landscape and carries the eye to the solemn twilight spread along the distant horizon. This peculiarity of feature is partly accounted for by the position of the town of Bassano, which is wrapped in an early twilight by the high mountains above it on the west" (Layard's edition of _Kugler_, ii. 624). A fine portrait--somewhat recalling Rembrandt in style--of a very refined face. In the vase beside him is a sprig of myrtle. This painter is fond of introducing such vases: see one in 277. In the principal street of Bassano, where the artist was born and, after studying at Venice, continued to live, such vessels may still be seen placed out for sale. 174. PORTRAIT OF CARDINAL CERRI. _Carlo Maratti_ (Roman: 1625-1713). Carlo Maratti (called also Carlo delle Madonne, from the large number of Madonna pictures that he painted) was an imitator of Raphael, and for nearly half a century the most eminent painter in Rome. The portrait of a cardinal should have come kindly to him, for he was in the service of several popes, and was appointed superintendent of the Vatican Chambers by Innocent XI. 176. ST. JOHN AND THE LAMB. _Murillo_ (Spanish: 1618-1682). _See 13._ An interesting illustration of the substitution of the palpable image for the figurative phrase. The mission of St. John the Baptist was to prepare the way for Christ, to proclaim to the people "Behold the Lamb of God!" Murillo makes the standard of the Lamb, with those words upon it, lie upon the ground below; but he further represents the young St. John as embracing an actual lamb. 177. THE MAGDALEN. _Guido_ (Eclectic-Bologna: 1575-1642). _See 11._ Just such a picture as might have suggested the lines in Pope's epistle on "The Characters of Women"-- Let then the fair one beautifully cry, In Magdalen's loose hair and lifted eye; Or dress'd in smiles of sweet Cecilia shine, With simpering angels, palms, and harps divine; Whether the charmer sinner it, or saint it, If folly grow romantic, I must paint it. Just such a picture, too, as Guido turned out in numbers. "He was specially fond," says one of his biographers, "of depicting faces with upraised looks, and he used to say that he had a hundred different modes" of thus supplying sentimentality to order. 179. VIRGIN AND CHILD ENTHRONED. 180. A PIETÀ. _Francia_ (Ferrarese-Bolognese: 1450-1517).