ri Madonna is in a simpler vein, and consists of three
compartments, the central one containing the Virgin's throne. The
angioletti, on the steps, are probably the most popular of their
charming class in Venice.

[Illustration: GIOVANNI BELLINI.--MADONNA OF SAN
ZACCARIA. (DETAIL.)]

The San Zaccaria Madonna was painted when Bellini was over eighty
years old, and has certain technical qualities surpassing any the
artist had previously attained. The depth of light and shade is
particularly remarkable; the colors rich and harmonious. The attendant
saints are St. Lucy on the right, a pretty blonde girl, with St.
Jerome beyond her, absorbed in his Bible; opposite, stand St.
Catherine, pensively looking down, and St. Peter, in profound
meditation. The entire picture, both in conception and execution, may
be considered a representative example of the times.

Following the Bellini school, and forming, as it were, a connecting
link between the earlier and the later art, was Giorgione. Less than a
score of existing works give witness to the rare spirit of this
master, who was spared to earth only thirty-four years. These are of a
quality to place him among the immortals. The enthroned Madonna is the
subject of two, one in the Madrid Gallery, and another at
Castel-Franco. They create an entirely distinct Madonna ideal,--a
poetic being, who sits, with drooping head and dreamy eyes, as if
seeing unspeakable visions.

The Castel-Franco picture expresses the finest elements in Venetian
character. Every other composition seems elaborate and artificial when
compared with the simplicity of this. Other Madonnas seem almost
coarse beside such delicacy. The Virgin's throne is of an unusual
height,--a double plinth,--the upper step of which is somewhat above
the heads of the attendant saints, Liberale and Francis. This simple,
compositional device emphasizes the effect of her pensive expression.
It is as if her high meditations set her apart from human
companionship. There is, indeed, something almost pathetic in her
isolation, but for the strength of character in her face. The color
scheme is as simple and beautiful as the underlying conception. The
Virgin's tunic is of green, and the mantle, falling from the right
shoulder and lying across her lap, is red, with deep shadows in its
large folds. The back of the seat is covered with a strip of red and
gold embroidery.

The later period of Venetian art is marked by a new ideal of the
V