wood, crowning as with native plumes the head of the slanting land; in the middle valley are sheep at pasture; and the wooded slopes, warm with summer and sweet at once with life and sleep, bend and flow either way in fruitful repose, shaped like waves of the sea after a wind, that seem at once to move and to rest, to change and to remain.

Next, a sudden nook or corner of high-lying land in some wild wood, opening at the skirt upon a fresh waste ground, a place of broken banks fringed and feathered. with thick grasses full of the wind and the sun; to the right, a land of higher hills, with a city framed and radiant among them. Then comes another such corner of woodland, rocky, strewn with stones curiously notched and veined; and here too infinite summer hills open and recede and melt into further and nearer forms in solid undulation without change, billows of the inland crowned not with foam but with grass, and clothed with trees, not moulded out of mutable water.

Other work of Titian is here besides these seven finished sketches; slighter work, and not in the line of landscape. There is a vision of Virgin and Child appearing in a Thebaid desert to some saint-Anthony apparently, as the typical swine's snout obtrudes itself with a quaint innocent bestial expression. Note also a lovely and vigorous group of Cupids grappling in play with a great hound, which all they can hardly overset ; the eager laughing labour of the bare-limbed boys and the gravely gamesome resistance of the beast are things to see and remember, as given by the great master. There are studies too for the famous picture of St. Peter

Martyr; there is a head like Michel Angelo's Brutus, with large broad nose.

In samples of Giorgione's work the collection is not less rich. Sixteen sketches and studies, variously finished, bear witness for him. First, a most noble male profile, with blunt nose, mouth fretted, and hard cheek; a strong man weary, with tough spirit growing tired too. Unlike this, a large priestly head, loose about the jaw, firm in the upper part; with a long mouth like a slit; by no means unlike the recognisable head of Alexander VI. ; on the medals of the great Borgia you see just such a strong brow of statecraft, such a resolute eye, such a heavy lax lustful under-face. Next, three heads together; the first may be boy's or girl's, having in it the delicious doubt of ungrown beauty, pausing at the point where the ways of loveliness divide; we may give it the typical strawberry flower (Fragoletta) and leave it to the Loves; the second is a priest's, wearing a skull-cap, and very like the middle musician of the three in Giorgione's divine picture in the Pitti; the third an old man's head, cowled and bearded. Next a girl with a book of music ; many bend over her; two faces to the right are specially worth notice; a youth of that exquisite Venetian beauty which in all these painters lifts male and female together on an equal level of loveliness; and an older head near him, stamped with scorn as with a brand. Next, and slightly wrought, on a raised couch or step of a palace, a group of revellers embracing and gazing outward; one leans round a girl to read with her from some joyous book. Next, a full face, wasted by time or thought or pleasure, with a clear sardonic look left

in it; next, a close-curled imperial head; next, a gathering of counsellors, a smile on their chief man's face. Then a very noble naked study from behind; a figure planted with knees apart as if bestriding, with strained back and muscles leaping, with curly Herculean hair; naked down to the thighs, then draped, but finished only to one knee. Next, one of the most perfect of these studies, a superb head of one in pain, the face drawn and not disfigured by suffering. Next, an infant covering its mouth with its hand in a lifelike and gracious gesture. Next, in a Thebaid, a skin-clad saint sinking as in swoon, all but sunken already through fasting or trance; on the same paper are studies of hands and feet. Then a Virgin and Child, with an old man kneeling; then the figure of a youth seemingly made ready for torture, a fair and brave martyr's face; this and the next are figures about two-thirds or three-fourths of the length of the whole. The next I take to be a design for Lucretia; a naked woman, loose-haired, with the left arm raised, and with the right hand setting as it seems a dagger under the right breast; on the wall by her is an escutcheon, which may indicate, if it be a serious part of the design, some later suicide than the Roman matron's; it matters little to the interest of the study. Apart from these is a sketch of some pagan feast, with torchlight and blast of trumpets; several figures and faces are noticeable here: a youth fallen on his knees; a boyish torch-bearer, with blown cheeks and subtle sharp-edged eyes; the head of a boy who rests his hand on the shoulder of another; a face seen behind, with rounded mouth and blowing hair: the whole design profuse of interest and invention. In

these light sketches, or even in these rough notes, the vivacity and warm strength as of sunlight which distinguish the painter's imagination are traceable. With all the deep sweet tragic colour, the divine oppression of a delight whose eyes grow sorrowful with past thought and future dream-large discourse, looking before and after;" with all the pathos of pleasure never translated as in his pictures but once, in Keats's Ode to Melancholy; the adorable genius of Giorgione, like the beautiful mouth of Chaucer's mistress, is always "most glad and sad.”

By Paolo Veronese there is one design of a feast disturbed and breaking up; in one corner the figure of an old man ; a girl sinking at his feet clasps him by the ancle. In front of course is a dog, and sidelong from under the table-cloth a dog's head peers with the brighteyed caution of its kind; the whole design has interest and character. Unluckily for the affectionate students of Bonifazio, there is but one slight sketch by that master of all gracious and pleasant beauty; as the subject is music-making, it might have been finished into a nobly delightful piece of work, and significant of his love of sweet sound and fair form met together and made one in the sight of art. Of Tintoretto there is not much arranged and framed above-stairs: a Doge in his quaint buttoned robe; a study of a knight's lance and helmet held by his page-Gattamelata's, as I thought at first, a design for the great portrait, but it seems doubtful. more important design is one, very noble and impressive in sentiment, of the Deposition of Christ; the body is carried off through a steep and strait gorge between rocky hills below Calvary; the Virgin has fallen in utter

swoon.

There is also a small oval-faced figure of a girl at prayer; and a noble design of four angels rushing down to judgment, with violent wings and blowing trumpets that betray the artist; their fierce flight and thunder of summoning sound have roused the dead already; some are precipitated hellward, some aspire as on sudden wings; three newly roused sit still and gaze upward. Again, a naked woman startled in bed by the advent of a witch with cap and broom. In the lower rooms, among the unregistered masses of designs, I saw a huge portfolio crammed with rough figure-sketches by Tintoretto, in his broad gigantic manner, but too slight to be of any descriptive interest, though to him they doubtless had their use and might have the like to an artist who should now care to study them.

Assigned to Raffaelle is a sketch in pen-and-ink of a cavalcade passing a seaport town, recognisable as the first design for one of the great series at Siena representing the life of Æneas Sylvius, in which Raffaelle is supposed to have assisted Pinturicchio. The name of "Messer Domenicho da Capranicha" (the Cardinal) is scribbled on the drawing itself; and the composition is pretty much that of the fresco; the horses turn at the same point, the groups are massed and the line of harbour shown in the same manner. By Giulio Romano there are two designs for Circe; in one the sorceress lets down an urn among her transformed beasts, holding it may be some strange food or fume of magic drugs; among them are two griffins and an eagle. In the other design she is in the act of transformation, an incarnate sorcery; two men yet undegraded are already confounded and lost