88. Calcar. Fine portrait of a young man.
38. Attributed (very doubtfully) to Giorgione. Holy Family, with St. Sebastian, St. Catherine, and the donor, kneeling. A good example of the intermediate treatment of saints in groups of this character.
Above it (92) Paolo Veronese. Esther and Ahasuerus. Treated in the lordly fashion of a Venetian pageant. Try now to understand this Venetian ideal in style and colour.
91. Paolo Veronese. Similar treatment of Susanna and the Elders, a traditional religious theme, here distorted into a mere excuse for the nude, in which the Renaissance delighted.
**274. Palma Vecchio. Adoration of the Shepherds. A noble example of this great Venetian painter. Observe how he transforms the traditional accessories in the background, and employs them in the thorough Venetian spirit.
Beyond it, several small Venetian pictures. Self-explanatory, but worthy of close attention; especially 94, a delicate Paolo Veronese, on a most unusual scale—a Venetian Dominican nun presented by her patroness, St. Catherine, and St. Joseph to the Madonna. Also, 93, by the same artist, St. George and St. Catherine presenting a Venetian gentleman to the Madonna and Child. These two saints were the male and female patrons of the Venetian territory; hence their frequency in Venetian pictures.
99. The Disciples at Emmaus. Another characteristic transformation by Veronese of a traditional scene. The pretence of sacredness is very thin.
98. Paolo Veronese. Calvary. Similarly treated.
*335. Tintoretto. Susanna at the Bath. Admirable example of this artist’s bold and effective method. In him the Venetian School attains its last possible point before the decadence.
Beneath it, two good Venetian portraits.