highest that art has realised. The apostles' heads are among
the truest and noblest. The countenances of his Madonnas are full
of ineffable sweetness and pathos. 'At the same time he analysed
the monstrous and misshapen, and has left us caricatures in which
he seems to have gloated over hideousness half human, half
brute. He altered and retouched without ceasing, always deferring
the conclusion of the task which he executed with untiring labour
and ceaseless dissatisfaction.' The wonder is not that he should
have left so little, but that he left enough to prove the
transcendent nature of his art. 'There is nothing stranger in
history than the fact that his great fame rests on one single
picture--long reduced to a shadow--on half-a-dozen pictures for
which his hand is alternately claimed and denied, and on
unfinished fragments which he himself condemned.' Lionardo was
too universal to be of any school.

INDEX.

PAGE

Albino 387
Angelico, Fra 36
Anguisciola 388
Backhuysen 415
Baroccio 385
Bartolommeo, Fra 77
Bellini, The 54
Berchem 407
Bol 402
Bordone 393
Both 418
Botticelli 369
Canaletto 358
Capella, Van de 416
Caravaggio 385
Carpaccio 375
Carracci, The 212
Cellini 69
Claude Loraine 296
Correggio 185
Crivelli 375
Cuyp 255
Domenichino 220
Dow 398
Du Jardin 410
Duerer 169
Eycks, The Van 41
Filippo, Fra 365
Fontana 389
Francia, Il 73
Gaddi 374
Garofalo 377
Ghiberti 31
Ghirlandajo 69
Gibbons, Grinling 359
Giorgione 181
Giotto 8
Gozzoli 366
Greuze 307