The pictures in this room are not exclusively Venetian, and have as a rule little bearing on Venetian art ; I will therefore pass most of them over rapidly. L. of entrance door,
48. Gentile da Fabriano, (an Umbrian master who was called to Venice to assist in the decoration of the old Doge’s Palace, before the great fire, and who left a permanent impress upon the art of the city. The Vivarini derived their-style in part from him.) Madonna and Child ; not a good specimen of its artist’s work.
51. School of Squarcione of Padua. Crucifixion, with Our Lady and St. John. A good specimen of the formal, classical Paduan spirit, of which Mantegna and (to a much less degree) Giovanni Bellini were outcomes. Note in this picture especially the germs of Mantegna. Its painter was one Bernardo Parentino.
49. Little round Madonna, with the infant St. John the Baptist of Florence, of the school of Filippino Lippi.
Cross the room ; view from the window of the old Court of the Carità.
53. Marco Zoppo. The Triumphal Arch of Doge Nicole Tron ; Renaissance design. Amorini above support the arms of the family : below, those of the three chamberlains. From the Doge’s Palace.
54. St. Caterina Vigri of Bologna, a sainted Dominican nun. Glory of St. Ursula, who holds her standard and the palm of her martyrdom, and is being crowned by two angels ; on either side two of her Virgins : at her feet a Dominican nun kneeling; either the donor or, perhaps, the artist. Compare with Carpaccio.
55. Unknown Florentine. Madonna and Child, on a Florentine Renaissance throne, which may be instructively compared with those of the Venetians. On the L., St. Lucy with her lamp ; on the R., St. Peter Martyr with the hatchet of his martyrdom ; above, angels. Useful for comparison of the Florentine and Venetian types.
56. Garofalo. Our Lady in clouds, with four saints: John the Baptist, Augustine, Peter, Paul ; landscape background. Characteristically Ferrarese work.
57. Bernardino da Siena. Madonna, Peter, Paul.
On the opposite side is nothing worth notice, except a contorted, base-naturalistic Flaying of St. Bartholomew, by Spagnoletto. One of the worst outcomes of so-called naturalism.
The apartment beyond this, (Room IV., Hall of the Drawings,) contains a magnificent collection of sketches, including several by Leonardo da Vinci, and the misnamed “Sketch-Book of Raphael,” with drawings by Pinturicchio and other masters of the Umbrian school, to describe which lies beyond the province of this Guide.
Continuing along the main iine of rooms, we reach next, ROOM V.