ire and by more than one restoration. Two
characteristic _Sante Conversazioni_ from Bonifazio's atelier may next
be noted, 1172, over a doorway; and 1171, skied on the L. wall. The
later interpreters of the pomp and grandeur of the Venetian state,
Veronese and Tintoret, are represented to L. and R. by several typical
canvases. Among these we note, 1196 (L. wall), an excellent Veronese,
The Supper at Emmaus; and 1465, a sketch by Tintoret for the great
Paradiso in the Ducal Palace. The eighteenth-century masters
(following after the Jupiter and Antiope) are well exemplified in a
fine Canaletto, 1203, View of the Salute Church and the Grand Canal;
and several good examples of the more romantic Guardi. A Last Supper,
1547, and other works by Tiepolo, the last of the Venetian masters of
the grand style; and some Bassanos--1429, by Jacopo, Giov. da Bologna
is an admirable portrait--conclude the collection of Venetians. We
pass to the Italian Eclectics, the once admired but now depreciated
Carracci, Guido Reni and Domenichino. 1613, St. Cecilia, is a famous
picture by the last named. R. of the next section (C), are two
Peruginos; 1564, a beautiful tondo, Virgin and Child, Saints and
Angels; and 1566A, St. Sebastian, a careful and pleasing study of the
nude. We cross to the L. wall, rich with examples of Raphael, and of
his school; and turn first to a lovely little panel, 1509, Apollo and
Marsyas, of most enigmatical authorship,[207] bought in 1883 from Mr.
Morris Moore for 200,000 francs. Sold, in 1850, as a Mantegna, it has
since been variously assigned to Raphael, Perugino, Timoteo Viti, and
Francia. Perugino's influence, however, if not his hand, is
sufficiently obvious. 1506, unknown Portrait, is another doubtful
Raphael, confidently attributed by Morelli to Perugino's pupil,
Bacchiacca. We are on more certain ground with 1497, the popular
Virgin of the Diadem, undoubtedly designed by the master during his
Roman period, and probably executed by his pupil, Giulio Romano. 1501,
St. Margaret, painted during the same period for Francis I., was also,
according to Vasari, almost wholly executed by Giulio. This unhappy
picture was, however, _racommode_ (mended) in 1685, and since has been
severely mauled by restorers. 1507, Joan of Aragon: the head alone,
says Vasari, was painted by the master who left the portrait to be
completed by his famous pupil. 1499, the charming little Holy Family,
was probably executed by a pupil. 1508,