 1 1 E e H . 3 0. cc o o

H T H C e e. ER FORD OUSE , St . ath rin

MR M D Tw o s. . LUDWIG ON , Saint A M w two i s MR . E . T . J YLOR , adonna ith Sa nt

(lunette) . H E VE N E TI AN P AI N TE R S T . 105

A 1 1 e e M . A s M B . and an. il RER , 9 SS P t r artyr, ugu tin , B 2 86 N s . m . . e e N ichola of ari SS J ro , icho las T e U s e em of ol ntino , r ula , and anoth r f ale 28 e M . . . the Saint 9 SS Luk , ary , John B s M 2 M n . . 00 apti t . and ark 93 adon a . 3 . e e e wee the B St . P t r b t n John aptist and

. 1 16. 02 . . e me 0 St Paul , 5 3 St J ro . 3 3 .

. s tw o e s St Giu tina and oth r Saint . — H e Fem e POLDI PEZZOLI , ad of al Saint . i a e . 143 . P t 10 M w M M a e 33 . adonna ith ary agd l n and St . m e e. E J ro .

C . E . HURCH , Polyptych m M w . C sm s D 60. 3 adonna ith SS o o and a ian . M e 61 M w . A s 3 . adonna ith SS icha l and ugu tin .

E m . 3 70. ndy ion M s s A ol . 3 73 . p lo and ar ya M n w M 1 2 . e 5 9 adon a ith John and agdal n . M SI R F . C . OOK , adonna A A M 60 M w C DE Y , 3 . adonna ith SS . John and 6 61 M . 1 0 ie a. Paul . 4 . P t 5 97. adonna . 6 M C s Th m s M n s. . hri t , o a , and ag u 3 adonna w six s 2 T as A e ith Saint . 5 9 . obi and ng l , SS . mes N s Ja and ichola . h e sm M A t e F e e . SE IN RIO , God , ath r ( all lun tt )

CA M A e e s . R INE , doration of Sh ph rd

A B m 1 . A I N BRAGOR s . S . GIOV NNI , apti , 494 SS H e e C s e T ee e e e l n and on tantin . hr Pr d ll

with Story of Finding of True Cross .

A E A C the V . S . GIOV NNI P OLO , oronation of irgin ’

MA A O T . e wee . S . RI DELL R O , St John b t n SS M e me e e . Paul , J ro , ark , and P t r A A w F s A R M . L DY L Y D , adonna ith SS ranci M w N s and Paul . adonna ith SS . ichola of

Bari and John the Baptist . 106 WORK S OF

V c enz a A A IV 1 8 M me . w 8 8 e i S L , . adonna ith . J ro and 1 8 John , 4 9. V enna 1 M w e me is i . 9. adonna ith SS . J ro and Lou .

A V C RLO CRI ELLI .

B 1 0- 0 e 1 the s Viv arini in . 43 4 ; d . aft r 493 . Pupil of fir t ; fl u en ced the s by Paduan .

A a 1 M E n con . . adonna . .

- As D M A a e e w e a 1 . coli . UO O , lt r pi c , ith Pi t , 473

Be am LOCH I S 12 . M rg o . , 9 adonna . Be n 1 1 6 The M e rli . 5 . agdal n .

ix e s M . e e s . adonna , St P t r and oth r Saint Bru ss M 1 s e s 16. F . l . adonna . 7. St . ranci B a- Pest M ud h . adonna . AN I A I CH I 01 a 1 8 F ence P C T 1 e . lor . , . Pi t , 4 5 F a a M A r nkfort l . 3 3 , 34 . nnunciation . d n 602 PietA on o . L . .

6 The B esse Fe e E s 6 8 . s l d rr tti in c ta y .

2 M wi e s er me. 7 4. adonna th SS . S ba tian and J o A 1 86 739. nnunciation , 4 .

- 88 Al e e ee m me s 1 6. 7 . tar pi c in thirt n co part nt , 47 M s F s 80 w . e 9. adonna ith SS S ba tian and ranci , 1 1 49 .

06 M E s s 1 2 . 9 . adonna in c ta y , 49 0 C e e M e 9 7. SS . ath rin and agdal n .

A A T m . D . e e . L DY SHBUR ON , St . o inic St G org MR B M 1 2 . ENSON , adonna , 47 . MR R RAW SH AY e a C . . . , Pi t

H T H . R h . ER FORD OUSE , St oc MR M e e . OND , SS . P t r and Paul .

M E R esurre N T . c LORD OR HBROOK , adonna . B C e e E . e . tion . . SS rnardino and ath rin MR T A T AM e e the M. . . S U R S UEL , St G org and D ragon .

T K T N C T 66 . SOU H ENSING ON , JO ES OLLEC ION , 5 M a adonn .

108 WORK S OF

M n UFFI zI 621 . T ses. F o e ce. E . l r , rial of o

622 K M . . night of alta

6 me m E . 30. Judg nt of Solo on .

H am n C rt 101 e e w e . pto ou . . Sh ph rd ith Pip Ma M w R A a drid. adonna ith SS . och and ntony of Padu 1 1 6 Fee C m Pa s . e e ri . 3 t ha p tr . m V A BORG E E 1 r R e II S . . o . ILL , 43 Port ait of a Lady m M A A M 16 m e . . Ve ce. ni C DE Y , 5 . Stor cal d by St ark F s e sm s L . ini h d , in all part , by Pari Bo e rdon . M A I A D e SE IN R O , pollo and aphn . A s and e GIOV NELLI , Gip y Soldi r. R o c c o C s e C ss S . , hri t b aring ro . A A s m ss V cenz a. C o e C s e r C E . i S L , hri t b a ing ro . R m nna 16 E e s w fit ess the e e. Vie . . vand r ho ing n Sit of o

G A U RDI .

1 1 2- 1 C e 7 793 . Pupil of anal tto .

A 1 V ew e e lbi . . i of Salut and Giud cca . 6 2 1 2 1 V w Am ens 2 1 . e s. i . , 7, 9 i

A - di Bad e H al s e . MR . F C C g r l (Shrop hir ) . PEL URE , Scuola M San arco . A A A 8 Th Bass CA e zza . ano . . S L DEL V LLO , 5 Pia

L I — 1 - 108 n s es ws B am OCH S 8 06 . V e e o . rg . , 9 93 , La d cap and i N A Two Ve e V w B e s. SIG OR GLIONI , n tian i C NT M V the Sea OU ORONI , illa by . A 3 e l n OI . C . 01 . B r i . 5 Grand anal 5 Lagoon . me e I s Ce t ry land . AM T R e e e B N B MRS H O e. . e . i l, . . IL ON GILVIE , Salut d ntor

A e ew Ve e. B st on A MRS . . S. . . o , U . J L G RDNER , Larg vi of nic M MR TA T I OND Es zz s . B ton. C righ . ONS N INE , Pia a in i t ’ 80 M s se s 2 e e . . Bru s l . . Sc n in St ark - — Ve P st 62 6 V ews e. 0. Buda e h . 9 4 i of nic F m l v ews am ri FI Tze LI AM M M s . C b dg e. USEU , our a l i

E d u 600 602 . s es. inb rg h . , Land cap E VE N E TI AN P AI N TE RS I TH . 09

V Ve e Glas ow . 202 20 . ews . g , 3 i of nic W R 1 R H am u . C U 1 . s. . b rg ONS L EBER , 43 uin 44 . ialto V w V on 2 10 10 . e s e e. L don. , 5 4 i in nic

T K T C C T 10 . SOU H ENSING ON , JONES OLLE ION , 4 V ew e Ve e i n ar nic . MI SSEs T ee es TH E C . OHEN , hr Studi w m i zze D T H V e a. ORCHES ER OUSE , i fro P a tt WM A V ew e V e I R F e . S . RRER , i n ar nic SI R A W A T F A An I s . OLL S ON R NKS , land .

SI R A GOLD SCH MI D B R e. JULI N , oat ac

H E T H N e V ews Ve e. R FORD OUSE, in i of nic H T V ew R LORD OUGH ON , i of iva .

MR M s VI R e e . . OND , Piu holding a c ption i D R R T Cannare o. . ICH ER , gg

MR A T The R V ew e Ve e. . S L ING , ialto . i n ar nic

R s C ss R s. Gothic uin . la ic uin R W M S A T C . . NDERSON ES ON , Grand anal

- M . M lan. C 6 1 . s es i USEO IVICO , 9 , 7 74 Land cap

- az t D 8 . Pi e ta 8 . POLDI PEZZOLI , 7 . 9 ogana . 1 16 1 1 T s es , 7. iny Land cap . B T N V ew SIGNOR ER I I , i of Lagoon .

T Two sm s es . PRINCE RIVULZIO , all Land cap

Moden 1 . i zze . a. 43 P a tta 180 . S . Giorgio . n 8 m C Mo e e . tp lli r 4 3 . Stor on anal . ’ Na es M FI LANGI ERI C D e s a e. pl . USEO , ourt of og P lac M T TA M M 2 e w A. . . Ne Yo . . rk , U . S E ROPOLI N USEU Salut 6 Rial t . e.

f AYLORIAN M M 6 66 V ews Ve e Ox o d. T . . r USEU , 5 , i in nic

Pad a. 00 8 1 V ews Ve e 802 H e e u . 3 , 3 . i in nic . . unting Sc n .

2 1 1 ess D e . c . . Proc ion of og to S Zac aria

m me 1 2 . Fes 1 28 E B e . 3 . bark nt in uc ntaur 3 9 tival e at Salut . “ 1 0 e s AVe se 1 1 . C s 33 . J udi Gra ni . 33 orpu C s hri ti .

1 . Sala di C e 1 C n D e. 333 oll gio . 334 . oro ation of og I I O WORK S OF

MME A E Tw o V w V om . e s e e a s C . . P ri ( ) NDR , i of nic M E M T D . i z L OPOLD GOLDSCH ID , ogana . P a ze tta . I R F C The zz m n S . . R c o . i h d OOK , Pia a A V me C 8 . e e C . R . o OLONN , 7 n tian hurch ' D ON MA MASSARE NTI D e s e RCELLO , og Palac .

AV . R en 2 . ou . 3 5 illa as s r 18 The R Str bu g . . ialto .

u ou se. 2 R . E . To l . ialto

22 B e E . . uc ntaur.

6121 C e 8 1 se . 82 . B e T r 2 0 : . u in . 9 ottag 7 . Stairca 7 ridg

over Canal . A A X 2 Th R M C R . e V e . enic . USEO OR ER S L , 5 idotto 26 C e a . Parlour of onv nt of S . Zacc ria.

Ve o a . 2 2 2 2 s es. r n 3 , 5 . Land cap

BERNARDINO LICINIO. — Active 1 5 20 1 5 44 . Pupil of Pord enone ; influenced by Gior m z ione B . g , Pal a , and onifa io

w D ORTH UMBERLAND F m N . Aln ick . UKE OF , a ily Group B a s N B C A D Man 1 a e . . . . lc rr , LORD R WFOR , Portrait of 5 3 5 LOCH I S 1 Be am . . . rg o , 97 Portrait of a Lady M s SIGNOR PICCINELLI , adonna and Saint . B 1 8 t W m erlin . 9 . Por rait of Young o an . A MR A M two Bos S. . ton , U . . QUINCY SH W , adonna and s Saint . MA T E G A A C 16 B escia. . r R IN N O , S L , Portrait of a Young Man 1 20 , 5 .

D M V C s e Ad C ss . o UO O ECCHIO , hri t b aring ro o i e e s ration Sh ph rd .

MR H . W TT B i on. . B H s . r ght ILLE , oard of a arp ichord

- B a Pest . 1 . t ud h 9 Por rait of Lady . H ERE RAT r H , Port ait of Lady .

1 12 WORK S OF

1 1 u . Venice (Conn) 3 . Gro p of Putti 0 W m 3 4 . Portrait of Young o an . A A e A C s z e. L DY L Y RD , Santa onv r a ion M w FRARI e e s. , adonna nthron d ith Saint

fiv F The predella contains e riars. m 1 1 Vienna. 22 . O . Portrait of ttaviano Gri ani , 5 4 H A A C T M emale RR CH OLLEC ION , adonna and f

P LONGH I IETRO .

- 1 02 1 62 . F we the B ese e C es . 7 7 ollo r of ologn paint r, r pi

m e 61 ffee Be amo. R 60. e C rg LOC IS , Ga bling Sc n . . o e e Sc n .

M . ORELLI , 94 Portrait of Girl . A SI G. B C t GLIONI , oun ry Party . A E N T m rid e . . C. . . a S . C b g , U . PROF OR ON Portrait of e S nator.

D esden . . r . 5 95 Portrait of Lady MR M e e e F o ence. . . l r LOESER , illin r Sc n

H am ton Co rt 1 . e e es 1 p u . 5 49, 5 5 G nr pictur , 744 . MR A T s Kei N B. . r, . . RCH S IRLING , Lady itting for Por

trait .

L n n 1 1 1 101 . 1 102 A ea o do 00 e e es. . . , G nr pictur ndr T ron .

MR F A - B s . C T V N s. . VENDISH EN INCK , i it to un MR A T AM F e e es . R HUR J ES , our g nr pictur . MR M C . OND , ard Party . Portrait of a Lady .

D R . R T C . T et ICH ER , ard Party Lady at oil . C Man SIGNOR RESPI , Portrait of . 2 1 A e e W e 5 . L tt r rit r . A A M — 6 0 e e u es . C DE Y , 4 4 47 . G nr pict r M C E A A X 2 26 1—0 USEO ORR R , S L , 5 , , 3 4 . e es Ve e e 1 B s Sc n of n tian Lif . 4 . oy on

H se r . or back . Port ait of Goldoni TH E VE N E TI AN P AI N TE R S 1 1 . 3

PALAzzo A TA A F es es : e e GR SSI , S IRC SE , r co S v n e es F s e e Sc n of a hionabl Lif .

UI RI NI- STAMPALI A A A X 220 Q , S L , . Portrait of D e e D olfino ani l .

A X I I I 1 1- 1 T m s A . he e e e . S L , 7 S v n Sacra nt T m 1 m 18 . e . A Ga ptation of St ntony . 9. A 2 1 M e e 20 Ci s. . s bling Sc n . . rcu onk

C s 22 eo . and anon . . Study of G graphy 26 2 s es , 99. Portrait of Ladi .

O ZO O L REN L TTO. — 80 1 6 o f Alvise Vivarini e e b i iovanni 14 5 5 . Pupil ; influ nc d Be e llini and Giorgion .

e B m Ass ss Aza o Ma o e e . D M l n ggi r (n ar rga o) UO O , a ination M e e . of St . P t r artyr Ass m V 1 0 M An na. 1 . . co . 3 u ption of irgin , 5 5 3 7 adonna w s ith four Saint . L . M w 6 As two s 1 0 . olo . adonna in Glory ith Saint , 5 A A A T ee e e e Bar mo C e . Be a . rg RR R , hr Pr d ll b longing to S

tolommeo A - e e 66 M e ltar pi c . . arriag of S .

C e e w N B 1 2 . ath rin , ith portrait of . onghi , 5 3

Portrait of a Lady . L H I S 2 es e e OC . e e , 3 , 33 , 34 Sk tch for Pr d ll , con

the s e e 1 8 . H taining tory of S . St ph n . 5 oly F m e e 1 C . a ily and S . ath rin , 5 33 A A A a . C e . S LESS NDRO IN OLONN , Pi t A AND C E T S . LESS RO IN ROC , rinity .

BA T MM A - e e 1 16 S . R OLO EO , ltar pi c , 5 .

B A A - e e 1 2 1 S . ERN RDINO , ltar pi c , 5 .

MA A MA I s s 1 2 - 1 0 S . RI GGIORE , ntar ia , 5 4 5 3 . M F es es C e Ch S . ICHELE , r co in hap l L . of oir .

T A ar - e e 1 2 1 S . SPIRI O , lt pi c , 5 . E M w SS e s SIGNOR PICCIN LLI , adonna ith S ba i R t an and och . 1 14 WORK S OF

A Be lin 1 . e r . 5 3 Portrait of an rchit ct. 1 2 0 Me 8 2 . s n , 3 Portrait of Young . 2 e s C s er 1 1 3 3 . SS . S ba tian and hri toph , 5 3 . 2 r M 1 2 . C s e e his e 2. 3 5 h i t taking l av of oth r, 5 B s a TOSI O A A X I e c . I I N . r i , S L , 34 . ativity B a- P s A e w e e e ud e th . ng l ith Glob and Sc ptr (originally top

B mme A - e e Be m of S . artolo o ltar pi c at rga o) . Ce ana e Be m C Ass m V l (n ar rga o) . HURCH , u ption of irgin , 1 2 5 7.

n r i e M e M M C . D i goli (P ov nc of ac rata) . S O ENICO , adonna w six s ee sma l s e es m ith Saint , and fift n l c n fro h t e es C s the V 1 . Liv of hri t and irgin , 5 39 M z z at B Costa di e e e e m M e . C (n ar rga o) . arriag of St ath e e 1 22 rin , 5 . D s n 2 M e de . 1 1 8 r . 95 adonna , 5 . Flo e ce U H F m w e me r n . FFIZI , 5 75 . oly a ily ith St . J ro , I S34 H am W m C . e e. burg. ONSUL EBER , 33 . St J ro H am t n o 1 1 Man o C t . . . E p ur 4 Portrait of Young . 1 8 A e O 1 2 4 . Portrait of ndr a doni , 5 7. H manns dt me e ta . e r . St J ro . ‘ M T e es . ee e e J i UNICIPIO , hr Pr d ll containing Story of

St . Lucy . A e a 1 12 LIBR RY , Pi t , 5 . A e e the e nnunciation . St . Lucy b for Judg . M s F s e e i adonna and Saint , ranci r c iv ng m e e 1 26 Vis An Stig ata (lun tt ) 5 . itation , nu nciation e e 1 0 (lun tt ) 5 3 . 6 A N L ndon . s s el a o . 99 Portrait of go tino and iccolo d l T e 1 1 orr , 5 5 . 10 F m 47. a ily Group . 1 10 5 . Portrait of Prothonotary Giuliano . B AT H M s E RIDGEW ER OUSE , adonna and Saint . .

1 All the Lottos at J esi are presently to be transported to

h l zz e l . t . Pa a o d l a Signoria

1 16 WORK S OF

Recana i M A - e e six s 1 08 t . UNICIPIO , ltar pi c in part , 5 . E Tran sfiguration . .

D M F es : . V e S . O ENICO , r co S inc nt in Glory . MA A A M A T A S . RI SOPR ERC N I , nnunciation . me B 1 M w R o . O ORGHESE , 93 . adonna ith S . nofrio and

B s 1 08 1 8 . Man a i hop , 5 . 5 Portrait of . A 1 6 M C T . an. PI OL , 7 Portrait of A 8 D 8 . e me ORI , 3 . St J ro . I OSI Al e R OSPI GL . , l gory D A r Man PRINCE ORI , Port ait of . m M drina e Be . C Se (n ar rga o) HURCH, adonna in Glory and s 1 2 four Saint , 5 4 . Pete s T B C TI C e e St . r . . r bu g LEUCH EN ERG OLLEC ON , St ath rin ,

1 5 2 1 .

T esc o e. A C A F es es 1 2 . r rr SU RDI H PEL , r co , 5 4 AG TTO M 1 6 A A ERN I O 20. 2 . T ev so . S r i S L , Portrait of onk , 5

A A - e e D e C s C T e e . S . RIS IN , ltar pi c , ad hri t (lun tt ) E .

CA M N s 1 2 Ven c e. . . i R INE , S ichola in Glory , 5 9 ’ A M A O M s S . GI CO O D LL RIO , adonna and Saint , 6 1 5 4 .

A A A es w S . GIOV NNI E P OLO , S . ntonino b to ing ms 1 A 2 . l , 5 4

Vi nn 2 1 . C e s z e. e a. 4 Santa onv r a ion M n 2 1 a . 5 . Portrait of Man 22 T ee V ews . 0. hr i of a

M M A A BARTOLO MEO ONT G N .

0 —1 2 u A ise Vivarini e e 145 circa 5 3 . P pil of lv influ nc d by e the s Be Gentil e B llini and Paduan culptor llano .

M E . Belluno. 34 . adonna . M w R c LOCH I S 1 2 8 . mo . a . Berg , adonna ith SS o h and

e s 1 8 . S ba tian , 4 7 me M . e . ORELLI , 44 . St J ro

Fs zONI - A M S LIS , adonna . TH E VE N E TI AN P AI N TE R S I 1 . 7

M s D s 1 00 Be in . . rl . 44 adonna , Saint , and onor , 5 m n K T A 16 e H s Ma Bre e . H UNS H LLE , . ad and and of

donna froman Annunciation .

t s e M . O Ce o a . r (n ar Pavia) adonna , SS John , nofrio , and ee A e s thr ng l . MR C B T M . . U LER , adonna . SI R WM FA M E Two Cas . RRER , adonna . . s e T on ondi . L . R M M w R M . . LUDWIG OND , adonna ith St och .

E .

SI R B AM M C . . S UELSON , adonna adoring hild M lan B A 1 6 M i s ee i . RER , 7. adonna , four Sa nt , and thr A e s 1 ng l , 499.

- Tw e me . . o POLDI PEZZOLI , St . J ro . St Paul

T i ss e ond (on a ca on ) . m D R T FRI zz0N I . e e. . GUS . , St J ro M 1 0 Mo e a . . . d n 5 adonna , 5 3 ' Pad a. B A A H A F eze w B s s u ISHOP S P L CE , LL , ri ith u t of B s s Paduan i hop . MA A I N VANzo M s S . RI , adonna and four Saint . t A D EL A T F es 6. O e S SCUOL S N O , r co p ning of ’ m Anthony s To b . C M Pans a e . . h ng r LORD OWPER , adonna

m 1 e e s . Pa s 1 E e H . T e An ri . 393 . cc o o . 394 hr g l Pra lia e R T es C x g (n ar Padua) . EFEC ORY , fr co rucifi ion . m t a ss . 6 H F S r burg . oly a ily . A A M 80 M e s Ve ic . e. . n C DE Y , adonna , SS S ba tian and m s e w ee R e e 8 . C . J ro . 7 hri t b t n SS och and e s S ba tian . A A A the B s e wee two L DY L Y RD , John apti t b t n e s oth r Saint . 6 w r n T o s. Ve o a. 7 . Saint

NA A E C N z z Ce s . S . ZZ RO ELSO , SS . a aro and l o a se Be e e . B SS . John and n dict . Pi t . SS lai F es es e e St and Giuliana . r co L g nd of .

- B ise All 1 1 1 . la . 49 493 1 18 WORK S OF

M H F m . 2 . d eu Vicenz a A A V 1 . . S L , oly a ily a onna

A . E e u s ee e s . . thron d , fo r Saint , thr ng l 3 M w M M Ma adonna ith SS . onica and ary g M 6 e . M . . dal n 5 . adonna . L . . adonna L

8 . ese Tem A es e . . Pr ntation in pl . 9 S gn . 1 M . w the B s 7 adonna ith SS . John apti t and O 1 M nofrio . 9. adonna . L .

M F es N A - e e Ma D : . UO O , r co ativity ltar pi c , w C e i e Mar donna ith SS . ath r n and e M F es es . gar t . r co : SS argaret and Cath e e rin . C A M e e wee e s S . ORON , agdal n b t n four oth r Saint . F . N es C e . C S LORE ZO , r co in hap l L of hoir . M B Pi é 1 00 T et a. . F es : e ON E ERICO , , 5 r co Pi t

PA MA VE H O L CC I .

1 80 - 1 28 Be e e 4 circa 5 . Pupil of Giovanni llini ; influ nc d by e Giorgion . Al D T w . N M A n ick UKE OF OR HU BERL ND , Portrait of Lady , l s a e C r ( and c p by a iani . ) Ber am LOCH I S 1 8 M two s g o . , 3 . adonna and Saint . L .

Be I A. H e W m E rlin . 97 ad of Young o an . . 1 13 B s W m 97 . u t of o an . 1 Man 74 . Portrait of .

B u swi A m E v e E r n ck . da and . . B a- P s 8 2 M w F e . . s s e ud th . adonna ith St ranci , (fini h d by C ariani . ) Cam FI Tz W AM M M Ve e. s . bridg ILLI USEU , nu L (in part) .

D es e . 1 88 M w th . e B s r d n adonna ith John apti t and St. C e e ath rin . 8 T e s s 1 e e . 9. hr Si t r 1 0 Ve s 9 . nu . 1 m 1 . H F w C e e 9 oly a ily ith S . ath rin . 1 2 Mee R e 9 ting of Jacob and ach l . L .

Florence U 61 . . . FFIZI , 9 Judith L .

120 WORK S OF

A M . T S S EF NO , adonna and Saints.

1 the B s . 34 . John apti t 1 The V s s e C 39. i itation , (fini h d by ariani . ) 1 0 C e s z e 4 . Santa onv r a ion . 1 43 . Portrait of Lady . L . 1 V e 3 7. iolant . L . 1 1 8 1 1 1 2 B s s W me 33 , 3 , 4 , 4 , u t of o n . 5 2 Old Man 3 9 . Portrait of .

1 6 e . 3 . Lucr tia

T T C e s z e. LICH ENS EIN , Santa onv r a ion F m two em e s a ily and f al Saint . L .

S BAS A O P OMBO E TI N DEL I . — 1 8 1 . Be C m 4 5 circa 5 47 Pupil of Giovanni llini , i a , and Giorgi one e e e M e e lat r , influ nc d by ich lang lo .

A D Alnw c . D N ORTH UMBE RL N V s i k UKE OF , i itation . A Be n. 2 . e a. . 2 . K . rli 3 7 Pi t L 5 9 Portrait of a night . L 2 3 D e 5 9 . oroth a . m N B E R m B o a . . ro h ll , LORD LGIN , Portrait of o an Lady . - P R e B a es . ud th . Portrait of apha l A R C a w C T el . r co PRINCE Z R ORYSKI , Portrait of 0) apha “ ” marina 1 12 . 2 e F e e. U 1 1 2 . Fo . D lor nc FFIZI , 3 , 5 5 9 ath A s of doni . m A TT 1 M . 1 20 PI I , 79. artyrdo of St gatha , 5 .

0 . Man 4 9 Portrait of . L . N th n N B . COL E C in Linla e , . . RSKINE , Portrait of ardinal

c o ort . f . L

n 1 . R es e z s 1 1 . 2 . Lo d o n . urr ction of La aru , 5 9 4 Portrait m D 1 0. H F . of Lady . L . 45 oly a ily and onor

Mr B Man . . . ENSON , Portrait of L D A T C e e his e e UKE OF GR F ON , arond l t and S cr es tari . A MR M e e . . LUDWIG OND , Portrait of Pi tro r tino TH E VE N E TI AN P AI N TE R S. 12 1

A A A 6 E es s a les . . . N p . S L GR NDE , 5 Portrait of ccl ia tic L me V A AV TA 1 H e C e I I . . S L ENE , 5 . ad of l nt L m A A C 2 H F . . S L DEI ORREGGIO , . oly a ily L

V s 1 2 1 1 00 . D ese 1 2 . . 3 5 . i itation , 5 5 St John in rt .

M ALPH ONSF. R T V e . DE O HSCHILD , iolin Play r . m 02 C eme VI I C e . . 3 . l nt . and a ha b rlain L A D D A e . PRINCE ORI , Portrait of ndr a oria L. I G D EL N e e S . . ERO , Portrait of a Pr lat FA A A A A AT A F es es 8 RNESIN , S L DI G L E , r co in e es 1 1 1 lun tt , 5 .

MA A B V i . S . RI DEL POPOLO , irth of irg n . L

(in part . ) F ’ ‘ M T F es es s C e S . IEI RO IN ON ORIO , r co fir t hap l R ight . i a C e. t Pet e s u . . S . r b rg Portrait of ard n l Pol L Man ena A A A A . . Si . P L ZZO S R CINI , Portrait of L m s E T ev so. . N I CCOLO I e T . . r i S , ncr dulity of ho a A A M V s E V e . . . . enic C DE Y , 95 i itation 0) A A AR e a E L DY L Y D , Pi t . . BA T MM R ALT B mew S . R OLO EO IN I O , SS . artholo , o s Sinibald e s se e L ui , , and S ba tian , on parat s E panel . . A C T M C s s m S . GIOV NNI RISOS O O , St . John hry o to E e e e s . . nthron d , and oth r Saint n 1 C Me Vie na. 7. Portrait of 0) ardinal Giulio di dici .

V te bo . e a. 1 2 . i r Pi t L . 5 5

P O LANZ IANI OLIDOR .

1 1 6 I m a T e e B z 15 5 0) 5 5 . it tor of itian influ nc d by onifa io e e e Ve ese and Pord non lat r, by Paul ron .

A ss As B C s the e e . d e. hri g LORD ROWNLOW , hri t and dult r

s MR F A L- R M Bad e H a e . . . C C g r ll (Shrop hir ) PE U E , adonna ee e m M iz e. E and kn ling J ro adonna, St . l a

e C e . b th , and hildr n 122 WORK S OF

B M R 6 H F m e amo . rg . O ELLI , 9 oly a ily. Be lin 1 —160 n C s r . 5 9 . Sporti g upid . 1 M s 73 . adonna and Saint . NAZ I ONAL A R A N 6 G LERIE , CZY SKI . St. N s ese e the V n ichola pr nting childr n to irgi .

L . H WESEND ONCK I I ERR , . Portrait of Young W m M s o an . 77. adonna and Saint . MRS A I Boston . s e S A. . . . , U . J L G RDNER , Portrait of ab lla ’

D Este.

B - P st H F m C e a e . 6 e. ud h 9 . oly a ily and St . ath rin M B s 1 1 . u 3 adonna and Yo ng i hop .

m F T M M o n Ca d e. AM e C bri g I ZWILLI USEU , Sant i v ersazion . K A Cir Co e. 0 . e e e : N logn 73 Pr d ll ativity , doration , and mcision c u . M M N D s en 2 1 e Ve e e. e . . r d 4 adonna , agdal n , and n tian obl

2 1 . M e . e e 5 arriag of St Cath rin . 2 16 M C . adonna adoring hild . 2 1 Man 9. Portrait of . E d 1 H F m inburgh . 5 3 . oly a ily . F e ce TT 2 H F m w C e e lor n . PI I , 5 . oly a ily ith St . ath rin and the M e 2 H F m 26 agdal n . 5 4. oly a ily , 9 . ese Tem e Pr ntation in pl . L . 8 H w D o h G as ow F m . rot v l g . 4 4 . oly a ily ith St . m 1 D A t on H a t c m . pton Cour . 73 . iana and

La t N 8 e D s MRS BA - H AM TO o . ng n , . . (n ar un ) . ILLIE IL N A M doration of agi . L e 80 R . e e e ill . St . P t r ading . l th Lin a n N B COL E M C e e. e . . . . , RSKINE , adonna and St ath rin BATT A M London . . LORD ERSE , adonna and infant John MR R B N M w C e e . . ENSO , adonna ith St . ath rin the A M e and rchangel icha l . B N W m e ese ed LORD ROW LOW , Young o an r pr nt as F aith .

DORCH Ee R H Res F i . OUSE , t in l ght

I 24 WORK S OF

2 M 5 . adonna and infant John . 1 R 3 5 . St . och . 1 8 A Of M 3 . doration agi . 8 H F m 3 4. oly a ily . C s the M e 394 . hri t and agdal n. A A M 6 F M ses C DE Y , 4 3 . inding of o . H A A C T 0 Two RR CH OLLEC ION , 3 5 . i brac ng .

A P O O . G. . RDEN NE

- Al se Viv arini D 1 8 1 0 . e e e 4 3 5 4 . Probably pupil of vi v lop d e th e e e T und r e influ nc of Giorgion and itian .

h s MR F CA - B Bad e H a e . . . C s Of g r ll (S rop hir ) PEL URE , u t F s C ranci can ardinal . Cas a sa OLD C F es es : T e C ss 1 2 r . HURCH , r co Story of ru ro , 5 5 , A AT C olalt o e Susi ana . F es es . E . (n ar g ) S . S LV ORE , r co m na D M F es es C s e e l e Wa C e . : r o UO O , r co hri t b for Pi at ; yto th N C ss C x Golgo a ; ailing to ro ; rucifi ion .

All 1 2 1 A - e e : M e e 5 . ltar pi c adonna nthron d wi D m l D 1 22 th S . o inic , Pau , and onor , 5 . F es : D e s 1 22 r co po ition , 5 . M la D R FRI ZZONI D . . . e C s s e i n G , ad hri t upport d by Two A s e . E ng l . MA Motto. di v enz A D EI M A F a. . es es Li S RI IR COLI , r co A nnunciation . M MAR A ano . A A ur . S I DEGLI NGELI , nnunciation . L . MA A D I AM A A F B P acenz a . C es es : i i DONN P GN , r co rth of Virgin ; Adoration of Magi ; D isputation

A - M C e e. e e of St . ath rin ltar pi c arriage of A11 1 2 - 1 1 . C e e St ath rin . 5 9 5 3 . P n D M M w m six o eno e. e e rd UO O , adonna cov ring ith antl

D s se C s e R . onor , SS . Jo ph and hri toph r to L m s . 1 1 F es : . E s and , 5 5 . r co SS ra u and R 1 2 M e . e Se och , 5 5 St. ark nthron d , SS . s i e me Aex e I ba t an , J ro , John , and l and r, 5 35 . TH E VE N E TI AN P AI N TE R S 12 . 5

M e wee R UNICIPIO , St . Gothard b t n SS . och e s 1 2 and S ba tian , 5 5 . D M D an e U e . T 1 San e e . i l (n ar din ) UO O , rinity , 5 3 5 D M Ass m V s m . C e S e . pili b rgo UO O , u ption of irgin onv r ion Of m M s 1 2 St . Paul . Si on agu , 5 4 . M Susi ana . C s . E g HURCH , adonna and four Saint . M s To e e e e . C a rr (n ar Pord non ) HURCH , adonna and four S int . T ev s D M A M e es es r i o . UO O , doration of agi , and oth r fr co , 1 2 5 0. n A A M 0 a 2 8 H Ve ce. e i C DE Y , 3 5 . Portrait of L dy . 9 . ad Man 2 M C me of Praying . 3 3 . adonna of ar l , s the Ottobon F m 16 Saint , and a ily . 3 . St . e z s ee e s Lor n o Giu tiniani and thr oth r Saint . A E M A R e s S . GIOV NNI LE OSIN RIO , SS . och , S ba C e e tian , and ath rin . R M C s e 1 28 S . OCCO , SS . artin and hri toph r, 5 . A R F s T e e es C s e . S . S EF NO , uin d r co in loi t r

A A PR EVI TALI NDRE . — A e 1 02 1 2 Be e e ctiv 5 5 5 . Pupil of Giovanni llini influ nc d by o L tto .

Be m A A A 2 M a o C e e s . 68 e rg . RR R , 5 . P nt co t . arriag of St .

A - C e e . e e 8 s ath rin 97. ltar pi c in part .

1 82 . M 1 1 18 M two adonna , 5 4 . 3 . adonna , s s Casso ti his Saint , and Portrait of and W M e. 1 8 . if 4 adonna . LOCH I S 1 1 M E 1 6 M , 7 . adonna . . 7 . adonna w D m e s 1 06 ith SS . o inic and S ba tian , 5 . SIG BA M two s . GLIONI , adonna and Saint . C T M M D OUN ORONI , adonna , Saint , and onor. F m a ily Group . A A . I N C C x 1 2 . S LES NDRO ROCE , rucifi ion , 5 4 A A m m . E e S NDRE , nto b nt .

D M A - e e ee e el e Sa UO O , ltar pi c , and thr Pr d l in cristr 1 2 y, 5 4 . I 26 WORK S OF

MA A MA F s B amo Con e . D er . e g ( ) S RI GGIORE , r co ov r S oor. 8 T the B s e . SPIRI O , St . John apti t and four oth r s 1 1 M w . e ee fe Saint , 5 5 adonna b t n four m e s 1 2 al Saint , 5 5 . Be lin M s r . 39. adonna and four Saint . M e C e i e 4 5 . arriag of St . ath r n . B da- P s M u e th . 77. adonna . C e e a MA A MESCH I O A n n d . S . RI DI , nnu ciation . 60 M 1 1 D es en. . s 0. r d adonna and Saint , 5 H am C W 101 H F m burg . ONSUL EBER . . oly a ily . K N B MR A H T W m two e . . . ir, RC . S IRLING , o an playing , and M n e . M L nd n 6 . D E o o . 95 adonna and onor . . 1 1 A e ca e . 73 . ll gori l Subj ct

SI R H H A T R es F . . OW R H , t in light B A 0 C s e 1 12 RER , 3 4 . hri t in Gard n , 5 . e Coronation (lunett ) .

B M - CERED A M two s ONO I , adonna and Saint ,

1 22 . D R GT FRI ZZONI M D . US . , adonna and onor, 06 15 .

W e 2 1 O de . 80. B s ess 1 l nburg apti t in ild rn , 5 . A M Ox . C T C . ford HRIS HURCH LIBR RY , adonna AL A A 2 M G C 1 . D Pad a. . 1 02 u V LLI , 4 3 adonna and onor , 5 .

Ve ce. PALAz zo D A C A C s m ni UC LE , H PEL , hri t in Li bo . C ss Of R ed ro ing Sea . A A A H e Of C s L DY L Y RD , ad hri t . M . e . C e e S GIOBBE , arriag of St ath rin . R T N C x EDEN ORE , ativity . rucifi ion .

1 1 . e e 5 Stoning of St ph n . 1 I mm . e C 73 aculat onception . 1 M . 61 M n E . a . 4 adonna . . Portrait of

I 28 WORK S OF

O N . R NDINELLI .

A e 1 80—1 00 Be w se ctiv about 4 5 . Pupil of Giovanni llini , ho me he e s s s e al m zzano na oft n ign lightly influ nced by P e .

1 1 M Be n . . rli . adonna H WE SEN D ONCK 6 M ERR , . adonna . F mo CA M M e . s r R INE , adonna and Saint .

F o e U . n M e Ma 8 . a l r nc . FFIZI , 3 5 4 Portrait of . 3 4 adonn two s and Saint . Fo 0 M rli . 9 . adonna . D M ‘ e s UO O, St . S ba tian . A T V s S CRIS Y , i itation . f t M wi A th B F ran a M . e e a k or l . 3 5 adonna th St . nn and p

tist .

I s u c 61 D e C s e two A e s nn br k . 5 . ad hri t uph ld by ng l .

v er . Man Li pool . 3 3 Portrait of . A A H T M Londo . a n L DY S BUR ON , donna . D T H B s Bo ORCHES ER OUSE , u t of y. SI R B AM E M w C e e . S U LSON , adonna ith SS . ath rin B m w and artholo e . M an B A 1 6 M s ree il . RER , 7 . adonna , four Saint , and th A els 1 e ng . 77. St . John app aring to Galla

Placida . M C M F s and USEO IVICO , 97. adonna , SS . ranci e e P t r . O e M ld nburg . 77. adonna . P a A AEMO Man adu . S L , Portrait of Young .

Pa s 1 1 8 M e w s i . ee . e e e ri 5 . adonna b t n SS P t r and S ba t an .

Rav e a . 1 M s M nn 3 . adonna and four Saint . adonna be

wee C e ne t n SS . ath ri and John . D M e es S . O ENICO , four larg pictur , probably O e s M n e rgan Shutt r ; adon a , Gabri l . St. M D m e e . P t r artyr , S o inic .

m BA 6 s . R o e. Two M RBERINI , 3 , 5 4. adonna CA T Man PI OL , Portrait of .

D A M E . M n a ORI . 3 74 . adonna . . 3 75 ado n 6 M 3 7 . adonna . TH E VE N E TI AN PAI N TE R S 12 . 9

s P B K A d Man and Ro s e N . Ol i riory, . . LORD INN IRD an Young M . M St a t 2 2 . utt g r . . adonna

M C A A VI I 1 M . Veni e. c USEO ORRER , S L , 9, adonna A AI X 1 M two s two S L , 9. adonna , Saint , and D onors. AN Two M s GIOV ELLI , adonna . A A M A . L DY L Y RD , adonna FA T H F m S . N INO , oly a ily .

G AM AV LD IROL O S O O.

C 1 80—1 8 ss F es Bonsi nori irca 4 5 4 . Po ibly pupil of ranc co g ; e e Be e m influ nc d by llini , Giorgion , Pal a , and Lotto .

B i 0 M u e D e C r s erl n . 3 7. o rning ov r ad h i t . A M e 3 07 . agdal n . B es MA T A AC A e e s r cia . R INENGO , S L , doration of Sh ph rd . F m A A BER NETTI e me s E e C . e r o . S , St J ro in Land cap . .

F e U 6 T s . e . . lor nc FFIZI , 45 ran figuration MR e me . LOESER , St . J ro . W EMY A he herd G s H se N . B. S S . o ford ou , LORD , p Por trait o f a Man holding a paper with both s hand . "

am t 1 8 . s de F x. 1 . N H p on Court . 3 Ga ton oi 39 ativity D s 1 2 and onor , 5 7. 10 1 M e L ondon . 3 . agdal n . MR D T B s Man . OE SCH , u t of . MR M N Man . O D , Portrait of . M a B A 2 M u il n . RER , 34 . adonna in Glory and fo r s Saint .

AM A A 2 Tranfi u ration. BROSI N , 5 . g

C B s Old Man. SIGNOR RESPI , u t of an

M LOTzBECK C T 8 . R es F . unich . OLLEC ION , 9 t in light Yo A M T TA M M MAR N ew . S. rk , U . E ROPOLI N USEU , A 2 2 Man C T . QU ND OLLEC ION , 7 Portrait of , I 30 WORK S OF

1 1 8 . s de F x 5 Ga ton oi . V AB 1 H e ILL ORGHESE , 39. ad of Youth . A T W m C 1 i se e . PI OL , 4 . Portra t of o an at d

AM T F - Sev e Oa s . e e n k LORD HERS , lut play r,

AN N I OLO - 1 T ev s o S CC A e e 2 1 . r i . , ltar pi c , 5

N 11 A he e d T 1 1 8 . s. urin . ativity . 9. doration of S ph r o CA AA A R es F Urbin . S LB NI , t in light . n 28 The H e m Ve ce . s A . i . 3 r it ntony and Paul A e e s S . GIOBBE , doration of Sh ph rd . A A A e me L DY L Y RD , St . J ro . ‘ Ve a A TA MA A I N O A M ron . S N RI RG NO , adonna in Glory s 1 and Saint , 5 33 .

m me V e 2 1 An A s e 208 . E a. . . i nn 3 po tl . nto b nt W T T 228 . LICH ENS EIN , Portrait of Young arrior .

D ead Christ .

A EA MELD LLA c a e SCH AVO NDR O ll d I NE . m 1 22 P 1 82 . T e e 5 ( ) 5 Pupil of itian influ nc d by Par igianino .

Am e s 2 1 C s i n . 4 . ali to .

- m Ba e H a s e MR F . CA C Te dg r ll (Shrop hir ) . . PEL URE , eranc e p . A Be 1 0 . e Of the F ess ew . rlin . 7 Parabl aithl St ard 3 ' 1 0 e Of the s V e . 7 . Parabl Lord in yard A I S2 M s e . ountain Land cap . 3 1 82 F es e e . or t Sc n . H KA MA M ERR UF NN , adonna .

B a- Pest 1 12 H e W m ud h . . ad of Young o an

C a sw o . D D ea B st. h t rth UKE OF EVONSHIRE , Pr ching of apti e Marriage of Cupid and Psych .

s en 2 . e a. D re d . 74 Pi t 2 H F m I 75 . oly a ily and nfant John . A m A e 1 0. F o e ce TT 1 2 . D e . l r n . PI I , 5 ath of b l 7 da and Ev e .

U 88 . A e e s . FFIZI , 5 doration of Sh ph rd

13 2 WORK S OF

Vi 1 8 C s D e enna on . s (C n) 4 urin ntatu . 1 M C e e 49. adonna , infant John , and ath rin . 1 8 B e 5 . irth of Jupit r . ’ 1 Be s zz s Fe s 5 9. l ha ar a t . 1 60 e se Am e . Jupit r nur d by alth a. 1 68 D A ae . iana and ct on . 1 ee e 75 . Qu n of Sh ba . 1 8 D the Ark 4 . avid and . 1 8 C s e 5 . upid and P ych . 1 0 9 . Scipio . 1 Ale M s 94. l gory of u ic . 1 e e mA se 95 . Sc n fro pocalyp . A D e 202 . pollo and aphn . 20 D e ms 3 . ath of Sa on . A C pollo and upid . 261 A Of e e s . doration Sh ph rd . 1 M s ae n . 3 3 . uci Sc vola

G . B I E PO . LO. — T me 16 6 1 0 I e e . B. zze 9 77 . nflu nc d by G Pia tta , for d on Paolo e Veron se.

Am e s 2 2 2 2 6. e es i n . 3 3 , 34 , 35 , 3 Sk tch .

A - MR . F C C m Ba e H s e . . dg r all (Shrop hir ) PEL URE , S all F M ses Ce s : B e inding of o . iling rid and m A e Groo ll gory .

m A A A 8 1 2 8 2 e Be a . C 2 e s. rg o RR R , , . Sk tch LOCH I S e , 74 . Sk tch . A Tw o e e B s e s . SIGNOR GLIONI , l g ndary ubj ct

N C s the e . Le SIG OR PICCINELLI , hri t in Gard n g

endar s e y ubj ct . D M the B s Ma m . . UO O , rtyrdo of St John i hop COLLEONI C A e es : the H PEL , Lun tt Story of

B s apti t . 1“ he B R e e A e t . . . 45 4 . ft r ath 45 9 c ption 4 5 9

3 " m the R D s . St . o inic and o ary 4 5 9 M m A artyrdo of St . gatha. V N E TI AN PAI N TE R S I TH E E . 33

MR TA T I ONID ES A eos s Bri ton. . C gh ONS N INE , poth i of a e Pop .

M E SoMzEE e xe . Bru sse s . l . L ON , Sacrific of Poly na

- B da Pest 6 1 the F e . u h . 4 . God ath r

6 W se . 49. arrior Saint on hor back

6 1 M s. 5 . adonna and Saint

6 e E e H m . Cae . n . 5 Sk tch for cc o o

M ses. E 8 . F dinburgh . 3 3 inding of o

A C e . 3 5 5 . ntony and l opatra

F a a M 0 C e e. r nkfort / . 5 . ourt Sc n

1 s C ss. . W 1 C e H am C . burg ONSUL EBER , 4 hri t b aring ro fixion 142 . Cru CI . D e s do . 1 1 2 1 1 e es 1 . . Lon . n 9 , 93 . Sk tch 333 po ition BATT A e M s LORD ERSE , Sk tch of adonna , Saint , A e s and ng l . TH E M C e E s e ISSES OHEN , Sk tch of th r and A s e s ha u ru . MRS MA T COLNAGH I Ass m . R IN , u ption . W M C A A e the O e SI R . . ONW Y , ll gory of v r sm throw of Pagani . D R R T Two Ve s s C r s . ICH ER , r ion of h i t and

e Two e e s e s. Adulter ss. l g ndary ubj ct An m me Ma e c e 1 2 . E . y n . 4 nca p nt M a PALAzzo C C the e il n . HIERICI , hariot of Sun , c iling es fr co . A A M M N T H T F es es. UR L IS ORY USEU , r co

- A T A A e POLDI PEZZOLI , PIN CO EC , 74 . Sk tch . M s 90. adonna and Saint . A e V C . e se SIGNOR RESPI , St nn pr nting irgin to God 1 . 75 9 M 1 2 H is Mun c 12 1 A . 2 2 1 . i h . 7 . doration of agi 7 , 73 torical s e s ubj ct . N M T TA M M 18 ri Yo A . ew S. . rk , U . E ROPOLI N USEU , Sac fice I s 28 T m Fe of aac . . riu ph of rdinand T I I I C w w s. . ro ning ith horn P d A A R MA N 6 a ua. . . S L O NI O , 5 4 . St Patrick

A T M m . A h . S N O , artyrdo of St gat a 134 WORK S OF

Pa s 1 . C s Em 1 s. ri . 5 47 hri t at au 5 49. Standard painted s es on both id . ME A E M . Re e H I e I I es . NDR , c ption of nry (fr co) T ee Ce es es hr iling fr co . M E M . T C x L OPOLD GOLDSCH ID , rucifi ion . Pa m 2 16 A A o r a . . St . ntony bb t . O P ov e e . . N F s Ec i (n ar Padua) S ICCOL , ranci can Saint in

stacy . m n I R R d S F . C Es e Ahas u eras. ich o . OOK . th r and R s s e P o N B K A Assum o i ri ry, . . LORD INN IRD , ption .

S as s ur . R h tr b g. St oc . T 2 A A urin . 93 . St . ntony bbot . 1 C e M ese e e . O . Udin . 3 hapt r of alt rd r 8 MA A A TA Ce . RI DELL PIE , iling .

Ven ce 8 . . se the C s i . 4 4 S Jo ph , hild , and four Saint . 62 F T e C ss 4 . inding of ru ro . A A D A A A ATT T P L ZZO UC LE , S L DI QU RO POR E , N e e V ptun and enic e. M ' A R T Chn st Em s. SE IN RIO , EFEC ORY , at au

R N I - AMPALI A A 1 UI I ST A X 2 . r o f Q , S L , 9 Port ait a Procur tor . A A A A F es es : A C e P L ZZO L BI , r co ntony and l o

patra . PALAz z o R Tw o Ce s EZZONICO , iling . C m Wa A C s . S . LVISE , hri t at olu n y to Gol

gotha . A mm T C . . S . POS OLI , o union of S Lucy T FA A he V her e s . S . V , irgin and Par nt FRARI s Of the C ss , Station ro .

T e A - e e M A C . : GESU I , iling ltar pi c adonna and m three fe al e Saints .

A A Ce R . C e . S . GIOV NNI E P OLO , iling of hap l

MA A A TA Ce . S . RI DELL PIE , iling A e C . SC LZI , iling

A CA M Ce s. SCUOL DEL R INE , iling painting

na 0. F e s. Vero . 7 our Oliv tan Saint

I 36 WORK S OF

1 e e M n Th esde . ss 26 . e D r n . 74 Lady dr d in ourni g . 9 me Res e . 2 0. Two e e cu 7 G ntl n .

C r s w s the ee the Di s es. E s curial . h i t a hing f t of cipl M n 8 F o e e. TT 6 0. s e . . l r nc PI I , 5 , 7 Portrait of 3 Portrait

C 1 1 . Vin of Luigi ornaro . 3 Portrait of e z e c n o Z no . mse B s U 8 . . . FFIZI , 37 Portrait of hi lf 5 77 u t of Man 60 1 A m Ve e 61 Young . . d iral ni r . 5 . Old Man 6 8 Portrait of . 3 . Portrait of M s 6 . an Jacopo San ovino . 49 Portrait of . W W H am C 1 1 . . burg . ONSUL EBER , 7 arrior 6 e A s s . N am . E s e e e e H pton Court . 9 th r b for ha u ru . 77 in M ses 8 D m 1 u . 7 . Portrait of o inican . 9 . K 1 20 se night of Malta . . Portrait of a n

ator .

e z 2 R es e . L ip ig . 39 . urr ction 6 e 2 . e Lill . 5 Portrait of a S nator .

16 e e D 1 1 0. C s Lo ndon. . St . G org and ragon . 3 hri t w s e 1 1 e D s es. O a hing f t of i cipl 3 3 . rigin the M W a of ilky y. AT H Man B . RIDGEW ER OUSE Portrait of . w ld n B B s s t o O Me . LORD ROWNLOW , u t of MR R CRAW SH AY A m E v e . . , da and . MR B T M ses s R . U LER , o triking ock . Portrait e of S nator . D T H Man 1 8 ORCHES ER OUSE , Portrait of , 5 4 . Man W w Portrait of by indo . T R s SI R WM. FA he e e . RRER , urr ction A T AM A re B MR . R HUR J ES , Portrait of nd a arba Man digo . Portrait of . io MR M N e s Sea. G . O D , Gall y at Portrait of

vanni Gritti . A m Ve e R . LORD OSEBERY , Portrait of d iral ni r

E .

MR A T O a 1 6 . . S L ING , Portrait of ttavio di Str , 5 7 k 1 6 L c 8 . s z u s ilbe . 8 R . ai ing of La ar , 5 7 TH E VE N E TI A/V P AI N TE R S 1 . 37

A AI Man. ca. . Luc S L , 45 Portrait of

s 6. D ae . Lyon . 3 an (in part)

a 10. B e Sea . M drid . 4 attl on Land and ’ 2 Poti li ar W 2 se s e. 4 . Jo ph and p if 2 m the ee e 4 3 . Solo on and Qu n of Sh ba .

2 . s the E e s 4 4 Su anna and ld r . 2 F i M ses 4 5 . ind ng of o .

26 Es e e e A s e s. 4 . th r b for ha u ru 2 t H e es 4 7. Judi h and olof rn

B A 2 1 e a 2 0. . H e e ee e RER , 7. Pi t . 3 St l n , thr oth r s two D s 2 bis F Saint , and onor . 34 . inding B M E of ody of St . ark . . M 86 B s r C . . USEO IVICO , u t of Procu ator A MR T H D A B Man ew o t . s N . S. . p r , U . . VIS , u t of . Man Pan s an e C . h g r. LORD OWPER , Portrait of

Pa s . 1 6 . s the E e s 1 6 . se ri 4 4 Su anna and ld r . 4 5 Paradi . 1 6 t ld Man 4 7. Por rait of O . m I R F B R c d. S . C . the s i h on OOK , St John apti t . Portrait of e S nator. m CA T 2 8 The B sm 2 E H m R e. . . e . o PI OL , 4 apti . 49 cc o o h 2 0 T e F e . 5 . lag llation A T W m Man C . ee e OLONN , 4 hr o n and a adoring

the H 1 1 . Old Man oly Spirit . 3 playing

. M e s en . Spinn t . 94 , 95 Portrait of A 2 D 6 . n E Ma . . ORI , 5 Portrait of 6 h 1 2 T e T i . . r nity A A M 2 2 . s ee D s C DE Y , 5 S . Giu tina and thr onor , 1 5 80;

M e s 2 10. e ee D s adonna , thr Saint , and thr onor , 1 66 5 . M 2 2 . C s 4 Portrait of arlo oro ini . e Portrait of a S nator. D 2 1 e s . 7. po ition

2 1 . e e 4 S nator in Pray r.

2 . Soranzo 1 6 4 5 Portrait of Jacopo , 5 4.

2 . A e C e . E 34 ndr a ap llo . 1 38 WORK S OF

Ven ce Co A A IV Ce i : i l Son F u Vin i ( m). S L , il ng Prod ga , o r es tu .

1 D e A e 4 . ath of b l . 2 Two e s 44 . S nator . 2 M e M 1 8 4 . iracl of St . ark , 5 4 . A m E v e 4 3 . da and . 2 0 Two e s 4 . S nator . 2 2 Res e e C s ess ee e 7. urr ct d hri t bl ing thr S na s tor .

2 M ee r s . 39. adonna , and thr port ait

1 Cru x . 2 3 . cifi ion

2 1 R es e . 5 . urr ction A A D A C D e M e P L ZZO UC LE , OLLEGIO , og oc nigo e mme e C s M r co nd d to hri t by St . ark . ' isazlle h Figures in g r around t e Clock . e the V D oge D apont e b fore irgin . D a M e C e e D e . arriag of St . ath rin and og on e e he V D oge Gritti b for t irgin .

- Me ee e A T C s. N I OLLEGIO , rcury and thr Grac ’ V F B s A e ulcan s orge. acchu and riadn All 1 8 M e ex e M s : . in rva p lling ar , 5 7

T - R M OF A Ma A C . N E OO H PEL , SS rgaret , e e s G org , and Loui . A ew e me SS . ndr and J ro AT M ese D e Loredan SEN O , St . ark pr nting og the V ese e two e to irgin in pr nc of oth r Saints . A A ATT T Ce S L QU RO POR E , iling (in part) . m 1 0 I e z A e . Aess r NGRESSO , Lor n o lio , 5 7 l and o M 1 80 N B V e z s . ono . inc n o oro ini , 5 icolo Ce Priuli . iling . A A TO C OF TEN A e D el P SS GE OUNCIL , ndr a hino 1 A C p 5 73 . . icogna . F e e i C 1 0 d r go ontarini , 5 7 . N es I m e the H ri obl llu in d by oly Spi t . A A D EL A C se 1 0 S L GR N ONSIGLIO , Paradi , 5 9

A A T N B e . S L DELLO SCRU I O , attl of Zara

I 40 WORK S OF

e 1 60 A e s - ! Ven ce Co . C . o e x two i ( m) iling , 5 lt g th r , i ty paint

ings . A T M e C 1 61 S LU E , arriag of ana , 5 . m T B s . S . SILVES RO , apti A a W F T . s e . s ee S . S EF NO L t Supp r a hing of t . A e gony in Gard n . A T m T e A . S . ROV SO , ptation of St . nthony A A V A B . S . Z CC RI , irth of irgin A 2 A s e h E T AN H . . e t e Vi cenz a . N R CE LL 4 . St ugu tin h aling

e- s e Plagu trick n . m i nn 1 . e e. E . V e a. 4 7. St J ro s the E e s E 239. Su anna and ld r . . 2 6 e s Ve e 3 . S ba tian ni r . An Of e in Am 2 . 44 . fic r r our d Man Bo 2 Ol . 3 5 . and y M n 2 2 2 . s e 4 , 4 5 Portrait of . 2 0 Man 1 5 . Portrait of , 5 5 3 . Old Man 482 . Portrait of .

Men. 2 2 8 86. s 5 5 , 5 , 4 Portrait of

2 . 49. Portrait of Lady

M 1 Aes C . A A . . C DE Y , 3 . Portrait of l ontarini 34

Portrait of D oge Priuli .

6 Man . W oburn Abbey . 3 . Portrait of L .

A TITI N . — 1 1 6 the Bel me e. 477 5 7 . Pupil of lini for d by Giorgion

An o a 8 . C x . . c n . rucifi ion L D M N M w F s S . O E ICO , adonna ith SS . ranci , B se D 1 20 lai , and onor , 5 .

Aex e VI ese i Bafio . e e . Antw e . rp 3 5 7. l and r pr nt ng to St P t r

E .

the m s . F s e e . . A coli . St ranci r c iving Stig ata L A 160 . I D u e R e n i Berlin . nfant a ght r of ob rto Stro , 1 2 5 4 . TH E VE N E TI AN AI N TE R S 1 P . 4 !

Be Com 16 mse rlin ( ) . 3 . Portrait of hi lf . L .

166 H is o wn D e . aught r Lavinia . MR S 6 B s . . . . A N R e E 1 5 2 . o ton J L G RD ER , ap of uropa , es a NA A E A - e e 1 22 B . . 0 31 5 0 r ci S Z RO , ltar pi c , 5 . A s E A . am H a D . Cobh ll . LORD RNLEY , Portrait of rio to t E 1 68 M w o s . . . adonna ith f ur Sain

16 T e M e E . 9. ribut on y . B e 1 1 0. as . 7 Lavinia rid , 5 5 5

1 1 a as M . . 7 . L vinia atron L

1 2 Man 1 61 . 7 . Portrait of , 5 V se 1 A w . . 73 . Lady ith a a L 1 M w F m as D s 75 . adonna ith a a ily onor (in part

only) . L .

1 6 R ed D ess. 7 . Lady in r

nc TT 1 8 . Be E e z Flore e. PI I , La lla , l anora Gon aga , D ess U uch of rbino .

e A e 1 . 5 4 . Pi tro r tino , 5 45 6 M e 7. agdal n . 2 t Man 9 . Por rait of Young . 1 8 The C e E 5 . onc rt . . 200 I I . Philip . ’ 201 I o de Me 1 . pp lito dici , 5 3 3 .

2 1 F - e t Man 5 . ull l ngth Por rait of .

2 28 H e C s . . ad of hri t ” mm s M s T . 495 . o a o o ti E z D ess U . e FFIZI , 5 99 l anora Gon aga , uch of

U 1 . rbino , 5 3 7 60 Fr M e R e e D e U 5 . . aria d lla ov r , uk of rbino , 1 5 3 7 626 F E . lora . . A E 6 M w A . 33 . adonna—ith St . ntony bbot . 1 108 Ve s the e i . . nu h ad a portrait of Lav nia

L .

6 B c delli 1 2 1 1 1 e ca . . Portrait of , 5 5 1 Ve s—the e r E e : 1 17. nu h ad a port ait of l anor

Go nzaga . 142 WORK S OF

A - A A M Ge a. B wi . C e e no LBI SEN REG , adonna th SS ath rin , D me D E o nic , and a onor . .

H a m ton ou t 1 1 . Man 1 6 1 C . . . p r 3 Portrait of , 5 4 49 Por f Man o E . trait .

H F m e e London . 4 . oly a ily and Sh ph rd . A e 1 B s . 2 3 5 . acchu and riadn 5 3 . “ ” N me T 2 0. e e. E 7 oli ang r . M w C e 6 . e 3 5 adonna ith SS . John and ath rin , 15 33 B AT R H H F m E RIDGEW E OUSE , oly a ily . . h " T e T ee A es. E hr g .

Ve s s m the a nu ri ing fro Se .

D A ae 1 . iana and ct on . 5 5 9

s 1 . Cali to . 5 5 9 MR M N M . O D , adonna . L . 6 M n wi Ulfu s B e Ma . 2 . E drid 3 . adon a th SS and ridg t . .

0 B . 4 5 . acchanal

1 . Ve s W s 4 5 nu or hip . A 2 . s Fe 1 18 4 5 lfon o of rrara , 5 . C es V hi s 1 . 4 5 3 . harl and dog , 5 33 i I I Am 1 0 4 5 4 . Phil p in r our , 5 5 . 6 The F e F 4 5 . orbidd n ruit . L . C es V H se 1 8 4 5 7. harl on or back , 5 4 . 8 D e 1 4 5 . ana , 5 5 4 . Ve s O a 4 5 9. nu , and Youth playing rg n . L. 61 me 4 . Salo (Portrait of Lavinia) . 62 T 1 4 . rinity, 5 5 4 . 6 K M 4 3 . night of alta . L . m men 1 6 E . 4 4 . nto b t , 5 5 9 6 s s 4 5 . Si yphu . L . 66 me e s 4 . Pro th u . L . 6 M e 4 9 . St . argar t . L . 0 l I I ffe I D on Fe o 47 . Phi ip o ring nfant rnand V to ictory . L . ’ 1 Allocation A s d Av al os 1 1 47 . of lfon o , 5 4 .

6 R e i s e . . 47 . l gion uccour d by Spain L

144 WORK S OF

R ome Can 18 8 D m i . . . 1 0. E of ( ) St. o in c . L 7 ducation

A T 1 B w R a C . ism e m as PI OL , 45 apt , ith Zuan

D I A D e H e s E OR , aught r of rodia . . VAT A Ma w six i s IC N , donna in Glory ith Sa nt , 1 2 5 3 . Are C . PRINCE HIGI , Portrait of tino M wi e e av a e D M . Serr ll . UO O , adonna in Glory , th SS P t r and A r ew 1 nd , 5 47. A T e so . D M . r vi UO O , nnunciation

o . The Res e . . Urbin . 39 urr ction L

2 . e 4 Last Supp r . L. i A A M 26 ese i V Tem Ven c e . . C DE Y , 4 Pr ntat on of irgin in

l e 1 0 1 . . the Desert . p , 5 4 . 3 4 St John in a in 0 Ass 1 1 8 00. e e 4 . unta , 5 . 4 Pi t , b gun ’

1 e is e T s e . 5 73 , not quit fin h d at itian d ath ' A A D A i se D e s e P L ZZO UC LE , Sta rca to og privat tme s F es C st e 1 2 apar nt , r co . St . hri oph r , 5 3 A AD 1 ATT T D e m i be S L QU RO POR E , og Gri an

e F 1 . for aith , 5 5 5

A A R A e e- m P L ZZO E LE , on c iling of ant roo to e W s m Libr ria , i do . L .

A Man . GIOV NELLI , Portrait of . L M 1 26 FRARI es . , P aro adonna , 5 T M t r m w e e GESUI I , ar y do of St . La r nc . L . A E M A I the Alms S . GIOV NNI LE OSIN R O , St . John e 1 giv r , 5 33 . m m LI O . es Co ostell a. . S . , St Ja of p L

MAR CUOLO The C s C e w ee SS. S . , hri t hild b t n C e e A ew E ath rin and ndr . . MA A T s the An e 1 0 S. RZI LE , obia and g l , 5 4 . A D 1 . R oc co A i . Dea SCUOL S , nnunc ation d is E Chr t . A T D H es e . S LU E , c nt of oly Spirit . L Ce i C : E Me a s one a il ng of HOIR ight d llion , VE N E TI AN P AI 1V E R S 1 TH E T . 45

Co T mse H e s Venic e m . i i the es ( ) Portrait of it an h lf , r t ad

of Saints . A T R M e w ee . e s S CRIS Y , St . ark b t n SS och , S ba

m s m E . t C s D . ian , o o , and a ian

Ce D i . iling , avid and Gol ath A e e I s C s . Sacrific of aac . ain laying b l A AT T A i i . . ransfi u S . S LV ORE , nnunc at on L g

ration , L . A T A N s B S . SEB S I NO, St . ichola of ari (in part) , 1 6 5 3 . m s Ve na. 1 t Fe i K the R ro 5 . Por rait of rd nand , ing of o an . D M Ass m V UO O , u ption of irgin . M E e a . 1 6 s . Vi nn 7 . Gip y adonna . 1 M w th es E 80 e C e . . adonna ith h rri . ” m 1 1 8 The e E e H . 7 . Larg cc o o , 5 43 m e E 1 8 1 The e Ta e . . . Littl bourin Play r ’ 16 I s e d Este 1 3 . ab lla , 5 34 . “ 1 D as M e im e z E e Gon 97. adch n P l ( l anora mesa)

1 . Be e e V 77 n d tto archi .

m . E 16 The s . 7. Phy ician Par a

1 1 F e e x 1 8 . 9 . John r d rick of Sa ony , 5 4

182 1 66. . Jacopo di Strada , 5 1 6 m e N . . 8 . Sheph rd and y ph L

C N D e . ZERNI , Portrait of og Gritti

AMO DA V S TH E YOU . G IROL TRE I O, N G ER

1 - 1 his e M Pennachi i e e 497 5 44 . Pupil of fath r , P . . nflu nc d C e i e e D ss D ss by at na , Giorg on , and lat r by o o o i and R e apha l .

B lo n A N M I ST A TA R N l o a T . g . S . GIOV N I IN ON E , L R o i me T e e E ang r . . M me T TH C A R . S . PE RONIO , 9 H PEL onochro M es A es oes . fr c : iracl of St ntony of Padua. 146 WORK S OF

A M D sd n . re e . 99. doration of agi MA N C M Faenz a. LA F es es : GIO E , HOIR , r co adonna and s wi C s e as D Saint , th Sabba a tiglion onor, 1 5 33

A T m v Men Ferrat a SI G. A e e fi e . S N INI , f al Saint and . ndo 2 6 M s D Lo . . . n 3 adonna , Saint , and onor MR M B s Man . OND , u t of Young . W TM T D N . . e UKE OF ES INS ER , ativity St Luk the V painting irgin .

AGA I -VALSE H I Th F M lan SIG. B T CC e e V i . , org of ulcan

s m e - e (fre co on chi n y pi ce) . T m w Mo ena . . H F d S PIE RO , oly a ily ith infant John and C e e St . ath rin . Miiu ster K T 6 The u (in UNS VEREIN , 4 . Savio r NA 1 Man R ome C 0 . . . OLON , 9 Portrait of D A A A MI NGH ETTI me ONN L UR , Judg nt of Paris

T ent CA T C A F es es. r . S LE , H PEL , r co I R M F eze NNER OO , ri . A N . AND 6 A A A AN D 1 2 VI D EL OS 4 PI ZZ GR NDE ,

' ‘ TEAI RO F es es on es. , r co facad

A T A T R e wee . e s Ven ce. . i S LU E , S CRIS Y , St och b t n SS S ba e me E tian and J ro . . 12 1 A . nnunciation

E 12 Man. . 5 . Portrait of

PAOLO VERONESE .

Pu pil of Antonio Badil e s trongly influenced by

Bru sasorci.

22 M n w Cu ccina F mi 4 . ado na ith a ly. M 22 A i . 5 . doration of ag

2 26 M e C . . arriag of ana

22 F M ses . 9. inding of o (in part only)

2 6 D e B . 3 . Portrait of ani l arbaro

148 WORK S OF

M R An M ew . Venice Co . . . ( m) SS atth and ark SS och , rew e e F e F T d , P t r , and igur of aith . ibur

tine and Cumaean Sibyls.

s Gu adienti 1 6. na 26 . Vero . 7 Portrait of Pa io , 5 5 2 D e s i 45 . po it on m e M . e S . GIORGIO , artyrdo of St G org . A M n s E S . P OLO , adon a and Saint . . A A M . Vicenz a I I 12 . . S L , adonna

M T B F e s . e 1 2. ON E ERICO , a t of St Gr gory , 5 7

a . 6 C s the H se i s. Vienn 39 . hri t at ou of Ja ru

V VI V R I NI AL I SE A .

1 61- 1 e B mme A e 0 . his ctiv 4 5 3 Pupil of uncl artolo o .

8 M e e w six s Berlin . 3 . adonna nthron d ith Saint . 1 16 M e r e w s 5 . adonna nth on d ith four Saint . L. n MR A M F o e ce. . C . l r H RLES LOESER , adonna WEMYS B s m Gos o H o se N . B. f rd u , LORD , u t of S ooth e Man fac d . M B s V e i N London TH E C e e. . ISSES OHEN , u t of a n t an obl MR A T . S L ING , Portrait of Youth . B A D a e w A e s E Milan. e C s t o . RER , ad hri t dor d by ng l .

B M - CERED A Man 1 ONO I , Portrait of , 497.

BAGATI - VALSECCH I s dei SIGNOR , S . Giu tina

Borromei . . L na 1 Man Mode . 3 9. Portrait of Mont efior ntino 1 e . . Polyptych . 475 AV N TA 1 M wi Na es . . F c s pl SCUOL E E , adonna th SS . ran i Be 1 8 and rnardino , 4 5 . Man Pad a 1 1 . t . u . 37 Por rait of a Man Pa is 1 1 . . r . 5 9. Portrait of a L EA Man C T B . . OUN ESS DE RN , Portrait of L M 61 M w 61 8 n A A . e Ve c . . . e. . i C DE Y , 9 St atth St John

the B is . 62 1 . . e s An apt t St S ba tian . St .

A . B s St. tony bbot John apti t . St. Laur

e ce E . . C re 8 . H e n . . 5 93 St la . 7 ad of H E VE N E TI AN P AI N H ER S I T . 49

M six s Venice Com C is . . 60 . ( ). hr t L 7 adonna and Saint , 1 80 4 . A A I X A M C R . USEO O RER , S L , 44 . St ntony of

Padua . ARI Am se e FR e s. Be , St . bro nthron d and Saint 1 0 s e Basaiti gun in 5 3 , fini h d by . A BRAGORA M : H e S . GIOV NNI IN , adonna ad of C s 1 R es ec i 1 8 : ede e hri t , 493 urr t on , 49 Pr ll l s B s s M to a t. u t of Saviour, John , and ark . A E A hrist bearin r ss . C C . S GIOV NNI P OLO , g o R T E A T M EDEN OR , S CRIS Y , adonna . A A A ra Man L DY L Y RD , Port it of . M A TA A AT A A SE IN RIO , S NZ DEL P RI RC , Portrait Man of . L .

V nna 1 2 M 1 8 . ie . . adonna , 4 9 M ma A A . C e Fe e w Mon C DE Y, St lar . l Saint ith s e tranc . Man w H w nds o astl . W i r C e Portrait of ith a k .

BA O OMM O VI VARI NI RT L E .

1 0- 1 u A M Active 4 5 499. P pil of Giovanni and ntonio da urano e e s influ nc d by Paduan .

B m FRI ZZONI - A M two er a . s . g o S LIS , adonna and Saint MR A M n A. . e Bosto S. , U . QUINCY SH W , agdal n . T BRRNE I F m F e mo C TT . s es r . OUN , SS ranci and Ja . f N B WEMYS Gos o d H o se . . t . E r u , LORD , Polyp ych . M w Lo o 28 . e m e. nd n. 4 adonna ith SS . Paul and J ro A A A An A s e Me en. D . ining UC L P L CE , po tl A AV TA M Na es . . e e 1 6 pl S L ENE , 5 adonna nthron d , 4 5 .

Pa s 1 60 . . C s 1 ri . 7 St John api trano , 45 9. M 1 8 1 Tu n 80. ri . 7 adonna , 4 .

A A M 61 1 A - e Venice. . e fiv e s C DE Y , 5 , ltar pi c in part , 1 6 M M . 8 . e 8 Bar 4 4 5 4 ary agdal n . 5 5 . St . 1 0 bara , 49 . FRARI M u s 1 82 , adonna and fo r Saint , 4 . W RK S OF TH E VE N E TI AN P AI N TE R S 1 5 0 O .

A B AC RA M wee i e Com . . e Ven c ( ) S GIOV NNI IN R O , adonna b t n A d ew 1 8 SS . n r and John , 47 . A A 1 A . s e S . GIOV NNI E P OLO , St ugu tin , 473 . D m w e e SS . o inic and La r nc . MA AF M A T : M B S . RI OR OS , riptych adonna , irth V Meet m A e of irgin , ing of Joachi and nn , 1473

Am se e wee . e e nn 10. . s Vie a. St bro b t n SS P t r , Loui , e s i 1 Paul , and S ba t an , 477.

I N D E X OF P LACE S 15 2 .

: A Be amo Com . LOCH I S C CT e B rg ( ) OLLE ION nton llo , arbari , B mme Ve e Basaiti Beccaru zzi artolo o n to , , , Be l Bonsi nori B e Giovanni l ini , g , ordon , C C e di ariani , riv lli , Guar , Licinio , Lotto , M m Ve Previtali ontagna , Pal a cchio , . M C T Basaiti Bel ORELLI OLLEC ION , Giovanni C m M C a . lini , ari ni , i a , P Longhi , ontagna,

Polidoro . BA : B ss C ar SIGNOR GLIONI a ano , ariani , Gu di, T e Previtali . Longhi , , i polo

FRI ZZONI - A B Basaiti B ss n S LIS : arbari , , a a o , B z M B mme Vi onifa io , ontagna , artolo o

varini . M Previtali C T . ON E ORONI Guardi , E : C SIGNOR PICCIN LLI ariani , Licinio , T e i polo .

CONTE R ONCALLI Cariani .

C T A : C B ss . ON E SU RDI ariani , a ano A A C A S . LESS NDRO in OLONN Lotto . A A I N C S . LESS NDRO ROCE Lotto . A Pr vitali A e . S . NDRE

BA T MM . S . R OLO EO Lotto B A S . ERN RDINO Lotto . E N A T COLL O I CH PEL iepolo . D M C Previtali T e UO O ariani , , i polo . MA AMA Previtali S . RI GGIORE Lotto , . M : . S . ICHELE Lotto T Previtali S . SPIRI O Lotto , . Ber in A e a B Basaiti Be l . nton ll , arbari , , Giovanni llini , B ss B e C C Car i olo , ordon , aprioli , ariani , ac cio C e C m C e e p , at na , i a , riv lli , Giorgion , M m e s Guardi , Lotto , ontagna , Pal a , S ba del m Prev itali R tiano Pio bo , Polidoro , , occo M R e Sav oldo e arconi , ondin lli , , Schiavon , T e T e T Avise Vivr i polo , intor tto , itian , l mm V v n B e i ari i. rini , artolo o I N D E X OF P LACE S 1 . 5 3

Be lin Com NAZI ONAL A RACYNSKI C T r ( ) . G LERIE , OLLEC ION

Ca e . t na , Polidoro H B AT Basaiti ERR ECKER H : . H KA MA : Basaiti B ss Be ERR UF NN , a ano , cca zz e T e ru i , Schiavon , intor tto . H WESEND ON CK : B ss Bec caru zzi ERR a ano , , R e Polidoro , ondin lli . N MRS H AM T B ss B e . B. . O : C e i l , IL ON GILVIE a ano , anal ,

Guardi . A B m T e . Bol na. : ss C og G LLERY a ano , i a , intor tto A M T m T e s . : S GIOV NNI IN ON E Girola o da r vi o . T N m T e s S . PE RO IO Girola o da r vi o .

A M M Basaiti c caru zzi Bos on . S. . Be . t , U USEU ,

MRS A B z e . . . : C J L G RDNER onifa io , at na , Guardi , T e T Polidoro , intor tto, itian . MR A : C m i B . J . QUINCY SH W i a , Licin o , arto mm Vivarini lo eo .

B m n K T A e e M . r . UNS H LLE : ontagna T B es a A T B ss o e . r ci . G LLERY OSIO i olo , L tto , intor tto A A T e : . S . FR intor tto A A Be . S . LESS NDRO : Jacopo llini NA A C T S . Z RO E ELSO itian . B on MR C TA T N I ONI D ES : i T e right . . ONS N I E Guard i polo . H W TT i MR . C . ENRY ILLE aprioli , Lic nio B m a E N d l m o N B : . e r o h ll , . . LORD LGI S Pio bo B s A m Ve wi : . run ck . G LLERY Pal a cchio B u ss B ss e e s . C . r l a ano , riv lli , Guardi M E M E B Ve e T e : . . — . L ON SO Z E art n to , i polo Buda Pes Basaiti B ss Beccaru zzi e e Be th . , a ano , , G ntil llini , C C e C e e . ariani , at na , riv lli , Giorgion , Guardi m del m Licinio , Pal a , S . Pio bo , Polidoro , Previtali R o M e Tie , cco arconi , Schiavon , T e . polo , intor tto H RAT ERR H : Licinio .

Caen. C T e T e arpaccio , i polo , intor tto . m i F T AM M M B c ru zzi Ca d e. : e ca br g I ZWILLI USEU , Guardi , m Pal a , Polidoro . 1 I N D E X OF PLACE S 5 4 .

A N Cam id e . S. . . C . E . T : i br g , U PROF OR ON Licin o, T e Longhi , intor tto . am O AT A T B n z C o S. P e o. p i r R ORY OF S . N ONIO : o ifa io (in

part) . a de H ouse e s w MR A A T C r r (n ar Gla go ) . . RCHIB LD S IRLING T e intor tto . A a sarsa C : e e. C . P RISH HURCH Pord non

ast e a c o. C C lfr n HURCH : Giorgione.

as e Ba na . B E M M C C tl r rd OW S USEU : aprioli . e Be m o Celana (n ar rga o). L tto . MA A MESCH I O Pr vital eda e i. Cen . DONN DI M Cert o sa (near Pavia) . ontagna . ’ A MA B ss R M D UC : . Chantilly . D U LE i olo , occo arconi

a s w o t . D D : B ss Bo e C h t r h UKE OF EVONSHIRE a ano , rdon ,

C e. ariani , Schiavon

D M : . Cingoli . S . O ENICO Lotto

D M : B ss . C itt a della. UO O a ano A N T a . D : Cobham H ll LORD R LEY itian . A AT E lalt . : e e. C o o. S S LV OR Pord non

o ne. A : Bo e C e Tin C log G LLERY rdon , at na , Polidoro ,

toretto . M i m o e l ano . D Beccaruzz C . C n g i UO O , i a M A . . : Beccaruzzi S DELLE GR ZIE . R Beccaruz zi S . OCCO . e Gorla a i Mez z a e o . Cost d t (n ar g ) . Lotto A T m w C . del Cra co . PRINCE Z R ORYSKI S Pio bo .

m D M : e e. Cre ona. UO O Pord non

D on B ss C i . ij . a ano , apr oli m Ve e D ona B t m e . i . ar olo o n to n A e B B mme Ve e D resde . nton llo , arbari , artolo o n to , s Beccaru zzi B z B e C ano , , onifa io , ordon , ana e C e C m i e l tto , at na , i a , Giorg on , Licinio , o m Ve L nghi , Lotto , Pal a cchio , Polidoro , Previtali R M o T e Ti , occo arc ni , intor tto , m T e s Ve ese tian , Girola o da r vi o , ron . m R M o seldorf B ss C . Dfis . i olo , i a , occo arc ni

6 I N D E X OF P LACE S 15 .

A B i z a u : . H g e. G LLERY on fa io W C A Be a H aigh H all (near igan) . LORD R WFORD cc

zz C . ru i , arpaccio

H am C W : B . burg. ONSUL EBER arbari , Guardi , Lotto , Pal ma Prev itali e T e T , , Schiavon , i polo , into e r tto .

H am ton Co t . B ss B ss B z B e p ur a ano , i olo , onifa io , ordon , C e C e anal tto , ariani , Giorgion , Licinio , m Ve Longhi , Lotto , Pal a cchio , Polidoro , Savoldo e T e T , Schiavon , intor tto , itian . annsta t H erm d . Lotto .

H o eto n H o s e N . B . H T : B ss Bec p u u , LORD OPE OUN a ano ,

caru zzi C e. , anal

I ns R e . n bru ck . ondin lli A es : . J i . LIBR RY Lotto MR A A T c zz Bo Ke N B. . : Be caru i r ir, . RCHIB LD S IRLING ,

e Previtali. don , Longhi ,

D s MRS BA - H AMI T N B. ea Lan ton . . . g , (n r un ) ILLIE L ON

Polidoro . M i T e Le z R . ip ig. occo arcon , intor tto z T e Beccaru zzi B . Lille. , onifa io , Polidoro , intor tto

Linlathen N . B . COL. E : B ss Beccaru zzi , RSKINE a ano , , del m S . Pio bo , Polidoro . C R e L v e oo e . i rp l . at na , ondin lli ndon NAT A A : A e B mme Lo . ION L G LLERY nton llo , artolo o Ve e Basaiti B ss e e Be n to , , a ano , G ntil llini , Be B z Bonsi nori Giovanni llini , onifa io , g , B e C e C C Ca ordon , anal tto , ariani , apaccio , e C m C e e t na , i a , riv lli , Guardi , Licinio , Pi tro m Ve e s Longhi , Lotto, Pal a cchio , S ba tiano del m Prev itali R M Pio bo , , occo arconi , Savoldo T e T e T , i polo , intor tto , itian , Gir. T e s Ve ese B mme Vi da r vi o , ron , artolo o

varini . B T H D MA A Bee URLING ON OUSE , IPLO G LLERY zzi caru . I N D E X OF P LACE S 1 . 5 7

K T M E UM N S COL n n Co . T Lo do ( m) SOU H ENSING ON US , JO E N LECTIO : Crivelli . A AM : C C e R LORD SHBURNH aprioli , at na , occo M arconi .

A A T : C e Rondio L DY SHBUR ON riv lli , Licinio , e n lli . caru zzi APSLEY H OUSE : Bec . BATT A T e LORD ERSE Polidoro , i polo . W B A M T C e P R B : . M . . . E U ON at na ( ) R R B Ba mme Ve e Ba M H . : . . ENSON rtolo o n to , s B ss B ss B z C aiti , a ano , i olo , onifa io , aprioli , C C C e C e del ariani , arpaccio , at na , riv lli , S . i m P o bo , Polidoro .

MR F CA N - B T . . VE DISH EN INCK : Longhi .

B D AT H : B e Tin. RI GEW ER OUSE ordon , Lotto , toretto T , itian . B : B e Tin LORD ROWNLOW ordon , Polidoro ,

toretto .

MR B T Basait B B caru zz . C. : i ss ec i U LER , a ano , , B z C e M onifa io , at na , Licinio , ontagna , R M T e B mmeo occo arconi , intor tto , artolo

Vivarini.

R A T R M . M . . C : J . P RRING ON occo arconi TH E M C B e C e ISSES OHEN ordon , anal , Guardi , T A se Viv arini e . i polo , lvi MR MA T COLNAGH I : T e . R IN Lotto , i polo . W A SI R M. C : T e . ONW Y Lotto , i polo . MR R RAWSH AY T . . C : C e e . riv lli , intor tto T MR. D C : B z . . . REWS onifa io

MR . . D A B B ss e. G ON LDSON a ano , ordon V D T H : B. e e Bec caruzzi ORCHES ER OUSE n to , , C e C o anal , ariani , Guardi , Licinio , L tto,

R e T e . Polidoro , ondin lli , intor tto IR WM A Beccaruzzi Mon S . F : u RRER , G ardi , T e tagna , Polidoro , intor tto . M W AM F R E : lm . . ICKH LOW R Pa a I N D E X OF P LACE S 15 8 .

I R A W A T FRAN Ks : S . . London (Com) . OLL S ON Guardi R A LD S H I D SI JULI N GO C M Guardi . A de m D T : C . l UKE OF GR F ON aprioli , S Pio bo. H T H Ca e C m C e l ER FORD OUSE nal , i a , riv l i,

Guardi . H T MR . e : C . . J . P ESEL INE at na A T Pr v it i SI R H . H e al e. OW R H , Schiavon O H T L RD OUGH ON Guardi . MR A T AMEs T : e . . R HUR J Guardi , intor tto R AM K M e. . J ES NOWLES Schiavon MA A a RQUIS OF L NSDOWNE : C riani . MR M MA . UIR CKENZIE : Polidoro . R M e e M . LUDWIG OND Giovanni and G ntil Be B ss C e C e C m llini , i olo , anal tto , at na , i a , C e m riv lli , Guardi , P . Longhi , Pal a , S . del m Sav oldo T e Pio bo , Polidoro , , intor tto, T m T e s itian , Girola o da r vi o . N T : Bec caruz zi C e R LORD OR HBROOK , riv lli , occo M i arcon .

D R . R T B z B e C e . . : J P ICH ER onifa io , ordon , anal , T e Ve ese Guardi , i polo , ron .

R : B e T e . LORD OSEBERY ordon , intor tto

MR . A T : Bas aiti C i GEORGE S L ING , ariani , Guard ,

T e A V varini se i . intor tto , lvi MR T A T M AM C e : . . S U R . S UEL riv lli AM SI R B . M n R e . S UELSON ontag a , ondin lli

SI R M A A - T A T : Basaiti R ICH EL SH W S EW R , occo M arconi . MR E TA C m . J . . YLOR : i a . D E W TM T : C e Polidoro UK OF ES INS ER anal , l m T e Girola o da r viso . MR S A W T . NDERSON ES ON : Guardi . A LORD Y RBOROUGH Polidoro . re o PALAzzo A T Lo t . POS OLICO : Lotto .

Lov e e A TAD INI Be B ne. r . G LLERY : Jacopo llini , ordo T e . Liibeck . intor tto

160 I N D E X OF P LA E S C .

Milan M Co . e e ( m) ani , Lotto , ontagna , Pord non , Previ

D AM Ba mme Ve e UC ELZI rtolo o n to . CA ASORMAN I C e S : anal tto . T A e G : . PRINCE RIVULZIO nton llo , uardi MA A C B e S . RI PRESSO ELSO : ordon . M odena. A : B ss C e C m G LLERY a ano , at na , i a , Licinio , M A se Longhi , ontagna , Polidoro , lvi Vivarini .

C T TA RANG NI m OUN LO RIO O Pal a . T m T e s S . PIE RO Girola o da r vi o . Mono o D M : e Be p li . UO O G ntile llini . Montefiorentino A se Viv arini . lvi . M an t M A e S G s o . A ont iu . S RI : Lotto Mo e e B ss ntp lli r. a ano . Mo ta di Livenz a MA A D EI M A : C t . S . RI IR COLI aprioli , e e Pord non . M Basaiti B ss B e C C m unich . , a ano , ordon , ariani , i a , Licinio . m R M Lotto , Pal a , Polidoro , occo arconi , e T e T Schiavon , i polo , itian . LOTZBECK C T : B ss C n Sa OLLEC ION a ano , aria i .

voldo.

M te W T e s R M s i . un r (in . ) Lic nio , Gir da r vi o , occo arconi . ' ‘ Basaiti Be n M an . PI EI RO . ur o . S : , Giovanni lli i MA A A e e S . RI DEGLI NGELI Pord non . N n Ve mm e . a c . B e y artolo o n to , Lotto A Be m Na es. e B . pl nton llo , arbari , Giov llini , Lotto , Pal a , del m T A se S . Pio bo, Polidoro , itian , lvi

Vivarini B mme Viv arini. , artolo o

M FILANGI E R I C . USEO : aprioli , Guardi

Na e . Bec caru zzi rbonn . w Ba e N B MA T A : C e Ca Ne t tl , . . RQUIS OF LO HI N anal ,

rioli R M . p , Polidoro , occo arconi Be Tin N w o t A MR T H . D A . e S . p r , U . . . . VIS Giov llini ,

toretto .

A M T A M M ardi Yo . T : N w . S . e rk, U E ROPOLI N USEU Gu , T e o i p lo. I D OF P LA E S 161 N E X C .

w Ne Y . A A L av d o S. Can . M AN CO . S ol o. rk , U . ( ) RQU D H T A T : Bo e C . IS ORIC L SOCIE Y rdon , ariani N mes C e i . at na . O e Beccaru zzi C i R e Prevital . ld nburg . , ariani , , ondin lli O e C m . : C l ra HURCH i a . Os m M : i o . UNICIPIO Lotto . AYLORIAN M M xf d T : . O or . USEU Guardi

C T C A Prev itali. HRIS HURCH LIBR RY Polidoro ,

Pa . A R : Basaiti Becca ruzz i Bel dua G LLE Y , , Jacopo lini , B e C e Prevital i ordon , at na , Guardi , Licinio , , R M R e l T e Avise occo arconi , ondin l i , i polo , l Viv a i rin .

A T : T e S N O i polo . A A T M T SCUOL DEL S N O ontagna , itian . T A Ve : ese. S . GIUS IN ron MA A . s o z B ss M . S RI IN a ano , ontagna ’ B A A M a ISHOP S P L CE : ont gna . M Pa s a e C : T e . n h ng r . LORD OWPER ontagna , intor tto s A e Pa . : B Ve e B ss B ri LOUVRE nton llo , . n to , a ano , oni z B e C e C C fa io , ordon , anal , ariani , arpaccio, C e C m C e e at na , i a , riv lli , Giorgion , Guardi , M lm del m Lotto , ontagna , Pa a , S . Pio bo , R i e e T e Polidoro , ond n lli , Schiavon , i polo , T e T Ve ese Al se V intor tto , itian , ron , vi iva

B Viv arini. rini , art . MME A E . : C e C e NDR anal , at na , Guardi , Poli T e doro , i polo . C T D E BEA A se Vivarini OUN ESS RN lvi . MR E M . T : C e L OPOLD GOLDSCH ID at na , Guardi,

T e i polo . M A M M T e C . . S LO ON GOLDSCH ID : at na M MA . KA C URICE NN : anale. M MA T LE ROY . Basaiti R IN . M A R . T d l m : . e LPHONSE DE O HSCHILD S Pio bo. i n PRINCE SCIARRA Bons g ori . A ma . ec caru zzi del m Par : B C m . G LLERY , i a , S Pio bo, e T e Schiavon , i polo . 62 I N D E X OF PLACE S 1 .

la . A O T C e u : . Pa su . S G S INO riv lli lm Pe e a C : . g h r . HURCH Pa a

Pesa A : n Be i . ro . G LLERY Giovan i ll ni

F AN v Be . S . R CESCO : Gio anni llini MA A A AM A N A e a z a . C e. Pi c en . S RI DELL P G Pord non P N O Tie lo e e . : o . iov (n ar Padua) . S ICCOL p nt r n e Be m Po e a ica (n ar rga o) . CHURCH : Lotto . M e e P e o e : . ord n n . UNICIPIO Pord non D M e e UO O : Pord non . Pra lia e R T : M g (n ar Padua) . EFEC ORY ontagna.

R av e a A R e . nn . G LLERY : ondin lli D M N R e S . O E ICO : ondin lli .

R e a a M N : t . c n ti . U ICIPIO Lot o D M : . S . O ENICO Lotto MA I A A M A T o t S . R SOPR ERC N I L t o . m I R A B m e R . S F C : e C C ich ond R NCIS OOK ordon , i a , riv lli , R M T e Guardi , Polidoro , occo arconi , i polo , T e intor tto . M Be UNICIPIO Giovanni llini . V A B : A e B ss B sso ILL ORGHESE nton llo , a ano , i lo , B z C C r e onifa io , aprioli , ariani , Gio gion , m Sav oldo Licinio , Lotto , Pal a , Polidoro , ,

T Ve ese. itian , ron CA T : m R e PI OL Lotto , Pal a , Polidoro , ondin lli , Sav oldo T e T , intor tto , itian . C A A B z B e OLONN G LLERY onifa io , ordon , Guardi , m T e T e s Ve Pal a , intor tto , Gir . da r vi o , ro ese n . A V C : B . e e B ss Ca ORSINI G LLERY art n to , a ano , i R M r ani , occo arconi . D A A V B i : B . e e asait Be ORI G LLERY art n to , , cca z z B z Bo e C e ru i , onifa io , rdon , at na , Lotto, del i m R e Tin S . P o bo , Polidoro , ondin lli , toretto T , itian . A A del m F E : . RN SIN S Pio bo . C LATERAN rivelli .

16 I N D E X OF P LACE S 4 .

B ss R M a ano , occo arconi . CA T C A AND I R M : S LE , H PEL , NNER OO Gir . da T e s r vi o . —6 A A AN 1 2 VI A TEATR o ; Gk 4 PI ZZ GR DE , DEL , T e s da r vi o . A C A SU RDI H PEL : Lotto . A : B e C G LLERY ordon , aprioli , Lotto .

M NT D I TA Beccaru z z i O E PIE . E PE RAZZOLO Bec caru zz i REDI . A A B ss : . S . NDRE i olo I A C T . S . RIS N : Lotto

D UOMo B ss B e e e T i ; i olo , ordon , Pord non , it an .

A ec caru zzi I B . S . LUC : m O B . del Sav oldo . N : . S ICCOL arbari , S Pio bo , 1 8 A AD EL D M B PI ZZ UO O : arbari . Be T e T e Giovanni llini , Guardi , i polo , intor tto ,

B. Vivarini.

M I T e UN CIPIO : i polo . MA A A TA T e : . S . RI DELL PIE i polo A A T D UC L P LACE itian . CA AA A Sav oldo S LB NI : . A A M : A e Basaiti B ss Bec C DE Y nton llo , , a ano , c aruzzi e e Be Be l i , G ntil llini , Giovanni l in , Be B ss B z B e Jacopo llini , i olo , onifa io , ordon , C C C e C m C e ariani , arpaccio , at na , i a , riv lli , a M a m Gu rdi , Licinio , Longhi , ont gna , Pal a Ve e e R M Sa cchio , Pord non , occo arconi ,

v oldo e T e T e , Schiavon , i polo , intor tto , T Ve ese A se Vivarini B itian , ron , lvi , arto mmeo Viv arini l o .

M C : Basaiti Beccaruz zi e e USEO ORRER , , G ntil Be Be l Be llini , Giovanni l ini , Jacopo llini , B ss C R i olo . arpaccio , Guardi , Longhi , ondi A V v arini e se i . n lli . lvi A AZ D A : B mme Ven e Bas P L ZO UC LE artolo o to , s Be Bo nsi nori B e ano , Giovanni llini , g , ordon . D E X OF P LACB S 16 I N . 5

m c C e Previtali T e Ven c e Co . C i ( ) arpac io , at na , , intor tto , T Ve ese itian , ron . MANFR IN A Be zzi G LLERY ccaru .

UI RINI - STAMPALI A: Bec caru zz i C e Q , at na , Lon T e m e . ghi , Pal a , Polidoro , Schiavon , i polo PALAzzo R A : B ss B z E LE a ano , onifa io , Schi T e T e . avou , intor tto , itian M A 10 : C m e T e A se SE IN R i a , Giorgion , i polo , lvi

Vivarini.

A : A e Basaiti B PRINCE GIOV NELLI nton llo , , oni z B ne C e e m fa io , ordo , at na , Giorgion , Pal a , R M R e T e occo arconi , ondin lli , intor tto , T itian . A A A B e e Be Bis L DY L Y RD : arbari , G ntil llini , s B z Bonsi nori B e Car olo , onifa io , g , ordon , m M m accio C . p , i a , Licinio , ontagna , Pal a , S del m Previtali R e Sav oldo Pio bo , , ondin lli , , v arini Alvi se Vi .

PALAzzo GRASSI : Longhi .

PALAzzo LABIA : Tiepolo . zz T e PALA o R EZZONICO i polo . A T e S . LVISE : i polo . A T T e S NTI APOS OLI i polo . m BA T MM I N R A T : . del . S . R OLO EO I L O S Pio bo

BA A A Ve ese . S . RN B : ron

CA M : C m e. R INE i a , Lotto , Schiavon D A M E T e SCUOLA EL C R IN i polo .

CA A : R M n T e . S . SSI NO occo arco i , intor tto

CAT A Ve ese. S . ERIN ron

FA T R e . S . N INO : ondin lli FA A T e S . V : i polo . F A E AV A Bel S . R NCESCO D LL IGN Giovanni lini ,

Veronese . FRARI : B Be arbari , Giovanni llini , Licinio , T e T A se Vivarini B o i polo , itian , lvi , art mmeo V va ni l o i ri . LACE S 166 I N D E X OF P .

n e A T T e . Ve ic (Com) . GESU I : i polo

T : T e T . GESUI I intor tto , itian ’ . A M O : B ss S GI CO O DELL RIO a ano , Lotto e Schiavon .

: B e Prev itali Sav oldo . S . GIOBBE ordon , , MA C T e S . GIORGIO GGIORE arpaccio . intor tto .

A : C . S . GIORGIO DEGLI SCHI VONI arpaccio A I N BRAGORA : B ss l B e S . GIOV NNI i o o , ordon , C m A se Viv arini B mme V a i a , lvi , artolo o iv

rini . A C T M : Be S . GIOV NNI RISOS O O Giovanni llini ,

de m l . S . Pio bo A N E M A e e T S . GIOV N I LE OSIN RIO Pord non , itian A Bonsi ori m . AN E : n C S GIOV NI P OLO g , i a R M T e A se Vi Lotto , occo arconi , i polo , lvi

mme iv arini B V . varini , artolo o A T T e I N C . S . GUISEPPE S ELLO intor tto T LI O . S . : itian Be MA e e . S . RCO G ntil llini AR LO T M CUO : . S . itian M A M A m B mm . A F : e Vi S RI OR OS Pal a , artolo o

varini . MA A MAT D M N : B ss e . C S RI ER O I I i olo , at na , T intoretto . ’ MA A T Beccaru zzi O : . Bel S . RI DELL R O , Giov m T e C . lini , i a , intor tto MA A A TA: T e S . RI DELL PIE i polo . MA A T : e T . S . RZI LE intor tto , itian

A : T e . S . P OLO intor tto T D A T Basaiti . 1 C : S PIE RO S ELLO .

R T B ss Previtali Al se Viv arini EDEN ORE i olo , , vi .

R : e e e T e S . OCCO Giorgion , Pord non , intor tto . A T e T . R : SCUOL DI S OCCO intor tto , itian . A T : Basaiti T e T S LU E , Polidoro , intor tto , itian. i m T G rola o da reviso . A ATO : T S . S LV RE itian .

LACE 168 I N D E X OF F S.

nn Cox s N IN : Bor one R oc c Mar oni Ti Vie a ( ). d . o c , H ARRACE C LE C T N : Em t-i c ni OL IO i . Li i o,

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MUN CI I ale! iom . Vxt erbo. I P O : S P bo

A n r t W o urn e . B ss l e Ti e b bb y a ano, . to t o, ’ Axcmsrsnor s A A : Tie oio. W . P L CE p

A volume that every painter will want to own and which will interest lay readers in difiiculty over ” h — E t e newer move ents n OOK W . m i art. B N S

The

Co n c e ptio n o f Art

331! H ENRY RA KIN P E A N A. OOR , . N.

I t d s s the dee hiloso hic se se m s e i play to full a p p n , a t ry of A g se w de s s ll u e e e ee s Mr. phra , and i cholar hip thro gh t r ad r f l that Poore is an artist plu s a writ er and writ es of his subj ect from within . The Conception turns a bla s t of common sen se on the elabo rat e my st eries t hat hav e b ee n cobwebbed ar ound the art schools h and t e web s di sapp ear . T e e is he w es d e ess Ame a s w h r in all rit a ir ctn , an ric n anity hich , mes be s is l s the es se se if at ti it iconocla tic , iconoc a tic in b t n ; it builds anew and bett er what it destroy s . —J ur nal o Decorative Art o f , London . “ The Conc eption of Art contain s the secre t of real art and dis w ha cov ers the talisman . If all ere des troy ed that ever s b een writt en on this subj ect since the firs t pages of lett ers and this book preserv ed h w th ere wo uld be no essential lo ss . T e book is a ma st er ork . - iss L A e e . Albe t W. Curt r , uthor and ctur r ’ T s s so u se l the m s de st d m s hi tudy , fu to lay an un r an ing of art , u t ssess es e e art s de ts and end e es po p cial valu to tu n , hold—no of int r ting Art and Pr ees a r . Opinions to artis ts themselves . g

To a notabl e degree the book succeeds in its aim. The book seeks to ofiset the uncritical habit of man who uses the t erm art without b eing abl e to d efin e it and who has onl y a gen eral idea —I e al d nt nation St io . of what it means . r u The most notabl e of rec ent contribution s to the subj ect m — del i i Phila h a I u er. s s l . n cholarly , ing u arly illu inating p q r

405 H Return this material to the library f wh h rom ic It was borrowed .