eldom equalled in the history of art.' The example given is
that of the single figure of the Lord in the Dresden Gallery, where the
Son of God, without nimbus, or glory, stands forth as the 'ideal of
elevated humanity.'

The greater portion of Gian Bellini's pictures remain in the churches
and galleries of Venice. But the first great work at which the two
brothers in their youth worked in company--the painting of the Hall of
Council in the palace of the Doge, with a series of historical and
legendary pictures of the Venetian wars with the Emperor Frederick
Barbarossa (1177), including the Doge Ziani's receiving from the Pope
the gold ring with which the Doge espoused the Adriatic, in token of
perpetual dominion over the sea--was unfortunately destroyed by fire in
1577. Giovanni Bellini's greatest work, now at St Salvatore, is Christ
at Emmaus, with Venetian senators and a Turkish dragoman introduced as
spectators of the risen Lord.

Of another great work at Vicenza, painted in Gian Bellini's old age,
when neither his skill nor his strength was abated, 'The Baptism of
Christ,' Dean Alford writes thus:

'Let us remain long and look earnestly, for there is indeed much
to be seen. That central figure, standing with hands folded on
His bosom, so gentle, so majestic, so perfect in blameless
humanity, oh what labour of reverent thought; what toil of
ceaseless meditation; what changes of fair purpose, oscillating
into clearest vision of ideal truth, must it have cost the great
painter, before he put forth that which we see now! It is as
impossible to find aught but love and majesty in the Divine
countenance, as it is to discover a blemish on the complexion of
that body, which seems to give forth light from itself, as He
stands in obedience, fulfilling all righteousness.

'And even on the accessories to this figure, we see the same
loving and reverent toil bestowed. The cincture, where alone the
body is hidden from view, is no web of man's weaving; or, if it
were, it is of hers whose heart was full of divine thoughts as
she wove: so bright and clear is the tint, so exquisitely
careful and delicate every fold where light may play or colour
vary. And look under the sacred feet, on the ground blessed by
their pressure; no dash of hurrying brush has been there: less
than a long day's light, eve, did not suffice to give in
individual s