617. Unknown Paduan, with characteristic Paduan architectural detail, showing the classical influence of the school of Squarcione. In the centre, full-length Madonna, en-throned, with clothed Infant, surrounded by little angels singing and playing musical instruments in the manner common at Venice and Padua. (Note henceforth these pretty accessories.) To the L., St. Lawrence with his grid-iron, St. Jerome with his church and lion : to the R., St. George (?) or Liberale (?), and St. Stephen with the stones of his martyrdom. A good, hard, characteristic Paduan picture.
618 and 619. Alvise Vivarini. St. John the Baptist and St. Matthew.
The end wall is occupied by several fragments of altar-pieces, (621,) with formal figures, of the school of the Vivarini, not very interesting. The order, from L. to R., is : St. Francis with the stigmata, Our Lady and Child, St. George (?), St. Jerome with the church, a Nativity, (with the Annunciation to the shepherds,) an unknown bishoppossibly St. Ambrose, St. John the Baptist, St. Sebastian, St. Antony the Abbot, with his bell and crutch, St. Lawrence, standing on his gridiron, and St. Antony of Padua, in Franciscan robes, with the lily.
623. Cima. St. Christopher wading through the river with the infant Christ. Notice how he staggers beneath the supernatural weight of the divine burden.
624. Alvise Vivarini. Madonna, at a prie-dieu ; one panel of an Annunciation, the other half of which is missing.
Return through Room XVII., descend the stairs, cross the corridor, and ascend the steps of the compartment opposite.