our, 1517; Two Portraits.
Berlin. Pieta; Altarpiece; S. Sebastian; Madonna (E.).
London. S. Jerome; Madonna.
Milan. Ambrosiana: Risen Christ.
Munich. Madonna, Saints, and Donor (E.).
Murano. S. Pietro: Assumption.
Padua. Portrait, 1521; Madonna with SS. Liberale and Peter.
Venice. Academy: Saints; Dead Christ; Christ in the Garden, 1510;
Calling of Children of Zebedee, 1510.
Museo Correr: Madonna and Donor; Christ and Angels.
Salute: S. Sebastian.
Vienna. Calling of Children of Zebedee, 1515.

_Andrea Previtali._

Bergamo. Carrara: Pentecost; Marriage of S. Catherine; Altarpiece;
Madonna, 1514; Madonna with Saints and Donors.
Lochis: Madonna and Saint.
Count Moroni: Madonna and Saints; Family Group.
S. Alessandro in Croce: Crucifixion, 1524.
S. Spirito: S. John Baptist and Saints, 1515; Madonna and
four Female Saints, 1525.
Berlin. Madonna and Saints; Marriage of S. Catherine.
Dresden. Madonna and Saints.
London. Madonna and Donor (E.).
Milan. Brera: Christ in Garden, 1512.
Oxford. Christchurch Library: Madonna.
Venice. Ducal Palace: Christ in Limbo; Crossing of the Red Sea.
Redentore: Nativity; Crucifixion.
Verona. Stoning of Stephen; Immaculate Conception.

_N. Rondinelli._

Berlin. Madonna.
Florence. Uffizi: Madonna and Saints.
Milan. Brera: Madonna with four Saints and three Angels.
Paris. Madonna and Saints.
Ravenna. Two Madonnas with Saints.
S. Domenico: Organ Shutters; Madonna and Saints.
Venice. Museo Correr: Madonna; Madonna with Saints and Donors.
Giovanelli Palace: Two Madonnas.

_Bissolo._

London. Mr. Benson: Madonna and Saints.
Mond Collection: Madonna and Saints.
Venice. Academy: Dead Christ; Madonna and Saints; Presentation in Temple.
S. Giovanni in Bragora: Triptych.
Redentore: Madonna and Saints.
S. Maria Mater Domini: Transfiguration.
Lady Layard: Madonna and Saints.

PART II

CHAPTER XIV

GIORGIONE

When we enter a gallery of Florentine paintings, we find our admiration
and criticism expressing themselves naturally in certain terms; we are
struck by grace of line, by strenuous study of form, by the evidence of
knowledge, by the display of thought and intellectual feeling. The
Florentine gestures and attitudes are expressive, nervou