lini, but he began by so modelling his style upon him that one of his
works in the National Gallery was until quite lately officially ascribed
to him, namely the _S. Jerome in his Study_. Another, a later work, _A
Warrior Adoring the Infant Christ_ was similarly ascribed to Giorgione.
This is a proof that Catena was very susceptible to various influences,
and was "an artist of extraordinary suppleness of mind, never too old to
learn or to appreciate new ideals and new sentiments." In a manner more
his own is the _Madonna with Four Saints_ in the Berlin Gallery (No.
19). The _S. Jerome_ and the _Warrior_ are among the most popular
pictures in the National Gallery--partly perhaps on account of their
supposed illustrious parentage, but by no means entirely. A painter who
could so absorb the characteristics of two such masters must needs be a
master himself.

CIMA DA CONEGLIANO, so called from his birthplace in Friuli--the rocky
height of which serves as a background in some of his pictures--settled
in Venice in 1490, when he was about thirty years old. The influence of
Bellini may be seen in the temperamental as well as the technical
qualities of his work, which is distinguished by sound drawing and
proportion, fine and brilliant colour, as well as by sympathetic types
of countenance. One of his best and earliest pictures is the _S. John
the Baptist_ with four other saints, in Santa Maria del Orto in Venice.
Another is the _Madonna with S. Jerome and S. Louis_, now in the Vienna
Gallery. A smaller but peculiarly attractive piece is the _S. Anianus of
Alexandria_ healing a shoemaker's wounded hand, at Berlin, distinguished
for its beautiful clear colours and the life-like character of the
heads.

ANDREA PREVITALI, born in Bergamo in 1480, came to Venice to study under
Bellini, whom he succeeded in imitating with remarkable success. _The
Mystic Marriage of S. Catherine_ (No. 1409) in the National Gallery was
formerly attributed to Bellini. If he had not the originality to carry
the art any farther, his pictures are nevertheless a decided and very
agreeable proof of the advance that was being made in it at the
beginning of the sixteenth century, before the full splendour of
Giorgione and Titian had unfolded.

MARCO BASAITI, though probably not a pupil of Bellini, nevertheless
acquired many of his characteristics. The picture in the National
Gallery known as _The Madonna of the Meadow_ was until lately assigned
to Bellini,