and another of his, in the Giovanelli Palace at Venice,
which is identical in technique, tone, and general effect with this one,
is still so ascribed. Whether or not he learnt from Bellini, he was
certainly an assistant to Alvise Vivarini, on whose death he completed
the large altar-piece in the Church of S. Maria de Friari at Venice,
representing _S. Ambrose surrounded by Saints_. His _Christ on the Mount
of Olives_ and _The Calling of Zebedee_, both dated 1510, are now in the
Academy at Venice, and together with the _Portrait of a Man_, dated
1521, in the Bergamo Gallery, and _The Assumption_ in S. Pietro Martire
at Murano, may be considered his best performances.

More remote from Bellini, yet not so far as to be entirely free from his
influence in some of their more important compositions, was the school
formed by LAZZARO DI BASTIANI or SEBASTIANI, of which the chief ornament
was Vittore Carpaccio, and among the lesser ones Giovanni Mansueti and
Benedetto Diana. The history of this independent group of painters has
only of late years been elucidated; Kugler, after a page devoted to
Carpaccio, dismissed them with the remark that Mansueti and Bastiani
were both pupils of Carpaccio, and that Benedetto Diana was "less
distinguished." Our national collection was without any example until
1896, when Mansueti's _Symbolic representation of the Crucifixion_ was
purchased. In 1905 the National Art-Collections Fund secured Bastiani's
_Virgin and Child_, and in 1910 Sir Claude Phillips presented Diana's
_Christ Blessing_. Alas! that we are still without anything from the
hand of Vittore Carpaccio. Seven portraits by Moroni do not fill a gap
like this.

The name of Lazzaro de Bastiani first occurs in Venice as a witness to
his brother's will in 1449, and as early as 1460 he was painting an
altar-piece for the Church of San Samuele. Ten years later, the brothers
of the Scuolo di San Marco ordered a picture of the _Story of David_
from him, promising him the same payment as they gave to Jacobo Bellini,
who had been working for them with his two sons Gentile and Giovanni.
In 1474, another proof of his rank and repute as a painter is afforded
by a letter from a gentleman in Constantinople, asking for a picture by
him, but that Giovanni Bellini should paint it in the event of Bastiani
being already dead. He was thus, it would seem, preferred to Bellini,
though it will be remembered that five years later, when the Sultan
expressed th