312 Route 47. VENICE. b. Academy.
(on shipboard); 576. Apotheosis of St. Úrsula; 577. Úrsula, her companions,
and the prince receive the blessing of Pope Cyriacus (in the background
risea the Castel Sant' Angelo); "578. The saint's dream of her martyrdom;
579. Arrival of St. Úrsula at Cologne; 580. Martyrdom of the saint and
her virgins, who are pierced with arrows ; and burial of the saint. — The
style in which the legend is narrated is almost too simple, but interest¬
ing on account of the admirable perspective and faithful rendering of real
life. The traveller who has visited Belgium cannot fail to compare this
work with the celebrated shrine of St. Úrsula at Bruges, painted by Hans
Memling about the same time (1489) for the Hospital of St. John there.
The execution of the northern artist is tender and graceful, almoat like
miniature painting, while the extensive canvasea of his Venetian con-
temporary are vigorous, almost coarse in character.
Through the adjoining Vestibule, with some modern sculptures,
we reach —
Room XVII, which contains masterpieces of the cióse of the
15th century. To the left: 658. Cima da Conegliano, Madonna
enthroned, with SS. Dionysius and Liberalis; in the lunette above,
Christ blessing, between SS. Peter and Paul (retouched). — 628.
Cosimo Tura, Madonna; 47. Piero della Francesca, St. Jerome, with
adoring donor (damaged); 607. Alvise Vivarini, Madonna enthroned,
with saints (1480). — 590. Antonello Saliba da Messina, Madonna at
prayer; 589. Pietro da Messina, Ecce Homo. — *588. Mantegna, St.
George, grandly conceived. and executed with the delicacy of a minia-
ture; *600. Boccaccio Boccaccino, Madonna with SS. Peter, John
the Baptist, Catharine, and Rosa, a richly-coloured picture with beau¬
tiful landscape. Cima da Conegliano, *611. Christ with SS. Magnus
and Thomas, 623. St. Christopher, *592. Tobias and the ángel,
with SS. Nicholas of Barí and James, 603. Madonna with John the
Baptist and St. Paul, 604. Entombment. — 602. Giov. Buonconsiglio
(Marescalco), SS. Benedict, Cosmas, and Thecla, a fragment of a
large altar-piece. — In the centre, Dsedalus and. Icarus, the work
of Canova when 21 years of age. — Behind is —
Room XVIII, containing a series of admirable works by Giovanni
Bellini: to the left: 612. Madonna, 583. Madonna (an early work),
*595. Allegorical paintings from the artist's later period, some with
delightful landscapes, *613. Madonna, Mary Magdalen, and St. Catha¬
rine ('the three women are characterised by an extraordinary unión
of dignity, earnestness, and beauty'. C. $ C), *596. Madonna of
the Two Trees (1487; injured), *610. Madonna with SS. Paul and
George (after 1483), 87. Christ, fragment of a Transfiguration, 591.
Madonna (retouched); *594. Madonna in a beautiful landscape. Also,
582. Jacopo Bellini, Madonna. — We return to R. XVII. and thence
Room XIX (16th cent), lst Section, 95. Seb. del Piombo (?),
Visitation (an eaily work: retouched). Also, A.I. Vittoria, Busts of
Domenico and Francesco Duodo; Lor. Bernini, Bust of Card. Sci-
pione Borghese (1633). — 2nd See, Moretto, 331. St. Peter, 332.
John the Baptist; 305. Pordenone, Portrait; *314. Titian, John the
Baptist in the Wilderness (a late work); 245. Titian (more oro-